31 May 2020
I turn away each
time, but it keeps coming back. The white cop, the black man’s head
on the ground, police peering in a car, girl weeping who filmed
the murder. I turn away, as if to turn my other cheek, but it’s
not my cheek to turn. My eyes see in not-seeing. “I loved my
brother; why do I have to feel such pain?” There’s acid in the
cup that spills over in the street like tear gas, like smoke
grenades, like milk that’s use to cut the sting. She asks what the
ordinary is now. An orchid pushing open on the lanai; a cop throwing
a woman to the ground. Cat curled at my feet; empty clothes scattered
on a sidewalk of shattered glass. Shama thrushes in the puakenikeni;
“what’s the use of sirens if that’s all you hear?” Neighbors
tell me to turn off my television; it doesn’t concern your life,
one adds. He’s a good cop. My mother stopped our car on Fort Hunt
Road, 50 some years ago, to ask a black man in a stalled car if he needed
help. “You know why that policeman just drove by,” she said to
me, who did not. At five, I joked back and forth with one of the
moving men, until I said in triumph, “you’re a Negro!” What I knew already cannot be forgotten, no matter how often we delete our
cell phone clips, turn off the sound, put ourselves under house
arrest. You put the rest there, between the sharp
and the flat notes. While grieving, Denise Riley notes, time stops
for us. It’s as if we’re erased, but still move like we want to
be in the world. And we do.
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