1001 Nights in the Facility [Unexpurgated] Short Film

1001 Nights in the Facility [Unexpurgated] – Episode 1: Keep Pace with the System

A Short Film by TRƎNCHԀƎOԀ⅂Ǝ

This short film is a manifesto told in medias res, an homage to One Thousand and One Arabian Nights. Lara becomes both Scheherazade and Lara Croft, whispering stories to stave off restlessness. Marquis is both the Marquis de Sade and a Shiv Roy-like heir to Render Enterprises, from HBO’s Succession. Like King Shahryar of the original tales, she holds the power to decide whether the stories continue. She is the heir apparent, though her father still bellows at her, “Stop calling your brother Fredo!” — a name she uses for him without affection. To Marquis, her brother is inept and in her way. She knows she is the real CEO.

On the court, Vegas has won twelve straight. Not by luck. Not by hustle. By machine. The Facility.
A neural court that remembers legendary systems — the Jackson (Phil Jackson’s triangle), the Flex, and the Princeton — rebuilt live as glowing choreography under the players’ feet. No shouting. No pointing. Plays trigger when rhythm aligns. The floor feels them, corrects them, and makes the game intuitive.

Manny, the janitor — an unreliable narrator — who remembers every word, tells it like scripture. Chuck Buko, a Bukowski-style podcaster, smokes and scoffs. And inside one of Marquis’ many estates, Lara whispers her doubts — about them, about the Facility — only to be checked:

“Yet you chose to stay. Take it from me — Life is a business. The biggest, the longest, the most important one you’ll ever run. You are the LLC, the INC, and the CEO of your life.”

The film strips basketball down to systems, stories, and choices. Marquis studies Lara like a dream. Lara buys one more night with a story. Chuck calls it myth, casino math, a stacked deck. Manny shrugs: “I’m a basketball head.”

This is not chance. Not destiny.

It’s management. The Facility is AI-powered, relentless. It doesn’t just host the game. It rewrites it.

And when the credits roll, the only measure left is glory:

Roll credits. Count the rings.

Story, Narrative, and Conceptual Art — Copyright 2025 E Maria Shelton Speller

Creative Platforms & Tools:

Artlist.io – Licensed music and sound effects
ChatGPT (OpenAI) – AI-assisted scriptwriting and narrative development
MidJourney – AI-generated concept imagery and character visualization
iMovie – Video editing and sequencing
Canva – Graphic design and text treatments
ElevenLabs – AI-powered voice narration
Other Production Tools – Standard video/audio processing and conceptual design tools

Credits:

Music

Chardonnay
Song by The Original Orchestra feat. Ran Raiten

Float
Song by Notize

It Hurts
Song by RIPPLES, Paper Plastic, Flint, ZISO

Farewell to a Warrior
Song by Jakub Pietras

Out of Reach – Alternative version
Song by Ziv Moran, Alma Zohar

Footage

Sweet, Gastronomic, Brunch, Delicacy
Clip by Creative Light

Cocktails, Drinks, Night Out, Club
Clip by Omri Ohana

Fabric, Linen, Texture, Cloth
Clip by Via Films

Hills, Dress, Elegant, Stylish
Clip by Morten Lovechild

Foot, Surfer, Sea, Beach
Clip by Matic Oblak

Residence, Home, Real Estate, House
Clip byHugo Will

Eye, Futuristic, Tech, Hud
Clip by DAVLEHA

Prompt, Conditions, Terms, Internet
Clip by Bruno Tornielli

Soft Power — The Untold [In Medias Res]

Soft Power – The Untold [In Medias Res] Short Film

Synopsis:

In a league built on image and power plays, truth seeps through the cracks.
Manny, a janitor with no reason to lie, claims to have overheard the conversations that could unravel it all. But Manny is an unreliable narrator—and in this game, even the truth sounds like fiction…

Narration channels the cadence of Charles Bukowski—gritty, raw, unapologetic—setting the tone for Manny’s untold truth.

Disclaimer: Any names, characters, businesses, places, events, or incidents depicted in Soft Power – The Untold are fictitious. Any resemblance to actual persons, living or dead, or actual events is purely coincidental. This work is created solely for entertainment and conceptual art purposes and does not intend to depict real individuals or organizations.

Manny (The Janitor) is portrayed as an “Unreliable Narrator” — a recognized literary device that intentionally blurs perception and truth within the story.

Story, Narrative, Conceptual Art © 2025 E Maria Shelton Speller
All rights reserved. This includes all conceptual art, narrative, dialogue, and story elements contained within this project. Unauthorized reproduction, distribution, or adaptation is prohibited without explicit written permission.

Creative Platforms & Tools:

Artlist.io – Licensed music and sound effects
ChatGPT (OpenAI) – AI-assisted scriptwriting and narrative development
MidJourney – AI-generated concept imagery and character visualization
iMovie – Video editing and sequencing
Canva – Graphic design and text treatments
ElevenLabs – AI-powered voice narration
Other Production Tools – Standard video/audio processing and conceptual design tools

Music:

Sunshine Rider – No Backing Vocals
Song by Dor-c

Savage Shadows
Song by Semo

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Soft Power

Soft Power — A Speculative Thought About Basketball, Ego, and the Unspoken Code
Series: Under the You Left Her There Umbrella

Editorial

Title: Soft Power
Subtitle: A Speculative Thought About Basketball, Ego, and the Unwritten Code
Series: Under the “You Left Her There” Umbrella

What if the silence that followed Angel Reese being shoved to the floor wasn’t submission?

When it happened in the Fever-Sky season opener—and the crowd cheered—it felt like something broke. Not just skin against hardwood, but spirit. And when the league, the refs, and the media said “move on,” what they really meant was: swallow it.

But what if that silence was strategy?

We’ve seen this before. Kobe Bryant once iced out his own teammates to send a message. LeBron James disengaged during losses to make the front office sweat. Diana Taurasi? She skipped the WNBA entirely and went overseas when the league didn’t get it right. These weren’t meltdowns. They were controlled burns. Power plays executed with calm precision.

The WNBA built a superteam around Caitlin Clark. The Sky dismantled one around Angel Reese. They fired Teresa Weatherspoon—her trusted coach—and hired a rookie, Tyler Marsh, who appears more figurehead than tactician. GM Jeff Pagliocca  — who didn’t draft Angel — seems to be running the show. The leadership isn’t building around her. They’re boxing her in.

