Sojourn

IF 0.4 4区 历史学 Q1 HISTORY SOUTHERN CULTURES Pub Date : 2024-08-16 DOI:10.1353/scu.2024.a934710
Alexis Pauline Gumbs, Michelle Lanier, Johnica Rivers
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Chant the names you will need to remember. Pray for strength. Some of us write a list of days. Notify our loved ones. Give away our excess. But what you cannot know at the beginning of a sojourn is who you will be on the other side. This is what we want for you.</p> <p>We do not know how Harriet Jacobs—or for that matter Harriet Tubman, Sojourner Truth, or any other freedom-seeking formerly enslaved woman—chanted our names, planned for our daring recklessness, gathered seeds we would one day plant. We do not know specifically what Harriet Jacobs saw during her fevered dreams as she almost died in the garret above her grandmother's rat-invaded storeroom. What Tubman saw in her dreams the night before she woke up and said, \"My people are free.\" What Truth saw when she blinked and knew her name. But we do know that they committed to move from one state of being to another, even when that movement came through profound stillness. And we do know that their movement had an impact on us. The place we find <strong>[End Page 3]</strong></p> <br/> Click for larger view<br/> View full resolution <p><em>Luminous and Suspicious Person #4</em> by S. Erin Batiste, 2024. Mixed media collage, 9 × 10 in.</p> <p></p> <p><strong>[End Page 4]</strong> ourselves now. The place we lose ourselves constantly. This is where we meet you. In a multigenerational field of faith. A brave unknowing.</p> <p>And so, we hope that as you witness the gathered offerings, conversations, analytical texts, creative writing, and visual artistry here you will tarry and forget yourself. Find yourself in another possibility.</p> <p>When you sojourn \"In the Swamp\" with kai lumumba barrow and Lydia Pelot-Hobbs, will you remember that Harriet Jacobs slept among the water moccasins, hiding in a swampland, while her kin prepared a hiding place in the crevices of the home of (self-freed) Molly? Will you move toward what abolition requires without having to know what exactly you will personally lose?</p> <p>When you follow Beatrice J. Adams into \"Habitual Return,\" will you hold the possibility that each time participants in the Great Migration returned, they returned to a different version of the same place, as different folks? And you too may come back to the page differently, possibly with a different idea of what leaving is and what home can be for you and yours?</p> <p>When you stop at Jovonna Jones's \"A Rooming House for Transient Girls,\" consider that you do not even know what you will need where you are going and that you \"would be surprised\" at the sacrifices already made for your arrival.</p> <p>When you listen to Letitia Huckaby in conversation with Jessica Lynne about her photographic takeover of the courthouse near Harriet Jacobs's home in Edenton, North Carolina, where her family members and many others were declared to be property or free, will you consider your shadow? What if the spaces where you feel like a mere shadow of yourself right now are exactly the spaces you should take over? What if you forget about yourself while you listen as Letitia frees the shape of what we need to know?</p> <p>And can you hear it? The sound of Jet Toomer's words percussing through the page? It's the cadence of beads on braids on hot skies, flying from the uplifted heads of Black girls, a citified reenactment of country things, the choreography of a return to Black South kin.</p> <p>With Colony Little we are also carried to her maternal home places of North Texas, through portals of knowing unlocked by humidity, chigger bites, photographs, and questions that linger like the...</p> </p>","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2024-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"SOUTHERN CULTURES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/scu.2024.a934710","RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"HISTORY","Score":null,"Total":0}
引用次数: 0

Abstract

In lieu of an abstract, here is a brief excerpt of the content:

  • Sojourn
  • Alexis Pauline Gumbs (bio), Michelle Lanier (bio), and Johnica Rivers (bio)

Click for larger view
View full resolution

Luminous and Suspicious Person #1, by S. Erin Batiste, 2022. Mixed media collage, 9 × 10 in. All images from the Major Arcana series, which transforms early twentieth-century mugshots of Black women and girls (likely the only photographs from their lifetime), from the New Orleans Public Library archive.

