Keep the focus on the action not the institution; don't confuse the vehicle with the objective; all cocoons are temporary and disappear - Toni Cade Bambara

It was Grandma Dorothy who taught me critical theory, who steeped me in the tradition of Afrocentric aesthetic regulations, who trained me to understand that a story should be informed by the emancipatory impulse that characterizes our storytelling trade in these territories as exemplified by those freedom narratives which we've been trained to call slave narratives for reasons too obscene to mention, as if the "slave" were an identity and not a status interrupted by the very act of fleeing, speaking, writing, and countering the happy-darky propaganda. She taught that a story should contain mimetic devices so that the tale is memorable, shareable, that a story should be grounded in cultural specificity and shaped by the modes of Black art practice-call-and-response but one modality that bespeaks a communal ethos. I would later read Fanon on the subject-"To speak is to assume a culture and to bear responsibility for a civilization." Later still, I read Paolo Freire, speaking on activist pedagogy, engaged cultural work. "The purpose of educational forms is to reflect and encourage the practice of freedom."

Since the breakthrough achieved in the sixties by the Neo-Black Arts Movement, the possibilities are stunning. Characters that have been waiting in the wings for generations, characters that did not fit into the roster of stereotypes, can now be brought down center stage.

For my own writing, I prefer the upbeat.