Now the Sky are 0–2, with double-digit losses, no rhythm, and visible dysfunction. And Angel?

She’s playing through it. Quietly. With restraint.

Some say she looks lost. Others say broken. But maybe she’s neither. Maybe what we’re seeing is soft power: the ability to resist by not giving them what they want.

Maybe she’s letting the system collapse under its own weight.

And maybe, when the moment is right, she won’t raise her voice. She’ll raise the standard.

Copyright © 2025 Conceptual Art and Narrative, E Maria Shelton Speller

This editorial is a speculative opinion piece. All claims are based on publicly available information and do not assert personal intent. It is published for commentary, analysis, and discourse.

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ProtectAngelReese #WNBAAccountability #NoMoreAntiUs #BlackWomenDeserveBetter

#WNBAViewership

@wnba and @wnbpa (Women’s National Basketball Players Association)

Bars and Verses for the South Side [Short short]

A lyrical reflection written in counterpoint to Kendrick Lamar’s “The Blacker the Berry” — part protest, part prayer.

TRƎNCHƎOԀ⅂Ǝ
https://www.trenchpeople.com/black-2/bars-and-verses-for-the-south-side/

[EXPLODE]
https://emariasheltonspeller.com/2015/07/10/bars-and-verses-for-the-south-side-inspired-by-kendrick-lamars-the-blacker-the-berry/

UrbanTripper Studio
Check out our White & Black Collection of wearable art.
https://www.etsy.com/shop/UrbanTripper

[Like a great tee, you forget you’re wearing it; and when pilgrims remind you, it’s like a burst of serotonin, again and again…]

Music:
Moza Kaliza, “Eyes”
https://artlist.io/royalty-free-music/song/eyes/134586

SFX:
Lukas Tvrdon, Open and shut plywood door, cellar
https://artlist.io/sfx/track/open-and-shut-plywood-door-cellar-/23098

Clips:
Arthur Cauty, Cassette, Tapes, Cassette Player, Audio
https://artlist.io/stock-footage/clip/cassette-tapes-cassette-player-audio/642673

Thomas Gellert, Vintage, Screen , Code, Text
https://artlist.io/stock-footage/clip/vintage-screen-code-text/190611

Omri Ohana, Pyramids, Masonry Structures, Desert, Giza
https://artlist.io/stock-footage/clip/pyramids-masonry-structures-desert-giza/617769

Imagery Generation:
MidJourney

You Left Her There — The Bounce You Didn’t Hear

You Left Her There

An Open Letter by Trenchpeople.com
May 17, 2025

Empathy takes time. Most of us aren’t born knowing how to reach for someone when they’ve been knocked down.

But institutions? They don’t need time.

They need pressure.
They need metrics.
And above all—they respond to risk.

So when Angel Reese was shoved, provoked, and penalized under the spotlight during the Indiana Fever vs. Chicago Sky opener, the WNBA made its calculation.

They didn’t issue a statement.
They didn’t clarify the officiating.
They didn’t condemn the crowd.
They didn’t stand beside her.

They watched the clips go viral.
They saw the backlash build.
And they chose silence.

That wasn’t a communication gap. That was market behavior. And it was also a moral failure.

This wasn’t about a game. It was about what the league is willing to protect—and who they’re willing to let stand alone.

Angel Reese is not a controversy. She’s a platform. She drives views. She lifts ratings. She expands audience. She makes this league profitable.

But when her presence threatened the illusion of neutrality—when her experience forced a public stance—the WNBA flinched. They issued symmetry instead of justice.

And that is the tell.

When everyone gets punished, no one gets protected.

Let’s be clear:

This generation of Black American women fans? We are not infinite. We are not emotionally loyal to institutions that are strategically indifferent to us.

We are watching the pattern.
We are watching the positioning.
We are watching who gets defended and who gets fed to the noise.

And we are not confused.

The WNBA built itself on empowerment campaigns and borrowed clout. It sells authenticity while quietly disciplining it. It markets confidence but cannot manage the backlash that confidence attracts.

That’s not oversight. That’s the ceiling.

You want the culture without the cost.
You want the moment without the meaning.
You want the market—but not the mirror.

Here’s what you need to understand:

When you leave Black women unprotected, you are not just creating distance. You are creating rejection. And that is not a branding issue. That is a business problem.

The silence was noted.
The decision was made.
And what you’re losing now isn’t just fans.

You’re not just losing trust.

You’re losing the only audience that ever made you relevant.

#YouLeftHerThere #NoMoreAntiUs #Trenchpeople #ProtectAngelReese #MoralFailure #MarketBehavior

Copyright © 2025 E Maria Shelton Speller. All rights reserved.

____________________________________________________

We initially prepared this letter for Essence, but after jumping through more hoops than felt necessary, we decided to share it here—on our terms. This message doesn’t need gatekeeping. It doesn’t need packaging. And it’s not a pitch. It’s a response. So we’ve published the original letter alongside You Left Her There, right here on trenchpeople.com—where it belongs.*

Title:
You Left Her There

By Us| For Essence

When I knock someone down—on purpose or by accident—I pick them up. That’s how I was raised. That’s how I understand responsibility. That’s how I understand being human.

So when Angel Reese got shoved, provoked, and then penalized, the expectation was clear:

She would get up on her own. And say nothing.

That’s what’s expected of Black women in this country. Fall with grace. Bleed quietly. Recover without disrupting the system that harmed you.

Angel didn’t just take a hit on the court. She took one from the structure—from the officials, from the silence of the league, from the weight of a moment that told her: we’ll market you, but we won’t protect you.

This isn’t about trash talk or a rivalry. This is about a political arrangement that uses Black women’s labor, voice, and excellence—and then disappears when we’re targeted. Not just dismissed. Not just misrepresented. But exposed—for the crowd to watch and judge and distort.

There was a moment—when Angel stood there, singled out and penalized—when the league could’ve said, This isn’t who we are. But they didn’t.

They froze.
They measured.
They chose neutrality over truth.
And they left her there.

What does it say when a player is visibly targeted, and the system responds with symmetry? What does it say when a league known for progressive branding decides that punishment is easier than protection?

It says Black women are safe here—until it’s inconvenient.

It says: you can build the league, carry the ratings, drive the culture—and still be seen as too much, too loud, too visible when something goes wrong.

We are not new to this.

