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  • Got Jesus?, and: Plantation Blues
  • Aziza Barnes (bio)

Got Jesus?

is a sign I drive about 80 past on the highway to Tuscaloosa & my most immediate answer is no. A homie told me nobody needs Jesus, that dude just show up sometime & I take that loose gospel to the shooting range the sign is planted on. They shoot at crude outlines of a head shoulder chest with concentric circles smaller & smaller into the arteries deemed kill shots. I don’t know who they are & it’s worse not to see them. I’m deforested & arrested on the border of Quitman & Eden. I mean I sat still. & isn’t it rude a blk writer should employ the verb without police? I mean I swore when I was 18 I would fall in love slow dancing to Raekwon’s Heaven & Hell with worn out Christmas lights netted above our heads. I mean I wanted to know if we shared the same beliefs. Do we bounce, prayer hands wrought inverted on our backs inside a hell scape of wood marrow pews? Or is baptism, for you, a master’s house? You ain’t down to get evaporated? is a question I ask every potential life partner. & off Memory Lane is crucifixion practice with coke bottles & the imaginary body. I don’t got Jesus. I don’t know where his grandmama stay & he seem to rep anybody capable of falling out. [End Page 93]

Plantation Blues

last night I was asleep when a white dude climbed in my bed thru a door I had decidedly locked his arms goal posts sanctioned on either side of my head I want you I want you & I know the price of his desire if I say no I’m not speaking if I say no I am a farm yielding soybeans from each corner of my mouth & it’s dull this excursion through our inheritance plantation house blues sounding how it sounds reason why I’d rather feign ignorance to hip-hop in a crowd of new whites suggest a life exclusive to classical music that only bach had bars & I could avoid situations like this knowing whites feel welcome in my bed after conversations on music the connection to black profit renders me property & he hasn’t left yet he has a beard that appears to be swallowing his face & I’ve seen vultures the actual bird & not just the idea of the bird cower over what muscle is left of the land & I’ve seen crowds of birds fly in one direction for weeks thinking this is an event & not a season so unlike the way humans move as if everywhere is heaven & his breath climbs around my face porous & accommodating there is no surprise no chain pull from god to the back of his creation & his obvious intention I’d yawn but I’m asleep & he is so hungry it hurts to watch & I hear a white girl on the other side of my useless door scream doesn’t she know me? doesn’t she know who I am? & I decide I never want to let go of this white man I don’t want I’ll replant him until he gives me something useful & sell his parts by acre I’ve never seen hunger so ugly unnerving all my hinges [End Page 94]

Aziza Barnes

Aziza Barnes is blk & alive. Born in Los Angeles, Aziza currently lives in Oxford, Mississippi. Her first chapbook, me Aunt Jemima and the nailgun, was the first winner of the Exploding Pinecone Prize and published from Button Poetry. Her first full length collection i be but i ain’t, from YesYes Books is the winner of the 2015 Pamet River Prize.

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