Laughter and fun, with trust and communication, honesty and commitment but not in a heavy sense but much love and affection and respect and joy, I spent a long time in a relationship that wasn’t joyful and really what’s the point, life’s too short to waste time and energy on people who don’t treat you right or who aren’t happy in themselves, I want to be with someone who makes time for me and us, just like I make time for them and us, hey I get it, people are busy, leading busy lives but I’m of the belief that if you want to be with someone you make time and effort to be/do just that.
For those of us who live at the shoreline… Audre Lorde
It will be 10 years this August that I started my visual journaling practice.
Then it was called Dreaming on Paper, as I completed the course of the same name by Lisa Sonora.
I needed a safe space to explore the tumult of my feelings and thoughts. I was going through a traumatic experience of escape really. Escape from the life I’d spent the past 12 years building up, that was took away in the flick of a Facebook post.
I ran away from the public, the writing community, my home as I travelled into the Scottish Highlands and Islands. To heal.
Visual journaling helped me heal. Helps me continue to heal.
Overtime, I’ve come to understand my visual journal practice as a fugitive practice. Within these paints, images and words, dreams of freedom are planned out and eventually come to fruition. Projects, happenings, events – all on my own terms.
I mean, the whole point about escape is that it’s an activity. It’s not an achievement. You don’t ever get escaped. – Fred Moten
Within these visual journal spreads, I work out how to escape, how to get outside white supremacy culture while still having to be living on the inside. Coming to terms with the thought of that the outside can only occur from the inside. Being here.
Visual journaling is me trying to create an opening, a break in the fabric in which to slip on through into the otherside/ outside, into the woods running between the trees with the dogs barking at my feet. Creating beauty, creating a beautiful space in which to linger in while the terror rages around me.
Visual journaling is a safe space, is a nurturing space, is a free space.
I’ve got a chapter to write and it’s going nowhere fast.
I hate it when I think I have all the time in the world to complete a writing task and then I procrastinate.
I know I procrastinate because it’s important to me. Very important to me and I don’t want to get it wrong. So I do nothing instead.
Well not really nothing. This is my bedroom wall, where I’ve started to put up post-it notes to help me with the chapter on fugitivity.
This makes me feel as if I’m doing something. Seeing this everyday also, I hope, makes something go into my creative brain subconsciously. I’m hoping that living with it makes the wheels start turning and connections being made.
What I’m learning with fugitivity is that is’s not linear. Not a straight line from captivity to freedom, from unfreedom to freedom. It is argued that fugitivity performs freedom ‘as a constant struggle’ ( R. Slavitt cited in Davis, 2016).
This I hold close as I attempt ( struggle!) to write this chapter around fugitivity as this is not going to be a linear chapter from A to B to C etc. This chapter with its content and structure and form will be dancing with unfreedom and freedom, constantly struggling to convey meaning around fugitivity at the same time as remaining free from the academic frameworks and restricts and expectations.
In order to write about fugitivity I need to take on board fugitive methods and practices.
I’m spiralling and circling back and forth in a good way, in an honest way and hopefully the chapter will be the result.
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.
“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.
During my time of hibernation, (have I mentioned that here?) I’m resting of course but I’m also writing and dreaming and catching up on the things I want to do with my time and energy.
Another one of my abstracts was accepted for a special publication by Demeter Press around mothering and life writing. I completed an essay in 2023, around my Black Matrilineage and last year I complete an essay around Black Mothering and Creativity. This is probably going to have to be redrafted this year, but in all honesty I was just happy to submit something, as I had a major block around this essay. I think it was because I allowed my creativity and energy to be sucked into other people’s creative dreams and lost sight of my own last year. So when it came to writing the essay my well was dry.
Anyway, I’ve started the reading and writing around my third essay now which is all about Black mothering and fugitivity. I love fugitivity and it is one of the supporting words for 2025. As I mentioned before, I’ve been exploring fugitivity for the last few years and what this means as a practice. So I’m mighty pleased in having the time and space to explore it further and deeper through writing this essay.
While going over my abstract again and riffing off from it, I remember my creative non-fiction novella I created called rubedo. I think this came out in July 2016, after the 2015 shit hit the fan episode in my life. rubedo was my exploration of this time in my life and how I got through it. It was through finding myself after years of repression and not listening to my inner wisdom that I came to be who I am today.
Anyway, I revisited rubedo with this chapter/ essay in mind, realising that 2025 is 10 years since this episode in my life. It sometimes feels as if it was just yesterday. I know I felt it keenly last year when Darkling came out. Darkling is my first poetry collection since Laventille (2015) and the shitstorm episode. And to tell the truth, I’m waiting for the the shit to hit the fan again, as I’m sure there are people picking their way through Darkling as I type to try and find evidence of plagiarism again. As they say once a plagiarist always a plagiarist! It’s not a term or label I identified with then or do now. As that’s not me, that’s not who I am but that didn’t stop people then or now from looking for the evidence to prove/support it.
But I’m not here to talk about that. What struck me about rubedo is the raw honesty of it all. And how writing, writing it all out literally saved my life. I’m so grateful that Ian brae enough to pick up my pen and writing through the shit to now.
Here is what I wrote about my capacity to love no matter what:
“But something does inside die this day. And the days that follow. Something inside of me, the capacity to have patience and make allowances for other people’s bullshit was destroyed during this lynching. No doubt, using the term ‘lynching’ will invite criticism. I know when Andy Croft my publisher used the term to condemn what was happening to me on social media he received a fair amount of criticism. But I do not use this word lightly.
