[When I was 19,] a woman by the name of Jean Hutson had given me books. . . . I said, “What kind of library is the Schomburg?” She said, “This library is a library that has books only by and about black folks.” All of a sudden she brought three books. The books were: on the bottom, Up from Slavery; middle one, The Souls of Black Folk; top one, Their Eyes Were Watching God. She said, “Read.” I start[ed] reading and I must’ve read a third of the book. I had tears in my eyes, I was sobbing. I said, “How can I be an educated woman and not have read this book?” She said, “I know, dear, now go read some more.”
That’s why [when I was asked on TV], “Who influenced you the most?” I said, “Shirley Graham, Du Bois, Queen Mother Moore, Malcolm—and Jean Hutson.”
“The problem of—or the relationship between—surpluses of labor, capital, land, and state capacity in times of crisis. And how these surpluses have been organized into prisons when other kinds of organizational solutions have always been available. Always. There was never a time when these surpluses of finance, capital, land, labor, and state capacity could not have been organized differently. Right, they could have been. There is nothing inevitable about prison growth in the United States.”
“Disposition is something for which there can only be dynamic or indeterminate markers. Disposition is looking at not the shape of the game piece but the way the game piece plays; not what is printed on the fabric but how the fabric floats; not the master plan of the field but how the field changes. The markers we use in all those cases are—and this sounds contradictory—the markers that we use are indeterminate to be practical. It is, maybe to borrow from Gilbert Ryle, about knowing how instead of knowing that.”
"Being ungeographic doesn’t mean that you cannot be located, but it means that the tools and structures of space and placemaking have been weaponized to attempt to foreclose your ability to materialize your sense of place in the world. This underscores the paradox of approaching blackness and the power of blackness through the language-mediated order of culture— of sign systems, aesthetic values, philosophies, and theories of form, content, and relation meant to administrate human life and embodiment through formal and deterministic judgements, classifications, and taxonomies."
"the body is a text but not all text supports the body, so i think that’s the sacred work of poetry— to use text to create new bodies to read from."