Carlos is not just any worm. Carlos’s immune system is so strong that Moonie can bombard it with legions of aggressive invader organisms, and Carlos fends them off. But what’s truly remarkable about this worm is that while gobbling up intruders like a worthy ninja, it screeches out the famous first bars of Beethoven’s Fifth Symphony.
In both Europe and the Americas, art was important to African slaves because it offered them the possibility of what I will call a socially transcendental existence; it could be marshaled into everyday life as a condition of survival against the laws that mapped out the place of the black as being outside the framework of modernity…Just as the aesthetic could become a key index in the violence of modernity, it could also provide the subjects of this cruelty with the hallowed place where utopian dreams could be nurtured and secured.
“White waves—a bitter dream—my mother’s mother in the lower deck—wet and cold in the blue-black night.
Dahomey child, betrothed when she was young, before she knew of white men or the sea.
A thin veil of fog. Her family brings a farmer, a boy not yet a man, to marry with the business of the home. Each dawn she climbs the palm tree and touches wine with her hands. A feast prepared. The gods must have a hand in this! A young goat sacrificed, okra, oranges, a basket of yams laid at her feet. She stands with old friends in new finery, her buba and iro an odd-colored blue, hair in beads, piled to the sky, tapping the palm wine from the palm tree.
Kidnapped before the roast meat was cold, snatched away to America; she was a stranger to the sea. White waves in the blue-black sea. Now a voyage of a different sort. Maria won’t go unless I come along. White waves in the blue-black sea till we land in port.”
The ocean’s great to look at
because there’s enough of it.
I would wash my hands
After opening the refrigerator
And looking in at the lunchmeat and tomatoes,
The blimp-shaped pickles in cloudy water.