Saturday, January 31, 2026

𝑨𝑵𝑪𝑬𝑺𝑻𝑹𝑨𝑳 𝑬𝑪𝑯𝑶 by 𝐑𝐚𝐲 𝐅𝐨𝐫𝐫𝐞𝐬𝐭

𝙽𝚘𝚠 𝚘𝚗 𝚘𝚞𝚛 𝚙𝚊𝚐𝚎: 𝙲𝚑𝚊𝚙𝚝𝚎𝚛 𝟷 𝚘𝚏 𝑨𝒏𝒄𝒆𝒔𝒕𝒓𝒂𝒍 𝑬𝒄𝒉𝒐 𝚋𝚢 𝐑𝐚𝐲 𝐅𝐨𝐫𝐫𝐞𝐬𝐭. 𝙵𝚛𝚘𝚖 𝙼𝚒𝚜𝚜𝚒𝚜𝚜𝚒𝚙𝚙𝚒 𝚏𝚒𝚎𝚕𝚍 𝚛𝚘𝚠𝚜 𝚝𝚘 𝚊 𝚙𝚛𝚎𝚜𝚎𝚗𝚝 𝚝𝚎𝚗𝚜𝚎 𝚜𝚑𝚊𝚙𝚎𝚍 𝚋𝚢 𝚐𝚎𝚗𝚝𝚛𝚒𝚏𝚒𝚌𝚊𝚝𝚒𝚘𝚗 𝚊𝚗𝚍 𝚙𝚘𝚕𝚒𝚌𝚒𝚗𝚐, 𝚝𝚑𝚒𝚜 𝚘𝚙𝚎𝚗𝚒𝚗𝚐 𝚌𝚑𝚊𝚙𝚝𝚎𝚛 𝚝𝚛𝚊𝚌𝚎𝚜 𝚠𝚑𝚊𝚝 𝚐𝚎𝚝𝚜 𝚜𝚝𝚘𝚕𝚎𝚗, 𝚠𝚑𝚊𝚝 𝚐𝚎𝚝𝚜 𝚋𝚞𝚛𝚒𝚎𝚍, 𝚊𝚗𝚍 𝚠𝚑𝚊𝚝 𝚜𝚝𝚒𝚕𝚕 𝚐𝚎𝚝𝚜 𝚌𝚊𝚛𝚛𝚒𝚎𝚍 𝚏𝚘𝚛𝚠𝚊𝚛𝚍.



