⭑
Again and again, this constant forsaking:
my eyes open, I find you do not follow.
You back into morning, sleep-heavy, turning.
But in dreams you live. So I try taking,
not to let go. You’ll be dead again tomorrow.
The Erebus I keep you in—still, trying—
I make between my slumber and my waking.
It’s as if you slipped through some rift, a hollow.
I was asleep while you were dying.
At Dusk
At first I think she is calling a child,
my neighbor, leaning through her doorway
at dusk, streetlamps just starting to hum
the backdrop of evening. Then I hear
the high-pitched wheedling we send out
to animals who know only sound, not
the meanings of our words—here here—
nor how they sometimes fall short.
In another yard, beyond my neighbor’s
sight, the cat lifts her ears, turns first
toward the voice, then back
to the constellation of fireflies flickering
near her head. It’s as if she can’t decide
whether to leap over the low hedge,
the neat row of flowers, and bound
onto the porch, into the steady circle
of light, or stay where she is: luminous
possibility—all that would keep her
away from home—flitting before her.
I listen as my neighbor’s voice trails off.
She’s given up calling for now, left me
to imagine her inside the house waiting,
perhaps in a chair in front of the TV,
or walking around, doing small tasks;
left me to wonder that I too might lift
my voice, sure of someone out there,
send it over the lines stitching here
to there, certain the sounds I make
are enough to call someone home.
II
Everybody knows about Mississippi.
—Nina Simone
Pilgrimage
VICKSBURG, MISSISSIPPI
Here, the Mississippi carved
its mud-dark path, a graveyard
for skeletons of sunken riverboats.
Here, the river changed its course,
turning away from the city
as one turns, forgetting, from the past—
the abandoned bluffs, land sloping up
above the river’s bend—where now
the Yazoo fills the Mississippi’s empty bed.
Here, the dead stand up in stone, white
marble, on Confederate Avenue. I stand
on ground once hollowed by a web of caves;
they must have seemed like catacombs,
in 1863, to the woman sitting in her parlor,
candlelit, underground. I can see her
listening to shells explode, writing herself
into history, asking what is to become
of all the living things in this place?
This whole city is a grave. Every spring—
Pilgrimage—the living come to mingle
with the dead, brush against their cold shoulders
in the long hallways, listen all night
to their silence and indifference, relive
their dying on the green battlefield.
At the museum, we marvel at their clothes—
preserved under glass—so much smaller
than our own, as if those who wore them
were only children. We sleep in their beds,
the old mansions hunkered on the bluffs, draped
in flowers—funereal—a blur
of petals against the river’s gray.
The brochure in my room calls this
living history. The brass plate on the door reads
Prissy’s Room. A window frames
the river’s crawl toward the Gulf. In my dream,
the ghost of history lies down beside me,
rolls over, pins me beneath a heavy arm.
Scenes from a Documentary History of Mississippi
1. King Cotton, 1907
From every corner of the photograph, flags wave down
the main street in Vicksburg. Stacked to form an arch,
the great bales of cotton rise up from the ground
like a giant swell, a wave of history flooding the town.
When Roosevelt arrives—a parade—the band will march,
and from every street corner, flags wave down.
Words on a banner, Cotton, America’s King, have the sound
of progress. This is two years before the South’s countermarch—
the great bolls of cotton, risen up from the ground,
infested with boll weevils—a plague, biblical, all around.
Now, negro children ride the bales, clothes stiff with starch.
From up high, in the photograph, they wave flags down
for the President who will walk through the arch, bound
for the future, his back to us. The children, on their perch—
those great bales of cotton rising up from the ground—
stare out at us. Cotton surrounds them, a swell, a great mound
bearing them up, back toward us. From the arch,
from every corner of the photograph, flags wave down,
and great bales of cotton rise up from the ground.
2. Glyph, Aberdeen, 1913
The child’s head droops as if in sleep.
