In the absence of women on board,
when the ship reached the point where no landmass
was visible in any direction
and the funk had begun to accrue-
human funk, spirit funk, soul funk-who
commenced the moaning? Who first hummed that deep
sound from empty bowels, roiling stomachs,
from back of the frantically thumping heart?
In the absence of women, of mothers,
who found the note that would soon be called “blue,”
the first blue note from one bowel, one throat,
joined by dark others in gnarled harmony.
before the head-rag, the cast-iron skillet,
new blue awaited on the other shore,
invisible, as yet unhummed. Who knew
what note to hit or how? In the middle
of the ocean, in the absence of women,
there is no deeper deep, no bluer blue.

From: AMERICAN SUBLIME (Graywolf Press, 2005)

Virginia Woolf, incested
though her childhood, wrote
that she imagined herself
growing up inside a grape.
Grapes are sealed and safe.
You wouldn’t quite float
in one; you’d sit locked
in enough moisture to keep
from drying out, the world
outside though gelid green.
Picture everyone’s edges
smudged. Picture everyone
a green as delicate
as a Ming celadon. Pic-
ture yourself a mollusk
with an unsegmented body
in a skin so tight and taut
that you’d be safe. You could
ruminate all night about
the difference between “taut”
and “tight,” “molest” and “incest.”
“Taut means tightly-drawn,
high-strung. What is tight
is structured so as not to
permit passage of liquid
or gas, air, or light.

From BODY OF LIFE (Tia Chucha Press, 1996)

       (1825)

1. Cuvier

Science, science, science!
Everything is beautiful

blown up beneath my glass.
Colors dazzle insect wings.

A drop of water swirls
like marble. Ordinary

crumbs become stalactites
set in perfect angles

of geometry I’d thought
impossible. Few will

ever see what I see
through this microscope.

Cranial measurements
crowd my notebook pages,

and I am moving closer,
close to how these numbers

signify aspects of
national character.

Her genitalia
will float inside a labeled

picking jar in the Musee
de l’Homme on a shelf

above Broca’s brain:
“The Venus Hottentot.”

Elegant facts await me.
Small things in this world are mine.

2.

There is unexpected sun today
in London, and the clouds that
most days sift into this cage
where I am working have dispersed.
I am a black cutout against
a captive blue sky, pivoting
nude so the paying audience
can view my naked buttocks.

I am called “Venus Hottentot.”
I left Capetown with a promise
of revenue: half the profits
and my passage home: A boon!
Master’s brother proposed the trip;
the magistrate granted me leave.
I would return to my family
a duchess, with watered-silk

dresses and money to grow food,
rouge and powders in glass pots,
silver scissors, a lorgnette,
voile and tulle instead of flax,
cerulean blue instead
of indigo. My brother would
devour sugar studded non-
pareils, pale taffy, damask plums.

That was years ago. London’s
circuses are florid and filthy,
swarming with cabbage-smelling
citizens who stare and query,
“Is it muscle? bone? or fat?”
My neighbor to the left is
The Sapient Pig, “The Only
Scholar of His Race.” He plays

at cards, tells time and fortunes
by scraping his hooves. Behind
me is prince Kar-mi, who arches
like a rubber tree and stares back
at the crowd from under the crook
of his knee. A professional
animal trainer shouts my cues.
There are singing mice here.

“The Ball of Duchess DuBarry”:
In the engraving I lurch
toward the belles dames, mad-eyed, and
they swoon. Men in capes and pince-nez
shield them. Tassels dance at my hips.
In this newspaper lithograph
my buttocks are shown swollen
and luminous as a planet.

Monsieur Cuvier investigates
between my legs, poking, prodding,
sure of his hypothesis.
I half expect him to pull silk
scarves from inside me, paper poppies,
then a rabbit! He complains
at my scent and does not think
I comprehend, but I speak

English. I speak Dutch. I speak
a little French as well, and
languages Monsieur Cuvier
will never know have names.
Now I am bitter and now
I am sick. I eat brown bread,
drink rancid broth. I miss good sun,
miss Mother’s sadza. My stomach

is frequently queasy from mutton
chops, pale potatoes, blood sausage.
I was certain that this would be
better than farm life. I am
the family entrepreneur!
But there are hours in every day
to conjure my imaginary
daughters, in banana skirts

and ostrich-feather fans.
Since my own genitals are public
I have made other parts private.
In my silence I possess
mouth, larynx, brain, in a single
gesture. I rub my hair
with lanolin, and pose in profile
like a painted Nubian

archer, imagining gold leaf
woven through my hair, and diamonds.
Observe the wordless Odalisque.
I have no forgotten my Xhosa
clicks. My flexible tongue
and healthy mouth bewilder
this man with his rotting teeth.
If he were to let me rise up

from his table, I’d spirit
his knives and cut our his black heart,
seal it with science fluid inside
a bell jar, place it on a low
shelf in a white man’s museum
so the whole world could see
it was shriveled and hard,
geometric, deformed, unnatural.

From THE VENUS HOTTENTOT (University Press of Virginia, 1990)