𝑨𝑵𝑪𝑬𝑺𝑻𝑹𝑨𝑳 𝑬𝑪𝑯𝑶 by 𝐑𝐚𝐲 𝐅𝐨𝐫𝐫𝐞𝐬𝐭


𝓒𝓗𝓐𝓟𝓣𝓔𝓡 𝟏

The Mississippi sun had no patience for children or the old. It beat down flat on the cotton fields, hot as a grudge, as young Eloise stumbled barefoot behind her grandfather. Her toes sank into the red, cracked earth with every step, but she didn’t complain. Not out loud. Complaints didn’t grow crops, and they didn’t earn supper either.
Her grandfather—Papa Moses—was a thin, leather-faced man with calloused hands and a spine that refused to bend, even when the world tried to fold him in half. He plowed with a mule named Clara and a rusted blade he'd sharpened with river stones. His back was slick with sweat, but his rhythm never broke—step, push, breathe, step, push, breathe—like he was trying to push time itself forward with that blade.
Eloise clutched a tin can full of nails for fence repair. It rattled in her grip like bones.
"Papa," she asked, squinting against the sun, "how come we don’t got land like Mr. Billy?"
Moses paused. His breath puffed once through his nostrils, and the plow jolted to a stop. Clara flicked her tail impatiently.
“Mr. Billy,” he said slowly, “ain’t never earned dirt under his nails. His daddy stole land. His daddy’s daddy stole people. Now he sit in a house watchin’ me cut lines in his field like I’m part o’ the equipment.”
Eloise didn’t fully understand. But she felt the weight of his words—heavier than the can she carried.
"Why you don't buy some land, then?"
He looked at her like she’d asked why the sky didn’t bleed.
“Baby girl,” he said, setting both hands on the plow handles, “your great-granddaddy bought land. Paid in gold coin and sweat. White folks came with torches. Said he was 'uppity.' They burned the deed and the house. Left us with ash. Then came taxes we couldn’t pay. Then came lies on papers we couldn't read. We been payin’ rent ever since—on land we already paid for in blood.”
He said it without anger. Just fact. Like announcing the weather.
Eloise looked across the field—rows and rows of green on brown, stitched straight like God had used thread and ruler. In the distance, the white porch of Mr. Billy’s house blinked in the sunlight like a smug smile.
“I wanna have land someday,” she said, more to herself than him.
Papa Moses gave a dry chuckle and started the plow again.
“If you lucky, girl,” he said over his shoulder, “you might inherit somethin’ other than debt.”
The plow moved forward. Clara pulled. Dust swirled up in lazy spirals behind them.
Eloise walked behind, quiet now. She’d carry that moment in her blood for eighty years.
Even when the house she finally owned sagged at the porch. Even when her daughter resented her silence. Even when her grandson spat at the inheritance she offered. She’d remember this field, this heat, this echo of injustice passed down like a name.
Because it wasn’t just about land.
It was about the theft of futures, folded into polite laws and legal theft.
It was about how the soil remembered every hand that bled into it.
And how some hands never got to own the land they broke open.
Tasha’s beat-up Nissan coughed and rattled as it crawled down Carnell Boulevard, its rusted muffler dragging like a loose chain. She kept one hand on the wheel, the other tapping against the dashboard to keep her nerves from spilling over.
“This car’s the only thing I halfway own,” she muttered. “And it ain’t even worth the tires it’s sittin’ on.”
Jamal slouched in the passenger seat, hood up, watching the neighborhood roll by. New glass-front coffee shops pressed up against crumbling row houses. Luxury condos rose like teeth behind boarded-up corner stores. A mural of a Black boy with angel wings stared down at him from a brick wall—faded, tagged over, forgotten.
“Look at this,” Jamal said. “Cops cruisin’ every corner, brothers posted on porches just waitin’ to get pressed. And across the street? Yoga studios for people who ain’t never lived here. Feels like a trap, Mom. For us. Not for them.”
Tasha gripped the wheel tighter. “That’s why we’re goin’ to Mama’s. Rent went up again, and I ain’t lettin’ them squeeze us out while I’m drownin’ in bills. She’s the only family with a roof we can stand under.”
Jamal shook his head. “So now we movin’ into a museum. Dust and roaches and a house that’s already half condemned.”
Tasha shot him a look sharp enough to cut. “Watch your mouth. That ‘museum’ is the only thing your Nana owns free and clear. No landlord, no mortgage, no bank. That’s survival. That’s legacy—even if it don’t look like much to you.”
Jamal turned back to the window, jaw tight. He didn’t answer.
The Nissan turned onto Wadsworth, where boarded houses leaned like broken teeth. A police cruiser idled at the corner, the officer’s eyes following their car. Jamal’s chest tightened. He tugged his hood lower, muttering, “Whole damn block feels like a setup.”
Tasha didn’t argue. She pressed the gas and kept her eyes forward, praying the engine wouldn’t die before they reached Eloise’s porch.
Inside boxes were everywhere—old purses, vinyl records, dead electronics, and stacks of newspapers yellowed like old teeth. The air in Eloise’s house was thick with heat and time, and every movement stirred up decades of dust and silence.
Tasha shoved a box aside with her foot, exhaling sharply.
“You sure you don’t want to sell anything in here? Jesus, Ma. You got a damn typewriter.”
Eloise didn’t look up from her recliner. “That typewriter typed your uncle’s college application. Before he got drafted.”
Jamal stood at the window, arms crossed, hoodie up despite the heat. He looked like he’d rather be anywhere else.
 “This house worth less than the gas we spent gettin’ here,” he muttered.
Tasha whipped her head toward him. “Can you not?”
“I’m just sayin’,” Jamal replied. “We ain’t rich. We ain’t even okay. Why are we wasting time pretending like this old shack is some legacy?”
Eloise’s eyes narrowed. She set down her teacup with a clink.
“I paid for this ‘shack’ in full. Never missed a tax. Bought it when no bank would touch me. You think it just grew here?”
Jamal laughed bitterly. “Yeah? And what it buy me? You wanna hand down struggle like it’s a family heirloom?”
“Boy—” Eloise started.
“No, for real,” he snapped, stepping forward now. “You got nothin’ in stocks. No savings. No insurance. What you think you leaving us, huh? This peeling wallpaper?”
Tasha moved between them. “Jamal, chill. You don’t talk to her like that.”
“Why not?” he barked. “She talks to me like I’m ungrateful. But I ain’t asked to inherit poverty.”
Eloise rose slowly, her hands shaking—not with fear, but fury. “You ain’t inherit poverty. You inherited war. One we been fightin’ with our hands tied for generations.”
Before anyone could answer, a car horn blared outside.
Tasha turned to the window. “Who the hell…?”
Jamal’s face changed. “Shit. That’s Ant.”
“What’s he doing here?” Tasha asked, alarm rising.
“Dropping off my tablet. Chill.”
He jogged outside, hoodie still on, stepping onto the porch.
And that’s when it happened.
A black-and-white squad car came screaming down the street, lights flashing.
Two white officers jumped out, guns already drawn.
“HANDS! NOW!”
Eloise screamed from inside. “JAMAL!”
Jamal froze, hands going up slowly. “Yo—yo! What the hell?!”
“On the ground! Now!”
His knees hit the grass. The officer closest to him shoved him forward hard—face-first into the dirt. A knee on his neck. Another on his back. His hoodie bunched around his throat.
Inside, Tasha bolted for the door. Eloise grabbed her wrist. “No. They’ll kill you too.”
Ant’s car, an old gray Honda, idled awkwardly in the driveway as the second officer opened the passenger door, pointing his weapon inside.
 "False report. Suspect matching vehicle in area.”
“You kidding me?” Ant stammered. “I’m dropping off a damn tablet—!”
Tasha broke free. By the time she hit the porch, the officers were checking IDs, realizing their mistake. No apology. No eye contact. Just retreat. Jamal coughed in the grass, face dirty, shirt pulled up.
Eloise stood on the porch like a statue made of stone and rage.
Inside, minutes later, Jamal paced the living room with shaking hands. Blood ran from a small cut above his eye.
“I almost died,” he said. “Because I wore a f*cking hoodie.”
Tasha handed him a wet rag and glared at Eloise. “Tell me again how this house makes us safe.”
Eloise sat down hard. “It doesn’t. It never did. But it’s all I had to fight with.”
“No,” Jamal snapped. “You had silence. You had secrets. You had fear. And you passed it down like recipes.”
Tasha folded her arms. “You wanna know the truth, Ma? You left us nothing but debt and trauma. And you act like we owe you for it.”
Eloise stared into her lap.
Then, very slowly, she stood.
She went to a box by the bookshelf and pulled out a thick envelope. It was stained, sealed, and wrapped in twine. She dropped it on the table.
“You wanna know what I tried to leave you?”
She untied it. Inside: a burned, half-legible land deed. 1913. Her father’s name at the bottom.
“They burned our land. Then burned our records. Then called us lazy. And y’all blame me.”
Silence.
Jamal looked at the paper, then at her.
“Why didn’t you tell us?” he asked, voice low.
“Because every time I told someone what they did to us… they called me bitter. Or crazy. Or ungrateful. Or a liar.”
A long pause.
“I didn’t leave you wealth,” she said. “I left you the truth. That’s the only damn thing they couldn’t repossess.”
Jamal sat on the porch swing, the rag still pressed to his eyebrow, already stained red. His breathing had calmed, but his body hadn't—his legs bounced like they were trying to outrun what just happened.
Tasha stood near the screen door, phone to her ear. “Yeah. He’s okay. No, they let him go. No charges. They had the wrong f*cking car.”
 She listened, nodded, said “thank you,” then hung up and threw the phone on the couch.
Eloise sat in her old chair, holding the burnt land deed like it was a stillborn child. Her thumb traced the blackened corner.
Silence sat on them like a preacher before the eulogy.
“I felt his boot on my f*cking neck,” Jamal finally said, voice hoarse. “Not metaphorically. Literally. Real leather. Real dirt in my mouth. I said, 'I'm not who you think I am,' and he said, 'I don’t care.’ You hear me? I don’t care.”
Tasha turned to him. “I know.”
“You don’t know. He was going to kill me. If Ant hadn’t screamed... I’m dead. Face down on Nana’s lawn.”
Eloise’s voice came quiet but firm. “You think you the first boy in this family almost killed for bein’ in the wrong place with the wrong skin?”
Jamal looked up, lip curled.
And she stood.
“You wanna hear a story? Fine. I’ll give you the goddamn ledger. Been writin’ it in my head since I was ten.”
She walked to the hallway closet, yanked down a dusty photo album, and threw it on the table. Pictures tumbled out—men in hats, women with pressed hair, kids in overalls with eyes too old.
She tapped one photo. A smiling man in uniform. “That’s my cousin Josiah. Came back from World War II with medals. Wanted to open a barbershop. Know what the bank told him?”
“Lemme guess,” Jamal muttered. “No.”
“No,” Eloise said sharply. “But not because he was broke. Because he was Black. GI Bill said ‘equal opportunity’—but not for him. Not in Mississippi.”
She flipped the page. Another photo. A small brick storefront, half-burnt.
“That was his shop. He built it anyway. With help from neighbors. Three months later, white boys firebombed it for being ‘too uppity.’ Police said it was a grease fire.”
She turned another page. A newspaper clipping—Wilmington Massacre. (See Appendix)
“That’s your great-great uncle. Shot in the back running from a mob. Built up a business. They didn’t just kill him—they erased the paperwork. We had land in Tulsa too. You ever wonder why our family don’t got a business to pass down?”
She shoved the book forward. Jamal stared.
“They took the land, the receipts, the bloodlines, and then had the nerve to call us irresponsible.”
His hand trembled slightly as he picked up one faded deed. The name “W.L. Thompson” scrawled across it.
Eloise leaned in, eyes fierce. “You say I left you nothin’. But you don’t even know what was stolen before I could leave it.”
Tasha sat now, quietly. Her face looked hollowed out.
“They burned towns, boy,” Eloise said. “Black Wall Street? That ain’t a myth. Planes. Bombs. No insurance payouts. You know why the cops ain’t come?”
Jamal didn’t answer.
“They were the mob.”
She stepped back, breathing heavy now, tears threatening but refusing to fall. “We been robbed by governments. Robbed by banks. Robbed by fire and badge and Bible. And every time we get back up, they move the damn finish line.”
A long silence followed.
Tasha picked up one deed corner, turning it over. “So what do we do, Ma? Just… keep surviving?”
Eloise looked at her with a sudden fire. “Hell no. We build. And we tell the truth this time. Loud.”
She turned to Jamal.
“You say you want legacy? Then take this pain and plant something with it. Don’t just scroll and scream. Write it down. Tell folks. Burn the shame and keep the name.”
Jamal stood slowly. Still trembling. Still hurt.
But something in his face had shifted. He looked back at the pile of papers. The receipts of generations gone.
He nodded once.
“Then let’s write it all down,” he said. “Every f*cked up page.”
The smell of dust and sweat lingered in the room like an accusation.
Eloise sat stiff-backed at the table, the burned land deed resting between them like a loaded weapon.
Tasha’s arms were crossed. Her jaw tight. Her eyes locked on the paper, but she hadn’t touched it. Hadn’t spoken in minutes.
“You could’ve told me,” she finally said, voice low. Controlled.
“I tried,” Eloise replied, calm but bitter. “But you was too busy bein’ perfect to listen.”
Tasha scoffed. “What’s that supposed to mean?”
“It means you were the first to get a college degree, and suddenly you didn’t wanna hear ‘bout no old country tragedies. You wanted clean lines. Credit scores. Silence.”
Tasha’s voice sharpened. “You think I didn’t want to hear? I spent my whole life watching you hoard secrets like canned goods. Never told me how you bought the house. Never told me we owned land. Just kept saying, ‘save your money’ and ‘keep your head down.’ That ain’t legacy—that’s a muzzle.”
Eloise’s eyes narrowed.
“You mad at me for protectin’ you?”
“I’m mad at you for leaving me unarmed!” Tasha stood, palms slamming against the table. “You knew this happened. And you never made a will. You didn’t put my name on the deed. You didn’t teach me what to do with any of it!”
“I didn’t know how!” Eloise barked. “I ain’t had nobody show me either! You think I ain’t carry that weight? Every damn day, praying the IRS or the bank don’t come take what little I managed to stack? You think I ain’t ashamed I couldn’t leave y’all better?”
The room felt like it tilted.
Eloise’s voice cracked.
“I didn’t know how to plan a future, baby. I was too busy tryna survive the present.”
Tasha’s breath caught.
“I’ve… I’ve been scared to open mail, Ma,” she said quietly. “Since I was twenty-three. Scared of taxes, bills, notices. I passed that fear to Jamal. I watched him turn it into anger. I blamed you. I blamed him. But I never… I never taught him anything. Because I never learned myself.”
She sank into a chair.
“I work two jobs and I still feel broke. I push him to go to school. To get a job. But he sees right through it. He sees I’m scared. He sees we’re pretending.”
Eloise stared at her daughter—intently.
“I thought… if I just worked hard enough… and didn’t cause no trouble… maybe you’d never know how much they stole from us.”
She pushed the deed forward.
“This was your great-granddaddy’s. He bought twenty-three acres in Tulsa. I found this in a Bible after your granddaddy died. Burned on the edges. Ash stuck in the binding.”
Tasha picked it up now. Held it. Touched the char.
“You know what this is worth?” she whispered.
Eloise nodded slowly. “Every broken thing you feel.”
A creak from the stairs interrupted them.
Jamal.
He stood halfway down, one hand on the banister, face unreadable.
“You kept it?” he asked softly.
Eloise nodded. “Because they wanted us to forget. But we’re done forgetting now.”
Tasha looked at her son. Then at her mother. Then back to the deed in her hands.
“I want to make it right,” she said.
“You can’t,” Eloise said. “But you can build from it.”
They sat there like that—three generations, one table, one burned paper, and a silence that—for the first time—felt honest.
Jamal needed air. Or maybe he needed distance.
He left the house without telling them, hoodie up again, head low, fists stuffed deep in his pockets. The cold cloth in his palm was still damp from the blood—his blood. He squeezed it until it hurt.
The sidewalk cracked under his sneakers, uneven from roots that had forced their way through decades of cement. Trees too stubborn to die. Just like them.
He passed a row of shotgun houses—some boarded, some leaned like tired old men. Then, suddenly, the block flipped.
Modern. Polished. Unnatural.
Loft apartments with brushed metal balconies and QR codes posted outside: “Scan to Tour This Property—Now Leasing! Starting at $3,200/month.”
A dog spa.
An artisanal donut shop.
A Black Lives Matter sign in the window of a boutique that used to be Miss Charlene’s soul food restaurant.
Jamal’s jaw clenched.
He crossed the street, slowly, eyes locked on a luxury real estate office wrapped in white marble. Gold letters read: THE HOUSE GROUP – REDESIGNING THE FUTURE.
Inside, two white women in matching blazers stood at a massive glass table, sipping iced matcha.
He stared at the flyer taped to the window:
“$1.2M CONDO – Invest in a vibrant, diverse legacy!”
He spit on the sidewalk.
“What legacy?” he muttered. “Whose future?”
He turned and walked, faster now, pulse rising.
At the next corner stood a liquor store with bars on the windows, same one he’d seen his uncle Ray get jumped at ten years ago. Still standing. Still fenced in. Still forgotten.
And next to it, a crowd. Tight and loud.
Voices raised. A car door swung wide. Somebody pushed someone.
Jamal’s adrenaline surged.
He cut through the alley, stepped closer, eyes sharp.
A boy—maybe sixteen—was pressed against the wall by two plainclothes cops, badges out, fists ready. Another teen tried to film with shaky hands, but a third officer knocked the phone away.
Jamal didn’t think. He reacted.
He stepped forward.
“Yo! What the f*ck?!”
One of the officers turned. “Back up.”
“He didn’t do anything! I just saw you swing on him—”
“BACK UP!”
A hand moved toward a holster.
Jamal’s body went electric—every muscle, every bone, every atom screaming with ancestral warning.
Don’t.
Don’t be the headline.
Don’t be the next airbrushed T-shirt in a candlelight vigil.
He backed up slowly, hands in the air.
But the boy still went down. Hard. A crack in the brick from the impact of his skull.
Blood pooled beneath his curls.
People screamed. Someone ran. Someone froze.
Jamal turned and walked away.
He didn’t run. He walked.
Slow. Controlled. Like he might combust if he moved too fast.
He reached a church stoop a few blocks away and sat hard.
His hands were shaking again.
Not from fear. From fury.
“I almost died today,” he said aloud to the brick wall beside him. “And now that boy might, too.”
He pulled out his phone.
Opened his Notes app.
Typed three words:
We were robbed.
Then he hit return.
Typed again.
They burned it all.
Another line.
They call it progress.
His fingers flew now—rants, receipts, and pain turned poetry. Not for school. Not for grades. Not for likes. Just to keep from exploding.
He wrote until the sun sank behind the rooftops and the porch light at his grandma’s house flicked on like a signal flare.
The screen door creaked like it didn’t want to open.
Jamal stepped inside slowly, his hoodie streaked with sweat, face harder than when he left. The blood had dried into a dark crust above his brow.
He didn’t say anything.
Neither did Tasha, who stood frozen in the kitchen, hands braced against the sink, her back to him. The light from the fridge cast her shadow long across the tile. She didn’t turn. Just said softly, “You good?”
He answered with silence.
Eloise sat in the living room, arms folded, robe pulled tight like armor. The lamp beside her flickered faintly, casting her features in lines of gold and shadow. Her eyes tracked him as he entered.
He dropped into the chair across from her.
For a few seconds, they just looked at each other. Generations apart. Identical fire in their eyes.
“I saw a boy get his head cracked open,” Jamal said flatly. “Today. Cops.”
Eloise nodded once. Lord Bless it! I’m sorry baby.
“Remind you of anything?” he asked.
Her lips pressed into a thin line. “Too many things.”
“I almost jumped in. Almost swung. He looked like I did this morning. They didn’t even say his name.”
She inhaled slowly. “They never do.”
He studied her face.
“Why do we have to be so damn careful all the time?”
“Because this country was built off our backs but never meant for our rest.”
Silence.
He reached into his hoodie pocket and pulled out a torn flyer—the real estate ad from the condo window.
“‘Diverse legacy.’ That’s what it said. On the same block y’all told me we used to own.”
Eloise blinked, then gave a small, bitter laugh. “Oh, now they sayin’ Diverse legacy’ sells condos?”
He nodded.
“They sell what they stole. Repackaged. Rebranded. Sanitized.”
She leaned forward.
“That’s always been the hustle. We plant the garden, they sell the fruit at Whole Foods.”
Jamal almost smiled.
“I started writing,” he said. “Notes. About what you said. The stories. The land. The burning. All of it.”
She looked at him carefully.
“And what you plan to do with that?”
“I don’t know yet. But it’s better than punching cops.”
Eloise leaned back. “You know your great-granddaddy, W.L. Thompson, used to write too. He kept a journal they never found. Said it was safer than shouting. Said words could carry things that bodies couldn’t.”
Jamal nodded slowly.
“I’m tired of just surviving.”
Eloise closed her eyes. “So was he.”
She opened them again, leaned forward, and tapped the center of her chest.
“What you got in you… all that fury… that ain’t a curse. That’s your inheritance. The same fire that made us fight to read. Fight to vote. Fight to buy land when banks laughed in our faces.”
Jamal sat very still.
“That fire’s our legacy,” she said. “But legacy ain’t just pain. It’s power. If you learn to shape it.”
They both looked down at the table, where the burned deed still sat between them like a holy relic.
From the hallway, Tasha stepped into the light. She didn’t speak. Just sat at the table and reached out, slowly, placing her hand over the corner of the paper.
No one pulled away.
For the first time in years, three hands—one old, one cracked, one shaking—rested on the same piece of their story.
The silence was sacred.
No one apologized.
No one had to.
They finally knew what they were holding.