The politics of containment are older than the league itself. Angel was expected to take the foul, take the heat, and keep smiling—for the sponsors, for the press, for the game.

But let me be clear: no Black woman should have to smile through erasure.

Not again. Not here. Not on May 17, 2025.

Not while carrying a league that built its momentum off our backs.

Angel was left standing in the middle of a storm, expected to hold composure as the system quietly closed its doors. We’ve been there. In boardrooms. In classrooms. In hospitals. In airports. On stages. We’ve stood alone while institutions that used our image went silent when it counted.

So this piece isn’t just about Angel. It’s about all of us who’ve been pushed down in public and then asked to get up in private, with grace, as if grace should be policy.

No. Policy should be policy. Protection should be the rule—not the exception when the cameras are rolling.

Angel didn’t fall. She was left.

And if the WNBA doesn’t understand what that moment means—doesn’t act on it now—it won’t just lose the trust of one player.

It will lose us.

*I don’t know if I’m satisfied with the ending…

POV — The First Time They Heard James Brown — Live at the Apollo

Live at the Apollo is a live album by James Brown and The Famous Flames, recorded on October 24, 1962, at the Apollo Theater in Harlem, New York City. Released in May 1963, the album captures an electrifying performance that has become a milestone in music history, renowned for its raw energy and profound emotional impact.

About the Narrative:

“This Is Not a Trailer — for a  POV”

The POV is yours
You assign meaning and value
The beginning and ending
The POV is yours

Though I would argue
IF is fiction
If never happened
If doesn’t matter
Should have would have could have been make believe

Fantasies
It is what it is is real
and sentences that begin with
I think, I thought, I know what you’re thinking
I believe
are movies in your head

What’s happening now is real
The POV is yours… bon appétit

Copyright © 2024 E Maria Shelton Speller

James Brown performing live at the Apollo Theater, 1962

Background

Defying skepticism from his record label about the commercial viability of a live album, James Brown financed the recording of Live at the Apollo himself. The album showcases not only his dynamic stage presence but also highlights the seamless collaboration with The Famous Flames—Bobby Byrd, Bobby Bennett, and Lloyd Stallworth. Their harmonious vocals and vibrant performances were integral to the night’s success, though they were often overshadowed in historical accounts.

The Performance

The album features a continuous flow of songs, blending into one another to create an immersive experience. The music defies strict categorization, transcending genres to deliver something universally resonant. Each track is executed with impeccable musicianship, stirring emotions that release dopamine and serotonin, leaving listeners with a profound sense of exhilaration and connection.

Reception and Legacy

Upon its release, Live at the Apollo achieved unexpected commercial success, reaching number two on the Billboard Pop Albums chart and remaining there for 66 weeks. Critics praised the album for capturing the essence of a live performance without the enhancements of studio recording.

In 2015, Rolling Stone magazine ranked it as the greatest live album of all time, a testament to its enduring influence. The album continues to inspire artists and captivate audiences worldwide, bridging generations and cultures without the confines of musical labels or stereotypes.

Cultural Impact

The performance at the Apollo Theater holds a significant place in cultural history. It represents a moment when music brought people together, transcending social and racial barriers of the time. The album’s ability to evoke deep emotional responses has solidified its status as more than just a recording—it’s a timeless piece of art.

Recognition of The Famous Flames

Recent retrospectives have sought to give due credit to The Famous Flames, whose contributions were vital to the performance’s impact. Their synergy with James Brown added layers of depth and excitement, making the live experience unforgettable.

Modern Tributes

To introduce this masterpiece to new audiences, contemporary projects have reimagined the experience through visual media. One such tribute is our own “POV — The First Time They Heard James Brown — Live at the Apollo,” which offers a fresh perspective on each song, capturing the intensity and emotion of the original performance.

Conclusion

Live at the Apollo remains a monumental work that transcends musical categories. Its enduring appeal lies in its ability to stir profound emotions and connect with listeners on a fundamental human level. The album stands as a testament to the power of live performance and the timeless artistry of James Brown and The Famous Flames.

References

Rolling Stone Magazine. (2015). “The 50 Greatest Live Albums of All Time.”
Wolk, Douglas. (2004). Live at the Apollo. New York: Continuum Books.

External Links

Official James Brown Website
Live at the Apollo on AllMusic
Apollo Theater History

Credit

Skrxlla – Big Time — Stripped Version
Marzio Mirabella — Town, Houses, Carloforte, Curtain
Zafar — Italy, Vacation, Summer, Puglia
Piotrek Naumowicz — Woman, Living Room, Smartphone, Phone
Michael Omonua — Kids, Dancing, Village, Africa
Trzykropy – Trainer, Ballroom Dancing, Dark Studio
Pink Pelican Studios — Beautiful Young Woman Sleeping Dreaming and Flirting in Bed
Omri Ohana – Cars, Driving, Tunnel, Road
Thomas Gellert – Painting, Colors, Art, Oil Paint
MXR Productions — Subway, Fear, Chasing, Following
Via Films – Steam, Smoke, Rising, Engine
Will Niava – Sitting, Car, Dreadlocks, Rasta
Phong Croco – Motobike, Driving, POV, Motorcycle
Seffy (Joseph) Hirsch – Train, Bridge, City, Nighttime
Thomas Gellert – Graffiti, Vandalism, Abandoned, Decrepit

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Dreamscape’s Istanbul

A Valentine for Angela (for Angela Davis, George Jackson and The Black Panther Party)

When you see Angela
Give her… this Valentine

Tell her

No code of morals

Or pastoral sermons of redemption

in bastions of struggle

nor private language

Or puritanical divinity

from the tyrannical gatekeepers

of black consciousness

in Baptist Churches

Where the house of God

like the people are falling

and bibles are missing

countenances are broken

and carriages are bent

on Grandfathers

huddled like old horses

in Chapel basements

can keep her locs from draping

my thrilled skin

I felt the linguistics of freedom

without right-wing caveats

and the sophistical footnotes

of kept intellectuals

when Black Power waxed

the center of my tower

and the bottom of your well

farther than this cell

and closer than holding you

in my arms now

I found the status quo

on endless streets with names

and no names

we neglect or accommodate

In a sound dream

on spots

we smother

or straddle

we are a sexual coterie

I wanted to indict you for voluntary servitude

buying part and parcel of our own existence

like exploitation bought and exploitation sold

back to the exploitable…

With a shameless display

of unnecessary needs and haughty miens

napping, unconscious, and folded

Like Black parents

who cannot recognize their children

Hiding inside androgynous clothing

Reciting the lines of criminal poets

perverting language that appeals to them

Black Panthers in proletariat-drag

When Heidegger said

The dreadful has already happened!

