With the warmer weather and the slower pace, I’m so ready to lean into the lazy, easy, light and breezy days of summer.
My six weeks off the clock summer holidays are just around the corner. I can taste the sweet sweet honey of rest. But I’m not quite there yet. Still things to complete, anniversaries to celebrate and forms to send off.
But it’s close. I can smell the cut grass and strawberries and syrup already. The long drawn out of days of doing fuck all. Hell to the yes!
Reading is top of the agenda. Summer self-study of topics and issues that are making me buzz. I’ve already started my crime fiction reading as I get back into the DCI Ryan Mysteries Series from L J Ross, all set in the north east.
And now tonight, with an hour to spare before pick up I dive into We Refuse by Kellie Carter Jackson. This is just what I need coming off the back of completing my black mothering and fugitivity chapter. But it also is adding fuel to my fire of refusal and divesting from racial capitalism.
I’m only a few pages in and my heart is singing and I’m thumping with energy in the recognition of finding my space, my safe place where my desires and wants for freedom on my own terms is not weird or unachievable. But is very much necessary.
After a busy week so far, my body is calling for the easy days of summer. Summer reading is usually how I get to slow down. I’ve got nothing major planned for the summer months. Usually we go down south and house and dog sit. But this year I needed a change.
I’m not sure what that is at the moment. The change I’m looking for. But I’m looking forward to putting up my email message of being off the clock for summer. I’ve started a countdown to that time in my head now.
Call it the teacher still in me but I love my six weeks( or more) summer holidays. So I’ve started the slowdown with reading short stories. A quick and easy way to get back into the reading habit. As well as introduce me to new writers. Read the first two this morning as part of my morning routine. And continue to read The Moor throughout this week.
I’ve swept my back yard, and I’m going to spend more and more time out there, reading and dreaming as I want to start growing stuff back there. But first I need to get to know the space. Spend some time there instead one just passing through.
I’m so looking forward to being off the clock and lazing. Trying to complete my chapter on black mothering and fugitivity after requesting an extension. Nearly there. I’ve got to the first of July and then I can relax and start dropping commitments outside the home, work and responsibilities and just go feral for a while. Yes!
I’ve got time on my hands to read. A reading week as we used to say at Uni. Why? Well that’s another story, I’ll tell you at another time, maybe.
For now, I’m getting my teeth into something that will make me feel better, or feel as if I’m getting somewhere with my self-study/permaculture diploma design/ ways of being.
I’m reading The Black Feminist Reader edited by Joy James and T. Denean Sharpley-Whiting. And I’m heartened to read in the first essay in the collection by Barbara Christian, ‘The Race for Theory’, that along with her Black sisters, Christian has not rushed to create abstract theories around how to read Black women writers/ Black women’s literature. The argument goes that there are countless Black women around the world, women colour around the world, and one single set of ideas cannot be applied to such diversity.
As Christian goes on to argue, “There is, therefore, a caution we feel about pronouncing black feminist theory that might be seen as a decisive statement about third world women. This is not to say we are not theorizing. Certainly our literature is an indication of the ways in which our theorizing, of necessity, is based on our multiplicity of experiences.” ( p.20)
Instead of being seduced into the academy, being at the centre, desiring/ claiming what might seem like power within the hierarchy of old traditional departments of knowledge, where the Black female experience is subordinate to others, ” We can pursue ourselves as subjects”. ( p.21)
This is music to my ears as I have always found it difficult to pin down what is Black Feminist Theory. What does it entail? What are the tools of engagement? What methods should be employed to reading Black women writers?
But that’s where I’ve been going wrong, thinking about theory. As for me theory was legitimisation. Writing dies if it’s not being talking about, theorised. But now I understand that :
Theory has been their way, their terms, their approaches ( p. 16)
Theory has been more about how clever the theorist is than about the writing or writer
Theory is prescriptive and it ought to have something to do with practice (p.13)
Theory is about those masters who have long gone and not about the here and now.
And as Christian states, and I totally agree, “But what I write and how I write is done in order to save my own life. And for me I mean that literally. For me literature is a way of knowing that I am not hallucinating, that whatever I feel/ know is.”(p. 21)
So I’m following Christian in my pursuit of what Black Feminism(s) is by having no fixed method of enquiry or even results. My method relates to what I read and the historical context of the writers I read and “to the many critical activities in which I am engaged, which may or not involve writing.” ( p.22)
So there is no set method within Black Feminist Theory and is influenced by practice, no prerequisite of a new theory as every work suggests a new approach, forcing me to think differently.
“As risky as that might seem, it is, I believe, what intelligent means – a tuned sensitivity to that which is alive and therefore cannot be known until it is known.”( p. 22)
I think from the time of my MA in Creative Writing, 2003 at Northumbria University, I’ve had the dream to write a crime novel.
Reading crime fiction is a guilty pleasure of mine from being young. They scare me and thrill me at the same time. I don’t try to guess who’s the killer or kidnapper or criminal. I’m just there in the thick of it; engrossed.
There has been times through the years, where I’ve said, this is the time, I’m going to write the crime novel. Start the reading and taking notes, fleshing out the story. Only to get a few weeks down the line and my patience has worn thin. I’ve lost the spark. I’m hit with the massive FEAR of failing.
It’s like a don’t give myself the time and space to crash and burn. That I jump to the end and make it all crap and useless, only after writing a few pages. That it’s okay to fail as nothing is perfect, super deluxe on the first pass.
But I think I’ve come up with an idea. What if I trick myself into thinking all I’m doing is writing a page. Not a whole crime novel, just a page. How would that work out for me?
Page 1
The beach is empty. The sky cloudless, grey moving to blue with the sun being up for over an hour. The usual dog walkers are out marking the sand with prints and shit. Some clean up after their dogs like good citizens. While others never look back.
Littered with glossy seaweed and feathers, as if a bird battle has gone down, the beach is flanked by a rotting pier. Or wooden construction used in the past to mark out bays within the sea for long forgotten trade. Now just an eye sore and gathering point for the bored youth trapped in this seaside resort.
But down there within the shadows and the shallows is one naked white body. A woman, lying on her stomach, arms beside her sides, palms turned up. Her blond head is turned towards the sea, tangled with seaweed and sand. The sun beams down on her bare arse resembling a conch. Her swollen face reveals gaping blue lips around cracked teeth.
It’s a chocolate lab sniffing out crabs around the pier who finds her body. Barking to its owner to come see, gulls flock down to squark the find too. Then they circle, eyes piercing the sea, maybe looking for her missing feet.
Living Wild Studios 