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𝘼𝘽𝙊𝙐𝙏 𝙏𝙃𝙀 𝘼𝙐𝙏𝙃𝙊𝙍:
𝙰 𝚗𝚊𝚝𝚒𝚟𝚎 𝚘𝚏 𝙽𝚎𝚠 𝚈𝚘𝚛𝚔 𝙲𝚒𝚝𝚢, 𝙸 𝚗𝚘𝚠 𝚛𝚎𝚜𝚒𝚍𝚎 𝚒𝚗 𝙼𝚘𝚘𝚛𝚎𝚜𝚟𝚒𝚕𝚕𝚎, 𝙽𝚘𝚛𝚝𝚑 𝙲𝚊𝚛𝚘𝚕𝚒𝚗𝚊, 𝚠𝚑𝚎𝚛𝚎 𝚖𝚢 𝚠𝚛𝚒𝚝𝚒𝚗𝚐 𝚒𝚜 𝚍𝚎𝚎𝚙𝚕𝚢 𝚒𝚗𝚏𝚕𝚞𝚎𝚗𝚌𝚎𝚍 𝚋𝚢 𝚝𝚑𝚎 𝚒𝚗𝚝𝚎𝚛𝚜𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙽𝚘𝚛𝚝𝚑𝚎𝚛𝚗 𝚞𝚛𝚋𝚊𝚗 𝚕𝚒𝚏𝚎 𝚊𝚗𝚍 𝚝𝚑𝚎 𝚌𝚘𝚖𝚙𝚕𝚎𝚡 𝚜𝚘𝚌𝚒𝚊𝚕 𝚊𝚗𝚍 𝚎𝚌𝚘𝚗𝚘𝚖𝚒𝚌 𝚑𝚒𝚜𝚝𝚘𝚛𝚒𝚎𝚜 𝚘𝚏 𝚝𝚑𝚎 𝙰𝚖𝚎𝚛𝚒𝚌𝚊𝚗 𝚂𝚘𝚞𝚝𝚑.
𝙼𝚢 𝚙𝚛𝚘𝚏𝚎𝚜𝚜𝚒𝚘𝚗𝚊𝚕 𝚕𝚒𝚏𝚎 𝚒𝚜 𝚊 𝚞𝚗𝚒𝚚𝚞𝚎 𝚋𝚕𝚎𝚗𝚍 𝚘𝚏 𝐈𝐓 𝐢𝐧𝐟𝐫𝐚𝐬𝐭𝐫𝐮𝐜𝐭𝐮𝐫𝐞 𝐞𝐧𝐠𝐢𝐧𝐞𝐞𝐫 𝚊𝚗𝚍 𝚙𝚊𝚜𝚜𝚒𝚘𝚗𝚊𝚝𝚎 𝐜𝐨𝐦𝐦𝐮𝐧𝐢𝐭𝐲 𝐚𝐝𝐯𝐨𝐜𝐚𝐜𝐲. 𝙰𝚜 𝚊𝚗 𝙸𝚃 𝚎𝚗𝚐𝚒𝚗𝚎𝚎𝚛, 𝙸 𝚊𝚗𝚊𝚕𝚢𝚣𝚎 𝚝𝚑𝚎 𝚌𝚘𝚖𝚙𝚕𝚎𝚡 𝚜𝚢𝚜𝚝𝚎𝚖𝚜 𝚝𝚑𝚊𝚝 𝚜𝚝𝚛𝚞𝚌𝚝𝚞𝚛𝚎 𝚘𝚞𝚛 𝚠𝚘𝚛𝚕𝚍; 𝚊𝚜 𝚊 𝚍𝚎𝚍𝚒𝚌𝚊𝚝𝚎𝚍 𝚢𝚘𝚞𝚝𝚑 𝚌𝚘𝚞𝚗𝚜𝚎𝚕𝚘𝚛 𝚊𝚗𝚍 𝚖𝚎𝚗𝚝𝚘𝚛 𝚠𝚒𝚝𝚑 𝚘𝚛𝚐𝚊𝚗𝚒𝚣𝚊𝚝𝚒𝚘𝚗𝚜 𝚕𝚒𝚔𝚎 𝙲𝚎𝚗𝚝𝚛𝚎𝟹𝟼𝟶 𝚊𝚗𝚍 𝙻𝚎𝚝 𝙼𝚎 𝚁𝚞𝚗, 𝙸 𝚐𝚞𝚒𝚍𝚎 𝚊𝚍𝚘𝚕𝚎𝚜𝚌𝚎𝚗𝚝𝚜 𝚝𝚑𝚛𝚘𝚞𝚐𝚑 𝚙𝚎𝚛𝚜𝚘𝚗𝚊𝚕 𝚊𝚗𝚍 𝚋𝚎𝚑𝚊𝚟𝚒𝚘𝚛𝚊𝚕 𝚌𝚑𝚊𝚕𝚕𝚎𝚗𝚐𝚎𝚜.
𝚃𝚑𝚒𝚜 𝚍𝚎𝚍𝚒𝚌𝚊𝚝𝚒𝚘𝚗 𝚝𝚘 𝚋𝚞𝚒𝚕𝚍𝚒𝚗𝚐 𝚜𝚝𝚛𝚘𝚗𝚐𝚎𝚛 𝚌𝚘𝚖𝚖𝚞𝚗𝚒𝚝𝚒𝚎𝚜 𝚎𝚡𝚝𝚎𝚗𝚍𝚜 𝚍𝚒𝚛𝚎𝚌𝚝𝚕𝚢 𝚏𝚛𝚘𝚖 𝚝𝚑𝚎 𝚙𝚊𝚐𝚎 𝚒𝚗𝚝𝚘 𝚛𝚎𝚊𝚕-𝚠𝚘𝚛𝚕𝚍 𝚊𝚌𝚝𝚒𝚘𝚗: 𝙸 𝚛𝚎𝚌𝚎𝚗𝚝𝚕𝚢 𝚌𝚘-𝚏𝚘𝚞𝚗𝚍𝚎𝚍 𝚊 𝚗𝚘𝚗𝚙𝚛𝚘𝚏𝚒𝚝 𝚘𝚛𝚐𝚊𝚗𝚒𝚣𝚊𝚝𝚒𝚘𝚗 (𝐰𝐰𝐰.𝐝𝐢𝐟𝐟𝐞𝐫𝐞𝐧𝐜𝐞𝐝𝐫𝐢𝐯𝐞𝐧.𝐜𝐨𝐦) 𝚍𝚎𝚍𝚒𝚌𝚊𝚝𝚎𝚍 𝚝𝚘 𝚛𝚊𝚒𝚜𝚒𝚗𝚐 𝚊𝚠𝚊𝚛𝚎𝚗𝚎𝚜𝚜 𝚊𝚗𝚍 𝚏𝚞𝚗𝚍𝚜 𝚝𝚘 𝚎𝚜𝚝𝚊𝚋𝚕𝚒𝚜𝚑 𝚊 𝚌𝚘𝚖𝚖𝚞𝚗𝚒𝚝𝚢 𝚌𝚘-𝚘𝚙𝚎𝚛𝚊𝚝𝚒𝚟𝚎, 𝚝𝚞𝚛𝚗𝚒𝚗𝚐 𝚝𝚑𝚎 𝚌𝚘𝚛𝚎 𝚝𝚑𝚎𝚖𝚎𝚜 𝚘𝚏 𝚖𝚢 𝚗𝚘𝚟𝚎𝚕 𝚒𝚗𝚝𝚘 𝚊 𝚛𝚎𝚊𝚕-𝚠𝚘𝚛𝚕𝚍 𝚖𝚒𝚜𝚜𝚒𝚘𝚗.
𝙸 𝚊𝚕𝚜𝚘 𝚎𝚡𝚙𝚕𝚘𝚛𝚎 𝚝𝚑𝚎𝚜𝚎 𝚌𝚛𝚎𝚊𝚝𝚒𝚟𝚎 𝚊𝚗𝚍 𝚜𝚘𝚌𝚒𝚊𝚕 𝚝𝚑𝚎𝚖𝚎𝚜 𝚝𝚑𝚛𝚘𝚞𝚐𝚑 𝚖𝚞𝚜𝚒𝚌, 𝚠𝚛𝚒𝚝𝚒𝚗𝚐 𝚊𝚗𝚍 𝚛𝚎𝚌𝚘𝚛𝚍𝚒𝚗𝚐 𝚞𝚗𝚍𝚎𝚛 𝚝𝚑𝚎 𝚗𝚊𝚖𝚎 𝑹𝒂𝒚𝑹𝒂𝒚𝑭 𝑭𝒐𝒓𝒓𝒆𝒔𝒕.