Tell her…

Huey

is an effete dilettante

living life inside a penthouse

longing to be outside in the cracker box

raping after he was free

Down with the masses!

Up with the bourgeoisie!

Eldridge

came to the Party shouting

“I am a rapist!”

“I [am] a patriarch!”

Power was not concept

abstract or privilege for Eldridge

His last contribution

will be the design

of cock pants

And Bobby

is a politician

with idealistic intentions

running for the Mayor of Oakland

loyal to the Patriarchs

that bound and gagged him

in the courtroom

Elaine Brown

confused pussy with power

will deny

Huey beat her down

and ran her out of town

in her red Mercedes Benz…

Hide your guns from Jonathan

My brother is poised for Fatalism

Suicidal ideations are necessary considerations

when voluntary death is a blow against

excessive regulations

The gun…

is justification

for the enigma

of an absurd existence

when God is dead

like Nietzsche and Sartre said…

and heaven is empty

When you see Angela
Give her… this Valentine

Your status in the ballroom

on that intellectual runway

does not resemble

the place we found

Bring me back from Limbo…

Your breath is shallow

Your pulse is faint

The ring is dark

The tower is steep

The well is deep…

Are you coming too?

I am waiting

in this din

pacing the floor in my 9 x 4

in absolute solitude

wanting

you, you, you,

again…

Copyright 2004, 2015, 2021 E Maria Shelton Speller.  All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Twenty Twenty-One

 

Fun Espresso

 

 

Egad, the Casbah in Santa Barbara

Part of the fun is the embrace of perfume

Cafe Angelica Emerald Crème

A sabbatical delay waiting to be served

A ceremonial promenade hunched over gazettes

Unwelcome raindrops splatter the canvassed toes of my shoes

Thus the au courant cartoons on my stringy denim knees

Inside at last, I’m saved and Mocha Berry satisfied

Like the face of the fretless little girl

Blowing candy off the floor in her mouth

Clicking up and down in shoes too big for her feet

Stealing glances at an intellectual jerk

Chocolate Cherry satisfied between deep banter

With a friend floating in Vanilla Colada

Part of the fun is real references to books

And book references to real well read attitudes

What’s the shiniest patented leather flats

On the girl with the silkiest blonde hair

Doing with the darkest man

In Dreadlocks and Birkenstocks?

No talk between them

Then they’re sharing the table

Those lined outside will share tables too

The Raspberry Almond can sit with me

Keeping the beat with an aggravated drum lead

His body twitched with jazzy guitar licks

He smiled between the plugs in his ears

And faces fade into a mirror in the back

Part of the fun is waking up here

In an essay on spice and circumstance

A sabbatical renewal once more

On a regional affirmation of decadence

This day of rest I worship Santa Barbara

And the celestial trip I straddle

To be able to dry my canvassed toes

With the heat of Golden Pecan

And the fervent chill of observation

In my sanctioned Casbah

In my sabbatical home

I hold my head up

My cup runneth over

Reading books and people vicariously

Egad, I am dry and satisfied

 

© 2002, 2020 E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Yellow Tape [A Memoir]

Author’s Note:  The following excerpt is from the book titled, Yellow Tape [A Memoir] coming in the summer of 2021.

Prologue

I don’t believe in coincidence. I believe in synchronicity.
We were meant to be – because we happened.

We took shelter in dark closets and screamed like tiny Sirens until our eyes were bloodshot and bulging, our ears ringing, our faces slick in tears and mucus, and our legs were covered in urine.  Chaperones in an obliged competition for who could scream the loudest and longest interval — to stop MaMommy and MaDaddy from fighting again.  We were toddlers.

When there was silence – except for the tinnitus in our ears, our eyes blinked for sound and with unclenched fists we dried our faces with the palms of our hands and the cuffs of our pajamas.  Sometimes we looked to each other for muted answers – our eyes suspended like question marks. 

I was two years older than my sister, and much taller. I reached for doorknobs above our heads —   I slowly turned. We peeked through the crack of light in the door.  If the crack was too narrow and my sister couldn’t see behind me, she would get down on her knees and look under the door for shadows.  We had this routine, you see.  If we heard our Mother moan, I would shut the door again — quietly.  We squatted on the floor close to each other for comfort and embraced our knees like pillows against our chests and waited interminably.  Twin hearts beating in sync. 

I can’t remember when, or how, or who rescued us from the closets… we may have rescued ourselves, quickly scurrying on bare feet to the bedroom we shared.  Success was silence, and when there was silence, we were safe.  We never looked for our Mother. She didn’t want to be found.

The next morning, my cheerful Mother would fix our favorite breakfast.  Pancakes and bacon and sometimes scrambled eggs.  We loved sugar, so we smothered our breakfast in Aunt Jemima syrup.  With care we looked for signs of injury to no avail. What were we crying about, after all? A tacit agreement that we were silly little girls worrying over nothing.

But we had so many questions. What happened? Why aren’t you sad? What can we do for you?  Was it our fault? Did we do something wrong? Why was MaDaddy so mad? Did he hurt you?  Do you love him?  We always settled for, may we have more syrup, please? 

I huddled over my breakfast once to hide the stain of a teardrop in my syrup. My Mother said, “Don’t cry.” as if crying was unnecessary, inappropriate, and a violation of her privacy.  Strong girls don’t cry. So we colluded with our Mother and pretended the incidents never happened, and drowned our pancakes in syrup, swallowing quietly, staring straight ahead, wearing our happy faces, our lashes blinking in accord and swung our legs under the table. It was a quiet ritual and the feelings were always the same. My sister and I learned early to swallow our feelings like pancakes, smothered in syrup.

******

I know pain in a vacuum and how hollowness and emptiness can coexist, like a moon that blocks the sun. This morning was metallic like the quicksilver mercury a classmate shared on the playground in a secret show and tell.  It was one uncontrollable morning that moved without impediment. 

It was my sister’s 10th birthday. My mother was standing at the stove scrambling eggs in her night gown. Out all night, my Father burst into the kitchen. With five children at the breakfast table, he grabbed my Mother by the neck and at the same time pulled open the kitchen drawer grabbing the big knife without looking… as if it were placed there specifically for this one morning. 

