In all ways a women

In my young years I took pride in the fact that luck was called a lady. In fact, there were so few public acknowledgments of the female presence that I felt personally honored whenever nature and large ships were referred to as feminine. But as I matured, I began to resent being considered a sister to a changeling as fickle as luck, as aloof as an ocean, and as frivolous as nature. The phrase ‘A woman always has the right to change her mind’ played so aptly into the negative image of the female that I made myself a victim to an unwavering decision. Even if I made an inane and stupid choice, I stuck by it rather than ‘be like a woman and change my mind.’

Being a woman is hard work. Not without joy and even ecstasy, but still relentless, unending work. Becoming an old female may require only being born with certain genitalia, inheriting long-living genes and the fortune not to be run over by an out-of-control truck, but to become and remain a woman command the existence and employment of genius.

The woman who survives intact and happy must be at once tender and tough. She must have convinced herself, or be in the unending process of convincing herself, that she, her values, and her choices are important. In a time a nd world where males hold sway and control, the pressure upon women to yield their rights-of-way is tremendous. And it is under those very circumstances that the woman’s toughness must be in evidence.

She must resist considering herself a lesser version of her male counterpart. She is not a sculptress, poetess, authoress, Jewess, Negress, or even (now rare) in university parlance a rectoress. If she is the thing, then for her own sense of self and for the education of the ill-informed she must insist with rectitude in being the thing and in being called the thing.

A rose by any other name may smell as sweet, but a woman called by a devaluing name will only be weakened by the misnomer. She will need to prize her tenderness and be able to display it at appropriate times in order to prevent toughness from gaining total authority and to avoid becoming a mirror image of those men who value power above life, and control over love.

It is imperative that a woman keep her sense of humor intact and at the ready. She must see, even if only in secret, that she is the funniest, looniest woman in her world, which she should also see as being the most absurd world of all times. It has been said that laughter is therapeutic and amiability lengthens the life span. Women should be tough, tender, laugh as much as possible, and live long lives. The struggle for equality continues unabated, and the woman warrior who is armed with wit and courage will be among the first to celebrate victory.

by Maya Angelou

#mayaangelou #selflove #women

Haircut

Elizabeth Alexander, 1962

I get off the IRT in front of the Schomburg Center for Research in Black Culture after riding an early Amtrak from Philly to get a hair cut at what used to be the Harlem “Y” barbershop. It gets me in at ten to ten. Waiting, I eat fish cakes at the Pam Pam and listen to the ladies call out orders: bacon-biscuit twice, scrambled scrambled fried, over easy, grits, country sausage on the side. Hugh is late. He shampoos me, says “I can’t remember, Girlfriend, are you tender-headed?” From the chair I notice the mural behind me in the mirror. I know those overlapped sepia shadows, a Renaissance rainforest, Aaron Douglas! Hugh tells me he didn’t use primer and the chlorine eats the colors every day. He clips and combs and I tell him how my favorite Douglas is called “Building More Stately Mansions,” and he tells me how fly I’d look in a Salt ‘n’ Pepa ‘do, how he trained in Japan.

Clip clip, clip clip. I imagine a whoosh each time my hair lands on the floor and the noises of small brown mammals. I remember, my father! He used to get his hair cut here, learned to swim in the caustic water, played pool and basketball. He cuts his own hair now. My grandfather worked seventy-five years in Harlem building more stately mansions. I was born two blocks away and then we moved.

None of that seems to relate to today. This is not my turf, despite the other grandfather and great-aunt who sewed hearts back into black chests after Saturday night stabbings on this exact corner, the great-uncle who made a mosaic down the street, both grandmothers. What am I always listening for in Harlem? A voice that says, “This is your place, too,” as faintly as the shadows in the mural? The accents are unfamiliar; all my New York kin are dead. I never knew Fats Waller but what do I do with knowing he used to play with a ham and a bottle of gin atop his piano; never went to Olivia’s House of Beauty but I know Olivia, who lives in St. Thomas, now, and who exactly am I, anyway, finding myself in these ghostly, Douglas shadows while real ghosts walk around me, talk about my stuff in the subway, yell at me not to butt the line, beg me, beg me, for my money?

What is black culture? I read the writing on the wall on the side of the “Y” as I always have: “Harlem Plays the Best Ball in the World.” I look in the mirror and see my face in the mural with a new haircut. I am a New York girl; I am a New York woman; I am a flygirl with a new hair cut in New York City in a mural that is dying every day.

#Elizabethalexander

Haircut

Elizabeth Alexander, 1962

I get off the IRT in front of the Schomburg Center for Research in Black Culture after riding an early Amtrak from Philly to get a hair cut at what used to be the Harlem “Y” barbershop. It gets me in at ten to ten. Waiting, I eat fish cakes at the Pam Pam and listen to the ladies call out orders: bacon-biscuit twice, scrambled scrambled fried, over easy, grits, country sausage on the side. Hugh is late. He shampoos me, says “I can’t remember, Girlfriend, are you tender-headed?” From the chair I notice the mural behind me in the mirror. I know those overlapped sepia shadows, a Renaissance rainforest, Aaron Douglas! Hugh tells me he didn’t use primer and the chlorine eats the colors every day. He clips and combs and I tell him how my favorite Douglas is called “Building More Stately Mansions,” and he tells me how fly I’d look in a Salt ‘n’ Pepa ‘do, how he trained in Japan.

Clip clip, clip clip. I imagine a whoosh each time my hair lands on the floor and the noises of small brown mammals. I remember, my father! He used to get his hair cut here, learned to swim in the caustic water, played pool and basketball. He cuts his own hair now. My grandfather worked seventy-five years in Harlem building more stately mansions. I was born two blocks away and then we moved.

None of that seems to relate to today. This is not my turf, despite the other grandfather and great-aunt who sewed hearts back into black chests after Saturday night stabbings on this exact corner, the great-uncle who made a mosaic down the street, both grandmothers. What am I always listening for in Harlem? A voice that says, “This is your place, too,” as faintly as the shadows in the mural? The accents are unfamiliar; all my New York kin are dead. I never knew Fats Waller but what do I do with knowing he used to play with a ham and a bottle of gin atop his piano; never went to Olivia’s House of Beauty but I know Olivia, who lives in St. Thomas, now, and who exactly am I, anyway, finding myself in these ghostly, Douglas shadows while real ghosts walk around me, talk about my stuff in the subway, yell at me not to butt the line, beg me, beg me, for my money?

What is black culture? I read the writing on the wall on the side of the “Y” as I always have: “Harlem Plays the Best Ball in the World.” I look in the mirror and see my face in the mural with a new haircut. I am a New York girl; I am a New York woman; I am a flygirl with a new hair cut in New York City in a mural that is dying every day.

#Elizabethalexander