Ironically, in the months leading up to my death by social media, I was researching and writing poems about lynchings in America. I was referring to the postcard images that were collected as souvenirs by the spectators of lynchings at the time. There were those people who got their hands dirty during a lynching, who actually tied the knot of the noose, beat the victim, mutilated the bodies. And there were those who came along to watch the spectacle. Viewing the death of another human being as just another social event, a festival, something to be enjoyed. Both killers and spectators relish the sport.
This in my opinion is what happened to me. A public lynching and souvenirs where taken. One person on Facebook, joined in the thread of conversation with a comment as a means of marking it. This person was rubbing their hands with relish, saying that they didn’t want to miss a thing as this spectacle was just too good to let pass by.
When I died this cruel death something inside broke. I’ve recently come to realise that is was my heart that broke that night. I’ve been visualising my heart with a rose in the centre. This rose is closed. This I read as a symbol of
me shutting down, dying inside, shutting off the natural flow of love from my heart for my family, friends, for the world around me. My heart was broken, so I have been denying myself and others love. I’ve been living in fear, fear of it being hurt again, fear of my heart being broken again, fear to love. In a way, this had to happen to me. For one, I’ve always disliked that capacity in me to keep forgiving others, letting them back into my life when they’d let me down and not lived up to my expectations. I’ve taken on board the responsibilities of others, thinking I’ve had too high standards and I’d been unfair. That capacity has been obliterated. I can’t take anybody’s bull shit anymore. But at the same time, this capacity to forgive is part of my large capacity to love. And if this is who I’m really are , then I shouldn’t fight it any longer but accept it.
My true self is my capacity to love, to love fiercely and powerfully. I accept that now and I’m no longer blocking up my love. I can’t live in constant fear of being hurt, of getting my heart broke again because then I would not be living true to my capacity, true to me. I would just not be living at all.“
I’m so pleased that since then I have found others, such as bell hooks and Joy James, who write about revolutionary/ radical love and validate my ways of loving, which at times hurts me but also brings me a while heap of joy also. You can’t love without the expectation or knowledge of getting hurt.
I’ve just started a new course with Lighthouse Writers Workshop called Manifestations—Reading and Writing Speculative Nonfiction! with Kanika Agrawal. It works out that it’s early morning for me at its run on mountain time. This might help my speculative imaginings but maybe not. We’ll see.
After waking late this morning, I went to the page to complete my morning pages over coffee. And this is what came out:
Good morning, good morning. ( This sentence ran into the date I’d just wrote moments before).
Wowat least I’m just doing mistakes on the page & not in real life. Do I avoid real life? I know when I’m off social media or when I shy away from the news, it is to protect me from the real world because the ‘truth’ they are peeling is direct & fake and flawed. (And hurts me. My soul.)
But it’s still facts & information & journalism & biased & not ‘for real.’ I mean we say it’s a fact about the time and the date. But ‘time’ is a construct. It was a construct to make money – colonial time. I took it as a fact but really it’s all fake or a mechanism of control. The same for ‘race’.
I was thinking it was a given but again ‘race’ is a construct. It was created to justify the exploitation & extraction & brutalisation of one group of people by another. “They can’t feel pain right so what we’re doing to them doesn’t matter”, they said. “They don’t exist on the same plain, the same level as us. So chill your boots. It’s okay. They’re not human.”
All this musing feeds into what I’ve been reading of late, especially Fugitive Feminism where Akwugo Emejulu who argues that because humanity is tied to whiteness, Black Women, who I am interested in, will never be human. So why bother? Why engage with society on their terms/ these terms hoping one day you’ll be accepted when you know that label, that status of being human will never be attained? Instead, why not speculative about alternatives, about other ways of being, other ways of knowing ( conjuring) which do not depend on being human?
What possibilities could I begin to conjure?
This is where I’m at this morning. Tired and drinking my coffee but already allowing my imaginings to run wild. To be fugitive.
After a busy and brutal period of being out in the world working for the man, I’m resting. But already just after a couple of days rest, I’m coming back to myself. Coming back to what floats my boat, and gets the creative juices flowing. Thank you.
Hey I’m just sitting here minding my own business but you still want my attention.
Still crawling up the back of me, lurking to steal my thunder and steal my power.
You don’t want me. You don’t want me near you. You don’t want me to shine.
And yet …
You can’t leave me alone. You can’t turn away because you know I’m mighty fine. You know I’m divine.
You know I hold the secrets of what it means to be fire. You know you can’t hide your desire no matter how hard you try to hide, to blend in, to mystify.
You can’t hide your desires because of your long, ugly, harsh venomous tongue dipping lies is always going to give you away, betray your cold and encrusted lying heart and mind.
I’ve been reading. When I read, I feed my wonder and imagination. When I read, I fill up with ideas and dreams and plans.
Reading expands my mind and expands my understanding of the world I navigate.
I cannot stress or emphasise enough how much my world has been rocked or even burnt down since my reading and continued reading of Fugitive Feminism by Akwugo Emejulu.
This isn’t like anything I’ve read before because it goes against everything I’ve been trying to do for the last 50 years; to prove the humanity of Black people, of myself so we can finally be accepted and loved.
But what if we’ll never be accepted? Never be accepted as human beings because who gets to claim humanity is bound up with whiteness, bound up with white supremacy culture?
What if being a human is a construct and is defined by those with the power and was never constructed to allow us, people of the global majority to be as such?
So if I claim non-human what are the possibilities for my being?
This is where I’m heading. This is the space I’m navigating now. I’m making changes from the inside out. In a cellular level this speaks truth and blessings to me. How I {BE} is changing and it includes a whole more ‘fuck offs’. Well that’s how it’s shown up my so far!
Living Wild Studios 