When the Famous Black Poet speaks,
that his is the same unnervingly slow
rambling method of getting from A to B
that I hated in my father,
my father who always told me
The Famous Black Poet is
speaking of the dark river in the mind
that runs thick with the heroes of color,
Jackie R., Bessie, Billie, Mr. Paige, anyone
who knew how to sing or when to run.
I think of my grandmother, said
to have dropped dead from the evil eye,
of my lesbian aunt who saw cancer and
a generally difficult future headed her way
in the still water
of her brother's commode.
I think of voodoo in the bottoms of soup-cans,
and I want to tell the poet that the blues
is not my name, that Alabama
is something I cannot use
in my business.
He is so like my father,
I don't ask the Famous Black Poet,
to remove his shoes,
knowing the inexplicable black
and pink I will find there, a cut
gone wrong in five places.
I don't ask him to remove
his pants, since that too
is known, what has never known
a blade, all the spaces between,
where we differ . . .
I have spent years tugging
between my legs,
and proved nothing, really.
I wake to the sheets I kicked aside,
and examine where they've failed to mend
their own creases, resembling some silken
obstruction, something pulled
from my father's chest, a bad heart,
the lung of the Famous Black Poet
saying nothing I want to understand.
|From In the Blood by Carl Phillips, published by Northeastern University Press. © 1992 by Carl Phillips. Reprinted with the permission of Northeastern University Press. All rights reserved.|