series

My bedtime lover(s)

| Sheree

A book is much more faithful than a lover I think.

A book can open you up to so many different experiences at the same time as reaffirming everything you’ve been feeling and thinking and struggling with.

I’m not sure a lover can do all that for me. But many more than one lover could?

Hence spending copious amounts of time in bed with books.

Reclaiming the Black Body: Nourishing the Home Within by Alisha McCullough is one of my current reads.

I used to be of the persuasion to read one book at a time. Devote all my time, focus and attention to one book in order to reap the glory/ knowledge/ whatever!

But these past few years, as I’ve become thirsty for stimulation and attempting to find like-minded people/ theories/ lovers, I’m moved into reading multiple books simultaneously, also known as “syntopical reading”.

And these books are not on the same topic either. They range from poetry around grief, non-fiction on gardening, personal essays around deep time, romantic and crime novels and short stories about myths and history. The list goes on!

I’m so enjoying this eclectic and multiple reading practice as it’s keeping me engaged, creating unique and original connections and it’s keeping me feeling loved.

By me.

So one of my current squeezes is Reclaiming the Black Body and I’m devouring it in small digestible bites because it is speaking to my soul.

This book is calling to attention the deep-seated, long-time, disproportionate amount of trauma, violence, marginalisation, discrimination, and adverse childhood experiences of Black women and femmes, and confounded by misognoir and racism, how we have learned to cope with it all through increased imbalanced eating behaviours.

Usually called “eating disorders” but even using that language implies that the individual is to blame and implying that some of us are just not equipped to nourish our bodies and do not know how to look after ourselves.

‘Disorder’ implies stigma and comes from the Western health ‘care’ system which from time has excluded and harmed Black people.

So this book is a balm for the wounds of silent struggles Black women and femmes have been going through around eating imbalances including myself. And is a vindication that we’re not fucked up and broken and just beasts, being less than human but that we are doing our best with the tools that we have to strive and thrive within a system that is hell-bent, historically and now, to demonise the Black body.

I will continue to cosy up with this book and others in bed, night and day, as reading is hitting the spot!

Not really sure when the moment of fear took hold but maybe it was after some deep conditioning

| Sheree

I developed a fear of taking up space in my own body.

I wish I could pinpoint the day, the moment that this fear took over my life.

Maybe it was after another beating from my dad for asking why?

Maybe it was after another meal where I didn’t like the food but was forced to eat it?

Maybe it was after my dad’s expected death and the silence that followed?

Maybe it was after another day at school of fighting the bullies who called me a fat black cow?

Maybe it was after those suggestions from my family to stop eating chips and bread and to eat something better?

Maybe it was after my ‘so-called’ school friends laughed and teased me because when I jumped my boobs jumped too?

Maybe it was after when I was still a girl I had a woman’s body that bled monthly?

Maybe it was after I walked down a street and a strange man leered at my body as something to have?

Maybe it was after I’d devoured my teen magazines and saw only white skinny girls getting the guys?

Maybe it was after we went roller skating and I couldn’t roller skate but spent time on my butt?

Maybe it was after that trip to Paris and the French guy I liked didn’t even look at me?

Maybe it was after I’d convinced myself that being smaller and whiter inside would help me to be smaller and whiter outside?

Comfort Reading

| Sheree

This piece was published over in Binderful’s Medium page back in 2020. I’m republishing them here as I revisiting the writing, the wisdom as well as create my archives.

What are you reading that is bringing you comfort during this pandemic?

When Amy (Mama Scout) asked me about what I’m reading during these troubling times of the pandemic, my first thought was, what am I NOT reading? As the spaciousness within my life has opened up, I’m grateful to be able to slow down and lose myself in practices that feed my soul.

I read the news, maybe once every two days, to keep abreast of developments around the world. I’ve always read world news, as I might live in the UK, an island, but I believe we’re all connected, humans and non-humans. What’s happening to you, is happening to me also. We are one. I love lingering over longer articles and reports in The Guardian, The New Yorker and The Atlantic. Also Orion Magazine is releasing daily previously unreleased articles from it’s archives to read for free. These are a welcomed gift.

