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AN
UNBROKEN MIRROR AND LIGHT:
A Response to Virginia Wolfe's 'A Room of Her Own'
Ant
I A Woman
Dat man ober dar say dat womin needs to be helped into carriages
and lifted ober ditches, and to hab de best place everywhar.
Nobody eber helps me into carriages, or ober mud puddles, or
gibs me any best place! And ant I a woman? Look
at my arm! I have ploughed, and planted, and gathered into barns,
and no man could head me! And ant I a woman? I could
work as much and eat as much as a man when I could get
it and bear the lash as well! And ant I a
woman? I have borne thirteen childern, mothers grief,
none but Jesus heard me! And ant I a woman?
Sojourner Truth, 1851 |
When
was the first time that I felt my self, the encasement of being
a woman?
I would like to say that it was early in my life. I've heard stories
of friends who because they were treated differently than their
brothers felt their femaleness early. Maybe if I had brothers my
story would have begun some time ago - when pigtails framed my head.
But during those times I played with boy-friends as roughly, and
delicately, as I did my friends who were girls.
A Tom-boy they would now call me. Then, they called me only with
excitement; shouted my name with glee: "Lita!" Their little bow-
legs running towards me with hands full of plastic swords, metal
cars, and joy. We'd play together.
That welcome call is one of the most pleasant sounds of my childhood.
It's like a mixture of my mother's gentle hum and the theme song
to The Muppet Show. But more than that even - more than home or
silly excitement - it meant the beacon of all children's dreams
or destruction. For their voices lifting, "Lita!" also proclaimed:
"you are one of us;" "we like you as you are;" "let's play!"
My first encounter with race was a different story. So etched into
my Southern being I can not remember one incident in particular
that reminded me of my "Blackness." I remember my books full of
the Crayola melanized little girls and boys that my mother's hands
transformed. I remember the audience filled with eyes of pride as
I read my Black history poem. I remember upturned noses of mothers
while their children pointed towards me, and called out, "NiggÉ."
Those things, and many others, were woven into the fabric of my
Southern being, repeatedly reminding me of my Blackness, early.
It would be twenty years later that I felt my femaleness. This time,
I would be twenty-six, and in love. Or twenty-six, and loving I
suppose, because I know now that being in love requires something
more, particularly the other. He looked at me, and with his full
brown mouth frowned, said that I was too vocal, too free to be a
marrying kind of woman, and that if I quieted my voice, straightened
my hair, quelled my desire for the fullness of life, then he might
take me home. I must add: I never asked to see his home, or to see
my hand adorned with a ring of his. But, I suppose, of course that
is all women's desire: to be taken by the arm, presented to someone's
mother, and her house. But I digress.
That night, however, I went to my own home. Wounded, and reminded
of all the women that I knew who had squeezed their broad selves
into Barbie's tiny casing in order to be loved. I was reminded of
the distance in their eyes; as if now, touching the world with plastic
hands, they could no longer feel or see themselves. I was reminded
of their resounding voices muffled through synthetic heads. Sometimes,
these eyes, hands, voices had been my own. I went home that night
and reached towards the sole light above my mirror, stood a moment,
and hesitated before turning it on. I suppose that I was afraid
that I would see lack. A woman; yet, not a woman, whole. But that
night, in my dark apartment, with the sole light shining on my bare
body, I saw flesh. I saw hair, muscles, and sinews that were mine
alone. I saw holding arms, standing feet, and a back to be lifted
straight and tall. I saw breasts, and eyes, and knees, and ears.
I saw a speaking mouth, touching hands, and the pouching of a life
holding womb. Then Truth called: "Lita!" Aren't You A Woman?" "Yes!"
I responded, resoundingly. "Yes!" And that night, and many nights
that followed, we danced, and played together under the light of
the moon.
alita
Alita
Anderson is a dramatist, writer and visual artist. Anderson's
art has been featured at the APEX Museum in Atlanta, Yale University
and the Stamford Palace Theater in Stamford, CT. Anderson received
her Bachelor's degree from Spelman College and was the first Spelman
alumna to attend the Yale University school of Medicine, where she
graduated with honors in 2001. Her first book is entitled, On
the Other Side: African Americans Tell of Healing. For more
information contact: alitaalive@yahoo.com
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