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𝙇𝙚𝙖𝙧𝙣 𝙢𝙤𝙧𝙚 𝙖𝙗𝙤𝙪𝙩 𝙍𝙖𝙮’𝙨 𝙢𝙞𝙨𝙨𝙞𝙤𝙣 —𝙖𝙣𝙙 𝙩𝙝𝙚 𝙬𝙤𝙧𝙠 𝙗𝙚𝙝𝙞𝙣𝙙 𝙞𝙩— 𝙖𝙩 https://www.differencedriven.com.

Monday, January 26, 2026

𝐓𝐀𝐊𝐈𝐍𝐆 𝐀 𝐑𝐈𝐃𝐄 𝐖𝐈𝐓𝐇 𝐖𝐇𝐈𝐓𝐌𝐀𝐍: 𝐄𝐕𝐄𝐑𝐘𝐎𝐍𝐄’𝐒 𝐎𝐍 𝐁𝐎𝐀𝐑𝐃

𝚃𝙷𝙴 𝙰𝚁𝙲 𝚂𝙾 𝙵𝙰𝚁: 𝙸𝙳𝙴𝙽𝚃𝙸𝚃𝚈 & 𝙸𝚃𝚂 𝙲𝙾𝚂𝚃𝚂
Over the past two posts, we tracked how 𝗶𝗱𝗲𝗻𝘁𝗶𝘁𝗶𝗲𝘀 get manufactured, and what they cost, in the most concrete terms: first in dollars and circulation, then in human life.

