ISSUE: Winter 2019
outside the viewer,
black outside a mention of orishas and speech
about freeing We’ve ourselves as being
definitively now (04:40) but also are moving between
an American street images of women’s and men’s
as they look at the
camera, the festival We also again
a passenger’s
There’s a feeling of voyeur or tourism as the
document the lives of
black in those spaces—some laboring, others it is a life
or moving still true to impulse. This is
also satisfied through our continual return to the voice of the Ghanaian leader
and sometimes shyly smile
from a “Male Slave Dungeon,” which seems a
monument or historic
its current relation—
the leader speaking and our
return to him the sounds of crowd
cumulatively marks a kind of moment in another
—the end
of another. This
idea is complicated by the return to the
leisuring black couple whose plotless romance
would seem to exceed the limits of
bounded time.
Material in this poem is sourced from American Hunger.
