Witness, Say the Word

Notes on Juneteenth, 2024.

One wonders about official days of remembrance sometimes, to what extent any one of them might serve as convenient cover for a miasma of forgetting that is, if not enforced exactly, afforded by numerous conditions, one of which is the immediacy of other disasters, collecting in such a swarm that they naturally imply a single organism, a looming and shapeshifting singular catastrophe, foreclosing belief in tomorrows.

And yet. Afraid for the living––all of us, I want to remember. The admission feels like a prayer from when my grandparents were living and the top of my head reached only their waists, and there was much to worry about but I had yet to come into full awareness of the idea that the moment at hand was one where the systematic extinguishing of living beings was as common and transactional an operation as real-estate sales. I am not worthy, the prayer went, but say the word and I shall be healed. Adjacent to another prayer, I believe. Heal my unbelief, and both came before the commercially-manufactured wafer was transubstantiated into the body that made all tomorrows possible for everyone, however few so long as we are gathered in that faith, however wavering. 

I suppose I remember this now because I am aware that such a day of remembrance suggests celebration but also a sense of something hanging in the balance yet to be resolved. A call, perhaps? To which I may respond or stand in silent defiance, doubting its veracity. My favorite writer on these matters, Richard Rohr, reminds me that “The opposite of faith is not doubt, but certainty.”

By this spirit, I am compelled to hope against despair, aware that I am not alone in wanting to remember in a room with a vast table from which none will be excluded. In this spirit, I want to remember every tomorrow, especially those newborn flames in danger of being snuffed out for lack of oxygen. To each tentative baby flame I want to whisper, I see you, and this of course is not selflessness but a symptom of hunger, for I am a wretched specimen of a so-called species (I mistrust taxonomies of the living) which after all may undeserving of persistence, and yet I am also a baby flame, not yet fire but not yet gone.

It is summer and I have a break from teaching so I read with the thirst of someone who is crossing an arid region in a heat wave. As so many are. And to what end? I cannot answer but this morning it is Paul Celan’s “The Dead Man,” an early poem written while his parents were being extinguished in the death camps of the last century. I nod my heavy head into its image of a passing wind, considering this life the kite that depends upon it, which can fly only as long as the wind persists and a hand other than its own holds at the other end. The speaker witnessing the poppies near the man’s wormy body, face down in the dirt, notes how they scrape blood from him, urging, kneel now, and drink it in!

Such is the posture that is now. To kneel, cupped hands, amid the collected bodies of this impossible moment as the machine drones on. And yet, the eyes before the single body still blink. The hands in anticipation yet hold. The word, does it come? Even now, can it be said? Perhaps I only move my pen to reenact the waiting for the moment when the body becomes. Tomorrow and tomorrow, heal my unbelief and breathe. Baby flame of we, ignite.

Action/Reaction

Consider this breath, the sound
behind it; consider the open mouth, the next note.

If a scream erupts in a forest, and no one hears it
—or if none of the hearers can connect 
the substance of the scream to the face 
of the wounded, whether because 
these hearers are out of sight or otherwise unable 
to perceive how a body nearby could be capable 
of keening like that, or because the hearers are not 
in the habit of connecting the nuanced arrangement 
of particular human features to the nuanced arrangement 
of particular human sounds, when considering a  
particular cry of distress after shutting eyes tight
against any witness— did it happen? 

Same question may be posed 
with other variants. If the cry was piercing 
and potentially recognizable but muffled 
by the presence of a sudden hand 
against an open mouth, does it count?  
If the moment of the cry coincides 
with the collapse of the known world 
and the known world in question 
was once synonymous with the depths 
of the forest, did a cry even happen, 
if the place that it would have 
poured into was suddenly gone? 

Now consider other variables. 
If access is granted, but no one is told, 
does the person at the gates no one was trying 
to approach after years of denial get to shrug, 
raised eyebrows, and claim innocence––based 
on, well, I didn’t say they couldn’t. . . 

Get to: what does this even mean? A body gets 
to do what it will do until acted upon by an opposing 
force. Except in the case of survival. Except in the case 
of protection of children. A body will persist until 
it can’t, and in persisting, adapt to certain givens 
for the sake of survival. As in, this door is locked, 
this knob will burn your hand, this exit will get you 
shot. If someone on the other side unlocks the door 
quietly in the middle of the night, hides the key 
and leaves it closed, is it to be considered open?

Alma Thomas, Grassy Melodic Chant, 1976, acrylic on canvas, Smithsonian American Art Museum.

Define: cry. Which sounds are included?
Define: pains. Which count?
Define: life. Which forms are we talking about here, 
who is screaming––and who has stopped?

Where do these faces go when they leave us?
Here’s a better question: why do we keep 
insisting that they are ours?

If someone shuts their eyes against some 
never-ending light, can they be considered 
a witness? If someone builds a dam across a river 
of time, can it be stopped, and what is the name 
for the resulting body? And if someone removes 
a dam and the river moves again, now altered 
in shape, is the dam still real, or has it been erased?

If eyes trained on sky notice wild promises in stars, 
do these vows have any bearing once obscured 
by the light pollution of the empire’s cities?

If breath denied fails to void the depth 
of inhalation, what do you call the sound that follows?
The rising, leaning, lilting unsparing hallelujahs of 
nobody knows, the forever-present notes that no hand 
grants and no thief can steal, reaching back to some original 
promise, in the first splitting of atoms, when it was 
discovered that the matter they contained was mostly 
open spaces for the vibration of shimmering notes, 
haunting the seeming solids behind the spectral gates; what is this?

Consider moving. Listen. Consider this breath, the sound 
behind it; consider the open mouth, the next note. 
Sing.

About the artistAlma Woodsey Thomas, now a renowned figure of African-American art history, had her debut showing at the age of seventy-five, after a thirty-five year career of teaching art to D.C. junior high school students. 

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