i try to connect beauty using words as healers of possibilities from the state within, the voice, a teacher, a sage, where my poetry winters, where I can see the ‘I’ like a clearing through the trees, where imagination lingers inch wide mile deep, conjuring for change and connection. i try language, not to trick or demonstrate my intellect, but to spark simple, stretching blossoms into ‘we’ rather than ‘them and us’. from the state without, i’m a beast, caged and muzzled. swallowed. cornered and supposedly cowered, i come out writing, wading into dangerous waters, owning my imagination to practice potential futures.
*“An ars poetica poem is a poem examining the role of poets themselves as subjects, their relationships to the poem, and the act of writing.” —Poets.org
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.
March is nearly over. I spent a lot of it getting ready for a trip that didn’t happen. I’m still sore around the wound but will share here at some point.
The journal above which I share is the journal I created for my travels. It’s an Elle Decorating Magazine which I’ve repurposed. I pulled out the images and text I wanted to use in my visual journaling and then painted over the remaining pages.
It’s rough and ready. Messy and grungy and in the process I didn’t realise how much it has reflected my mood.
It’s not perfect.
I’ve been all over the place in terms of my moods these past few weeks. Serene and blissed out to stressed and anxious and angry.
And this messy, at times ugly, journal has captured it all. And I am grateful for its space and non-judgmental welcome.
I’ll be back here over the coming days to share the spreads that have been created in this journal. Just so you can see a bit more of my process and practice.
One more thing. The back of this journal was converted into a mini guide book to take on my travels with me. Since I didn’t make that trip, I haven’t been back into the back of the journal. I was also contemplated chucking the whole thing and start a new journal as I felt it would be painful and annoying to continue to use the journal as its purpose was for my time away.
But instead of avoiding the pain and frustrations and disappointments, continuing to use the journal has meant I haven’t run away from the feels but have allowed myself to sit with the feels.
I’m not sure if that means I’m a glutton for punishment or if I’m just all in with this life, my life of attempting to thrive rather than just survive.
Still showing up in this journal, just created from a magazine man, has given me the time and space to work through my feelings and come through feeling grateful for my life and the people I have around me who care about me and love me.
Visual journaling, it kills me in how it’s such a powerful tool for staying present and connecting with the self. Amazeballs!
End / beginning of another week. Depending on if you see Sunday as the end of the week or the beginning of the next.
For me it’s and/both. Sundays are usually change over day at our house as Ella goes between my home and her dad’s. Sometimes we do things on a Sunday or sometimes we don’t.
We just take it easy.
But usually on a Sunday I reflect on the week gone and plan for the week ahead. It’s a ritual of getting my head in the game. Not the outside societal, capitalist game. No, my own game. The Sheree Mack Game, which runs counter to the White Supremacy Culture game of go go go produce produce produce and strive for perfection at the same time as avoiding conflict and being grateful for the crumbs from their table. Yeah counter to that game as I refuse to be part of this system, where my labour is being bought and sold to support the actors, that are white people.
I’ve been hibernating for months now and I’m still tired. Go figure. Maybe my exhaustion is more than a year in a dumb ass job but runs much deeper. A generational exhaustion that I just can’t shift which has to be recognised but will take a lifetime to ease.
Ease. Yes that would be welcome.
There are moments when I grasp these ease and feel it spread across my back, untightening bunched up muscles. Making my spine fluid rather than ridged. These times I can feel my heart and soul float and I’m relaxed into whatever I’m being. But these are just moments. The aim is to extend these moments into longer moments, into days and months.
I’m working on being so but it is a practice. So when I say Sundays are reflecting/ planning days. I don’t mean around a to-do-list of jobs that need to be completed in order to bring in the tainted coin. I mean, where did I experience ease this week and where can I factor in/ plan for more ease next week. Where did I experience joy and pleasure and how can that be replicated moving forward.
Yeah in the Sheree Mack Game, all the rules and tasks are different to the societal external game. At more ease and I know I’m winning x
Quantity over quality is a characteristic of whet supremacy culture. Say like with social media, we are wired to focus on the numbers. The number and amount of followers, likes, comments gives us the buzz. Keeps us returning usually. Rather than the quality of interactions. The quality of connections.
But in this instant when I say I’m on a reading tip and boast that I’ve read 12 books already this year, fiction, poetry and non-fiction, I’m taking the buzz of the numbers because I know they were quality reads.
Last year saw me fall off my reading horse. Reading was only happening when I had an extended amounts of time off the clock. Summer reading mostly. I didn’t have the bandwidth or desire to read at any other times. I was too antsy and not able to settle, as too many demands were pulling on my attention.
So I’m really happy that this hibernation season has seen me dive back into books. Physical and digital books. I do not care which as long as I’m reading, expanding my thinking and formulating new pathways of understanding and connection.
So White Tears Brown Scars by Ruby Hamad was completed yesterday. And it so feeds into my experiences with white women. Even though they’ve caused offence, been racist that is, it’s me who’s consoling them and making sure their feelings are not too hurt. Or it’s me having to apologise because my reaction to their racism or them touching my hair without my consent has been deemed far too aggressive and not very collaborative by the organisation or group I was working with.
