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05.25.17

05.25.17

 

 

 

The Real—and

Really Creepy—

Lesson of That

‘Atlantic’

Slave Story

Yes, the mother was cruel, but
the important point is
Lola’s kindness in the face of
that cruelty, and how it was used
against her to sustain her oppression.

 

 

GETTY

GETTY

The discussion swirling around the Atlantic cover story
My Family’s Slave” has taken a life of its own since
publication last week. The story has prompted more
Americans to describe the existence of modern forms of
slavery
, share personal experiences, and critique the
author Alex Tizon’s depiction of his family’s slave,
Eudocia Tomas Pulido, whom they called Lola. For the
most part, people have been critical of Tizon’s family
while also appreciating his efforts to liberate Lola.
 
But for me, the pivotal theme of Tizon’s story was the
facade of friendship between Lola and Tizon’s mother
as they grew old together, juxtaposed with Tizon’s
decision to not discuss Lola around his mother. This
evolution of their relationship might seem heartwarming
on the surface, but in fact it shows how the humanity
of the oppressed can be used to sustain their own
oppression.

Tizon’s grandfather bought Lola in the late 1940s in The
Philippines
, where he lived at the time, when she was
only 12. He gave her to Tizon’s mother. In 1964, Tizon’s
family moved to America and brought Lola with them.
Lola’s life consisted of serving Tizon’s family. She cooked,
cleaned, took care of the children, and never had a life
beyond the needs of this family.
She was never paid. She made no friends and had no romantic relationships. For decades, she received constant verbal and physical abuse. For years, the Tizons did not even give her a bed to sleep on, so she slept on a couch or a pile of dirty laundry. Yet despite his family’s relentless torture of Lola, she expressed an unconditional amount of love towards his family.

Tizon goes on to tell of the time his father left the family, when the author was 15, and how Lola became the shoulder for his mother to cry on as she struggled to cope with the burden of raising her family “on her own,” (ignoring both Lola’s contribution and her dependence on Lola). The added stress made her even more demanding, but her lack of a spouse meant that she also needed an adult she could talk to.

“As Mom snapped at her over small things, Lola attended to her even more—cooking Mom’s favorite meals, cleaning her bedroom with extra care,” said Tizon. “One night I heard Mom weeping and ran into the living room to find her slumped in Lola’s arms. Lola was talking softly to her, the way she used to with my siblings and me when we were young.”

Yet Lola’s kindness was not reciprocated. Tizon’s mother still let her teeth rot and refused to take her to the dentist. When her children defended Lola, tried to assist her with household chores, or pleaded with their mother to take her to the dentist, she ridiculed her children and made Lola’s life even worse. She’d blame Lola for turning her kids against her and would become verbally abusive.

As the years went by, Tizon’s mother remarried and slowly but surely, she became nicer to Lola. She bought her a nice set of dentures, and took her on vacations to the beach with her new husband. From the outside looking in, I’m sure that it would be easy to view Lola and Tizon’s mother as two elderly friends.

However, Lola always remained an afterthought to his mother. At one point, Tizon found her diary, and he saw that Lola was nothing more than a persistent footnote in their history. She was always there, but hardly discussed. Tizon would eventually stop discussing Lola when he was around his mother because it would anger her and because reminding himself of his mother’s abuse of Lola made it harder to forge a relationship with her.  

When his mother died, Lola was not far away. Tizon’s mother never apologized or asked for forgiveness for how she treated Lola. After her death, Lola moved in with Tizon’s family, and he spent the rest of his life trying to give Lola the life of freedom that she deserved.

As an African American who is the descendent of slaves, I cannot help but look at this story and imagine many similar interactions between blacks and whites in the 1800s and before.

Additionally, what struck me the most as I was reading about Lola’s infinite patience with the slights and cruelties she endured with such equanimity was how her grace in the face of adversity could be used to sustain her oppression.

Tizon remained committed to breaking his family’s connection to slavery, but he also wanted to build a strong loving relationship with his mother. He wanted to find a way to love her, and as he got older that meant ignoring the plight of Lola, which further sustained her oppression.

