AG2020_1480772b- or don’t that be jazz?


Tamora’s baby came out Black, you say? Damn. The more
I hear of Aaron the Moor, the more I think: don’t that be jazz?

A note above ~ A note below ~ The note between ~
The tonic ~ Enclosed ~ Pivoted up ~ Octave ~ That be jazz.

Oh, if the bard could be Black! Her stride would be royal, jeweled toes?…?
your ideas must speak. Aaron and more. Till’s name still rises! That be jazz.

Such Sweet Thunder, A. Van Jordan


AG2024_1960350aa or I don’t remember the fear of that year


[…]

But on this day
we sit in that room and play cards together
while I slip my papers in the half-moon tray
and take a number, wait for someone
behind the bulletproof glass to say

take another. And I feel only love.
I don’t remember the fear of that year,
or the fear of the years that hover
before and after. I remember
the windowless room and, outside,

Beforetimes, Margot Kahn

Looking toward Morne Tranchant, 1927

Image from page 33 of “Bulletin – United States National Museum” (1877)

Smithsonian Institution

United States National Museum

Buttetin 155

THE BIRDS OF HAITI AND THE DOMINICAN REPUBLIC

by

ALEXANDER WETMORE

Assistant Secretary, Smithsonian Institution

AND

BRADSHAW H. SWALES

Honorary Assistant Curator of Birds United States National Museum

January 27, 1931

AG2025_1155545a or a soldierly fixity of mind


Flattery, deference, smiles, ringing laughter, affectionate greetings were the order of the day.

the quality of their unjudging listening, granted tacit forgiveness,

a soldierly fixity of mind

a series of spastic clumsy gymnastic movements that were somehow accusatory,

He came out of nothingness, took form, was loved, was always bound to return to nothingness.

(GS)