They are used as a weapon, white tears, to shut down the conversation. To get the white person out of an uncomfortable situation and out of having to look at themselves and their behaviours.
It was so validating to read this book and recognise that it doesn’t just happen to me and that this is a centuries old tactic of the damsel in distress. And that damsel is white as Black and Brown women have never been deemed woman enough to protect. And all this shit is wearing thin with Black and Brown women. Believe.
This book was an extension of an article Ruby Hamad wrote back in 2018 for The Guardian. You can read it there and just know that one Black woman, Lisa Benson, who was working as a journalist at the time got fired for simply sharing this article because it was deemed ‘an attack on white women’. White tears in action right there!
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.
*not so mush a trigger warning but saying it anyways!
I am worthy of consent. I am safe. I can heal from sexual trauma. – Lyvonne Briggs
I’m writing. Or is it rambling? I’m not sure. It’s just that I’m reading at the moment. I’m in my cave (bed) hibernating and I’m reading so many different books. Fiction, non-fiction, poetry and there’s a cross over with what’s happening within my life with my reading ( Does that happen to you?). There’s an echo or a reinforcement for the things that are causing me grief at the moment, worrying the wound as I read and rest.
So writing things out, going long is a way of making sense of it all in the moment. It’s a way of gaining some kind of clarity for now. Not thinking of the future but thinking of gathering the threads at this moment to made make a something out of this mess of yarns.
My mum died when I was 27 years old. I’d just become a mother the year before. I’ve been hearing about the ‘mother wound’ lately. I’m not sure if I understand it completely. But when I hear it, I don’t jump into definitions and theories. For me it’s simply means when my mum died and left me to cope alone. Selfish I know. But I feel as is she left a gaping, bleeding wound that festers and hurts when I worry it. When I press on it, inspect it with my touch.
This morning, following my morning routine, in bed reading (with coffee skipped ahead this morning) I’m reading Sensual Faith: The Art of Coming Home to Your Body by Lyvonne Briggs. I’m reading a section called ‘Surthrivors’ a term Briggs created to try and capture how she was feeling, living after male sexual violence. She felt ‘survivor’ was too flat to describe/ define her experience when she was living/doing what she loved studying theology and religion, in community with loving people and was an acclaimed spoken word and slam poet. “I wasn’t just surviving, I was thriving!” Briggs wrote, hence pointing the more accurate term, ‘Surthrivor’. I love it when we Black women bend and twist language, divest from the standard to better express/ more fully express our feelings and experiences. That’s creative fugitivity for you (thank you Dal).
Briggs goes on to talk about how she got into the ministry so she could change how the church handles sexual abuse, not very well, as there is a silence around it. Or they blame demons instead of the actually men. I’m not here to talk about male sexual abuse. I’m not her to talk about the church. I’m not a religious person. I was brought up saying my prayers. I remember a black bible, creased leather, brought from Trinidad and Tobago with my dad when he stowed away to England. This black bible sat toad-like in the teak sideboard of my childhood living room. West Indian style living room, I may add. I gave up believing in a ‘God’ when my daddy died when I was 9 years old. I’ve now come around to the idea that we are Gods/ Goddesses ourselves, inside us. I’m spiritual rather than religious. So I’m not sure why I’m reading this book.
I lie. Yes I do know why I’m reading Sensual Faith. I followed a trail to this book left by Christina Cleveland and God is a Blackwoman. But also because of the subheading of Sacred Faith: The Art of Coming Home to Your Body, is a journey I always seem to be on.
Anyway. Back to the reading this morning which went on to discuss the worship centre in a church is called the ‘sanctuary’. When you the word ‘sanctuary’, does anyone else think of Quasimodo? ‘Sanctuary, sanctuary!’
A ‘sanctuary’ is a safe or holy place. I wrote a poem titled ‘sanctuary’ and it was about my mum. My mum’s home, body, arms. When she was alive, it was her I went to for safe harbour. I didn’t realise until she was gone. It has come a way for me to practice mothering my own children, through sanctuary for them. Once my mum died, I lost who and where I could return to for safety. I lost my home, my sanctuary when she died and I suppose I’ve been searching for sanctuary ever since, looking outside myself, looking for it in others ( husband for one!)
I don’t how long I’ve been in battle with my being, with my body, chastising her for not being enough. But also for being too much. Too fat. Too broad, too Black. But over the last few years, eyes open, something has been changing or shifting within me and how I view, treat and talk to my body. . Maybe that’s where my mum did me a disservice and where I’m making amends with my kids. I’m not sure she taught me how to find sanctuary within myself, within my own body.
Monday nights I dread. Not always. Just the last few months as I complete my level 3 diploma in counselling skills. I’m not jesting that I hate turning up for this course. And I never use ‘hate’ as a word usually, always thinking it’s too strong a word for a feeling. Too final without any redeeming features. But this is where we’ve got to with this course.
