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All biographies like all autobiographies like all narratives tell one story in place of another. –Hélène Cixous

I’ve been really moved by poet Staceyann Chin’s recent articles in the Huffington Post. If you haven’t seen them, check out her conception story here, and her open letter to her unborn child here. Her heartfelt words are touching enough to make anyone cheer for her on her journey into motherhood.

Or so I thought. But amidst the love and support, Staceyann is facing a bit of a backlash. Turns out, not everyone is as excited as I am about the idea of a single black lesbian becoming a loving mother.

What does this have to do with me, as a writer? Well, first of all, there are the limits that some want to impose on queer women of color. Limits on our bodies, on the stories we can write. And everyone faces such limits – the boxes we’re meant to fit into so that we help maintain the order of things. Where, in the stereotypical images of motherhood, do we find a woman like Staceyann? A woman like me?

This past Mother’s Day, after calling my mother, I headed out for work. The first person to speak to me was a man standing on the street, holding out a cup for change and greeting everyone who passed.

“Happy Mother’s Day,” he said to me. “Even though I know you’re not a mother. I can tell!”

I wondered, how could he tell I wasn’t a mother? Did I look, to him, too young to have a child? Too well-rested, perhaps, to know a mother’s worry? A little too unhappy, maybe, to know the love of a child?

What he didn’t know is that a little over four years ago, I was ready to be a mother. Ready is a funny word for a newly single, pregnant twenty year old with no clue as to how I was going to support the unexpected new life, but ready I was. Sure the power of love and sheer will would give me the tools I needed. Though I’m not one to believe in destiny, I felt that while this surprising turn was certainly a challenge, it was meant to be. There was a lot of pain in my life at the time, and in a way, the new life felt like the door at the end of my suffering.

My entire life had already shifted to focus on my child, but then the new life left the world just as unexpectedly as he or she had come. I had a miscarriage, and fell back into a suffering deeper than I’d ever known before.

It’s a funny thing about pain. I don’t often talk about this time of my life, but it certainly appears in my writing, and often in ways I don’t expect. If it’s meant for others to read, I often wrap pieces of it into fiction or poetry so far from my own story that I don’t bother trying to claim it as truth.

But what of my story of motherhood? Is there room for voices like mine among narratives of mothers?

At the end of Staceyann Chin’s letter to her unborn child, she writes, “Child of mine, these promises are only what I intend. And when I come up short on those grand intentions, I give you permission to whip out this letter and remind me of what I had put in writing long before you were born.”

I, too, wrote letters, made pacts with my child, promises to be loving, forgiving and honest with each other. The child I lost left these promises in my hands. And there’s no reason I shouldn’t still keep the ones I can. To remember what it’s like when my body is a vessel for another life, and caring for myself is the first step in caring for another. My eyes were opened to a gentleness about the world that I still cannot unsee.

Yes, it’s a funny thing about writing about pain. Much of what I’ve been through makes it difficult to get close to people, hard to open up unless it’s in writing. But when I declare that this is my story, not meant for anyone else, what’s meant to keep me at a distance often connects me to others who have, to my surprise, walked in my shoes.

I appreciate someone like Staceyann Chin adding a new perspective to those voices of mothers we hear in the media. When we hear unexpected voices, it’s an opportunity to learn, and expand our ideas of who can write what stories.

So I’m not waiting, either. Not waiting for anyone else’s permission to write as a mother. Yes, I was a mother once. And though I may not be what you’d expect of a mother – queer, young, childless – yes, I write as a mother still.


 
 
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Photo by Maisha Z. Johnson
Find some basic creative writing tips and you may come across something about the importance of using concrete images, even to support abstract concepts. Why? Because concrete images can create a clear, specific picture, one that's more likely to connect to a reader than a vague idea. It's the difference between the mass of an angry crowd and a single man with his own truths and motivations. Between the idea of a long history of injustice and the individual stories that make justice worth fighting for.