This combination of love of family and the survival techniques of the oppressed can incline oppressors and their descendants to ignore and distort the horrors of the society in which they perpetuate.

American slave owners and their offspring have used this template to downplay the severity of American slavery, and reinforce the false narrative of blacks being better off enslaved. The fact that slaves did not kill slave owners in their sleep, and showed compassion to them when they were vulnerable, enabled a pseudo-absolving of the sin of slavery among white Americans. The kindness of the enslaved perpetuated this lunacy for generations.

During Reconstruction, former slave owners in the South were shocked that the freed blacks refused to work on their plantations. These slave owners thought that they had treated their slaves well. The kindness of the enslaved had convinced these slave owners that the enslaved had actually enjoyed their dehumanizing status.

Today, segments of America still honor the Confederacy. Their “Heritage Not Hate” argument echoes Tizon’s quest to find a way to love his mother. Whether in the former Confederacy as a whole, or within the Tizon family, if you remove racism, terrorism, and slavery from the equation, these Southern sympathizers have now found an ancestor they feel comfortable loving. Yet in doing so, they only perpetuate racial oppression.

And when confronted by terror, African Americans still choose to invoke our shared humanity as our defense mechanism. Following the massacre at Emanuel AME Church in Charleston, South Carolina many of the victims expressed compassion and forgiveness instead of revenge for Dylann Roof. They expressed a civil, compassionate response to racist terror. This week following the murder of Richard Collins III by a white supremacist we exuded the same grace.

Additionally, following the deaths of Trayvon Martin, Michael Brown, Eric Garner, and others, African Americans rallied around the Black Lives Matter movement. This movement was not about demonizing white Americans or any American, but instead was intended to raise the cultural awareness of the lives and struggles of black Americans. The controversy surrounding this movement stemmed from merely bringing up the topic of black lives. This is similar to how Tizon opted to not discuss Lola around his mother. Lola’s existence, or what they had turned her existence into, could not be spoken of, for it would make them hate themselves. BLM elicits a similar form of dread and animus.

As a child Tizon was punished for defending Lola. And as an adult he opted to ignore Lola’s existence when around his mother to avoid a fight and to see the humanity of his mother instead of the tyrant in her. Throughout all of this Lola worked to embrace the humanity of her oppressors because this was her only way to survive in this dehumanizing environment. Eventually, Tizon decided to break the chain of slavery, give Lola the best shot at freedom that he could create, and reciprocate the humanity that she had shown his family.

As a people, African Americans have survived by embracing the humanity of their oppressors and waiting for a reciprocity that rarely arrives.

 

>via: http://www.thedailybeast.com/the-realand-really-creepylesson-of-that-atlantic-slave-story?via=newsletter&source=Politics

 

 

 3 June 2017

3 June 2017

 

 

 

Why I’m No Longer

Talking to

White People

About Race

by Reni Eddo-Lodge


review – ‘racism is

a white problem’

White people avoid discussing race,
and when discussions are had,
they fail to meet the reality
of black experience

Ignatius Sancho, whose parents died on the slave ship on which he was born, had the good fortune later in life to receive a classical education courtesy of the Duke of Montagu. As an adult, Sancho was feted as an African man of letters who, entering into a correspondence with Laurence Sterne in 1766, beseeched the author to use his authority to intervene in the plight of enslaved Africans. So for hundreds of years black writers in Britain have sought to engage white people on the subject of race. But not any more – at least as far as Reni Eddo-Lodge is concerned.

Yet the title of her book, Why I’m No Longer Talking to White People About Race – it was first used in a widely read blog she posted in 2014 – is surely ironic. Eddo-Lodge no more means to disengage from white people than Toni Morrison, who has said unapologetically that she is primarily writing for black people.

It seems Eddo-Lodge is tired, as many black people are, of “playing nice”. They are apparently supposed to have the good manners to shut up and overlook the structural racism that still exists in Britain and elsewhere. Her original blog resonated with those just as irritated as she is with white compatriots whose take on racism (rarely more, in any case, than an intellectual exercise) fails to meet the reality of her lived experience. Every black person I know shares the sentiment that white people would rather not talk about race – and that they inevitably try to frame the terms of debate: discussions about racism are often led by those who are largely unaffected by it.