Stripped to the waist, in profile, he’s balanced
on the man’s lap. The man, gaunt in his overalls,
cradles the child’s thin arm—the sharp elbow, white
signature of skin and bone—pulls it forward
to show the deformity—the humped back, curve
of spine—punctuating the routine hardships
of their lives: how the child must follow him
into the fields, haunting the long hours
slumped beside a sack, his body asking
how much cotton? or in the kitchen, leaning
into the icebox, how much food? or
kneeling beside him at the church house,
why, Lord, why? They pose as if to say
Look, this is the outline of suffering:
the child shouldering it—a mound
like dirt heaped on a grave.
3. Flood
They have arrived on the back
of the swollen river, the barge
dividing it, their few belongings
clustered about their feet. Above them
the National Guard hunkers
on the levee; rifles tight in their fists,
they block the path to high ground.
One group of black refugees,
the caption tells us, was ordered
to sing their passage onto land,
like a chorus of prayer—their tongues
the tongues of dark bells. Here,
the camera finds them still. Posed
as if for a school-day portrait,
children lace fingers in their laps.
One boy gestures allegiance, right hand
over the heart’s charged beating.
The great river all around, the barge
invisible beneath their feet, they fix
on what’s before them: the opening
in the sight of a rifle; the camera’s lens;
the muddy cleft between barge and dry land—
all of it aperture, the captured moment’s
chasm in time. Here, in the angled light
of 1927, they are refugees from history:
the barge has brought them this far;
they are waiting to disembark.
4. You Are Late
The sun is high and the child’s shadow,
almost fully beneath her, touches the sole
of her bare foot
on concrete. Even though
it must be hot, she takes the step; her goal
to read is the subject of this shot—a book
in her hand, the library closed, the door
just out of reach. Stepping up, she must look
at the two signs, read them slowly once more.
The first one, in pale letters, barely shows
against the white background. Though she will read
Greenwood Public Library for Negroes,
the other, bold letters on slate, will lead
her away, out of the frame, a finger
pointing left. I want to call her, say wait.
But this is history: she can’t linger.
She’ll read the sign that I read: You Are Late.
Native Guard
If this war is to be forgotten, I ask in the name of all things sacred what shall men remember?
—Frederick Douglass
November 1862
Truth be told, I do not want to forget
anything of my former life: the landscape’s
song of bondage—dirge in the river’s throat
where it churns into the Gulf, wind in trees
choked with vines. I thought to carry with me
want of freedom though I had been freed,
remembrance not constant recollection.
Yes: I was born a slave, at harvest time,
in the Parish of Ascension; I’ve reached
thirty-three with history of one younger
inscribed upon my back. I now use ink
to keep record, a closed book, not the lure
of memory—flawed, changeful—that dulls the lash
for the master, sharpens it for the slave.
December 1862
For the slave, having a master sharpens
the bend into work, the way the sergeant
moves us now to perfect battalion drill,
dress parade. Still, we’re called supply units—
not infantry—and so we dig trenches,
haul burdens for the army no less heavy
than before. I heard the colonel call it
nigger work. Half rations make our work
familiar still. We take those things we need
from the Confederates’ abandoned homes:
salt, sugar, even this journal, near full
with someone else’s words, overlapped now,
crosshatched beneath mine. On every page,
his story intersecting with my own.
January 1863
O how history intersects—my own
berth upon a ship called the Northern Star
and I’m delivered into a new life,
Fort Massachusetts: a great irony—
both path and destination of freedom
I’d not dared to travel. Here, now, I walk
ankle-deep in sand, fly-bitten, nearly
smothered by heat, and yet I can look out
upon the Gulf and see the surf breaking,
tossing the ships, the great gunboats bobbing
on the water. And are we not the same,
slaves in the hands of the master, destiny?
—night sky red with the promise of fortune,
dawn pink as new flesh: healing, unfettered.
January 1863
Today, dawn red as warning. Unfettered
supplies, stacked on the beach at our landing,
washed away in the storm that rose too fast,
caught us unprepared. Later, as we worked,
I joined in the low singing someone raised
to pace us, and felt a bond in labor
I had not known. It was then a dark man
removed his shirt, revealed the scars, crosshatched
like the lines in this journal, on his back.