[End Page 2]

SOMETIMES YOU CAN prepare for a sojourn. Plan your route. Gather resources. Train your breathing. Maybe you will visualize your success. Chant the names you will need to remember. Pray for strength. Some of us write a list of days. Notify our loved ones. Give away our excess. But what you cannot know at the beginning of a sojourn is who you will be on the other side. This is what we want for you.

We do not know how Harriet Jacobs—or for that matter Harriet Tubman, Sojourner Truth, or any other freedom-seeking formerly enslaved woman—chanted our names, planned for our daring recklessness, gathered seeds we would one day plant. We do not know specifically what Harriet Jacobs saw during her fevered dreams as she almost died in the garret above her grandmother's rat-invaded storeroom. What Tubman saw in her dreams the night before she woke up and said, "My people are free." What Truth saw when she blinked and knew her name. But we do know that they committed to move from one state of being to another, even when that movement came through profound stillness. And we do know that their movement had an impact on us. The place we find [End Page 3]


Click for larger view
View full resolution

Luminous and Suspicious Person #4 by S. Erin Batiste, 2024. Mixed media collage, 9 × 10 in.

[End Page 4] ourselves now. The place we lose ourselves constantly. This is where we meet you. In a multigenerational field of faith. A brave unknowing.

And so, we hope that as you witness the gathered offerings, conversations, analytical texts, creative writing, and visual artistry here you will tarry and forget yourself. Find yourself in another possibility.

When you sojourn "In the Swamp" with kai lumumba barrow and Lydia Pelot-Hobbs, will you remember that Harriet Jacobs slept among the water moccasins, hiding in a swampland, while her kin prepared a hiding place in the crevices of the home of (self-freed) Molly? Will you move toward what abolition requires without having to know what exactly you will personally lose?

When you follow Beatrice J. Adams into "Habitual Return," will you hold the possibility that each time participants in the Great Migration returned, they returned to a different version of the same place, as different folks? And you too may come back to the page differently, possibly with a different idea of what leaving is and what home can be for you and yours?

When you stop at Jovonna Jones's "A Rooming House for Transient Girls," consider that you do not even know what you will need where you are going and that you "would be surprised" at the sacrifices already made for your arrival.

When you listen to Letitia Huckaby in conversation with Jessica Lynne about her photographic takeover of the courthouse near Harriet Jacobs's home in Edenton, North Carolina, where her family members and many others were declared to be property or free, will you consider your shadow? What if the spaces where you feel like a mere shadow of yourself right now are exactly the spaces you should take over? What if you forget about yourself while you listen as Letitia frees the shape of what we need to know?

And can you hear it? The sound of Jet Toomer's words percussing through the page? It's the cadence of beads on braids on hot skies, flying from the uplifted heads of Black girls, a citified reenactment of country things, the choreography of a return to Black South kin.

With Colony Little we are also carried to her maternal home places of North Texas, through portals of knowing unlocked by humidity, chigger bites, photographs, and questions that linger like the...