Eddo-Lodge’s weary title is a provocation, born of years of frustration with a deep and general lack of understanding on the part of white people. Early on, she highlights white fears of a rising tide of people of colour, which extended to objections to the casting of a black actor in the role of Hermione in the play Harry Potter and the Cursed Child. “White fans,” she writes, “couldn’t imagine little black girls as precocious, intelligent, logical know-it-alls with hearts of gold” because “blackness in their heads is stuck in an ever-repetitive script, with strict parameters of how a person should be”.

Why I’m No Longer Talking to White People About Race follows in the tradition (stronger among African American than black British writers) of angry warnings to an ignorant white readership. Writing on black life in Britain has long been the poor relation of its African American equivalent, not least because, in the hierarchy of suffering, the daily slights endured by black Britons do not bear comparison to the existential threat to African American lives. The gold standard example, James Baldwin’s The Fire Next Time, still hits home with a sense of urgency, even though its warning of the racial conflagration that could engulf American cities was written in the 1960s. Penitent white readers found their way to race-awareness books as audiences might to a horror movie, with the expectation of being scared.

Tired of ‘playing nice’ … Reni Eddo-Lodge.

Tired of ‘playing nice’ … Reni Eddo-Lodge.

But Eddo-Lodge accurately takes the temperature of racial discussions in the UK. In seven crisp essays, she takes white British people to task for failing to accept that “racism is a white problem”. “White privilege,” she writes, “is a manipulative, suffocating blanket of power that envelops everything we know, like a snowy day.”

She’s strong on the pervasive racial marginalisation of black people, for example in the depiction of the working class that still so often comes with the prefix “white”. Instead of framing the working class as “a white man in a flat cap” she suggests “a black woman pushing a pram”. She has a clear eye for the assumptions that underpin racism: it’s striking that the discourse on race today is stronger in tone than in the 70s suburban world in which I grew up, where British people were (usually) polite to the point of rudeness; the stakes are higher now.

Eddo-Lodge aims also to interrogate how we got here. But the sections on the murder of Stephen Lawrence and other seminal moments in race relations are, perhaps inevitably, too brief. This kind of book is not designed to delve beyond the headlines in order to draw lessons from the past, as Raoul Peck has attempted in fusing civil rights with Black Lives Matter in his documentary I Am Not Your Negro. Based on a posthumously published and unfinished Baldwin essay, the documentary warns not of the fire next time, but of now. It is also tricky for the book to match the immediacy and passion of the initial blog; Eddo-Lodge’s wit and mischief are admirable at first but become attenuated.

The original blog ended with the assertion that she would not talk about race with white people, who “don’t want to hear it … and frankly don’t deserve it”. She makes an exception for former BNP leader Nick Griffin, whom she portrays as an extreme, unreconstructed everyman. Also featured are her disagreements with white feminists. The suggestion that racism might exist in feminist circles fuelled much resentment, Eddo-Lodge writes, as certain women seem to cling to the belief that “British feminism was a movement where everything was peaceful until angry black women turned up”.

She has put us on notice that we talk about race by not talking about it. We reframe and deflect the argument with spurious notions of “reverse racism” and “positive discrimination”. She paints a confused and scary picture. In my experience, white people play the “race card” by baiting black people to call them out on race, knowing the social and legal near impossibility of doing so. Equally, however, there are risks to individuals in going through life on amber alert, with antennae quivering to pick up instances of racism, real or imagined.

Eddo-Lodge invokes Martin Luther King Jr: incarcerated yet again in 1963 after a peaceful protest, King expressed his grave disappointment with white moderates who, alarmed by the unrest heralded by civil rights, were “more devoted to ‘order’ than to ‘justice’”. The quotation needs context, however. At the end of his famous “Letter from Birmingham Jail”, King imagined a future where he would nonetheless engage with infuriating white moderates in welcoming a time “when the dark clouds of racial prejudice will pass away and the deep fog of misunderstanding will be lifted from our fear-drenched communities”. Despite her reservations about talking to white people about race, Eddo-Lodge would likely say amen to that.