First, 𝗦𝗮𝗻𝘁𝗮: a man-made figure so heavily circulated and marketed that he has become a cultural emblem, an identity that’s 100% fabricated yet omnipresent. A capitalist cherry on top, it’s also wonderfully monetized: being one of the world’s most recognized faces sells.

Then 𝗛𝗲𝗺𝗶𝗻𝗴𝘄𝗮𝘆: one of a few writers canonized during his lifetime – in large part because he built a scandalous public self so successfully that what’s behind it steadily eroded. Ego liquified, until the final collapse: that of the lived self into the performed persona. An extreme case of identity as a lifelong publicity campaign: a lifelong performance with real consequences.




𝙲𝚁𝙾𝚂𝚂𝙸𝙽𝙶: 𝚃𝙷𝙴 𝚂𝙴𝙻𝙵 𝙸𝙽 𝚃𝙷𝙴 𝙲𝚄𝚁𝚁𝙴𝙽𝚃
Today, we close that arc with 𝐖𝐚𝐥𝐭 𝐖𝐡𝐢𝐭𝐦𝐚𝐧, and he flips the premise by offering us an augmented vision, an interpretation of self as a forever-moving point on a 𝘶𝘪𝘷𝘦𝘳𝘴𝘦-al continiium. In "𝑪𝒓𝒐𝒔𝒔𝒊𝒏𝒈 𝑩𝒓𝒐𝒐𝒌𝒍𝒚𝒏 𝑭𝒆𝒓𝒓𝒚," identity is detached from the trivial, limited & limiting, exchange-based, profit-oriented and transactional. It isn’t a product or a persona as seen in Santa & Hemingway. In Whitman’s electric cosmos, the ‘self’ essentially ceases to exist as an internalized, ‘costume’ notion, and identity becomes an extension of what we are in our meat-suits — a passage into the realm of transcendental and metaphysical.

The core motion of "𝑪𝒓𝒐𝒔𝒔𝒊𝒏𝒈 𝑩𝒓𝒐𝒐𝒌𝒍𝒚𝒏 𝑭𝒆𝒓𝒓𝒚" is that it is not just a poem about a place, but a meditation on shared passage. Whitman does not position himself as a fixed observer; he casts himself as a passenger, one among many, moving through the same current of time as past and future strangers alike. The “you” he addresses is not metaphorical. It is literal, delayed, inevitable. We are separated by years, histories, bodies, languages, yet bound by the same transit. We are all passengers on Earth.

From this angle, identity is no longer a sealed unit, nor a performance staged for recognition. It becomes relational, porous, in motion — a temporary configuration inside a larger, continuous human stream. The shift is from the one to the many, from the ego to the whole: an expanded angle where we view ourselves not as separate, but as part of something larger. The individual does not vanish; it extends, held within a living continuity where millions have stood before, and millions will come after.

To see oneself this way echoes existential philosophy: the 𝗺𝘆𝘁𝗵 𝗼𝗳 𝗦𝗶𝘀𝘆𝗽𝗵𝘂𝘀, where stone is always getting pushed to the top of the hill only to fall back down. Peace comes from accepting participation in the motion rather than expecting a final resolution. Applied to identity, the self becomes an ongoing passage: formed, shed, and re-formed in time. Coherence comes less from arrival than from consenting to the movement.

And this is precisely where Whitman reconnects us to 𝑹𝒐𝒖𝒏𝒅 𝑬𝒂𝒓𝒕𝒉, 𝑶𝒑𝒆𝒏 𝑺𝒌𝒚 as well.



𝙵𝚁𝙾𝙼 𝙵𝙴𝚁𝚁𝚈 𝚃𝙾 𝚁𝙾𝙰𝙳: 𝚁𝙴𝙾𝚂 𝙸𝙽 𝙼𝙾𝚃𝙸𝙾𝙽
𝗦𝗸𝘆 𝗠𝗮𝗻 —the novel’s protagonist— is, quite literally, a 𝙥𝙖𝙨𝙨𝙚𝙣𝙜𝙚𝙧 𝙤𝙣 𝙀𝙖𝙧𝙩𝙝. He moves through landscapes, encounters, identities, belief-systems, and inherited narratives as crossings. Like Whitman’s 𝗳𝗲𝗿𝗿𝘆, the 𝗿𝗼𝗮𝗱 in 𝑹𝑬𝑶𝑺 means travel rather than arrival. It is about shared motion through time, about what happens when a character loosens their grip on a fixed self and allows experience —people, strangers, histories— to pass through versus be filtered, categorized, resisted.

By learning to let go, shed societally & self-inflicted masks and roles —and by moving beyond presumptive, tunnel-vision categorical thinking— characters widen their frame of perception not just inward & toward the self, but also outward. In doing so, they gain a fundamentally deeper empathy, grounded in this newly broadened, more open & selfless (de-ego-fied) view of others —close ones and strangers alike— and the world. A world now recognized as an interconnected and infinite matrix, in which they are an integral particle: existing within a specific timeframe, yet simultaneously traversing beyond the concept of time.

Whitman supplies the positive ontology of this movement. Where identity elsewhere collapses into mask or spectacle, he shows what happens when ego dissolves without annihilation — when dividers fall and the self does not disappear, but joins the current. Identity becomes not something to defend or perform, but something to participate in: a temporary formation inside a shared, universal human experience. A collective phenomenon, if you will.



𝚃𝙷𝙴 𝚃𝙰𝙺𝙴𝙰𝚆𝙰𝚈: 𝚆𝙴 𝙰𝚁𝙴 𝙰𝙻𝙻 𝙿𝙰𝚂𝚂𝙴𝙽𝙶𝙴𝚁𝚂
In this sense, "𝑪𝒓𝒐𝒔𝒔𝒊𝒏𝒈 𝑩𝒓𝒐𝒐𝒌𝒍𝒚𝒏 𝑭𝒆𝒓𝒓𝒚" is a philosophical rehearsal for the same gesture 𝑹𝑬𝑶𝑺 keeps returning to:
the courage to stop anchoring the self to rigid borders, and instead accept what
Whitman already knew—
𝘸𝘦 𝘢𝘳𝘦 𝘢𝘭𝘭 𝘱𝘢𝘴𝘴𝘦𝘯𝘨𝘦𝘳𝘴, 𝘮𝘰𝘷𝘪𝘯𝘨 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳, 𝘸𝘩𝘦𝘵𝘩𝘦𝘳 𝘸𝘦 𝘳𝘦𝘤𝘰𝘨𝘯𝘪𝘻𝘦 𝘰𝘯𝘦 𝘢𝘯𝘰𝘵𝘩𝘦𝘳 𝘰𝘳 𝘯𝘰𝘵.


𝙏𝙝𝙖𝙩’𝙨 𝙩𝙝𝙚 𝙛𝙪𝙡𝙡 𝙘𝙞𝙧𝙘𝙡𝙚: identity sold, identity performed, identity released into the common current.

Round Earth, Open Sky (cover)
Available on Amazon

Round Earth, Open Sky

Kirpal Gordon

A mytho-poetic road novel through desert and dream—Sky Man, Moses, and a journey that keeps opening into stranger terrain.

View on Amazon →
(Opens in a new tab.)

Sunday, January 18, 2026

𝐇𝐄𝐌𝐈𝐍𝐆𝐖𝐀𝐘: 𝐇𝐈𝐒 𝐆𝐑𝐄𝐀𝐓𝐄𝐒𝐓 𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑

𝑌𝑜𝑢 𝑟𝑢𝑛 𝑓𝑟𝑜𝑚 𝑜𝑛𝑒 𝑝𝑙𝑎𝑐𝑒 𝑡𝑜 𝑎𝑛𝑜𝑡ℎ𝑒𝑟, 𝑏𝑢𝑡 𝑦𝑜𝑢'𝑟𝑒 𝑠𝑡𝑖𝑙𝑙 𝑦𝑜𝑢. 𝑌𝑜𝑢 𝑐𝑎𝑛'𝑡 𝑔𝑒𝑡 𝑜𝑢𝑡 𝑜𝑓 𝑦𝑜𝑢𝑟 𝑏𝑜𝑑𝑦.
— 𝑬𝒓𝒏𝒆𝒔𝒕 𝑯𝒆𝒎𝒊𝒏𝒈𝒘𝒂𝒚, 𝑻𝒉𝒆 𝑺𝒖𝒏 𝑨𝒍𝒔𝒐 𝑹𝒊𝒔𝒆𝒔 
Today, we want to continue our conversation on 𝗶𝗱𝗲𝗻𝘁𝗶𝘁𝘆 as an artificial construct that we change & continuously reshape —like children mold their playdough— except the stakes are much higher, and the setting is no longer a playground but a human life. Being engineers of human souls, litterateurs similarly mold their characters, carefully weaving intricate threads into their psyches and moral frameworks. Quite often, these fictional personas are extensions of authors’ own personalities — surrogates nested in realities augmenting strengths and polishing weaknesses of their creator.

