2
" Twas brillig, and the slithy toves Did gyre and gimble in the wabe;All mimsy were the borogoves,And the mome raths outgrabe." Beware the Jabberwock, my son The jaws that bite, the claws that catch!Beware the Jubjub bird, and shun The frumious Bandersnatch!" He took his vorpal sword in hand; Long time the manxome foe he sought—So rested he by the Tumtum tree, And stood awhile in thought.And, as in uffish thought he stood, The Jabberwock, with eyes of flame,Came whiffling through the tulgey wood, And burbled as it came!One, two! One, two! And through and through The vorpal blade went snicker-snack!He left it dead, and with its head He went galumphing back." And hast thou slain the Jabberwock? Come to my arms, my beamish boy!O frabjous day! Callooh! Callay!" He chortled in his joy.'Twas brillig, and the slithy toves Did gyre and gimble in the wabe;All mimsy were the borogoves,And the mome raths outgrabe. "
9
" ...I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do.I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul, - and if he is not thus impressed, it will only be because " there is no flesh in his obdurate heart." I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion. "
12
" All I know was that Dirva stayed with Liro in the days immediately after, and that it was Liro who slowly coaxed him back from the jaws of grief. Dirva had Liro, he had no one else, and it was then that I began to understand that the things we need from others make their own kind of sense, have their own logic, create their own legitimacy regardless of what we've been taught. If he hadn't had Liro, I am not sure Dirva would have been able to patch himself back together.I am grateful for this, but in the years since, I cannot help but wonder at the sacrifice it required of Liro. It is not easy to hold someone through their grief. It is hard to see someone you love in pain, in irreparable pain. It takes an extraordinary type of kindness, a rare patience, to let the loss run its course. We always want to help, but there are times when there is no help, and the pressure to take help only makes things harder on the ones trapped in mourning. I don't know what transpired between them. I don't. But I do know that Dirva left him without explanation, reappeared without warning, and that there was nothing for Liro to do but offer himself up. I never knew Liro well, but he seemed to me a very bright man. Like anyone who scraped a childhood by on the street and survived to adulthood, he had a watchfulness about him and an uncannily honed feel for other people. Liro knew the moment Dirva set foot in the City what he would need, and what he would take, and Liro let him take it anyway. "
15
" Hate PoemI hate you truly. Truly I do.Everything about me hates everything about you.The flick of my wrist hates you.The way I hold my pencil hates you.The sound made by my tiniest bones were they trapped in the jaws of a moray eel hates you.Each corpuscle singing in its capillary hates you.Look out! Fore! I hate you.The blue-green jewel of sock lint I’m diggingfrom under by third toenail, left foot, hates you.The history of this keychain hates you.My sigh in the background as you explain relational databaseshates you.The goldfish of my genius hates you.My aorta hates you. Also my ancestors.A closed window is both a closed window and an obvioussymbol of how I hate you.My voice curt as a hairshirt: hate.My hesitation when you invite me for a drive: hate.My pleasant “good morning”: hate.You know how when I’m sleepy I nuzzle my headunder your arm? Hate.The whites of my target-eyes articulate hate. My witpractices it.My breasts relaxing in their holster from morningto night hate you.Layers of hate, a parfait.Hours after our latest row, brandishing the sharp glee of hate,I dissect you cell by cell, so that I might hate each oneindividually and at leisure.My lungs, duplicitous twins, expand with the utter validityof my hate, which can never have enough of you,Breathlessly, like two idealists in a broken submarine. "
19
" Ptah held up his mug. “Do you realize, we’ve fought together, starved together, bled together, endured slavery, and looked into the jaws of death...”
“But we never drank together!” Marcus finished, clanking his mug to Ptah’s.
“Exactly! The drink flows freely, and we must make up for lost time, ha ha ha! "
― Jennifer McKeithen , Atlantis: On the Shores of Forever (Atlantis: The Antediluvian Chronicles, #1)