+++++++++++
Colin Grant is the author of A Smell of Burning: The Story of Epilepsy. Why I’m No Longer Talking to White People About Race is published by Bloomsbury. To order a copy for £14.44 (RRP £16.99) go to bookshop.theguardian.com or call 0330 333 6846. Free UK p&p over £10, online orders only. Phone orders min p&p of £1.99.

 

>via: https://www.theguardian.com/books/2017/jun/03/why-no-long-talking-white-people-review-race-reni-eddo-lodge-racism

 

brain pickings logo

 

 

 

 

 

Beloved Poet

Nikki Giovanni on

Love, Friendship,

and Loneliness

“Some people forget that love is
tucking you in and kissing you
‘Good night’ no matter how young
or old you are.”

 

 

 

nikki poems

In his magnificent meditation on the nature of creativity, the late poet Mark Strand defined poetry as the art of “meaning carried to a high order,” adding: “It’s not just essential communication, daily communication; it’s a total communication.” Few poets embody this ideal of totality more boldly and bridge the daily with the essential more beautifully than writer, activist, educator, and queer icon Nikki Giovanni (b. June 7, 1943), recipient of twenty honorary degrees from some of the world’s most renowned universities and the Langston Hughes Medal for Distinguished Contributions to Arts and Letters.

Giovanni shares a kinship of sensibility with such diverse peers as e.e. cummings, Denise Levertov and Wislawa Szymborska. Her poetry is, perhaps above all, a masterwork of translation — the personal into the universal, the mundane into the monumental, the traumatic into the transcendent. Inside and between her verses, the most elemental human longings and concerns — love, loss, friendship, loneliness, freedom — at once new and even more immutable.

Here are my readings of five of Giovanni’s most beautiful poems — please enjoy.

From The Selected Poems of Nikki Giovanni: 1968–1995 (public library):

CHOICES

if i can’t do
what i want to do
then my job is to not
do what i don’t want
to do

it’s not the same thing
but it’s the best i can
do

if i can’t have
what i want … then
my job is to want
what i’ve got
and be satisfied
that at least there
is something more to want

since i can’t go
where i need
to go … then i must … go
where the signs point
through always understanding
parallel movement
isn’t lateral

when i can’t express
what i really feel
i practice feeling
what i can express
and none of it is equal

i know
but that’s why mankind
alone among the animals
learns to cry

I’M NOT LONELY

i’m not lonely
sleeping all alone
you think i’m scared
but i’m a big girl
i don’t cry or anything

i have a great
big bed to roll around
in and lots of space
and i don’t dream
bad dreams like i used
to have that you
were leaving me
anymore

now that you’re gone
i don’t dream
and no matter
what you think
i’m not lonely
sleeping
all alone

From the 1997 volume Love Poems (public library), one of Giovanni’s most delicious:

LOVE IS

Some people forget that love is
tucking you in and kissing you
“Good night”
no matter how young or old you are

Some people don’t remember that
love is
listening and laughing and asking
questions
no matter what your age

Few recognize that love is
commitment, responsibility
no fun at all
unless

Love is
You and me

A POEM OF FRIENDSHIP

We are not lovers
because of the love
we make
but the love
we have

We are not friends
because of the laughs
we spend
but the tears
we save

I don’t want to be near you
for the thoughts we share
but the words we never have
to speak

I will never miss you
because of what we do
but what we are
together

From her most recent and most exhaustive volume, The Collected Poetry of Nikki Giovanni: 1968–1998 (public library):

WHEN I DIE

when i die i hope no one who ever hurt me cries
and if they cry i hope their eyes fall out
and a million maggots that had made up their brains
crawl from the empty holes and devour the flesh
that covered the evil that passed itself off as a person
that i probably tried
to love

 

 

 

>via: https://www.brainpickings.org/2015/07/15/nikki-giovanni-love-friendship-loneliness/

 

 

 

 

 

 

 

north american review logo

Hearst Poetry Prize

Contest Information

All winners and finalists will be published in the Spring 2018 issue.
First Prize: $1000
Second Prize: $100
Third Prize: $50

2018 Hearst Judge:
Eduardo C. Corral

Deadline: October 31st, 2017
Entry fee: $20.00

All entry fees include a one-year subscription. This year, all submissions to the James Hearst Poetry Prize will be handled through our online submission system.

