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Archive Find of the Week: “They Are Safe for Now”

Typed copy of Ntozake Shange’s (Paulette Williams) poem “They Are Safe for Now” published in 1966 in The Phoenix, the literary publication of her high school, Trenton High. 

This piece interested me initially because the poem was typed on a browned sheet of paper and the bottom left corner was significantly ripped off. I noticed the date, 1966, and the authorship, Paulette Williams. I recalled that there weren’t many pieces in the Archive that were taken from this time in Shange’s life, and I also hadn’t seen any using her name assigned at birth.

Black Girlhood in the Black Sexism Debate

Shange’s piece in The Black Sexism Debate “is not so gd to be born a girl,” makes me think of how black girlhood is described in slave narratives, particularly in Harriet Jacobs’ “Incidents in the Life of a Slave Girl”. Jacobs writes:

When they told me my new-born babe was a girl, my heart was heavier than it had ever been before. Slavery is terrible for men; but it is far more terrible for women. Superadded to the burden common to all, they have wrongs, and sufferings, and mortifications peculiarly their own. (119)

Jacobs writes that slavery is worse for black girls because of their added gender and sexual oppression. Notably, her messages about the sexual violence that enslaved black women and girls experience are written to appeal to white women abolitionist audiences. This is evident in the following passage, as she appeals to the sympathy of the white woman reader:

Pity me, and pardon me, O virtuous reader! You never knew what it is to be a slave; to be entirely unprotected by law or custom; to have the laws reduce you to the condition of a chattel, entirely subject to the will of another…Still, in looking back, calmly, on the events of my life, I feel that the slave woman ought not to be judged by the same standard as others. (86)

Jacobs is hesitant to reveal her lived experiences, so that even the introduction to her narrative is written to convince Northern white women to accept her story, despite its “indecorum.”

As we consider Shange’s unapologetic expression of the lived experiences of black women and girls in “The Black Sexism Debate,” it is important to consider the historical context of her appeal. Shange is writing  in 1978 to a different audience, but she is still in the position of highlighting the sexual violence black girls constantly face. Shange uses new language to describe this violence, language that Jacobs did not possess while writing her own narrative. However, their sentiments are fundamentally the same. Shange writes:

right now being born a girl is to be born threatened/ i dont respond well to threats/ i want being born a girl to be a cause for celebration/ cause for protection & nourishment of our birth-right/ to live freely with passion, knowing no fear/ that our species waz somehow incorrect.

& we are now plagued with rapists & clitorectomies. we pay for being born girls/ but we owe no one anything/ not our labia, not our clitoris, not our lives. we are born girls & live to be women who live our own lives/ to live our lives/

to have/

our lives/

to live.

In this passage, and throughout Shange’s work, she is responding to the historical legacy and trauma of black girl’s experiences with sexual violence, while naming her desires for black girlhood and black girl possibilities.

gd to be born

by Kiani 1 Comment

TW: mention of body mutilation and rape

Over and over we’ve praised Shange for uplifting us a la “I found god in myself & I loved her/ i loved her fiercely” but not enough for staring danger in the face and saying its name. Shange’s piece is not so gd to be born a girl confronts the emotional and physical violence done to women by the world. In The Black Sexism Debate Ntozake Shange writes,

clitorectomies, rape, & incest/ are irrevocable life-deniers/ life-stranglers & disrespectful of natural elements/ i wish these things wdnt happen anywhere anymore/ then i cd say it waz gd to be born a girl everywhere/ even though gender is not destiny/ right now being born a girl is to be born threatened/ i dont respond well to threats/ i want being born a girl to be a cause for celebration/ cause for protection & nourishment of our birthright/ to live freely with passion, knowing no fear/ that our species waz somehow incorrect.

This passage allows us to interact with the good and bad genesis of the works we’ve been engaging with this semester. It’s interesting that this hard subject matter is treated in the same way as luxurious baths, or cooking greens, or happenings outside of a window. They are treated as matter-of-fact.  We stare at the painful words on the screen and swallow hard as we consider their implications. It’s not pretty and it’s not warming. It’s sobering in its cry. Shange doesn’t ask us to confront the truth for truth’s sake, though. She asks us to confront it in confidence that we will use it to heal. To understand what is wrong and what is right.

The piece ends indicative of Shange’s decision to recognize the pain in growth and healing,

we are born girls & live to be women who live our own lives/ to
live our lives/
to have/
our lives
to live.

The usage of language, specifically gendered language, is interesting in considering people of trans, gender non-conforming, and queer identities feeling seen by this piece. I chose to leave “a girl” out of the title as I am grappling with the implications of the word in a natal context. I wonder, what does it mean to be born a girl? And to live out that girlhood?