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.
A few days in the Emerald Isle, staying in Dublin. Walking my little legs off and soaking up the culture and Guinness ( with a dash of blackcurrant).
Here is St. Patrick’s Cathedral. Probably the first building to get my heart a pumping. And I’m thinking gothic. I’m going back to my GCSE studies and Northanger Abbey by Jane Austen. And it just really thrilled me. It touched my romantic horror capabilities. The terrible beauty of this world.
It’s a striking Cathedral, made from limestone and is constructed in a gothic style. I recognised its mystery and gloom and yet a feeling of light too. An 800 year old building probably constructed in an ancient well used by St. Patrick himself.
It’s such a beautiful construction as well as having a moody kind of vibe of pointy arches and buttresses and heavy weathered stone. I was just as in my element as I walked the streets of Dublin. And just as the limestone, is greying and dark, but still a hint of lightness, so was the city itself: full of heart with an underbelly of poverty and suffering. A terrible beauty.
I haven’t done this in a while but I’m feeling it today. The mid-week slump, nevermind hump!
After a restful weekend, I used to rush into my Mondays and do all the things. Get everything in order for the week ahead. Full blazing glory that meant come Tuesday, I’d been down and out. Knackered.
It’s been awhile since this knackered feeling has hit me on a Wednesday. After a couple of days of emotional roller coasting and focusing on traumas and past hurts, moving my body to move the energy, today I’m staying put on the couch, alternating between coffee with hot buttered toast, and YouTube and reading. Eyes drooping and head nodding.
I really don’t give a fuck as this is the point of my hiatus, hibernation for the next 3 months, to rest and retreat and dream. If I’m feeling like doing fuck all then I’m doing fuck all. Nothing.
My worth is not measured in how much I achieve in a day, how many things I can cross off that never ending to-do list. My worth just is. I’m here. I’m enough.
So excuse me while I stretch out a bit deeper into the couch of many cushions and blankets and flick through the line up for an afternoon movie, a black and white one maybe. Old school. LUSH.
Can you share a positive example of where you’ve felt loved?
As I’ve recently shared my word of the year is LUSH. I love this word. It reminds me of my childhood when everything was LUSH; a way of expressing my enthusiasm and my curiosity. When it wasn’t shunned to be in your feelings. When it was natural to full of awe and wonder.
I’m evoking LUSH this year to get back to that state. To foster these feelings more in my every day. I want to feel the LUSHness of life.
And yes I have been in my feelings this week, even if those feelings have been of pain and annoyance and regret towards my recent accident. But you have to experience all the feels in order to appreciate the joy and pleasure.
As a way of anchoring myself into this LUSH life. In order to have a reminder of where I am, what feelings I really want to wallow in, within joy and pleasure and self-love, I have this green ring I wear on my left hand. It’s a commitment from myself to myself. It’s a reminder of the love I am fostering and leaning into towards myself.
The ring has weight to it. The ring is beautiful. When I wear it I’m feeling it’s there on my ring finger and it’s reminding me I am loved and cared for. I am enough as I am, no conditions. This green ring, significant LUSH, is unconditional love for myself.
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.
Living Wild Studios 