My guilty pleasure is crime fiction. After a lifetime of reading about crimes happening around the world, I love Nordic Noir, I’ve recently gotten into the mystery series with DCI Ryan set on my doorstep in the Northeast of England by L J Ross. Taking iconic buildings and monuments within the region, such as Cragside House, the Sycamore Gap tree, the bridges over the River Tyne, as the settings, a series of murders are carried out and a team of detectives, who the reader grows to love, try to solve them while trying to have normal loving relationships themselves. I love recognising places and streets and people even within the pages of these novels.

My weak spot is personal essays. Probably because I’m in the process of creating a mixed-genre memoir which includes personal essays, poetry, images, collage, quotes and photography, I gravitate to those writers I wish I could write like such as Roxane Gay, Audre Lorde and Terry Tempest Williams.

So at the moment, I’m reading Alexandra Chee, How To Write An Autobiographical Novel which is so illuminating about his time growing up, in the 80s, through identity politics and navigating his way while unbelonging. I’ve just started, Thick, a collection of essays by Tressie McMillan Cottom, which have the black woman’s body at the centre of the debate for a change. A mixture between the personal and the academic, I find myself reading sections and nodding my head or even shouting out loud, ‘Yes.’

And finally, to my shame, I’ve just restarted Becoming, by Michelle Obama, after watching the documentary on Netflix. When the memoir first came out a couple of years ago, I started it but I didn’t get far. They say you fall into a book when it’s the right time for you; when you’re ready. Well I’m ready now. I’m absorbing Michelle’s vulnerable words of wisdom, checking in and checking myself. Reasons for reading; to keep checking in with myself, how I’m feeling, what is what I’m reading bringing up in me. At the same time as checking myself, doing the work on myself, to make sure I’m moving through this world as the best version of me.

Drinking Fugitivity – Found PoetryFilm

| Sheree
Drinking Fugitivity: Found PoetryFilm

This short piece is a mash up of a certain clip from Joaquina de Angola: Memory of a Liberation by Aida Bueno Sarduy and music from Insight Timer, called You.

Seen recently in Barcelona at CCCB, Joaquina de Angola: Memory of a Liberation by Aida Bueno Sarduy is an audiovisual installation that recovers the story of Joaquina, a young woman enslaved on a plantation in Brazil, and her escape.

From the exhibition’s text details it reads:

“A work about archived, forgotten, and silenced voices in the history of slavery and colonialism.
This audiovisual installation brings to life the act of “unarchiving” an event recorded in colonial history as an escape. A 15-year-old enslaved girl fled the plantation where she lived, and her owner, after an unsuccessful search, placed an ad in the newspaper offering a reward to whoever found her. The archive reveals nothing more about this incident: it merely collects it as a piece of data.
This piece challenges the oblivion, archiving, and silencing of this character. To unarchive, in this context, becomes an artistic and political act that brings Joaquina de Angola out of the shadows of the document, removing her gag and chains so that she can tell her own story. This act not only questions the record but also raises questions and delves into its details. It is an inquiry that brings Joaquina back to life and acknowledges her as a cimarrona, calling upon ancestral memory as well as imagination, intuition, and spirituality.
Since the beginning of colonization in Brazil, alliances and exchanges of extraordinary significance have taken place between Indigenous peoples and enslaved Africans, but these have also been silenced. The presence of entities known as caboclos (Indigenous spirits) in all Afro-Brazilian religions is perhaps the most consistent and profound evidence of this. Amazonian peoples, Indigenous peoples from across Brazil, and quilombola communities—formed by Afro-descendant peoples—have shared ancestral struggles for the defense of their territories and against colonization and exploitation. The installation speculates on these possible Afro-Indigenous alliances in Joaquina de Angola’s journey toward freedom.”

This extracted masheup with music created above by myself, hence a found poetry film, is my take at a beginning of exploring fugitivity. I’ve been living, breathing, talking, practicing fugitivity for a few years now. I’ve mentioned it before, and it was Dal Kular who first introduced the term of me via her then newsletter, Field Notes. Dal said at the beginning of Jan 2023,

“Whatever the out-there-in-the-world fuckery is going on in 2023, I declare myself a CREATIVE FUGITIVE. A way of living in this world but not of it.”

