In that tenuous suspension between what is about to be silent and what is about to be spoken M. NourbeSe Philip intonates, makes utterances, working in and out of this impossible suspension: “…only if language bears witness to something to which it is impossible to bear witness, can a speaking being experience something like a necessity to speak.” (G. Agamben)
The song that is Zong! cannot be written about or described; it must be experienced. Because it sings for those who cannot speak, but must speak. Because Philip wades, swims, dives into the language of a law document and turns it oceanic, turbulent, makes the rock of law into the aquifer of moan.
...even when we believe we have freedom to use whatever words we wish to use, that we have the entire lexicon of English, at least those of us who are Anglophone, at our disposal, and are able to express ourselves in whatever ways we wish to (all of us who live in the so-called liberal democracies, that is), much of the language we work with is already preselected and limited, by fashion, by cultural norms—by systems that shape us such as gender and race—by what’s acceptable. By order, logic, and rationality. (M. NourbeSe Philip, from Zong!)