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a literary journal published by the Black Earth Institute dedicated to re-forging the links between art and spirit, earth and society

David Mills


Queen Bess

(Bess Coleman was the first African-American woman to obtain a commercial pilot’s license and was an icon in the small community of African-American pilots—male or female. Though she died in a plane crash in 1926, her legend lived on. Her life story was known to many Tuskegee Airmen, such as Harry Stewart Jr.)

Hot comb Black Belt Great Migration

 fingernail painter, Southside sharecropper

plugged in to a short-circuit circus; Lone

 Star Chicago momma renovating sisters’ hair

but never even getting a bite out of more to life,

 with a Great-War-vet, wing-nut brother (part owner

of an out-of-bounds mouth) squinched back in civilian

 life (like the Brogue hole boots that choked his toes)

 

who snapped: “Bess, women in France are far ahead

 of those heads you aim to prettify.” Hunchbacked

breath and moonshine sassed, he habityou-a-lee

 humiliated Bess at her hen coop. “Them

mademoiswells could fly, too!” There, a dare

 Bessie couldn’t sidestep. When the Windy

City denied Bess lessons or lift, the Black press

 picked up her tab for par le vouz flight training

 

at Federation Aeronautique International. Queen Bess

 premiere certified African-American female flyer, learning

further on the tarmacs of croissants and krauts. Back state-

 side, surplus-Jenny barnstormer, hot-damn air-show

performer, she was now a decked-out Sky to 5,

 a silk belt-scarf, a tailored jodhpur, a jacketed-

t-strap, scrunched under a Sam-Browne cap.

B.C.—her initials—always whispered amen

 

to the air. On the ground, she was a manicured

 public relations parachute who, with airshow acumen,

spread the gospel of flight, standing before black-

 boards—in segregated classrooms (save a token

sliver of “of-course” white chalk)—dropping in

 on Sunday’s getting-up-greats to preach air—

an avenue with side streets Negroes could high-step

 on. Cause that air. Don’t care. Who is. Up there.


Picking Clouds

(Harry Stewart Jr.’s grandfather, Preston James Stewart Senior, picked cotton in the vicinity of Tuskegee, Alabama, where, decades later, Harry Stewart Jr. trained to be one of the first African-American military pilots.)

      A little over or a little less than

   four score—somewhere between

the War Between the Stakes—your

 

grandfather Preston James (Preston slave)

was born. He might not have learned to

toddle or maybe his lips only wandered

 

the studied edges of the alphabet and

 just like that, that smoke was over.

    But a little over or a little less than

 

eighty years later war rose (again)

from its bullet-riddled bed. Another

Stewart, Harry—who was in that air—

 

    was junior. Harry, who was senior,

  was the wedge between slavery

and strafing, between Preston James

 

and Harry Thaddeus, between reconstruction

and flight instructors. Daddy Harry’s older

brother (who too was junior) had been the

 

wedge between Harry Sr. and their father

   —senior wheelwright slave-born Preston.

     Yes, Preston James Stewart Senior. Preston

 

James Stewart Junior: brother Harry Thaddeus

Stewart who didn’t senior until he had the son

(I am writing of): Harry Thaddeus Stewart Jr.

 

    By naming his progeny Harry, Harry senior

  mimicked his father—Preston Sr.—who lost

his genetic echo to water that opened its

 

accidental hands. Then clapped. then clapped.

until Preston Jr. sank into the sound. But now

instead of picking cotton, Harry Jr. is picking

 

clouds over Alabama to knife through over

  the moody dark earth where his granddaddy

    picked short-staple cotton. Harry doing stuff

 

Preston Sr. could never have imagined, ‘cause

back then the only things with Alabama wings

were narrow-billed Nuthatches or ha ha

 

   Yellowhammers. Doing stuff his grand

 daddy couldn’t fathom because the enslaved

could not raise their noggins to (evil)

 

eye master’s dank eyes (imagining each bat

of the lashes: a whip/a lash) and certainly

not raise their heads because they were

 

headed toward the heavens, where they might

 sneer at, might look down on their master’s

  freckled pate, target that balding spot

 

towards the rear, hair swirling like

the Milky Way as it unspooled

one galactic strand at a time.

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David Mills holds an MFA from Warren Wilson. He’s published three full-length collections: The Sudden Country, The Dream Detective, and Boneyarn—the sole book of poems about Manhattan slavery where the oldest and largest slave cemetery in the country is located. Boneyarn won the North American Book Award. His poems have appeared in Ploughshares, Colorado Review, Crab Orchard Review, Jubilat, The Common, Poetry Daily and Fence—and he has been a Pushcart Prize finalist. He has received fellowships and awards from the New York Foundation for the Arts, The Cullman Center, Breadloaf, the New York State Council on the Arts, the Schomburg Center, The American Antiquarian Society, and the Lannan Foundation. He lived in Langston Hughes’ landmark Harlem home (and received the Langston Hughes Society Award) and wrote the audio script for Macarthur-Genius-Award Winner Deborah Willis’ Whitney-Museum-curated exhibition: Reflections in Black. The Juilliard School produced a play by Mr. Mills. He will be starting as a Cullman Center Fellow as of September 2nd this academic year.

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