If you are unable to upload your submission, please call us at 319-273-3026 for other entry options.

Rules: You may enter up to five poems in one file. No names on manuscripts, please. Your poems will be “read blind.” Simultaneous submission to other journals or competitions is not allowed.

If you wish to receive the list of winners, please state this in your cover letter and be sure to supply an email address. Winners will also be announced in writers’ trade magazines and on this website.

Tips: We have noticed that long poems rarely do well—too much can go wrong in a large space. Poems that have reached the finalist stage in our competition in the past are typically one to two pages (often much shorter). Winning poems always balance interesting subject matter and consummate poetic craft. We value both free verse and formal poems in rhyme and meter—both open and closed forms.

Questions? email nar@uni.edu • phone 319-273-6455 • fax 319-273-4326

 

>via: https://northamericanreview.org/hearst-prize

 

 

 masters review logo

 Short Story Award
For New Writers

 

“Thanks for providing a place for emerging talents to thrive!”
— Amy Williams, The Williams Agency

||| SUBMIT NOW |||

$3000 + Publication + Agency Review

It’s back! Our Short Story Award For New Writers, our biggest submission period of the year. The winning story will be awarded $3000 and publication online. Second and third place stories will be awarded publication and $200 and $100 respectively. All winners and honorable mentions will receive agency review by: Nat Sobel from Sobel Weber, Victoria Cappello from The Bent Agency, and Mark Gottlieb from Trident Media. We want you to succeed, and we want your writing to be read. It’s been our mission to support emerging writers since day one.

GUIDELINES:

  • Winner receives $3000, publication, and agency review
  • Second and third place prizes ($200/$100, publication, and agency review)
  • Stories under 7000 words
  • Previously unpublished stories only
  • Simultaneous and multiple submissions allowed
  • Emerging writers only (We are interested in offering a larger platform to new writers. Self-published writers and writers with story collections and novels with a small circulation are welcome to submit. Writers with works published with a circulation of less than 5000 copies can also submit)
  • International submissions allowed
  • $20 entry fee
  • Deadline: July 31, 2017
  • Please no identifying information on your story
  • All stories are considered for publication

To submit a story click the submit button:

Contest Details:

Winners and honorable mentions will be announced in the fall. The winning writer will be awarded $3000, publication, and agency review. Second and third place will be awarded $200 and $100, respectively. All winners and honorable mentions will earn agency review. All stories submitted will be considered for publication. It is very common for us to accept additional work.

We don’t have any preferences topically or in terms of style. We’re simply looking for the best. We don’t define, nor are we interested in, stories identified by their genre. We do, however, consider ourselves a publication that focuses on literary fiction and are looking for stories that dazzle us, take chances, are bold — and do so by focusing on more than plot. For a good idea of what we like you can read last year’s winners. Our New Voices archive is also a good reference.

 

>via: https://mastersreview.com/short-story-award-for-new-writers/?utm_content=55694032&utm_medium=social&utm_source=twitter

 

 

 

 

TP Press broadside prize ad

First Annual Tupelo

Broadside Prize

 

Submission period: 
June 1 — June 30 (online submission-date)

Prize:  $350 and broadside publication

The First Annual Tupelo Broadside Prize is an open poetry competition. The editors of Tupelo Press and Tupelo Quarterly will choose three winners who will each receive $350 in addition to broadside publication by Tupelo Press, 20 copies of the winning broadside, and publication in Tupelo Quarterly.

 

Prize Guidelines

Who May Submit

The First Annual Tupelo Broadside Prize is open to anyone writing in the English language, whether living in the United States or abroad. Translations are not eligible for this prize, nor are previously published poems. Simultaneous submissions are welcome as long as you notify us immediately at contact (at) tupelopress (dot) org if a poem is placed elsewhere. Employees of Tupelo Press and authors with books previously published by Tupelo Press are not eligible.