I bolted from the kitchen on the heels of my Father dragging my Mother out of the kitchen… but somehow, she broke free… running and begging, Honey please, please, I love you… she ran, but not far before he slashed her right buttock with the knife, and I saw white meat… White meat! I ran for help! 

I left my Mother. I left my siblings trapped in high chairs, and screaming over bowls of Sugar Smacks… I felt my sister on my heels… we ran down the winding stairs, screaming… determined… pleading, the horror… the mortification!  What is going on? What is happening?  Call the police!  Call the police!  But my Aunt, my Father’s sister, called a sibling, a brother for guidance… Call the police!  I screamed.  I couldn’t stop him.  What was I to do?  My Mother never wanted to be found…

“Call the police!” I demanded over and over again.  She didn’t.  Instead she locked herself and her daughters in the bathroom… and my sister followed her there.  They barricaded themselves… and I faced him squarely… Pugilists without gloves, without tape, without corners… “I hate you!  I hate you!  You killed my Mother!  You killed my Mother! I hate you.” I screamed repeatedly.  

He hit me.  A Pugilist hit me in the head.  My knees buckled.  I didn’t fall.  He hit me again.  My knees buckled, but I didn’t fall.  I would not fall.  He reared back and hit me with a roundhouse punch a third time.  Boom like Forman punched Frazier.  My feet left the floor.  I sailed across the room and landed behind a Settee… the back of the chair toppled over with me — and behind the chair I peed on the floor and it ran like mercury.  I sat in it and looked up at my Father doe-eyed and mortified.  With the back of the chair in my lap I thrashed like a deer hit by a car on the side of a road looking for grace. I don’t know why he came downstairs or who he was looking for.  He found me. At 6’ 3’’ he loomed in the doorway like a dark ghost fading up the stairs with the footfalls of an athlete and the precision of his occupation: meat cutter.

I mustered the courage to follow him… Determined I climbed gingerly up the stairs that reminded me of every corner and crack in the doors of those closets my sister and I hid in when we were toddlers, but this time I was alone.  

At the top of the stairs, I turned the corner, and my Father was in the mirror in the bathroom cocking a brown suede fedora on his head.  He was wearing a brown silk walking suit and brown suede shoes.  I didn’t know where my Mother was.  I was awestruck. He was beautiful.  Fate would have my Mother behind me watching me watching him.  I wondered how he could be so cruel, so vain, so cold, so calm, so cool.  He didn’t see me, or perhaps he did.  I didn’t look for my Mother.  She didn’t want to be found. 

Quietly, I retreated back downstairs and waited for the Police. I left my Mother.  I left my siblings. My sister and my Aunt were still locked in the bathroom, and my uncle had not arrived even though my Aunt called him for advice.  Instead, he called the Police.  The Police finally arrived, a paddy wagon behind them.  A paddy wagon for my Mother!  Not an ambulance. 

At 12 years old I was indignant.  I knew my Mother was not to be treated like a criminal and a paddy wagon was not appropriate for her!  My Father should be in the paddy wagon!  She was the victim, she needs a Doctor, she needs help, sympathy and proper care.  How would they even secure the stretcher in the paddy wagon?  They were in the house and up the stairs before I could finish my thoughts.  My Mother was carried back down the stairs, and because she always wanted to protect her children, she asked the Police to cover her bloody head so her children could not see what would taint her maternal code of propriety, only her children understood.  

My Father was escorted down the stairs like a hero… a god.  He was a star.  No handcuffs… It was as if the Boston Police knew and respected him, and were impressed with his walking suit, his fedora, and those brown suede shoes.  The crowd cheered him!  By this time, my Aunt and sister stood behind me. We peered through the curtains at the crowd that gathered to witness the death of my Mother and someone, a young woman pointed at me in the window and shouted, “Look!  She looks like a monster!’  Quickly, we closed the curtains and retreated to our separate corners.  My aunt gathered the bearing she hid in the bathroom, now on full display and my sister and I shared a gaze and we knew we would never share a closet again. 

I had a concussion.   No Doctor examined me.  It wasn’t confirmed by the authorities. I bargained with God between crying jags until I fell asleep over and over again. My face, my eyes, and lips were swollen and lacerated.  My family walked around me as if they would not see me — except to offer soup, and then I would remember why I grieved, why I lay in the same spot on the same couch and again I would cry myself to sleep.  They left me there until my eyes were no longer swollen, no longer bloodshot, and my lips were no longer bruised.  Traumatized. My eyes didn’t blink, and they left me on my own.  That was perhaps the most generous thing they could do, sans calling the authorities to rescue the catatonic child, and putting the son and brother at risk.  He was jailed without bond.  I saw a snippet on page 10, or perhaps it was page 2, in a little box at the bottom of the page hidden in plain sight, “Colored Man Attacks Wife with Meat Cleaver.” 

We gathered ourselves by degrees.  I heard snippets of conversation.   My Mother was alive… She lost so much blood she needed transfusions and they reached out to other jurisdictions as far as Florida. We had to go to the welfare office for assistance and were instructed by my Grandmother and Aunt to dress down to look poor and pathetic…  We dressed in a manner that my Mother would never abide for her children. I overheard a constant refrain. My Mother “… must have done or said something.”

They said a man called my Mother on the only phone in our Victorian house – my Grandmother’s phone on the first floor.  Another of my Father’s brothers, told my Father a man called my Mother and chided him to do something!

I was alone in an abyss of violence justified by hostility, doubt, and betrayal.  I was convinced they didn’t like my Mother, or me for that matter.  My breath was alien, angry, staccato.  My Father slashed my Mother’s right buttock and left random slashes on her back.  He broke her arm, he cut her skull… and finally, and this was a first — he scarred her face.  A crescent moon on her cheek – the symbol for a new beginning.

Because of the institutionalization and practice of The Rule of Thumb, women in Massachusetts endured domestic violence. It was incumbent on women to press charges.  The D.A. begged my Mother to file criminal charges against my Father.  My Grandmother begged her not to file charges against her son.  My Father begged her not to file and guaranteed he would never harm her again.  My Mother did not file charges. 

The yellow tape was removed from the door.  We cleaned the blood and flesh off the floor and the walls, and discarded bowls of cereal abandoned and calcified in sour milk like the bark of a tree my Father fashioned into a lamp, and filled the space with children tethered and tripping over yellow tape that tangles as they grow taller.

