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Remica L. Bingham
Spark - Spring 2007 



Remica L. Bingham, a native of Phoenix, Arizona, received her Master of Fine Arts degree in Writing and Literature from the Writing Seminars at Bennington College. She has attended the Callaloo Creative Writing Workshops and is a Cave Canem fellow. In addition to other journals, her work has been featured in 5 AM, New Letters, PMS, Crab Orchard Review, Gulf Coast, Mosaic, and Essence.

She is the recipient of the 2005 Hughes, Diop, Knight Poetry Award and was nominated for a 2005 Pushcart Prize. Her first book of poetry, Conversion, won the 2007 Naomi Long Madgett Poetry Award and was published by Lotus Press in January 2007. Currently, she is the Writing Competency Coordinator at Norfolk State University in Norfolk, Virginia.

www.remicalbingham.com


Patricia Smith on Remica L. Bingham as her Spark

Some women were just born to have a theme song, an
unflinching soundtrack that sweetens the air and moves when they move.

Whenever I'm in 'Mica's space, her signature lyric is there
too, clear and constant. It's a heady mix of low moan gospel, singsong
colored girl doubledutch rhymes and gutbucket Delta blues. It's that
music--her enviable grip on all the ways there are of being black and
female--that stamps her writing with such enviable style.

I'm continually amazed by her comfortable but uncompromising
grip on our language, the way she makes every story she tells feel
utterly necessary. She's our grandmama spinning one more tale about the
way it was "down then"; she's our mama spouting neighborhood gossip in
a Saturday morning chittlin' assembly line; she's the sister who
playfully tugs our nappy plaits and runs away, laughing.

Whenever Remica Bingham puts pen to paper, there's a snippet
of the music we were born listening to, the music some of us we spend
whole lives trying to write. There's a spark. And then, every single
time, there's fire.


 


Aunt Jemima Meets Her Namesake in a Dream
Job 42:12-15

 
I.
 
Imagined woman
they have given you my name,
misspelled and misplaced,
Mammy suited you better.
 
First second daughter of Job,
I came after the deaths, curses, boils,
the first child named in his line,
first woman he wouldn’t lose
at the hands of the devil.
 
We were a family granted
uncommon riches, more
wealth than you’ve seen
on any plantation.
 
But they have made you plain.
Your mouth widened and scarlet
like your ordinary headdressno crown,
no regalia sewn into your hair.
My garments bore fringes and Egyptian
blue thread. I wore no sash,
refused to be girded.
 
Why is your head
perpetually bowed?
Why whisper—Yes suh, Yes suh—
when no one is behind you
yielding a whip?
 
No woman smiles with lashes on her back.
Why are you stirring and singing?
 
 
II.
 
Imagine the beauty of my sisters
and I, unmatched by none.
Guards kept watch at my window,
stewards held men at bay near the gate.
 
I chose the hands
that strayed beneath
the folds of my skirt.
I wanted
 
the children of Israel
crowding my bones,
a man raising nations
with his hands and hips.
 
Men sat prostrate at my feet,
left the bed chamber chanting
my name. I was a prayer to them,
fashioned by an intimate God.
 
 
III.
 
Imagine the interpreter’s sin,
the wrath of a slighted God
 
they have misread the scrolls    distorted
‘blessing’    translated ‘servant’ as ‘slave’—
 
I was born into ten-fold riches,
adorned in onyx and gold   
 
and they present you to the world
at a fair, in a barrel, on a box
 
your hands covered in flour, face slick,
mouth clogged with oily speech
 
They have forgotten
the favor I was shown
 
My inheritance was the same as my brothers’
My legacy was not this
 
 
 
 
Birth and Burden , Scotland Neck, North Carolina , 1922
  
You are bearing the child of a man
who has given you nothing
but the fruitage of his devilish ways.
 
Even now—as his child
mangles your insides, as your teeth
find lip’s flesh—he is at a gambling house
in the backwoods, nursing his last lucky hand.
 
You are used to emptiness but still
reach out. He is miles away, cradling
a pot of dirty money filled by the others—
angry and itching—around the table.
 
As a fist rips your womb, he also suffers
a blow. Fresh blood races along his temple where a bullet
has skimmed past reason into night.
 
This and only this pushes him back to your marriage bed,
grunting when he spies his daughter suckling
your breast under patched, bloodied sheets.
 
He faces the coming morning, his back
to both of you, his aching head attached
to the one body crowding your peaceful room,
his pockets full with indifference.     
 
 
 
 
Mercy Killing
 
At Big Ma’s, I stood in the middle of each room,
careful not to lean on walls or too near closets,
afraid the vermin—now outnumbering
the hairs on her head—would find their way
to my purse or pockets. 
 
When asked to go to her drawer for antacid, I hesitated
knowing I’d have to reach in amidst their dark scattering
to soothe her. These are the sacrifices we make
my mother said while on the floor at Big Ma’s feet,
clipping her toenails, using a slipper
to smash roaches as they came.
 
My father hated the dirtiness of any place
yet knelt, in his finest charcoal suit, near the phone cord—
twisting its disconnected wires—
surely aware of the thick dust graying his elbows and knees.
Until he heard a dial-tone and Big Ma said 
I can call now if I need you, he did not rise.
 
Hours later, in public with our private lives well-clothed,
when I saw the silvery-brown pest slip
from his pants cuff—remembering my parents’ selflessness,
their hushed mercy—I used my sharp-tipped shoes
to make a sacrifice and killed it—quiet, swift—without mentioning
my fear and without his ever knowing.

 

 

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