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The Last Four Things

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Paul Hoffman

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“I have a message for your daughter,” said Cale. “I am bound to her with cables that not even God can break. One day, if there is a soft breeze on her cheek, it may be my breath; one night, if the cool wind plays with her hair, it may be my shadow passing by.” And with this terrible threat he faced forward and the procession started once more. In less than a minute they were gone. In her shady room Arbell Swan-Neck stood white and cold as alabaster.”

“As a Caribbean-born, I understand the self as a multi-geometric entropic process always connected with the communal self. I do not seek history as a way to find points of origin, but to articulate historical locations in a traveling interconnected knowledge system that provides solutions for my subjective migrant experience. In a deeper process, the encounter with these places of intersection, the crossroads, could become turning points to return, to depart, to convey, and to arrive to the present. African Aesthetics still nurtures contemporary artistic practices in the Caribbean, as well as in the African Americana Diaspora and the US Latino Diaspora. Writing the Decolonial Mariposa Ancestral Memory CARIBBEAN INTRANSIT ART JOURNAL Vol. 1, Issue 4, Spring 2013.”

“The funeral director never smiled, even though I smiled at him several times. I couldn’t help it. My preacher’s daughter background has conditioned me to be cordial even when my world is dark, and that practice has become a habit. I wondered if the guy had been taught at some seminar or other to keep a solemn expression on his face no matter what, or if experience had taught him that any sign of happiness could be taken as an insult.”