My Mother came home wearing a shield of armor – a cast. White, clean, no graffiti.  She was proud of that cast – a symbol of survival – of an accident.  We were so happy!  Our Mother was alive, and even more beautiful than before!  I remember my Mother lying in the center of her bed surrounded by her children.  One of my siblings ran his hands through her hair, and she scolded him, “Don’t do that.”  The polar opposite of “Girls don’t cry.”  Don’t make a girl cry.  Don’t avail yourself to her body.  Don’t break her skin.

My Father stopped by. They had an announcement. He was coming home.  My sister and I were bewildered, and disappointed but always respectful; however, upon that announcement, I slowly rose from the floor and walked away without explanation or hesitation. 

This time my sister followed me up the stairs to our bedroom in the attic.  Not long after walking away from them my Mother did something she rarely did – she came upstairs to our bedroom.  She sat on the edge of my bed and gingerly told me my Father said, he hit me because I was hysterical.

I am not a monster!  I am not a monster…  It’s more complicated than that.

 

Copyright © 2020 E Maria Shelton Speller

 ________________________________________________

Edited by Brahidaliz Martinez

_________________________________________________

We loved Anthony…

Artist Statement… Unfettered Birds (WIP)

Introduction

My work explores the relationship between what is real, and what is unreal.  With influences as diverse as Yukio Mishima’s Onnagata and 2001: A Space Odyssey.  Where words are illusory and freedom is real, and brick and mortar is a wasteland — for mortal dreams and nightmares.

Where categories don’t matter, and you are god… the god of your dreams.  My work is a journey – from the perspective of the young prince and princess in Hollywood, Dubai, the Great Caves, and Capote… Where freedom rings supreme and the fiction in your mind comes true — for real.

We launched Dreamscape in a glass cocoon — opaque me and transparent you.  Content is buried there — over black people, white people, red people, yellow people, brown people, rich people, poor people, and melancholy.  Inside pods power is fetish, and fashion is an avatar.  My work explores the freedom to be who we are — dreaming unfettered in space — birds…

 

TRENCHPEOPLE.COM

 

Copyright 2020 E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Love Divine — Opens

 

PREMIUM CONTENT

 

Love Divine — Official Release Date

 

PREMIUM CONTENT

Directing the Master Scene in the Mirror

 

We’re standing behind you

The window is your mirror

We‘re filming your reflections

 

In the window

You can see

The teardrop on her cheek

The other tear — is in your hair

Reach up and wipe the tear

 

With your thumb

Roll the tear on your fingers

As if water — is on the wings

of a butterfly_

 

Now, your face is dry

You point and say something

Insignificant like

“See that gas station down there.”

 

Vignette for Love Divine.

 

Copyright © 2018 E Maria Shelton Speller

 

 

 

Woodstock! (WIP (x Bars)) [Reserved][Reserved] 3.0

Overture:  Woodstock is an ensemble.  There are two voices and the beat in this WIP… the Narrator’s voice, Hitchcock’s, and “That Yoni” by JuseBeats!  

 

In a walk through Whole Foods like Hitchcock

In his magnum opus

about a world… full of extras

in architectonic loops and links, alliteration and reverie, force, ballast, fancy partitions, linear renderings, systems of reckoning and more — of her

 

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

He nods

 

I’m  thinking

Disappointed… in us!

[There’s no other way to say it — I can’t dress it up]

 

Caught between a slumbering scream and Vertigo

Cruising isles and isles of sweet and sour

People who think they are special

People who know they are not

People who wish they were

Impeccable

 

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

 

Whispers prologue

Guess what we did?

A Springboard!

A party of twenty

Three couples played before

winking and willing

shills playing in the round

Lovely trips on the Hill

in augmented VR

 

I’m thinking…

Baby boomers had their turn Woodstock!

Barefoot bell bottomed hippies

Denim sweeping the ground

[Reserved]*

[Reserved]*

 

Revolutionary hair —  fists in the air

Dragging us back in the mud

Blunt antiquity

Move on Woodstock!

 

Take your shades, caps, change and loose articles

Bombs in black holes!

[Where did you go?]

 

We should be sunning in the Bahamas

chilling on hemp swings and

chairs swiveling in immersive environments

Higher than kite fights

A soaring for points experience

 

Get off the ride Woodstock!

You had your turn — at freedom

Thank you

 

Exit signs are easy to find — look

The dragon is in the window

Freedom is accessible

Wonder is a trip

with walk through assistants

Dreams of power and prizes

Optional…

 

Fall out and Jack into

a walk through Whole Foods like Hitchcock

in his magnum opus

about a world… full of extra

architectonic loops and links, alliteration and reverie, force, ballast, fancy partitions, linear renderings, systems of reckoning — and more — of her… virtually surreal

 

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

 

Whispers song

We don’t want to feel we’re high…

We just want to think we’re high

in Dubai

 

We don’t want to feel we’re high…

We just want to think we’re high

in Dubai

 

Copyright © 2016 E Maria Shelton Speller. All rights reserved.

 

 

*I’ve toyed with a conundrum, for too long. [Reserved][Reserved] functions like a digital art installation in Woodstock! (WIP (x Bars)).  I could render [Reserved][Reserved] a mechanism – to catch That Yoni’s beat in perpetuity.  I could close the brackets with bars that fills your loins with blood.  I could leave redundant emptiness here — like tautology or romanticized art, or structural language — in this bifurcated space, like stars.

I could invite Poets to fill the empty bars for [Reserved][Reserved]

 

 

Woodstock! (WIP (x Bars)) [Reserved][Reserved]

 

Overture:  Woodstock is an ensemble.  There are two voices and the beat in this WIP… the Narrator’s voice, Hitchcock’s, and “That Yoni”.  See Side Bar by JuseBeats!  

 

 

In a walk through Whole Foods like Hitchcock

In his magnum opus

about a world… full of extras

in architectonic loops and links, alliteration and reverie, force, ballast, fancy partitions, linear renderings, systems of reckoning and more — of her…

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

He nods

I’m  thinking

Disappointed… in us!

[There’s no other way to say it — I can’t dress it up]

Caught between a slumbering scream and Vertigo

Cruising isles and isles of sweet and sour

People who think they are special

People who know they are not

People who wish they were

Impeccable

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

Whispers prologue

Guess what we did?

