I couldn’t help but wonder: Of all the self-chroniclers I’d gone to like a moth in my early twenties, why were so few brown, and Black?
A white girl’s refusal to live by the dominant narrative gets to be glamorous, whereas I cannot imagine how a Black girl’s refusing the terms of society ever could be.
I was a Black girl in the American suburbs, yet I believed The Beatles—and eventually, a dazzle of other white male musicians—were singing only for me. It wasn’t so.
Kurt Cobain would not approve, but privately I wondered if there wasn’t space for a beloved burnished thing in my new and improved pop pantheon.
Both church and theatre demand from their followers the suspension of disbelief, and the ability to inhabit an imaginary set of circumstances in lieu of the known.
I witnessed how easily art might braid to politics, how easily fellowship might inspire movement.