joylimimi
J꩜Y
23 y/o Dyke Artist ATL HOEdey/dem pronouns
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Love Poems by Black Poets
I recently had a love poem I wrote for my girlfriend published in the Tuskegee Review. I had the long tradition of Black poets writing about love in mind - some writing for friends, for new lovers, for long term partners, for communities, for historical figures, etc. I've included a short list of love poems by Black poets below, some of which have appeared on Traveling as a Family before. Which poems resonated with you, and what else would you add to this list?
To Be in Love by Gwendolyn Brooks
Love Poem in the Black Field by Ariana Benson
Love Poem: Centaur by Donika Kelly
Love Poem: Mermaid by Donika Kelly
The Aureole by Nikky Finney
Cozy Apologia by Rita Dove
Heart to Heart by Rita Dove
My Lover is a Woman by Pat Parker
Love on Flatbush Avenue by Angel Nafis
American Wedding by Essex Hemphill
acknowledgements by Danez Smith
Regular Black by Danez Smith
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‘the body’ 📸 annie leibovitz
serena williams for vogue. 2003.
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kyn by alex evans, makeup by vittorio masecchia & hair by castillo + assistance by berenz
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"crabbing" by Lucille Clifton
(the poet crab speaks)
pulling
into their pots
our wives
our hapless children.
crabbing
they smile, meaning us
i imagine,
though our name
is our best secret.
this forward moving
fingered thing
inedible
even to itself,
how can it understand
the sweet sacred meat
of others?
Art: Bitter Attendance Drown 2018, a Woven cotton, acrylic yarn, and polyester organza artwork by Diedrick Brackens
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When Toni Morrison said the grandeur of life is the attempt, not the solution… And how she went on to explain that it’s about behaving as beautifully as one can under completely impossible circumstances. The power that has, you know? It’s really just the making room for what breathes in the presence of the attempt. In the coming-to-be.
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Where Seed Falls
Stalking
The neighborhood is dangerous
but we go there
We walk the long way.
OUr jangling keys
mute the sound of our stalking.
To be under the sky, above
or below a man.
This is our heat.
Radiant in the night.
Our hands blister with semen.
A field of flowers blossoms
where we gather
in empty warehouses.
Our seed falls
without the sound or
grace of stars.
We lurk in shadows.
We are the hunger of shadows.
In the dark
we don’t have to say
I love you.
The dark swallows it
and sighs like we sigh.
when we rise
from our knees.
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THE ARTIST WHO EXPLORED ETHNICITY, GENDER & DESIRE IN 90S AMERICA
Miss Rosen for Dazed
In the early morning on 17 October 1997, Lyle Ashton Harris wrote a poem “For Lawrence,” which he printed out and pasted into his journal, asking, “is there other ways to know thyself? / I guess in a sense I am still waiting / peaking through / I cry / fear, wondering, what, if I let it go, / to discover, to unveil another, to write, / to share myself with another, to trust myself. / i am still that little boy.”
The poem goes on to reflect on dying and death, on fear and desire, on the nerve it takes to be true to one’s self. It is something we all face in one way or another in this life – though the artist may grapple with these issues openly in their work, taking vulnerability to new heights of the sublime.
For Harris, the ascent began in 1993, when his exhibition Face: Lyle Ashton Harris opened at the New Museum. Here, he used photography, video, and audio to examine race, sexuality, and gender during a period when multiculturalism, globalisation, and AIDS activism dominated the world stage, transforming the conversation around black masculinity to expand beyond the rigid boundaries proscribed for African-American men.
The following year, Harris exhibited The Good Life, his first solo show, at Jack Tilton Gallery, New York, where he subverted markers of identity to show just how vast blackness is when seen from the inside looking out. The show solidified Harris’s place in a new generation of artists transforming the art world.
Read the Full Story at Dazed
Top: M. Lamar, Yerba Buena Center for the Arts, San Francisco, 1993. © Lyle Ashton Harris.
Middle: Essex Hemphill, Los Angeles Contemporary Exhibitions, 1992. © Lyle Ashton Harris.
Bottom: “Altar, Koreatown (Journal #1)”, 1997. © Lyle Ashton Harris.
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