 

Submission Requirements

Please submit 3-5 poems, maximum of 21 lines each, in one file, with the $22 reading fee, between June 1-June 30. Submissions will be accepted via Submittable only. Attach all poems in your submission as a single document in .doc, .docx or .pdf form.

Tupelo Press endorses and abides by the Ethical Guidelines of the Council of Literary Magazines and Presses (CLMP), which can be reviewed here, along with more about Tupelo Press’s ethical considerations for literary contests.

 

Notification of Results

Results will be announced in early fall and all submitters will be notified via Submittable.

Deadline

All entries must be certified by Submittable by midnight (EST) of June 30, 2017.

 

Reading Fee

A reading fee of $22 (U.S.) must accompany each submission. Multiple submissions are accepted, so long as each submission is accompanied by a separate reading fee. Why a reading fee? We are an independent, nonprofit literary press. Reading fees help defray, but do not entirely cover, the cost of reviewing manuscripts and publishing the many books we select outside of our competitions.

 

Submit Your Poems

Submissions will only be accepted via Submittable: Submission period begins on June 1. Be sure that your document is complete and formatted correctly before uploading.  Click here to submit. 

 

>via: https://www.tupelopress.org/first-annual-tupelo-broadside-prize/

 

 

 

 

 

annina

ANNINA CHIRADE

Annina Chirade describes herself as Ghanaian Austrian. She is the founder and editor of Rooted Inmagazine. When she was growing up, between London and Vienna, people would often question whether she was related to her fair, straight-haired mother. After many years obsessively straightening her own “kinky, curly, Afro-” hair as a teenager, she found her own style – inspired by the confident styles of black female singers like Erykah Badu. Annina says that when you are ‘mixed-race’ people make assumptions about your identity and consider it to be “up for debate”, but she is clear that “whiteness is not something I’m a part of.”

annina chirade

A Side: Annina Chirade 
1. Funkadelic – Soul Mate 
2. Omar Lye-Fook – This Is Not A Love Song 
3. Taylor McFerrin – Postpartum 
4. Fatima – Biggest Joke Of All
5. Kendra Foster – Far Away 
6. Blitz the Ambassador – Accra City Blues
7. Betty Davis – When Romance Says Goodbye 

B Side: Mistah Rapsey
1. G E M M A – Bye Bye Baby
2. AIR – Baby, I Don’t Know Where Love
3. Jose James – Made For Love
4. Mndsgn – Phyllis (What U Won’t Do Edit)
5. Amel Larrieux – Earn My Affection
6. Noname – Shadow Man (Ft. Saba, Smino & Phoelix)
7. Van Hunt – Who Will Love Me In Winter
8. Georgia Anne Muldrow & Mos Def – Roses

Hear more with Staying Underground’s soundcloud.

 

 

 

 

 

 

 

 

 

 

photo by Alex Lear

photo by Alex Lear

 

 

 

milton nascimento

 