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以下是内容的简要摘录,以代替摘要: Sojourn Alexis Pauline Gumbs(简历)、Michelle Lanier(简历)和 Johnica Rivers(简历 点击查看大图 查看完整分辨率 S. Erin Batiste 创作的《发光的可疑人物 #1》,2022 年。混合媒介拼贴画,9 × 10 英寸。所有图片均来自新奥尔良公共图书馆档案中的 Major Arcana 系列,该系列将 20 世纪早期黑人妇女和女孩的大头照(可能是她们生前唯一的照片)进行了改造。 [末页 2] 有时候,你可以为旅行做好准备。规划路线。收集资源。训练呼吸。也许你会想象自己的成功。吟诵你需要记住的名字。祈求力量。有些人会写一份日子清单。通知我们的亲人。捐出多余的钱。但是,在旅途开始时,你无法知道的是,在旅途的另一端,你会成为什么样的人。这就是我们对你的期望。我们不知道哈丽雅-雅各布斯--或者说哈丽雅-塔布曼、索琼娜-真理,或者其他任何一位追求自由的前被奴役妇女是如何为我们取名,如何为我们的大胆鲁莽计划,如何为我们收集有朝一日会播下的种子。我们不知道哈丽雅特-雅各布斯在她几乎死在祖母老鼠出没的储藏室上的车库里时,在她的狂热梦境中具体看到了什么。塔布曼在醒来说 "我的人民自由了 "的前一晚的梦中看到了什么。当她眨了眨眼睛,知道自己的名字时,真理看到了什么。但我们确实知道,他们致力于从一种存在状态走向另一种存在状态,即使这种运动是通过深刻的静止来实现的。我们知道,他们的行动对我们产生了影响。我们找到的地方 [第 3 页完] 点击查看大图 查看完整分辨率 S. Erin Batiste 创作的《发光的可疑人物 #4》,2024 年。混合媒介拼贴画,9 × 10 英寸。 [第 4 页完我们不断迷失自我的地方。这就是我们与你相遇的地方。在多代人的信仰中。勇敢的未知。因此,我们希望,当你目睹这里汇聚的祭品、对话、分析文章、创意写作和视觉艺术时,你会驻足停留,忘记自己。在另一种可能性中找到自己。当你与凯-伦巴-巴罗和莉迪亚-佩洛特-霍布斯一起在 "沼泽地 "逗留时,你是否会想起哈丽雅特-雅各布斯躲在沼泽地里,睡在水貂中间,而她的亲戚则在莫莉(获得自我自由)家的缝隙中准备了藏身之处?你会朝着废除奴隶制所要求的方向前进,而不必知道你个人究竟会失去什么吗?当你跟随比阿特丽斯-亚当斯(Beatrice J. Adams)进入 "习惯性回归"(Habitual Return)时,你是否会认为大迁徙的参与者每次回归时,都是以不同的身份回到了同一个地方的不同版本?而你也可能以不同的方式回到这一页,可能对什么是离开、什么是你和你的家有不同的理解?当你驻足于乔凡娜-琼斯(Jovonna Jones)的 "流动女孩的寄宿之家 "时,想想你甚至不知道你要去的地方需要什么,你 "会惊讶于 "为你的到来已经做出的牺牲。当你聆听莱蒂西亚-哈克比与杰西卡-林恩的对话,讲述她在北卡罗来纳州埃登顿哈丽特-雅各布斯家附近的法院进行摄影创作时,你是否会想到自己的影子?如果你现在觉得自己只是一个影子的地方正是你应该接管的地方呢?如果你在聆听莱蒂西亚释放我们需要知道的东西时忘记了自己呢?你能听到吗?杰特-图默的文字在书页中叩击的声音?这是辫子上的珠子在炎热的天空中的节奏,从黑人女孩高高扬起的头上飞过,是乡村事物的城市化重演,是黑人南方亲属回归的编排。通过《小殖民地》,我们也被带到了她母亲的故乡--北得克萨斯州,通过潮湿、恙虫叮咬、照片和萦绕心头的疑问打开的认知之门。
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
22
期刊介绍: In the foreword to the first issue of the The Southern Literary Journal, published in November 1968, founding editors Louis D. Rubin, Jr. and C. Hugh Holman outlined the journal"s objectives: "To study the significant body of southern writing, to try to understand its relationship to the South, to attempt through it to understand an interesting and often vexing region of the American Union, and to do this, as far as possible, with good humor, critical tact, and objectivity--these are the perhaps impossible goals to which The Southern Literary Journal is committed." Since then The Southern Literary Journal has published hundreds of essays by scholars of southern literature examining the works of southern writers and the ongoing development of southern culture.
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