Among the shelves of a vast global library, one author’s bibliography stands out in particular because it runs on a deeply autobiographical engine. 𝗘𝗿𝗻𝗲𝘀𝘁 𝗛𝗲𝗺𝗶𝗻𝗴𝘄𝗮𝘆 wrote countless self-portraits — ego and personal philosophies taking central stage in his prose and the characters who inhabit it, accumulating into an unwritten code of masculinity. Rising above all, however, was his main project: an authored public self on the borderline of myth and fact. A lifelong identity project, Hemingway’s public-facing ego prototype fused with his archetypal protagonist into a widely exported “real man” template.

There is a timely reason to revisit this file: 𝑻𝒉𝒆 𝑺𝒖𝒏 𝑨𝒍𝒔𝒐 𝑹𝒊𝒔𝒆𝒔 turns 𝟭𝟬𝟬 in 2026. Often seen as the turning point when Hemingway’s clipped, hard‑boiled style gained momentum and became tied to his name, this is the book that launched and cemented the “Hemingway” legend. That same year, Hemingway signed with 𝗖𝗵𝗮𝗿𝗹𝗲𝘀 𝗦𝗰𝗿𝗶𝗯𝗻𝗲𝗿’𝘀 𝗦𝗼𝗻𝘀, the publishing house that would define the course of his career. As Lesley Blume, author of a 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘛𝘪𝘮𝘦𝘴–bestselling book on the novel and its history, observes, “[Hemingway] was a two‑for‑one deal. The persona was crucial to launching him as a writer. They planted stories about him with gossip columnists; he was so different from other writers at the time.” (𝘓𝘪𝘵𝘏𝘶𝘣, 2021)

So, a star is born. Several condition subsequent clauses with footnotes attached to the birth certificate. 

𝘐𝘮𝘢𝘨𝘦 𝘳𝘦𝘤𝘳𝘦𝘢𝘵𝘦𝘥 𝘵𝘰 𝘤𝘭𝘰𝘴𝘦𝘭𝘺 𝘮𝘢𝘵𝘤𝘩 𝘵𝘩𝘦 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘏𝘦𝘮𝘪𝘯𝘨𝘸𝘢𝘺 𝘣𝘰𝘹𝘪𝘯𝘨 𝘱𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩 (𝘓𝘰𝘯𝘥𝘰𝘯, 𝘔𝘢𝘺 𝟣𝟫𝟦𝟦)


𝐇𝐈𝐒𝐓𝐎𝐑𝐘 𝐌𝐀𝐓𝐓𝐄𝐑𝐒 (𝐂𝐎𝐍𝐓𝐄𝐗𝐓)
What else could possibly enter the equation to make you, once and for all, solidify the confines of who you are and what you 𝘤𝘰𝘶𝘭𝘥 become — and withdraw a possibility of any further negotiation or amendment of contract conditions? Behold: public reception. Strengthen it: positive, even glorifying public reception. Let it peak: you become a cultural icon and a symbol of an era.

Hemingway’s postwar voice —disillusioned, cold-eyed, cynically honest, stringently factual while void emotionally— matched the equally hard-boiled ‘l𝗹𝗼𝘀𝘁 𝗴𝗲𝗻𝗲𝗿𝗮𝘁𝗶𝗼𝗻’ in the wake of 𝗪𝗪𝗜. The public was hungry for a figure who could embody their de-romanticized reality. And Hemingway arrived with more than a voice, but a lifestyle plus hobbies and interests graph that read like a plot in itself: war service, plane crashes, hunting, boxing, bullfights, marriages, drinking. The myth validated the writing; the writing validated the myth.



𝐓𝐇𝐄 𝐇𝐄𝐌𝐈𝐍𝐆𝐖𝐀𝐘 𝐂𝐎𝐃𝐄
Across his seven major novels, the protagonist in each is argued to represent the author himself. Each variation is a new mirror angled slightly differently, but all insist on a particular moral silhouette: the self-sufficient male pulled into conflict, first armored, then forced (often violently) into an awareness of his own vulnerability and a crisis of self-identification.

This is where Hemingway turns from author into icon-builder: he doesn’t just write people; he writes a code. We see private ethics elevated to public doctrine, where ‘righteous’ masculinity becomes a unit of measure, a moral compass. The rulebook is straight and perhaps as contained as the behaviors it ascribes: stoicism and restraint above all; prefer action to speech; keep feelings contained; endure the ordeal with constraint; resist impulsivity; remain loyal to inner standards.

The famous toughness, however, isn’t just a put-on show, but a discipline. It is an attempt to raise the emotional temperature toward universal 𝘛𝘳𝘶𝘵𝘩 by refusing sentimentality, compressing the unbearable into understatement, and turning empathy inward until it becomes a vibration beneath the surface of “facts.” The most evident proof of this is the maestro’s distinctive compressed language style, officially known as “𝗵𝗮𝗿𝗱-𝗯𝗼𝗶𝗹𝗲𝗱.”

Masculinity Hemingway-kind, undeniably, tilts into 𝗺𝗮𝗰𝗵𝗶𝘀𝗺𝗼. And again, we see self & written, portrayed and projected blend. Ernest himself, of course, had an ambition to look like a macho: a real man, a hero-lover, an athlete, a conqueror of women, heights, and horses.

If identity is a construct, Hemingway’s protagonists are identity at its most performative: the self staged as a demonstration. Following the same logic, the man himself is a shining example of a trendy term these days: 𝗽𝗲𝗿𝗳𝗼𝗿𝗺𝗮𝘁𝗶𝘃𝗲 𝗺𝗮𝘀𝗰𝘂𝗹𝗶𝗻𝗶𝘁𝘆.



𝐊𝐄𝐍 𝐎𝐍 𝐏𝐄𝐃𝐄𝐒𝐓𝐀𝐋
A Ken on display, the result is a self-labyrinth made of pride, fear, longing, and the desperate need for the world to validate the mask.

Now, with guidelines so ironclad, the implications of a breach can be fatal. Restrictions make it impossible to move, errors are seen as a moral collapse, and any force majeure risks a point of no return. Proof? At the 𝗮𝗴𝗲 𝗼𝗳 𝟲𝟮, Hemingway put a double-barreled shotgun to the sky and pressed the trigger.

Pressure —both self-inflicted and now extended into the public eye, with all the media coverage the author was attracting— raised the bar too high. With unexpected external factors coming into play (numerous head injuries throughout life; rapid deterioration of physical health towards the end; mania, paranoia, and PTSD), the pedestal that the public put him on proved to be a rather unstable foundation — a trap rather than a throne, especially in the context of a fragile ego.



'𝑯𝑬𝑴𝑰𝑵𝑮𝑾𝑨𝒀 𝑪𝑶𝑫𝑬' 𝐑𝐄𝐕𝐈𝐒𝐈𝐓𝐄𝐃: 𝐖𝐎𝐔𝐍𝐃𝐄𝐃 𝐄𝐆𝐎 𝐎𝐍 𝐃𝐈𝐒𝐏𝐋𝐀𝐘, 𝐎𝐑 𝐌𝐀𝐄𝐒𝐓𝐑𝐎’𝐒 𝐁𝐈𝐆𝐆𝐄𝐒𝐓 𝐌𝐀𝐒𝐓𝐄𝐑𝐏𝐈𝐄𝐂𝐄?
Maybe that’s why “𝙩𝙝𝙚 𝙃𝙚𝙢𝙞𝙣𝙜𝙬𝙖𝙮 𝙘𝙤𝙙𝙚” reads less like armor and more like a cage. An artificial identity can be all-consuming: what begins as protection slowly hardens into captivity. And for a macho image —by definition— display of weakness is not just an abnormality but a sign of embarrassment.