A Springboard!

A party of twenty

Three couples played before

winking and willing

shills playing in the round

Lovely trips on the Hill

in augmented VR

I’m thinking…

Baby boomers had their turn Woodstock!

Barefoot bell bottomed hippies

Denim sweeping the ground

[Reserved]

“Interrupting — The Star-Spangled Banner like

That Doors dude dizzy on Dewey Decimal”

Copyright 2017 by Tang

 

Gawd made them like him

they never met — ticks time

            Copyright © 2017 The Parthenon

The flag was a smoke screen over a grid

a chance to be — a white Supreme

Copyright © 2017 — Nudedcendg

They were diptychs, triptychs, and chapters…

The beginnings and endings… you can play too >>>

Copyright © 2017 E Maria Shelton Speller

Shut the fuck up

Sit the fuck down!

Copyright © 2017 by Donjoncity

[Reserved]

Revolutionary hair —  fists in the air

Dragging us back in the mud

Blunt antiquity

Move on Woodstock!

Take your shades, caps, change and loose articles

Bombs in black holes!

[Where did you go?]

We should be sunning in the Bahamas

chilling on hemp swings and

chairs swiveling in immersive environments

Higher than kite fights

A soaring for points experience

Get off the ride Woodstock!

You had your turn — at freedom

Thank you

Exit signs are easy to find — look

The dragon is in the window

Freedom is accessible

Wonder is a trip

with walk through assistants

Dreams of power and prizes

Optional…

Fall out and Jack into

a walk through Whole Foods like Hitchcock

in his magnum opus

about a world… full of extra

architectonic loops and links, alliteration and reverie, force, ballast, fancy partitions, linear renderings, systems of reckoning — and more — of her… virtually surreal

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

Whispers song

We don’t want to feel we’re high…

We just want to think we’re high

in Dubai

We don’t want to feel we’re high…

We just want to think we’re high

in Dubai

Copyright 2016 E Maria Shelton Speller

I’ve toyed with a conundrum, for too long. [Reserved][Reserved] functions like a digital art installation in Woodstock! (WIP (x Bars)).  I could render [Reserved][Reserved] a mechanism – to catch That Yoni’s beat in perpetuity.  I could close the brackets with bars that fills your loins with blood.  I could leave redundant emptiness here — like tautology or romanticized art, or structural language — in this bifurcated space, like stars.

I could invite Poets to fill [Reserved][Reserved]

“It is said that what is called “the spirit of an age” is something to which one cannot return. That this spirit gradually dissipates is due to the world’s coming to an end. For this reason, although one would like to change today’s world back to the spirit of one hundred years or more ago, it cannot be done. Thus it is important to make the best out of every generation.” ― Tsunetomo Yamamoto

and this…

“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” Albert Einstein

 

Girl Band of STEMs

my eyes

Girl Band of STEMs, is a lark, a careful ruse about a writer, who comments on her own stories. It is metafiction in a digital world. This, I would argue. The author writes a story about herself, writing a story about her Band, and the Band knows they’re in the story, about a story that interacts with you.  She writes a story, where her audience is her muse – may demand she change the ending, in an installation we build in space — for dreams, on a loop…

The Band asked me to write tags for my work. Tags!  But, opportunity or obstacle… the Muse is insatiable — until it works.  Poets know that tick, when everything becomes art – in a second glance. Woodstock, was absolute freestyle in a digital world. I worked on it for weeks… and wrote it Live one Saturday afternoon – five hundred revisions at least. Poets know that tick. I changed commas to periods and back again  – metaphors to imagery, slowed it down, sped it up. Reminisced. If you were there on that Saturday afternoon, Woodstock was a writer’s tick at work.   I wrote the hook on the 7th Street Bridge in DC.  Installed [Reserved][Reserved] when I lost my way.  Found the beat, marked the spot, and then it looked like a digital art installation, in spite of the implications — for structural functionalism in space. But, my muse is pissed…

Tag:  Yellow Tape [A Memoir]. “I don’t believe in coincidence.  I believe in synchronicity…

Tag: Woodstock.  A Band for Immersive Content.  A Woodstock Experience.

Tag:  The Foreword to Insomnia’s Istanbul — The Voice of an Unreliable Narrator in Medias Res:  Unlike the neighbors next door, who desperately moan for us all, in the back of a dolmus — sex is existentialismIt is earnest copulation, a period of decline in a carriage drawn by a wild-eyed spooked horse — and I hoped she felt the sharp turn, at the corner of the Soup Kitchen of Lady Nilufer, in her throat.

Tag:  Love Divine: Tadao bathes Tess in a black granite tub. Then he slips behind her like an ice cream scoop. Blood spills like a waterfall in a Japanese dream over the side of the tub. Red water on the porcelain floor looks like a strawberry swirl.

Tag:  Metafiction — [The Dollhouse] with the Red Corvette:  [Vous êtes contrarié parce que je suis sorti du lit. Ce n’était pas ce que tu imaginais – dans le film dans ta tête. Je ne peux pas aller aux toilettes, quitter la pièce ou fumer une cigarette. smh]

Tag:  Tagging Dystopia: [OdamnIwantedtheopportunitytocomefrommichelleO]

Tag:  Aristotle Michelangelo and Louis Picasso’s Parallel Discussions:  Come on baby.  All you have to do is dream — from the end of a pen.

Tag:  Luda’s Second Soliloquy — Miles Language II.  [Metaphor].

Tag:  [For The Purple One]

Tag: [The Life of Pie]  He thought/Big Blue was a deeper trip/Absurd space looked/Absurd from here/He looked around the virtual/And mad shouted/Who read the pieces first?/Anyone?/How did it ring?/How did it feel?/How did it resonate?/She said, I started at the slices/Chaos, straight out the gate/When Big Blue was just/The sky.

Tag:  Picasso The Bohemian (Les Demoiselles d’ Avignon) “…She told halcyon tales of life —  uninterrupted by death and chthonian sex — like the brazen whore in the fore — riding the fugitive cube — with the wasp waist and black aft — Eucharistic grapes, and the curl of the rind — pointing to glorious thighs — and with eyes in the back of her head — she watched the spectator off center… watching — Picasso The Bohemian — who lived in Barcelona — standing behind the curtain — wearing a mask

Tag: Explode [Am I awake, or are you a dream?]