Her take on creative fugitivity has stuck with me. I’ve gone on to read more around fugitivity. I’m even writing a chapter, at the moment, around black mothering and fugitivity. Fugitivity is taking over my life. And again I’m creating a project here in my portfolio to collect my wanderings and wonderings around this concept and way of being.

For me in a nutshell, fugitivity is the act of flight. It is the withdrawing of my labour and consent in the current system of white supremacy culture, capitalism, imperialism, colonialism. Fugivitiy is refusal and resistance. Divesting from the current way things are playing out as the few hoard the wealth of the world at the expense of the many.

Originally the fugitive was the runaway, the escapee. Hence why the audio-visual installation and consequent fugitive poetry film was created. I’m starting from the origins of the escaping enslaved. Running, fleeing captivity towards freedom. Freedom being the end point, the destination but in the process of escaping, there is the in-between space between what they were fleeing from and fleeing to. And here in this liminal space is where fugitivity is ripe.

There/ here is the lingering in the midst of flight, where I choose to SLOW down and be. To linger with nature. To seek my joy and pleasure in the world around me on my own terms.
Fred Moten in conversation with Saidiya Hartman, both of whom we will be exploring further, said,

“I often use – and I always think of it in relation to Fannie Lou Hamer, because it’s just me giving a theoretical spin on a formulation she made in practice: to refuse that which has been refused to you. And that’s what I’m interested in.”

That is fugitivity as a method, kin-making and place-making, as a practice that I intend to explore within this project archive.

Creating a Black Feminism Archive

| Sheree
Joaquina de Angola

Okay where to begin..
That has been the issue – worried about where to begin has stopped me beginning.
But now I’ve got to begin as I need to get it out of me onto
the page, in order to create some kind of sense of it all.
So maybe I’ll begin with the Combahee River Collective (CRC).

I’m diving into the realms of Black Feminism- thought and theory and practices.

I’ve already been in the thick of it for years, with me first coming to Black Feminism through my degree and then masters and then this forming the foundation really of my PhD when I traced the tradition of Black British Women’s Poetry. But retaining knowledge and theory is difficult when I keep putting new things in my brain.

I don’t want to be an expert on Black Feminism but I do want to revisit it and consider it’s premise again in light of recent readings and experiences.

So I begin with the Combahee River Collective Statement, 1977. And I’m not saying that this is the beginning of Black Feminism. But I’m using it as a marker along the way.
I figure if I keep this statement in clear view, using it like a signpost then I can’t stray too far off the path.

This exploration of Black Feminist thought is going to be a new folder within this website’s portfolio as this is area of research is something I plan to keep returning back to and adding to as I continue to re-familiarise as well as extend my thinking and practices around Black Feminism.

So what is the Combahee River Collective Statement all about.
Well first you can was the full statement here.

It has been argued that this statement issue by a collective of Black women in Boston in 1977 who came together after witnessing an recognising the racism within the women’s movement and the sexism within the race/ civil rights movement, was based on the reality that Black women’s experiences cannot be reduced to either race or gender but have to be understood on their own terms.

Combahee River Collective Statement introduced to the world terms such as “interlocking oppression” and “identity politics.” Formed in 1974, The Combahee River Collective (CRC) was a radical Black feminist organisation which took it’s name from Harriet Tubman’s 1853 raid on the Combahee River in South Carolina that freed 750 enslaved people.

It might have been The Kimberlé Crenshaw in 1989 who coined the phrase “intersectionality” but it was CRC who articulated the analysis that underpins the meaning of intersectionality. The idea that multiple oppressions reinforce each other to create new categories of suffering, these interlocking oppressions, happening simultaneously, renders the Black woman’s position in society unique and most direr.