in the scheme of things, as flows this river called life, our barges momentarily close to each other, because the currents are what they are, fast running & strong, with an undertow that will sweep you off into areas you don’t want to go if you don’t steer your craft with determination, because there are also so many lights and sights on the shore, so many distractions, so many invitations to dock and get lost in enjoying the landside diversions, because there is sometimes fog on the river and also because of our natural wariness—and that’s really a wrong description, our wariness is not natural, our wariness is “nurtured,” after being on the river awhile one learns that everybody who rides a barge is not necessarily a fellow traveler—because of all of that and more, especially this fog and just the speed we travel, a speed which discourages skipping around from boat to boat, a speed which sometimes does not allow us to fully grasp what is happening as someone whizzes by us and we are also moving real fast and here passes us somebody else moving faster, like amiri baraka says, somebody’s fast is another body’s slow, and who knows when you are on your boat alone or I on mine, alone, who knows, and we be trying to make our way, even those of us straining to push our barge up river, no matter the direction we all are struggling along, all of us once issued from the mouth waters of our mother’s womb are actually headed downward toward that big sea wherein we will become part of the eternal dust/water & spirit of this universe, how long do we have on the river, who knows, where we dock, that is our choice, how long we sit there, and then again, sometimes it is not really our choice, sometimes, like our ancestors we are forced into spaces and not given choices, not given the space to decide how to maneuver and negotiate our time on the river, fortunately, for us, we have a bit more leeway than did our ancestors in this regard—and I give thanx and praise to them because their struggles on, or should I say “in” the river, swimming without aid of boat or oar, swimming sometimes without even driftwood to hold to, swimming with balls and chains shackled to their limbs, the ways in which they miraculously waded through and parted the waters to make a way for us, to create an opportunity for us to acquire barges and boats and other vessels, the navigational lessons they learned and passed down to us, learned on the sly, on the fly, anyway they could, and passed on, goodness, we must give thanx and praise — so here float we, sometimes moving on our own steam, crisscrossing the river of life, sometimes out of fuel just drifting, some times shut down in despair, and sometimes we’re just out there and we’ve got everything we need to keep going except the will to do the hard work of moving our boats along on the big muddy of this river whose waters are increasingly polluted and stinking and sometimes even on fire, rivers literally on fire burning oil slicks, or sometimes we are in serious disrepair, rudders broke, holes in the hull and the like, sometimes got everything we need to move except good common sense so we waste our resources and the richness of our legacies handed down to us from those who struggled to get to the water in the first place, who waged the herculean battle just to get down by the riverside, when I use this metaphor of floating on the river of life, I mean more than just you and i, more than just a line I toss out to make conversation, I mean something so deep, so deep, so when I call out to you in the lightless night or through the morning fog, when I holler out my identifying shout and momentarily maneuver close, close enough so that our barges bump gently against each other, touch and go, as we float on down the river, and it is morning, or just after noon in a crowded river, or late past midnight and we are the only vessels visible in the darkness, or whenever, when I shout and sing my request, ask your permission to board, it is in the fullest awareness that my request is not about a merger of companies but rather a momentary sharing, a temporal but not temporary alignment of spaces and personalities, temporal in that it is time bound, you’ve got places to go, people to meet, things to do, and so do i, and neither of us intends to leave our vessels unattended for long, nor either of us give up our vessel for life aboard the other’s, and similarly, I understand should I hear you sing, unlike sailors mythisizing some madness about the sound of women singing on the water is a siren song that will lead them to ruin, I understand—i’m listening to milton nascimento at this moment and his music is so mystically beautiful, so ethereal, I mean his voice climbs like sunlight descending on a shaft through the clouds except that it reverses the flow and rises where the sunbeam comes down his voice ascends and the melodies he utters and the stories in his voice, I don’t speak portuguese but I hear milton’s meaningful beauty, and when I read the lyrics translated it helps or doesn’t help, but all i’ve really got to do is open my ears and listen, and that is the beauty of great art, we don’t have to know how it was done, in many cases don’t even have to know the language, especially when it’s music or visual, all we have to do is be open to beauty and it will take our hand and lead us there, it will kiss us full on the mouth, lips open with the surprise of the tongue moving lucidly in and out our mouths thrilling us to our toes, ah milton nascimento—I understand you are not asking for anything all the time even though this knowing is forever, the paradox of life on the river, nothing lasts, everything flows on, everything changes, but awareness and knowledge of the deepness and connections between soul mates stretches pass any fence that time can erect, breeches the dams built to hold us back and exploit the movement of our waters, so sometimes I will call to you, or you to me, and if we are close enough and if the time permits, I mean if we are not busy steering through some particular rough waters or on a mission that requires all our attention, if there is time we will tie up to each other and one board the other for a moment, and that’s all I ask, permission to board, not to stay, nor to take anything with me, but to be in you, with you for whatever sharing time there is for us on this river called life, encircled in your embrace, and, of course, you in mine, for whatever time…

 

—kalamu ya salaam

 

 

 

 

 

 31 May 2017

31 May 2017

 

 

Mexico’s

Indigenous Peoples

Select a Woman

to Represent

Their Resistance

in Upcoming

Presidential Election

“Indigenous Governing Council.” Image from @CNI_Mexico, the Twitter account of the National Indigenous Congress

“Indigenous Governing Council.” Image from @CNI_Mexico, the Twitter account of the National Indigenous Congress

Translated byTeodora C. Hasegan

In a historic decision for Mexico, the country’s indigenous peoples appointed María de Jesús Patricio Martínez as spokeswoman for the National Indigenous Governing Council, with the intent for her to run as an independent candidate in the upcoming presidential elections of 2018.

