Running the risk of asking the most naïve-sounding question in lyric poetry, what do we make of a contemporary poem in English written in the first person? Whether the first person is singular or plural, how does that choice impact our relationship with the speaker in the poem? And has that relationship changed in the twenty-first century, or is it dictated by our inheritance of modernist ideas and the way they have framed our understanding of the lyric self?
In the beginning there was the word. And the word was “she,” born from her mother like so many other public prayers. d’bi.young anitafrika, daughter of foundational dub poet and scholar Anita Stewart, stands at a lectern that transforms into a pulpit by the first move of her hands (Mac laptop not nearly withstanding). At the same time that anitafrika offers a critique of the repressed lust in the life of the common homosexually active and actively homophobic preacher, she creates a new congregation.