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…after dozens of visits, I stopped buying the paintings. Scenes of bright peasant life, or lovely little children in uniforms filing into school, pictures of grand bourgeois families dancing in a hall beneath towering hi-fi speakers, or of shocking voodoo ceremonies in blacks and reds with decapitated chickens flapping in blood and women writhing, panoramas of bustling, abundant markets, paintings of primeval forests, with lions, giraffes, panthers and other animals no Haitian has ever seen at home, where the wildest animal is the crocodile or the flamingo, or the tarantula. It’s hard to keep looking at those paintings, but these Haitian artists paint them over and over again, as though they can’t get this nightmare out of their system. For months, a vendor tried to sell me this one painting, of a church interior, because I made the mistake of looking at it. He started at thirty dollars, laughably high but negotiable. Still, for a long time I couldn’t bring myself to buy it, no matter how badly the stooped and stuttering art dealer wanted to get rid of it, no matter how low he would go. I had promised myself no more paintings.

I remembered the sweet powerful taste of pop. Tommy Feathers had stopped for coffee when he was hunting wolverine. He tossed a bulged red and white can on the chopping block. “You’ll have tat one springtime,” he joked. He was sober; that meant he was laughing and friendly, not frothing about naluagmius starving his family, stealing food out of his children’s mouths. We had sat around waiting for it to thaw. We could have bought pops in Takunak but according to Abe, pop cost money, wasted aluminum, and was bad for our teeth. Nothing for something. Why not drink water? Now Iris was describing the high school friends and fun we’d always worried we missed out on, and I wondered why I hadn’t bought myself a few Cokes.

I feel I could eat women.

Driving alone, I’m hungry,

hawking bus stops and sidewalks.

Eyeballs grinding, I harden.

My mind, a bulging ice box.

My computer, a deep freeze.

The bingeing grows out of hand –

my wastebasket coughing up

the napkins hiding the bones.

I live brokenly and assemble together

Weakly – from long bone of the arm, hip

Rollicking in its socket, and the jaw,

Its brux. From the lip of a wooden

Bowl carved from the knot of a limb

Drifted, my name was given on water

And laid down like hail upon my tongue.

It’s become a bewilderment of white –

It snows. It does snow. It is snowing.

After some time my husband reached over to hold my hand, which reminded me that at least there was this, at least we still had hands that remembered how to love each other, two bone-and-flesh flaps that hadn't complicated their simple love by speaking or thinking or being disappointed or having memories. They just held and were held and that is all. Oh, to be a hand.

Gil Scott-Heron has a beautiful song I wish Ta-Nehisi Coates and all of us would listen to again. It’s called “Who Will Pay Reparations on My Soul?” The title is also the refrain, but the force of the rhetorical question lies in its pithy yoking of materialism and slave capitalism to a logic that transcends the material. This is also the crux of my dissent: What can reparations mean when the damage cannot be accounted for in the only system of accounting that a society recognizes? Part of the work here is thinking about the value of human life differently. This becomes obvious when commentators—including Coates—get caught up trying to tabulate the extraordinary value of slaves held in bondage (don’t forget to convert to today’s dollars!). It shouldn’t be hard to see that doing so yields to a mentality that is itself at the root of slavery as an institution: human beings cannot and should not be quantified, monetized, valued in dollar amounts. There can be no refund check for slavery. But that doesn’t mean the question of injury evaporates, so let us ask a harder question: Who will pay reparations on my soul?

Black American music has always insisted upon soul, the value of the human spirit, and its unquenchable yearnings. It’s a value that explicitly refuses material boundaries or limitations. You hear it encoded emblematically in the old spirituals. Black voices steal away to freedom. They go to the river. They fly away. Something is owed.