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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.

He had that look on his face again. She remembered it now. It was that troubled look he had six months ago when his snakes got sick. “Angelica,” she remembered him saying softly, almost in tears, “they’re dying, they won’t eat, they’re as limp as noodles, all of them.” What was he going to do? He was supposed to deliver their venom to the lab days ago. They had been calling, reminding him, demanding, threatening to go with another venom vendor. They’d tell the other labs about him, ruin his hard-earned reputation.

He was screwed without his snakes. And what’s more, he really loved them.

Angelica always wanted him to look at her that way, with that much attention and intensity that would show he loved her that much too. That he needed her around. And finally here it was.

“No more pills, Angelica. You’re going to end up killing yourself.”

I draw the curtains.     The room darkens, but

the mirror still reflects          a crescent moon.

I pull        the crescent out,          a rigid curve

that softens                    into a length of cloth.

I wrap the cloth around                     my eyes,

and I’m peering    through a crack in the wall

revealing                        a landscape of snow.

Often, the three of them—burro, horse, rider—would simply stand in the middle of the plains. Aside from the occasional sigh or the halfhearted attempt at swatting away an insect, they all stood still, staring into the avoid. Brown flats, blue wall. From his animals, with their serenely sad, bulge-eyed gaze, Håkan seemed to have learned to gape into space. To this absent expression, he added a drooping jaw. They merely stood, completely absorbed by nothing. Time dissolved into the sky. There was little difference between landscape and spectators. Insensible things that existed in one another.

Circling slow and dripping like a fat June bug in the rain,

turbos throbbing in the labored

dark over Chicago, the Electra turned, one wing

pivoted up, like an old dog tilted on three legs,

smelling dank, an old heaviness in him, as though

he were about to tumble over toward those glorious,

snowy lights below. There might have been

freezing sleet as well. In any case, I know

I laughed into a glass half filled with bourbon,

glanced again at the two feathered props

out the window, their cowlings charred and smoky.

But freed all at once from months of killing depression,

elated strangely, almost uplifted.

That I commune with the dead as I oil your feet. My house at the throat of the river, the door to this world, I wait for you. That I ask of the spirit and receive the knowledges: yerbabuena, vela de virgen, baño de alhucema. Cut the joint at the hoof & fatten the soup. Accept this offering, thank the plant. That I love you with the knowledge of our ways lost to violence. That you will call me up from the silt in your bones.