So what about images of ourselves, and others in our communities? While we write images to avoid generalizations, many of us still find ourselves slipping into invisibility on others' pages. Some, like these young Philadelphia poets, are striving to be heard in their own words. And still, those in the media choose words of their own - you can't get much more vague or ignorant than "the whites have become black." Some of us, apparently, can write our own stories all we wish, but others say we need scientific proof to validate our existence. Huh. You may think you know your name, but do you have to wait for someone else to speak it?

What happens when we rely on the media's generalizations? Sometimes, we let our stories fall under one vague tale, and individuals are forgotten, while opportunities to come together are lost. Sometimes, we forget who we're fighting for, and we don't learn their names until it's too late (rest in peace, Marcellus Andrews).

I'm forever inspired by those who tell their own tales, without waiting for someone else's words. Like Issa Rae of the brilliantly hilarious web series Awkward Black Girl, who says in Colorlines, "It’s up to us to acknowledge and combat the stereotypes because mainstream media just don’t care." And poets like Ai, telling the stories of those who appear in the media without faces or names, but who have always had voices, in spite of the silence around them. By simply telling those unique stories in our artwork, we can stand up for all of those who deserve to be heard.

Here's one such poem, one that feels fitting for the chaos of today.

Riot Act, April 29, 1992
By Ai

I'm going out and get something.
I don't know what.
I don't care.
Whatever's out there, I'm going to get it.
Look in those shop windows at boxes
and boxes of Reeboks and Nikes
to make me fly through the air
like Michael Jordan
like Magic.
While I'm up there, I see Spike Lee.
Looks like he's flying too
straight through the glass
that separates me
from the virtual reality
I watch everyday on TV.
I know the difference between
what it is and what it isn't.
Just because I can't touch it
doesn't mean it isn't real.
All I have to do is smash the screen,
reach in and take what I want.
Break out of prison.
South Central homey's newly risen
from the night of living dead,
but this time he lives,
he gets to give the zombies
a taste of their own medicine.
Open wide and let me in,
or else I'll set your world on fire,
but you pretend that you don't hear.
You haven't heard the word is coming down
like the hammer of the gun
of this black son, locked out of this big house,
while massa looks out the window and sees only smoke.
Massa doesn't see anything else,
not because he can't,
but because he won't.
He'd rather hear me talking about mo' money,
mo' honeys and gold chains
and see me carrying my favorite things
from looted stores
than admit that underneath my Raider's cap,
the aftermath is staring back
unblinking through the camera's lens,
courtesy of CNN,
my arms loaded with boxes of shoes
that I will sell at the swap meet
to make a few cents on the declining dollar.
And if I destroy myself
and my neighborhood
“ain't nobody's business, if I do”
but the police are knocking hard
at my door
and before I can open it,
they break it down
and drag me in the yard.
They take me in to be processed and charged,
to await trial,
while Americans forget
the day the wealth finally trickled down
to the rest of us.

from Vice, 1999
 
 
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Photo by Maisha Z. Johnson
I've been sensing chaos lately. And I get the feeling I'm not the only one. Sometimes chaos makes me anxious, makes it seem like those few things we can count on are dangling precariously in the air, just out of reach.

At the moment, though, the chaos feels a little like hope. Feels like the air is quivering with the raw materials of change, waiting for us to grab hold and create what we imagine.

Here's a great poem about "the material," by Kay Ryan.

What will you do with the material?

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Photo by Maisha Z. Johnson



The Material
The ratio between the material Cornell collected and the material that ended up in his boxes was probably a thousand to one.
-Deborah Solomon, Utopia Parkway



Whatever is done
leaves a hole in the
possible, a snip in
the gauze, a marble
and thimble missing
from the immaterial.
The laws are cruel
on this point. The
undone can't be
patched or stretched.
The wounds last.
The bundles of
nothing that are
our gift at birth, the
lavish trains we
trail into our span
like vans of seamless
promise, like fresh
sheets in baskets,
are our stock. We
must extract parts
to do work. As
time passes, the
promise is tattered
like a battle flag
above a war we
hope mattered.

-Kay Ryan, from The Niagara River, 2005