As the statement begins:

“The most general statement of our politics at the present time would be that we are actively committed to struggling against racial, sexual, heterosexual, and class oppression, and see as our particular task the development of integrated analysis and practice based upon the fact that the major systems of oppression are interlocking. The synthesis of these oppressions creates the conditions of our lives. As Black women we see Black feminism as the logical political movement to combat the manifold and simultaneous oppressions that all women of color face.”

It goes on to state:

“Merely naming the pejorative stereotypes attributed to Black women (e.g., mammy, matriarch, Sapphire, whore, bulldagger), let alone cataloguing the cruel, often murderous, treatment we receive, indicates how little value has been placed upon our lives during four centuries of bondage in the Western Hemisphere. We realize that the only people who care enough about us to work consistently for our liberation are us. Our politics evolve from a healthy love for ourselves, our sisters and our community which allows us to continue our struggle and work”.

CRC comes to the conclusion that:

“We might use our position at the bottom, however, to make a clear leap into revolutionary action. If Black women were free, it would mean that everyone else would have to be free since our freedom would necessitate the destruction of all the systems of oppression”.

And this would come to pass through the practice of the revolutionary politics of Black Feminism.

The Black Madonna of Vichy

| Sheree
Original post, Patreon, July 10, 2024

1. While visiting Paris in April, I’d made arrangements before I left to visit Vichy and visit the Black Madonna there in the Old Church, chapel Saint-Blaise.

I’m returning to my relationship with the Black Madonna here but still exploring this connection. This pull I sense towards these Black Virgins.

2. This chapel has always been a magnet in Vichy due to this Black Virgin of the 14th century. She is known for her miracles.

3. I’ve not brought with me the Christena Cleveland book, God is a Black Woman but I know I’ve written about this particular Black Madonna here before.

4. It was during the French Revolution, that she was burnt and only her head remained, thanks to a ten-year-old child who saved her from destruction.

5. There have been times that I have lost my head. Or been disconnected from my body. There have been times that it’s felt that I’ve been burnt at the stake. That my life has gone up in flames.

6. In 1802, her head was placed on a wooden base covered with the old cloth until 1931 when she was given a body again. Became a full bodied statue thanks to the sculptor Emma Thiollier.

7. No- one stitched me back together. Forged that (re)connection with head and body. I had to do that myself. Over years and over turbulent waters.

8. Vichy is known as the “queen of spa towns” with five healing thermal mineral springs.From the Roman times, people used to bathe in the waters, later to just taking to drink from the spring. It was only later after legends linking the healing qualities of the water to a white fairy that Christians connected the blessed waters with their miracle working Black Madonna of the Sick.

9. I’ve always thought of the sea as my medicine. She has healed me more than once. Healing is not a one time deal. It’s a practice and a process. But I’ve not been taking to the waters of late. I’ve not been taking my medicine.

10. I turn up here, create stories as a part of my healing journeys which are never linear. Spirals and circles instead.

A Black Virgin

| Sheree

My mind and body are hurting with the constant stream of information and images of this and that atrocity, and there is very little space to breathe, rest and take stock. I’ll be honest, I’ve been checking out. Checking out into Netflix boxsets, mindlessly watching episode after episode, numbing the pain and feelings of being inadequate , or not doing enough, being enough. Enough.

I don’t know about you, but it’s an overload at times of these times, which feel cruel and oppressive, evil and violent and unbelievable and yet we accept. There are no quick fix solutions but my heart and soul wants to feel that all will be well.

Society and culture ( the whole world) at the moment feels toxic and dangerous and I’m all for just slowing down and connecting in more deeper, honest and nourishing ways. I’m still leaning into my joys. Still bending towards the light as I don’t want to lose myself in this crippling spiral.

I’m slowing down alone and I’m slowing down in groups that I’m supporting and who are supporting me. I’m not by-passing the pain, the harsh realities, the genocides ( as there are multiple happening at the same time just now or have always been going on), but I’m also acknowledging how much I can endure and not beating myself up if I choose silence instead of performance. I know this is a privilege which I recognise, voice and keep checking.

