Search All Winners

I am a cowry girl, a marine biologist to be exact. The 8-hour move-

ment started in the United States in 1884. Feeling more and more.

Gave birth. Took up the question. 8 hours shall be the norm. Marx:

Slavery disfigured a part of the republic. Labor with a white skin

cannot emancipate itself where labor with a black skin is branded.

The time named. Endorse the same. Half of the same. More pro-

foundly. Therefore be considered a synonym.

Gil Scott-Heron has a beautiful song I wish Ta-Nehisi Coates and all of us would listen to again. It’s called “Who Will Pay Reparations on My Soul?” The title is also the refrain, but the force of the rhetorical question lies in its pithy yoking of materialism and slave capitalism to a logic that transcends the material. This is also the crux of my dissent: What can reparations mean when the damage cannot be accounted for in the only system of accounting that a society recognizes? Part of the work here is thinking about the value of human life differently. This becomes obvious when commentators—including Coates—get caught up trying to tabulate the extraordinary value of slaves held in bondage (don’t forget to convert to today’s dollars!). It shouldn’t be hard to see that doing so yields to a mentality that is itself at the root of slavery as an institution: human beings cannot and should not be quantified, monetized, valued in dollar amounts. There can be no refund check for slavery. But that doesn’t mean the question of injury evaporates, so let us ask a harder question: Who will pay reparations on my soul?

Black American music has always insisted upon soul, the value of the human spirit, and its unquenchable yearnings. It’s a value that explicitly refuses material boundaries or limitations. You hear it encoded emblematically in the old spirituals. Black voices steal away to freedom. They go to the river. They fly away. Something is owed.

You will begin to listen to the story of Josie’s life in Spanish and English. You will begin to like the way she looks. At moments you will confuse her with the stripper dancing naked on the table next to where the two of you talk. Josie will be telling you about her marriage, about her husband, about her divorce, about her daughter, about her sadness and disappointment. You will have more drinks than her.

“Recipe” from THE MAGIC OF BLOOD by Dagoberto Gilb © 1993 by the University of New Mexico Press; reprinted with the permission of the publisher, Grove Atlantic, Inc. “Recipe” originally appeared in Winners on the Pass Line (Cinco Puntos Press).

            Once, when I was a very little girl in a bubble bath, I asked my father why I had a belly button. He was sitting on the toilet lid reading while I splashed. He peered at me over the top of his book.

             “So you know where your center is,” he said.

           “Why do I need to know where my center is?” I asked.

            “So you don’t lose your balance,” he said. “Your center is where all the different parts of who you are come together. It used to connect you to your mother and to the beginning of human history in Africa.” I cannot be certain this is true, but when I remember him saying this, I hear his voice catch on the word mother.

OGUN SIZE:

So she tells Oya she pregnant with Shango’s baby. Just walked up to Oya with them hips you know and was like my name Shun, I got his baby so you ain’t shit to him. And see Oya can’t have no kids. Everybody know that. Now she scared she gone lose Shango. Which would be good if she left the nigga… But she can’t see that, nah she got to show him how much she willing to do for Shango. How far she willing to go for Shango. So she can’t give him no child, she cut off her ear.

OSHOOSI SIZE:

What!

OGUN SIZE:

Put it in a bowl and walked it to him while he was watching TV at her house. She ain’ scream or nothing… Cut off her ear and gave it to him. Say, I don’t want nobody but you. Say this mark me as yours…