And it wasn’t always the case. I could blame the dark, cold nights I have to turn up for 3 hours of lecturing and talking in an empty, sterile office block. I could blame the electric fluorescent lighting that flickers and buzzes and can give me a bad head. But I would be lying. I’m here to be wide open and honest. So here goes!
This course is taking away pieces of my soul, week after week. And I’m not ashamed to say that I have contemplated dropping out week after week, researching for alternatives. I even enrolled on a supplementary course, decolonising counselling, that would tend to all the damage this course is doing, but I had to withdraw from that due to costs and timings.
If you’ve ever studied counselling and therapy, you’ll know that everything; theories and tools and practices are all taken from dead white guys. Dead white guys acting like Gods (and I don’t mean the internal Gods I’m just mentioned). White male, usually heterosexual and middle class theorists who pontificate that they know everything about what’s happening in everybody’s mental health. They have the solutions to make us feel/ do /be better. As it’s always the individual’s fault and can be traced back to their childhood, their mother? Bullshit!
It hurts to be fed this shite every Monday. In the beginning I pushed back and attempted to decolonise the teaching, the theory, the responses. Bringing in other theorists and arguments. Being the only Black face in the class, girl has to represent.
Until we got to week 9, we were exploring different types of power within the counsellor and client relationship. Power roles within the counselling arena. After a discussion, we were being presented with a list of ‘Further key aspects of power or perceived power’. And yes the list was not an exhaustive list and things could be added, the tutor said. This list did not include ‘race’, ‘ethnicity’, ‘culture’, and I voiced it as such. My comment was laughed at and dismissed as, ‘there’s always one’.
Always one who has to comment on what’s missing from the list? Or always one who has to bring up race? Who knows! I just know how this comment made me feel. Know your audience I say or was I being put into my place? This response indicated to me that this input, which a fundamentally the way white supremacy culture wields power through the hierarchy of the races. It’s the sea that we’re swimming in and to not mention is the usual state of affairs. This interaction indicated to me that this was never going to be on this course’s agenda. Me continuing to challenge the whitewashing of counselling and therapy, me constantly remarking on the culture that we’re operating in wasn’t enlightening my fellow students or suggesting that they become more aware of their ( and my own) unconscious biases. I realised I was just creating issues where they never saw issues. Problems where there are no problems. As race and racism is only a problem when there’s a Black person in the room. It’s Black people who have an issue with race as whiteness isn’t a race, right? Whiteness is a given.
After week 9, and tonight was week 15, I’ve silenced myself. I’ve disengaged from the course, no longer contributing. I turn up and get my attendance and keep my thoughts and comments and feelings to myself. I’m not giving anything of myself anymore to the group, to the course within the face to face sessions as I’ve received the message it’s not welcome, it’s not of value, it’s not relevant. I do not intend to waste my energy and heart and soul on this experience.
This hurts me. I’m making sanctuary for myself. I’m making this experience safe for myself. I’m keeping myself safe within myself, within my body as being in that classroom is no longer safe for me. And to explain that to them, I wouldn’t bother, as they wouldn’t get it. The can’t get it and it would also involve them listening to me, and me being heard, which ain’t happening.
I’m creating sanctuary for myself, within my body and its a practice. I’m using a self-soothing approach, self-talking, loving compassionate approach when I experience something that is harming, hurting, traumatic. I’m letting myself know, like that little girl inside me who needed to be loved and kept safe, I’m stroking my own chest over my heart and saying to her, saying to myself, ‘ You are love, Sheree. I’ve got you I understand why you are feeling unsafe. But I’ve got you. You’re dafe now.” I’m mothering myself. I’m making myself safe. I’m making myself sanctuary.
I share my new poetry collection Darkling, come 7 November, 6-7.30 pm (GMT). I’m excited about speaking these words aloud in company. There’s something magical happens when we give voice to our creations. Allow the words, language to reverberate through our bodies. We come to the words almost anew, a fresh and feel all the emotions and meanings as they enfold again and for the first time.
I know it’s going to be an emotional session to share as this book was a long time in the making. I’ve changed so much in its creation. But I’m ready.
I’m not sure how much I’ve shared here. I’m not sure if I wanted to speak it into existence out of fear of jinxing it. Maybe.
Last year, my last publisher Andy Croft got in contact with me asking for my poetry collection. Smokestack Books is planning to close its publishing doors and Andy wanted to go out having published my next collection.
We have a history as Andy published Laventille (2015) and stood by me throughout the whole ‘shit-hit-the-fan’ experience when my life and profession and writing were ruined ( or there was an attempt to ruin me as I’m still here to tell the tale).
So I said yes, maybe naively. As since then I’ve been on a rollercoaster of feelings as I attempted to bring the collection into existence.
At some point I will share some of the poems within the collection. Some of the poems started within this blog. But even though I just got asked last year to complete this collection, I feel, no I know, this collection has been nine years in the making. Ever since Sheree Mack was cancelled in May 2015, I’ve been making my way back to Sheree Mack, someone I didn’t even know existed until she was forced to start again from nothing to building a much stronger and truer foundation.
Living Wild Studios 