Tag:  The Gaze (WIP)  I know I needed to stay in and listen to music like Paz did and avoid humans — he said, “To read a poem is to hear it with our eyes; to hear it is to see it with our ears.” Instead, I left my home and this is what happened…  Apparently, a new and poorly trained employee provided incorrect information over the phone. Consequently, I arrived unprepared, and had to return to my vehicle. Because, I had to return to my vehicle (in the rain) parked around the corner — I ultimately, received a ticket for expired meter!  A ticket.  What should have been a $26 transaction is now $76 in this crowded, greedy — unimaginative city!

Tag:  Directing the Master Scene in the Mirror.  It’s impossible to write poetry, without libido.  Without libido, there’s no passion and without passion, there’s no pluck.

Black Marnie

Looked like [Mardou Fox]

through Kerouac’s eyes_

Remember… those puffy lips?

Yakuza found her in Tokyo

and lost her — in the Philippines….

[Wait… There’s a surprise at the end]_

[Poets are Dreamers]

They stole Alexa
She had all the poetry

Yakuza chased her through Tokyo
to the Phillipines

Alexa, was everything to him
Cream like the color of his skin

Ahh, the poetry
He lost everything

Fell in love with a haunting hunt
Baby, come back to me

Copyright © 2017, 2018 E Maria Shelton Speller  All rights reserved.

Woodstock! (WIP (x Bars))

Overture:  Woodstock is an ensemble.  There are two voices and the beat in this WIP… the Narrator’s voice, Hitchcock’s, and “That Yoni”.  See Side Bar by JuseBeats!  

 

In a walk through Whole Foods like Hitchcock

In his magnum opus

about a world… full of extras

in architectonic loops and links, alliteration and reverie, force, ballast, fancy partitions, linear renderings, systems of reckoning and more — of her…

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

He nods

I’m  thinking

Disappointed… in us!

[There’s no other way to say it — I can’t dress it up]

Caught between a slumbering scream and Vertigo

Cruising isles and isles of sweet and sour

People who think they are special

People who know they are not

People who wish they were

Impeccable

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

Whispers prologue

Guess what we did?

A Springboard!

A party of twenty

Three couples played before

winking and willing

shills playing in the round

Lovely trips on the Hill

in augmented VR

I’m thinking…

Baby boomers had their turn Woodstock!

Barefoot bell bottomed hippies

Denim sweeping the ground

[Reserved]

[Reserved]

Revolutionary hair —  fists in the air

Dragging us back in the mud

Blunt antiquity

Move on Woodstock!

Take your shades, caps, change and loose articles

Bombs in black holes!

[Where did you go?]

We should be sunning in the Bahamas

chilling on hemp swings and

chairs swiveling in immersive environments

Higher than kite fights

A soaring for points experience

Get off the ride Woodstock!

You had your turn — at freedom

Thank you

Exit signs are easy to find — look

The dragon is in the window

Freedom is accessible

Wonder is a trip

with walk through assistants

Dreams of power and prizes

Optional…

Fall out and Jack into

a walk through Whole Foods like Hitchcock

in his magnum opus

about a world… full of extra

architectonic loops and links, alliteration and reverie, force, ballast, fancy partitions, linear renderings, systems of reckoning — and more — of her… virtually surreal

He wants

Beddo, Caprino, Dolce Sardo

Zufi, the Saperavi

Whispers song

We don’t want to feel we’re high…

We just want to think we’re high

in Dubai

We don’t want to feel we’re high…

We just want to think we’re high

in Dubai

Copyright 2016 E Maria Shelton Speller

“It is said that what is called “the spirit of an age” is something to which one cannot return. That this spirit gradually dissipates is due to the world’s coming to an end. For this reason, although one would like to change today’s world back to the spirit of one hundred years or more ago, it cannot be done. Thus it is important to make the best out of every generation.” ― Tsunetomo Yamamoto

and this

“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” Albert Einstein

Cheers! I would also like to thank 40K poets at heart (like us) on FB et al, who like and love, and laugh, and mislike this WIP!  Please pardon the broken link… We’re working on it.  However, this glitch is an opportunity to say thank you for being in this Writer’s Environment with me.  Happy Holidays and have a wonderful New Year!

Luda’s Second Soliloquy — Miles Language II

If I could write language

that speaks and points….

At trumpets

when the moon is tone

and the sun is sfumato

 

See… the chiaroscuro Supreme

[dream in hue]

magenta, chrome, cherry-white

[mixed with blue fugue]

Put-the-night to sleep!

 

See Sisyphus scorn

at amber headlights

in Paris dew

 

Skin seeking skin

and birds seeking

[the flutter of feathers]

ink… that runs like blood

on paper… that does not bleed

 

Contrapposto poets

succumbing to peaches

 

Dogs… suspended

like meat in Seoul

 

[In the dawn]

She comes home

the moon is a beat

the sun is trill…

 

Dada responds

to Surrealism

Hip Hop responds

to R&B

 

[The trumpet responds]

to me

bebop bebop bebop bebop blam!

Fa Falala…

 

Copyright 2004, 2015 by E Maria Shelton Speller.  All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Inspired by Miles Davis’ Bitches Brew and Zurich Dadaist Hugo Ball who according to Arnason’s thesis on Ball’s conventional language “had no more place in poetry than the outworn human image in painting, Ball produced a chant of more or less melodic syllables without meaning:  ‘zimzim urallala zimzim zanzibar zimlalla zam.’ “

Cowboys and Indians and Torture Stories (WIP)

We watched a lot of television

when we were children

Barbie and Ken went to the Theater

to see Porgy and Bess

I am reminded that we liked

“Torture Stories”

The medieval thumbscrew

Spartacus and the rack

Cowboys and Indians!

We rooted for the Indians

They were savages

and were portrayed so

When the Indians tortured the Cowboys

We liked it!  Remember?

Then there were “Slave Stories”

Black people looked nothing like us

Slaves were bad people

They deserved to be whipped

When Slaves ran from their masters

for the Underground Railroad*

We screamed on ivory soaped knees

“Catch that nigga!”

Running like those colored people

in the Civil Rights Movement

Before my mother told me rather plainly

You are Colored too

 

Copyright 2015 by E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

 

* “The entrance to the Underground Railroad remains unknown. After leaving our tunnel, slaves would try to make their way as far north as possible. There are no records as to who went through the tunnel or how many.”  First African BC Savannah, Georgia