It was he who remarked at how the ropes
cracked like whips on the sand, made us take note
of the wild dance of a tent loosed by wind.
We watched and learned. Like any shrewd master,
we know now to tie down what we will keep.
February 1863
We know it is our duty now to keep
white men as prisoners—rebel soldiers,
would-be masters. We’re all bondsmen here, each
to the other. Freedom has gotten them
captivity. For us, a conscription
we have chosen—jailors to those who still
would have us slaves. They are cautious, dreading
the sight of us. Some neither read nor write,
are laid too low and have few words to send
but those I give them. Still, they are wary
of a negro writing, taking down letters.
X binds them to the page—a mute symbol
like the cross on a grave. I suspect they fear
I’ll listen, put something else down in ink.
March 1863
I listen, put down in ink what I know
they labor to say between silences
too big for words: worry for beloveds—
My Dearest, how are you getting along—
what has become of their small plots of land—
did you harvest enough food to put by?
They long for the comfort of former lives—
I see you as you were, waving goodbye.
Some send photographs—a likeness in case
the body can’t return. Others dictate
harsh facts of this war: The hot air carries
the stench of limbs, rotten in the bone pit.
Flies swarm—a black cloud. We hunger, grow weak.
When men die, we eat their share of hardtack.
April 1863
When men die, we eat their share of hardtack
trying not to recall their hollow sockets,
the worm-stitch of their cheeks. Today we buried
the last of our dead from Pascagoula,
and those who died retreating to our ship—
white sailors in blue firing upon us
as if we were the enemy. I’d thought
the fighting over, then watched a man fall
beside me, knees-first as in prayer, then
another, his arms outstretched as if borne
upon the cross. Smoke that rose from each gun
seemed a soul departing. The Colonel said:
an unfortunate incident; said:
their names shall deck the page of history.
June 1863
Some names shall deck the page of history
as it is written on stone. Some will not.
Yesterday, word came of colored troops, dead
on the battlefield at Port Hudson; how
General Banks was heard to say I have
no dead there, and left them, unclaimed. Last night,
I dreamt their eyes still open—dim, clouded
as the eyes of fish washed ashore, yet fixed—
staring back at me. Still, more come today
eager to enlist. Their bodies—haggard
faces, gaunt limbs—bring news of the mainland.
Starved, they suffer like our prisoners. Dying,
they plead for what we do not have to give.
Death makes equals of us all: a fair master.
August 1864
Dumas was a fair master to us all.
He taught me to read and write: I was a man-
servant, if not a man. At my work,
I studied natural things—all manner
of plants, birds I draw now in my book: wren,
willet, egret, loon. Tending the gardens,
I thought only to study live things, thought
never to know so much about the dead.
Now I tend Ship Island graves, mounds like dunes
that shift and disappear. I record names,
send home simple notes, not much more than how
and when—an official duty. I’m told
it’s best
to spare most detail, but I know
there are things which must be accounted for.
1865
These are things which must be accounted for:
slaughter under the white flag of surrender—
black massacre at Fort Pillow; our new name,
the Corps d’Afrique—words that take the native
from our claim; mossbacks and freedmen—exiles
in their own homeland; the diseased, the maimed,
every lost limb, and what remains: phantom
ache, memory haunting an empty sleeve;
the hog-eaten at Gettysburg, unmarked
in their graves; all the dead letters, unanswered;
untold stories of those that time will render
mute. Beneath battlefields, green again,
the dead molder—a scaffolding of bone
we tread upon, forgetting. Truth be told.
Again, the Fields
AFTER WINSLOW HOMER
the dead they lay long the lines like sheaves of Wheat I couldhave walked on the boddes all most from one end too the other
No more muskets, the bone-drag
weariness of marching, the trampled
grass, soaked earth red as the wine
of sacrament. Now, the veteran
turns toward a new field, bright
as domes of the republic. Here,
he has shrugged off the past—his jacket
and canteen flung down in the corner.
At the center of the painting, he anchors
the trinity, joining earth and sky.
The wheat falls beneath his scythe—
a language of bounty—the swaths
like scripture on the field’s open page.
Monument Page 4
