The Rime of Nina Simone

The Rime of Nina Simone Mason– Dixon Lines poetry by t ian a Clark Argument How a Slave Ship was driven by capitalism and racism inside the triangle of the transatlantic slave trade; and of the strange things that befell; and in what manner Nina Simone came back from the dead to her own Country to stop a graduate student on the way to workshop. . . . I didn’t recognize her at first, but felt urgency inside her glittering eyes—grotesque and morganite, melting blooms. Her skin, stabbed with hammered copper, afro nimbus, the luminous gaze, an X- ray swishing at my sk in with metronomic waves. Timeworn but regal, her spine made of satin and salt, her bolted black back clutching every bat b tl or en - b allad: a lone column of glissandos and thunder snow, booming and bright. Come here, she says. Sorry, I can’t—I’m late. I’m— I need to tell you something   about yourself. Listen, little girl: For every pain there is a longer   song. The body pours its own music. I wanted to play Bach 160 and Beethoven for endless encores. But they wouldn’t let me and they won’t let you. . . . The art of tamping—espresso—folding dark meadows inside my throat: fluttering uvula, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

The Rime of Nina Simone

Southern Cultures, Volume 24 (3) – Oct 11, 2018

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Publisher
University of North Carolina Press
Copyright
Copyright © Center for the Study of the American South.
ISSN
1534-1488

Abstract

Mason– Dixon Lines poetry by t ian a Clark Argument How a Slave Ship was driven by capitalism and racism inside the triangle of the transatlantic slave trade; and of the strange things that befell; and in what manner Nina Simone came back from the dead to her own Country to stop a graduate student on the way to workshop. . . . I didn’t recognize her at first, but felt urgency inside her glittering eyes—grotesque and morganite, melting blooms. Her skin, stabbed with hammered copper, afro nimbus, the luminous gaze, an X- ray swishing at my sk in with metronomic waves. Timeworn but regal, her spine made of satin and salt, her bolted black back clutching every bat b tl or en - b allad: a lone column of glissandos and thunder snow, booming and bright. Come here, she says. Sorry, I can’t—I’m late. I’m— I need to tell you something   about yourself. Listen, little girl: For every pain there is a longer   song. The body pours its own music. I wanted to play Bach 160 and Beethoven for endless encores. But they wouldn’t let me and they won’t let you. . . . The art of tamping—espresso—folding dark meadows inside my throat: fluttering uvula,

Journal

Southern CulturesUniversity of North Carolina Press

Published: Oct 11, 2018

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