Below I share the images from my Paris trip of Our Lady of Good Deliverance, often referred to as the Black Madonna of Paris. Over a 6 miles walk to see her, I covered more miles within my mind with my thoughts and feelings wondering and wandering, which were silenced or put to one side when I met this Black Madonna. I had the small chapel , in the suburb Neuilly-sur-Seine, all to myself when I visited. I walked around, I sat and looked and I lit a candle and remembered my ancestors and give thanks for this deliverance.

Deliverance: being rescued or being set free. How apt she comes back to me today. How I must have unconsciously known I needed her guidance today, needed her love and reassurances that liberty, salvation, change is possible. I’m not religious or spouting anything remotely religious or pious. I’m not preaching or looking to convert.

I’m spiritual and believe in love. I believe in the good in people and try to connect there on that common ground rather than separation and hatred.

What I do know is this isn’t a neat, tie-it-all-up-ending, with ‘this is what I want to say and you to take away’ as that would be another construct and false prophet.

I just know starting to look/ believe that ‘God is a Black Woman’, that the Black Madonnas are here to support and love us through difficult times ( as well as good times, our pleasures and joys) feels like a blessing to me that I will continue to lean into during these slowing down, turning away from exploitative and extractive society and culture times and continue to nurture others ways of {BEING} in this world.

Original post, Patreon, 10 May 2024

The Black Madonna(s)

| Sheree
Original post, Patreon April 10, 2024

I’m onto the second reading of this book. I think I heard Christena Cleveland on a podcast talking about her journey and I knew I just had to get her book. I’ve used the saying myself, “God is a Blackwoman.” But I didn’t know there was a book all about it.

The book explores Cleveland’s spiritual/ religious journey as she falls out of love with Christianity as its essentially fathetskygod/white make good and is used to uphold white supremacy, patriarchy and capitalism. Basically just looking out for white cis males.

The book also follows Cleveland’s four-hundred-mile walking pilgrimage across the Auvergne to visit eighteen Black Madonnas. The book manifests Cleveland’s transformation through the Sacred Black Feminine, healing her Black female embodied soul.

Each chapter takes the reader on a journey in the present as Cleveland walks and also into the past as she reflects on her upbringing within her family, the church and society. How she grew up feeling unloved by God, unseen and not looked after. Each chapter also introduces the reader to a Black Madonna, each one Cleveland encounters along her pilgrimage.

It was when I read Chapter 5 and Cleveland introduced us to ‘She who cherishes our hot mess’, the Black Madonna Our Lady of the Sick in Vichy, that I got it into my head I needed to go see this one for myself.

Now I’ve seen the Black Madonna in Le Seu, Barcelona. Even climbed a mountain to see the Black Madonna of Montserrat, just outside Barcelona. But this time, this need felt different. A lot has changed for me since I’ve last seen these Black Madonnas and a lot more life experiences to heal from/ through/ round/over/in.

The Black Madonna of Vichy was decapitated during the French Revolution but the people who were oppressed loved her. They tracked down her head and built her new body out of walnut and put her back together again.

I love this story and it spoke deeply to my soul because I know what it feels like to be separated from my body in an act to fit in. To be disconnected from my body, living in just my mental space and not listening to my physical pains and discomforts but soldiering on. Denying my needs and wants as these are seen as weaknesses, produce feelings of shame and are not welcome here. Squeezing myself into smaller and smaller spaces so as not to take up any room and apologising for the space I do take up.

Been there, done that. Now I intentionally practice being with/in my body. I enjoy an embodied presence in the present. My head has been reattached to my body and I’m allowing my body to lead the way with practice. I’m no lover afraid to express my needs and wants or to walk away if these are not being met.

So once I realised I was definitely coming to Paris this year, I made the arrangements to go that extra mile or two ( well 450 round trip) to see ‘She who cherishes our hot mess’ in the flesh.

It would involve a 3 hour train journey each way. An over night stay and a little hope skip and a jump up to the Notre Dame des Malades, the new church where she stands.

And for a minute there I thought the church was locked …

I’ll leave it here for now because trying to see this Black Madonna turned into a bit of a crusade to see her again and again during my time in Paris. More to follow!