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I imagine my daddy’s mind

looks most like broken
 

dryer machines

scattered in a forest,

field mice living

in the leftover lint.

I imagine it looks

like stepped-on

syringes, too,

flies stooping

down to sop up

all the sweet.

OGUN SIZE:

So she tells Oya she pregnant with Shango’s baby. Just walked up to Oya with them hips you know and was like my name Shun, I got his baby so you ain’t shit to him. And see Oya can’t have no kids. Everybody know that. Now she scared she gone lose Shango. Which would be good if she left the nigga… But she can’t see that, nah she got to show him how much she willing to do for Shango. How far she willing to go for Shango. So she can’t give him no child, she cut off her ear.

OSHOOSI SIZE:

What!

OGUN SIZE:

Put it in a bowl and walked it to him while he was watching TV at her house. She ain’ scream or nothing… Cut off her ear and gave it to him. Say, I don’t want nobody but you. Say this mark me as yours…

There was a space across which you and your shadow, pacing,

        broke,

and around you pockets of shadow, sucking, shutting.

        By now the talk had changed.

There was a liquid of wall and stove and space-behind-the-stove.

        And x where the mirror had been.

And x where the window had been.

       And x where my hand slid over the tabletop breaking a glass.

There were shadows in the shadows, and in there were cuts.

A man and a woman

are lying together

listening to news of a war.

The radio dial

is the only light in the room.

Casualties are read out.

He thinks, “Those are people

I no longer have to love,”

and he touches her hair

and calls her name

but it sounds strange to her

like a stone left over

from a house already built.

The experience of reading Sex and Race is one of embrace and recoil as Rogers indiscriminately loads us down with the provable and the forever dodgy, the serious and the frivolous. Sometimes his footnotes, not always adequate or acceptable, tell when he was at work on a given aspect of his subject, in the way that an itemized credit card bill is a diary, a record of movement. The references go in clusters: in the 1920s, he was reading about Syria, Palestine, Arabia, and Persia; in the 1930s, he was reading the memoirs of English travelers in Africa. Sometimes, he clearly couldn’t go back to a particular library or text to check his facts again. And sometimes Sex and Race reads as though it had threatened to consume him, because the first-person voice breaks through in the book at times of what could be called narrative stress.

I do not know how I need the air,

or if it needs me. The lost air,

the air which is smashed, like a red hat.

When the sun rises the amnesty

of the unused animals – the goat, the burrow,

the maroon horses - when the sun rises

the amnesty of these flies its flag: an orchard

with a thumb on top.