Or maybe 𝑯𝒆𝒎𝒊𝒏𝒈𝒘𝒂𝒚’𝒔 𝒈𝒓𝒆𝒂𝒕𝒆𝒔𝒕 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓 is Hemingway — the Hemingway he invented and revised across books: modern knight, man of action, chivalric code-bearer, stoic believer in discipline, volcano disguised as stone.


...

𝐖𝐇𝐄𝐍 𝐓𝐇𝐄 𝐌𝐘𝐓𝐇 𝐓𝐀𝐊𝐄𝐒 𝐓𝐇𝐄 𝐖𝐇𝐄𝐄𝐋: 𝐓𝐇𝐄 𝐃𝐄𝐒𝐄𝐑𝐓 𝐓𝐄𝐒𝐓 𝐎𝐅 𝐒𝐄𝐋𝐅
And this is where 𝑹𝒐𝒖𝒏𝒅 𝑬𝒂𝒓𝒕𝒉, 𝑶𝒑𝒆𝒏 𝑺𝒌𝒚 slides into the frame — not as a “related title” plug, but as a sister inquiry. 𝑹𝑬𝑶𝑺 is also an 𝗶𝗱𝗲𝗻𝘁𝗶𝘁𝘆 𝗻𝗼𝘃𝗲𝗹, except the stage is not Paris cafés and prizefights, but the desert, the road, the charged theatre of spiritual narration. Its characters keep bumping into a brutally modern question: who are you when you stop performing the version of yourself that kept you safe? Hemingway builds a “real man” and then must live inside the costume; 𝑹𝑬𝑶𝑺 watches people inherit costumes —spiritual, cultural, romantic, even salvific— and then begins the slow, frightening work of taking them off. Not to become “authentic” in some glossy self-help sense, but to face the emptiness underneath the costume without rushing to refill it with another script.

In that way, 𝑹𝑬𝑶𝑺 reads like a counter-mechanism to the Hemingway machine: it doesn’t romanticize the code; it interrogates the need for codes at all. The book’s identity arc isn’t “become harder,” but 𝘣𝘦𝘤𝘰𝘮𝘦 𝘩𝘰𝘯𝘦𝘴𝘵: about the stories you tell to survive, the aliases you wear to be loved, the myths you adopt to feel chosen. And if Hemingway’s public self is a masterpiece of myth-manufacture —knight, hunter, stoic— 𝑹𝑬𝑶𝑺 asks the darker follow-up: 𝘸𝘩𝘢𝘵 𝘩𝘢𝘱𝘱𝘦𝘯𝘴 𝘸𝘩𝘦𝘯 𝘺𝘰𝘶𝘳 𝘮𝘺𝘵𝘩 𝘴𝘵𝘰𝘱𝘴 𝘱𝘳𝘰𝘵𝘦𝘤𝘵𝘪𝘯𝘨 𝘺𝘰𝘶 𝘢𝘯𝘥 𝘴𝘵𝘢𝘳𝘵𝘴 𝘴𝘵𝘦𝘦𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘸𝘩𝘦𝘦𝘭? When the “character” you’ve perfected becomes the very thing that keeps you from living?


Round Earth, Open Sky (cover)
Available on Amazon

Round Earth, Open Sky

Kirpal Gordon

A mytho-poetic road novel through desert and dream—Sky Man, Moses, and a journey that keeps opening into stranger terrain.

View on Amazon →
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Wednesday, January 14, 2026

MORE RESPONSES FROM POETS ON RENEE GOOD

I’m Not Mad At You (For Good) By Jackie Henrion 1/7/26


My mother has been dead

Without shroud from grace

Or other holy ghosts

Her epitaph reads captive

Involuntary abjection

Of genetics and entrainment

Creative attempts not

Withstanding, not worth standing

Intellectual bandwidth stunted

By so many years and fears

Stuck in the garden’s enclosure

She could only offer coupling

Too young the sadness of need

Unwanted implantation exchanged

Like opportunity

Without shield

Yet I stand with gratitude

For mud, pulchritude, and effluent

Fed blossom and flight

And ultimately—the Good fight

Tuesday, January 13, 2026

GSP POETS RESPOND TO THE DEATH OF POET RENEE GOOD

KIRPAL GORDON: Every day of this present administration recalls memories of Chicago '68, Civil Rights, Kent State and anti-Nam demonstrations. With the killing of Renee Good by ICE agents in Minneapolis, I’m stunned. Jim, you have been involved in a unique form of poetry activism. I am referring to your own poetry as well as your curation and scholarship of Museum of American Poetics which celebrates poetry from across the world, across genres, across decades. What can poets do in response to her murder? And Bill, you have been a poetry activist and scholar from your time in San Francisco in the late Sixties to now. What advice on right action do you glean from our poetry tradition in responding to the ruptures in our democracy? 


JIM COHN: For myself, a person who generally refrains from using social media to express my own personal views on politics, the maniacal death by an ICE agent of Renee Nicole Good, with three close range bullets shot to her head, a Minneapolis poet and mother of three, and a US citizen, was a moment when I felt no choice but to see the current United States government acting in its own interest, with its own secret police, accountable to no citizen, and no laws, save the president's whims.
I also realized, in doing so, the common enough experience that a person will be shaken enough, at certain times or over certain events, to take such action as social media provides in self-expression. What is usually not discussed when taking to social media is one's motivation for so doing. For me, the murder of a community activist & poet by ICE in January 2026 exploited tactics I never thought I'd see on America's streets; tactics in which I felt the terror of a shock and awe domestic paramilitary force armed & acting with impunity roaming at will across our cities and neighborhoods, armed federal agents engaged in extreme lawlessness, violence & lack of concern for their fellow citizens.
What came over me was an utter sense of isolation that I felt in the face of this tragic incident. The heart of this feeling was the recognition of a shared identity with the victim through poetry and through the artistic vocation of the poet. Each time ICE agents detain, incarcerate, deport, and/or kill without any legal accountability within the domestic borders of the United States, each of us is less protected by the laws of our democracy. This feeling was not the result of any unacknowledged or acknowledged right or endowment upon a poet of any greater sense of freedom, including freedom of speech, and by no means limited only to that freedom, than to any other citizen, but an acknowledgment of others, and in that acknowledgment of the multiplicity of otherness as the history of this nation, its grand design by our founders, and the long march of freedom across the generations. We cannot allow for the federal government's projection that heavily armed & poorly trained ICE agents are in any greater need or right to protection from the domestic terrorism that they, not citizens, are waging on Americans of all walks of life as well as immigrants here legally and/or awaiting hearings on their immigration status.
As a result, I've written Colorado's governor's chief of staff requesting he invite & choose a
diverse group of Colorado poets to read poems in honor of Renee Nicole Good & in her
memory & against ICE's tactics and complete lack of accountability in the victimizing of
communities they invade. Such requests might also be done on the city level in conjunction with mayor offices.
These Readings would be part of the growing anti-ICE non-violent protests sweeping the nation.

WILLIAM SEATON: I certainly agree with you about the ugliness of the current regime and the need for all to combat it. I have always tried to do my part in demonstrations and organizing to try to further progressive movements: civil rights, anti-imperialism, feminism, labor, socialism. At times poetry has played a role. I attended what I think was the first poetry reading against the Vietnam War (December, 1967, Minneapolis) and I organized one myself when Bush invaded Iraq. My poems appear in half a dozen righteous politically-oriented anthologies. Etc.
Yet I see the duties of a good citizen, indeed of any moral person, as separate from the aesthetic goals of an artist. To me art is the work of making beautiful objects and politics the arena to construct ways of effectively cooperating. Both are important, but they acknowledge different value systems. People may have backward social views while producing great art and, on the other hand, they may espouse progressive views and produce nothing of aesthetic value to others. See my essay “Marxism’s Limits”
Just as one might be a skilled heart surgeon while being nasty to a partner, not every great painter or poet expresses love of community. I don’t mean to discount the tradition of poets as seers, as collective voices (like Whitman consciously assuming the mantle of American prophet or Shelley speaking of “unacknowledged legislators”), and I continue to evaluate the character (though not the poetic achievement) of writers by their politics. Everyone has multiple roles, and a poet is also a citizen with civic responsibilities and a human with moral obligations to others.
Poetry excels in ambiguity, mystery, ambivalence, and self-contradiction. Propaganda, while it may well be true and even sometimes beautiful as well, tends toward reductive simplicity. Shelley’s “England in 1819” is an example of agitprop that is at the same time most artful. Art can assist the people’s movements with persuasive speeches, songs, and posters, yes, even poetry, and in this way be the handmaiden of positive change, and a good person will manifest that goodness through concern for the community, but art works cannot be judged by non-aesthetic criteria. As Trotsky said in Literature and Revolution, we can have no idea of socialist poetry since we do not live under socialism. Let each artist be guided by imagination, and we will see what we come up with.