The various communities selected her on May 28, 2017, while gathered together at the National Indigenous Congress (CNI, for its initials in Spanish), which was backed by leftist political group Zapatista Army of National Liberation.

The colleague María de Jesús Patricio Martinez is the spokeswoman of the Indigenous Governing Council

The idea of setting up the Council, whose voice would be “materialized by an indigenous woman,” arose in October 2016, after the Fifth National Indigenous Congress. At the conclusion of that Congress, and marking its 20 years of existence, the CNI and the Zapatista Army of National Liberation announced the proposal — which would be submitted for consultation to its members — in a joint statement entitled “May the earth tremble at its core”:

We reaffirm that our struggle is not for power, we do not seek it; rather we will call on the indigenous peoples and civil society to organize ourselves to stop this destruction, to strengthen our resistances and rebellions, that is, the defense of the life of every person, every family, group, community or neighborhood. To build peace and justice by reweaving ourselves from below, from where we are what we are.

According to the CNI, 523 communities from 25 states and 43 indigenous peoples approved the proposal in December 2016, so that the constitution of the Council and the appointment of their respective spokesperson would take place in May 2017.

In its press release at that time, the CNI stated the following regarding the Indigenous Governing Council (CIG, its initials in Spanish):

The CIG is the core of the CNI’s proposal to the country and to the indigenous peoples. It is the way in which we will organize ourselves nationwide from below and to the left to govern this country based on the other politics, that of the peoples, of the assembly, of the participation of all and everyone. It is the way in which we the people organize ourselves to make decisions on the issues and problems that involve all of us. It is the other way of doing politics, from horizontality, and through collective analysis and decision-making.

Precisely with the aim of distancing themselves from the narrative of political parties, and in order to abide by their collective forms of organization and representation, both the CNI and the Zapatista Army of National Liberation have insisted that it is not a question of promoting a candidate but a spokesperson:

She will be the one to carry the voice of the Indigenous Governing Council to the whole country, to the whole world. She will be the voice of the peoples and civil society. She will be us.

At least 848 delegates and councillors from about 60 indigenous peoples of the country, as well as the General Command of the Zapatista Army of National Liberation, participated in the nomination Assembly.

mexico 02

Let this country shake with the resistance, rebellion and dignity of all the peoples of Mexico.

María de Jesús Patricio Martínez (also known as Marichuy) is a traditional medicine doctor and Nahua from Tuxpan in the state of Jalisco. In 2010, she stated her desire for an organization like the recently created National Indigenous Governing Council:

I long for an organization managed from the bottom up, in which all agreements are obeyed and respected.

In the following Spanish-language AJ+ video made prior to her appointment as spokesperson, Marichuy herself emphasizes the importance of choosing an indigenous woman to raise awareness of the problems, struggles and traditions of indigenous communities during the elections.

The 2018 presidential elections will be the first to allow the nomination of independent candidates. But, in order to do so, the candidates must fulfill a series of requirements established in the Seventh Book of the General Law on Electoral Institutions and Procedures. They include:

  • establishing a civil association
  • opening a bank account
  • registering with the Tax Administration Service
  • and once registered as candidates, gathering the support of 1 per cent of the total number of citizens registered in the national electoral register (about 1 million signatures) distributed in at least 17 states.

It remains to be seen whether María de Jesús Patricio Martínez’s candidacy will succeed in meeting the deadlines and requirements of the Mexican electoral system. However, there is profound symbolism in the mere act of promoting and appointing her — a woman who will not only work to make historically silenced indigenous communities a presence on the political landscape, but is indigenous herself. As spokesperson, her aim will be to realize the National Indigenous Congress motto: “Never again a Mexico without us!”

In her own words, as captured in this video:

Our participation is for [the right to] life, it is for the reconstruction of our peoples who have been beaten for years and years.

 

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