ABOUT THE MANUSCRIPT
The position of each part within this whole […]
each specific Plantation […] to understand the hidden
order […] so as to wander without becoming lost.
— Édouard Glissant
Put plainly: I needed to imagine practices of art-making that could give someone like me the subversive permission to be. Disinterested in traditional performances of black identity, Freakophone World became a series of occult recordings, hauntings, and invocations performing new black diasporic identities in an increasingly globalized and imperiled society. The speaker in this poem comes from a long tradition—of freaks, outsiders, others, and spirits calling out to the living reader from the undead, black, and unapologetically freakophonic space of the text. At times Afrofuturist, weird and intensely intimate, this is an unruly, resistant poetry whose infectious speaker utters itself as a speculative other, and whose textual body is itself a diaspora.
This poem also speaks into a larger body of writing—one that pulses at the intersection of race, technology and the occult—signaling expressions of blackness that subverts their mediating technologies. Lately, I’ve been working on an interface for the book capacious enough to occupy that body.
Because the technology I want to subvert most, here, is empire.