Thursday, January 8, 2026

𝑺𝒂𝒏𝒕𝒂, 𝑹𝒆𝒄𝒓𝒖𝒊𝒕𝒆𝒅: 𝑾𝒉𝒂𝒕'𝒔 𝒕𝒉𝒆 𝒍𝒊𝒏𝒌 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝑫𝒊𝒐𝒏𝒚𝒔𝒖𝒔, 𝒑𝒓𝒐𝒑𝒂𝒈𝒂𝒏𝒅𝒂 & 𝑪𝒊𝒗𝒊𝒍 𝑾𝒂𝒓 — 𝒂𝒏𝒅 𝒉𝒐𝒘 𝒅𝒐𝒆𝒔 𝑺𝒂𝒏𝒕𝒂 𝒇𝒊𝒕 𝒊𝒏 𝒂𝒍𝒍 𝒐𝒇 𝒕𝒉𝒊𝒔?

Before Santa became a universal holiday icon, he had a career in politics. Even more than that, what if I told you that the jolly North Pole resident, always trailed by reindeer and elf groupies, is merely a product of propaganda?
Sounds too extreme? Let me take it further: 𝗔𝗺𝗲𝗿𝗶𝗰𝗮𝗻 propaganda. Scared? Boo.



Well, let’s rewind a bit. This is the story of how Santa became a tool of ideology: a salesman for American identity, as well as a cuddly emblem of national unity.

Until the mid-1800s, Christmas hadn’t yet solidified (especially in the U.S. and Britain) into the intimate, home-filled, family-centered tradition we now picture: awash in love, care for one another, magic & miracle. The familiar “sparkle script” wasn’t the norm. No glow of lights, no bright-red ribbons on presents, no Christmas tree in every living room with gifts tucked underneath. Consequently, there also was no Santa as we know him today.

Earlier “holiday spirit” could look less like a cozy domestic postcard and more like public revelry & drunken frenzies, licentious feasts and general wintertime debauchery. Call it a vestige of the pagan past and solstice celebrations. This helps explain one of Santa’s early cousins, 𝗦𝗶𝗿 𝗖𝗵𝗿𝗶𝘀𝘁𝗺𝗮𝘀/ 𝗙𝗮𝘁𝗵𝗲𝗿 𝗖𝗵𝗿𝗶𝘀𝘁𝗺𝗮𝘀, sometimes carrying visual parallels to 𝑫𝒊𝒐𝒏𝒚𝒔𝒖𝒔, 𝘁𝗵𝗲 𝗴𝗼𝗱 𝗼𝗳 𝗲𝗰𝘀𝘁𝗮𝘀𝘆 𝗮𝗻𝗱 𝗳𝗲𝗿𝘁𝗶𝗹𝗶𝘁𝘆, the flower-crowned type rather than the chimney-crawling moral accountant.

In fact, early Christmas could be so far from God that Puritans abolished it in the 1600s as unholy indulgence and profligacy. Only by the mid-1800s did American & British culture begin to clothe the holiday in merciful, conventionally moral undertones, with domestic warmth and charity pushed to the forefront. 𝗗𝗶𝗰𝗸𝗲𝗻𝘀’s 𝘈 𝘊𝘩𝘳𝘪𝘴𝘵𝘮𝘢𝘴 𝘊𝘢𝘳𝘰𝘭 (1843) amplified the shift.

As Christianity spread and shaped European life, the holiday came to carry primarily sectarian meaning, and the earliest prototypes of the modern-day Santa were modeled on 𝗦𝗮𝗶𝗻𝘁 𝗡𝗶𝗰𝗵𝗼𝗹𝗮𝘀, a fourth-century Christian bishop revered as a protector of children. Church-tied, his visual form was far from today’s plush red monarch: more ecclesiastical than magical, more skinny old man in cassock than belly-laughing chimney-climber. He was also famous for generosity: this is where the gift-giving lineage comes from.

On the other side of the globe, in mid-19th-century America, Christmas was popular but still unstandardized: a patchwork of regional and immigrant customs.

You’re probably thinking by now: cool, congratulations. Where is the 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝒑𝒓𝒐𝒑𝒂𝒈𝒂𝒏𝒅𝒂 (meant to be read in an elevated, grotesque tone) story advertised at the beginning?
*𝘧𝘰𝘳 𝘢 𝘧𝘶𝘭𝘭𝘦𝘳 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦, 𝘪𝘯𝘴𝘦𝘳𝘵 𝘦𝘢𝘨𝘭𝘦 𝘴𝘰𝘶𝘯𝘥𝘴 𝘢𝘶𝘥𝘪𝘰*

Okay-okay, here comes the juicy part.
𝟭𝟴𝟲𝟯. The Civil War is raging in its full bloody swing. It ripped the country open, and suddenly the idea of a shared national feeling became urgent.

Insert a German-American caricaturist working for a widely read magazine of the day, 𝘏𝘢𝘳𝘱𝘦𝘳’𝘴 𝘞𝘦𝘦𝘬𝘭𝘺. An ardent champion of abolition and civil rights, 𝑻𝒉𝒐𝒎𝒂𝒔 𝑵𝒂𝒔𝒕 is eager to make his graphics a tool of political influence — and a weapon in support of the Union cause.

And what better way to boost a soldier’s morale than to bring the why —what they’re fighting for— right to the forefront? Family. Stability. Someone waiting for you at home. Nast layers his wartime politics onto that newly domesticated Christmas mood… and hits the jackpot.

In one of his early depictions of what would become the main symbol of Christmas, Santa Claus wears a jacket adorned with stars & striped pants and distributes gifts to soldiers stationed at a Union army camp — while the American flag waves proudly above him.

Instead of an old-world saint or a vague winter spirit, Santa becomes a distinctly American presence: one who visits soldiers, blesses the home front and stitches “family,” “morale” & “nation” into one emotional package. Another jackpot for Nast and the Union: they can now claim the holiday, along with all the “good” attached to it. The implication is powerful and persuasive: warmth, goodness, abundance, and childhood joy — these belong to 𝒖𝒔. And so does Santa.

Nast didn’t wave the flag at Santa once & move on. He standardized the message across 33 𝘏𝘢𝘳𝘱𝘦𝘳’𝘴 𝘞𝘦𝘦𝘬𝘭𝘺 Santas (1863–1886): Santa has a side, and it’s recruitable. In that first 1863 image, he shows up in Union kit, handing gifts to Union troops, and even brandishes a toy that turns Confederate president 𝗝𝗲𝗳𝗳𝗲𝗿𝘀𝗼𝗻 𝗗𝗮𝘃𝗶𝘀 into the villain-in-miniature.

Then Nast bureaucratizes the magic: he pins Santa to an “official” address (the North Pole) and sketches the workshop logic that makes him feel less like folklore and more like an institution you can recruit into. Once the machinery exists, it’s endlessly reusable. Coca-Cola locks in the warm, realistic Santa in 1931; by WWII, the state drafts him for war-bond drives. Same beard, new orders.

Santa’s story works because it runs on 𝗺𝘆𝘁𝗵 𝗿𝗲𝗰𝘆𝗰𝗹𝗶𝗻𝗴: take an emotionally powerful archetype, clean it up for the era, and repurpose it to carry messages about virtue, belonging & “who we are.” The names and costumes change, but the mechanism stays the same.

That same mechanism —how a culture manufactures meaning by stitching old gods into new costumes— is one of the questions driving 𝑹𝒐𝒖𝒏𝒅 𝑬𝒂𝒓𝒕𝒉, 𝑶𝒑𝒆𝒏 𝑺𝒌𝒚 by 𝐊𝐢𝐫𝐩𝐚𝐥 𝐆𝐨𝐫𝐝𝐨𝐧. 𝑹𝑬𝑶𝑺 doesn’t treat myth as trivia; it treats it as circuitry: the way identities (personal and collective) get built, sold, defended, and made to feel like “home.” Publishing this right after 𝘖𝘳𝘵𝘩𝘰𝘥𝘰𝘹 𝘊𝘩𝘳𝘪𝘴𝘵𝘮𝘢𝘴 (𝘑𝘢𝘯 𝟩) feels fitting: a second Christmas on the calendar, a second reminder that traditions don’t merely “continue” — they’re continually authored.
Round Earth, Open Sky (cover)
Available on Amazon

Round Earth, Open Sky

Kirpal Gordon

A mytho-poetic road novel through desert and dream—Sky Man, Moses, and a journey that keeps opening into stranger terrain.