Category: Theory

  • The Wrong Kind of Grief

    The Wrong Kind of Grief

    Who’s Allowed to Mourn in Public—and Who’s Not

    It was quiet at first. Just a few of us lying on the cold concrete outside of McGill University. Keffiyehs folded. Bodies arranged—not for spectacle, but for mourning.
    The die-in wasn’t meant to go viral. It was meant to say what the system refuses to name:
    Gaza is being erased.
    And health workers know what genocide looks like.

    I remember the weight of my own breath as I lay there.
    Not heavy. Not performative. Just present.

    Someone walked by and snapped a photo without asking. Another didn’t stop at all.
    When we stood up, nothing had changed. Not on the street. Not in the news.
    But something had settled in my chest. Something that hasn’t left.

    Because we weren’t only laying our bodies down for Gaza.
    We were laying down with the knowledge that our grief is never allowed to be grief.

    Not when it’s Black.
    Not when it’s queer.
    Not when it’s tied to Palestine, or trans lives, or state violence.

    That kind of grief doesn’t get candles.
    It gets cops.
    It doesn’t get statements.
    It gets silence.
    And sometimes, if we’re not careful, it gets turned inward—
    Treated like something to suppress. Something to explain away.
    Too emotional. Too disruptive.
    The wrong kind of grief.

    Black Grief as Threat

    Black grief has never been read as grief.
    It’s read as aggression.
    As instability.
    As a problem to manage.

    A vigil for a Black life becomes a police incident.
    A protest gets framed as a riot.
    A mother weeps on camera, and the story pivots to property damage.

    This isn’t new.
    But that doesn’t make it any less violent.

    Even in so-called progressive spaces—health orgs, queer collectives, activist networks—there are unwritten rules:
    Don’t cry too hard.
    Don’t speak too plainly.
    Don’t say something that makes people uncomfortable.

    I’ve been in those rooms.
    Told I was “too emotional” for naming what hurt.
    Asked to “come back when calmer” as if grief needed to be reasonable to be real.

    But Black grief doesn’t belong to institutions.
    It doesn’t need to be tidy.
    It doesn’t need to be polite.
    It shows up where it’s needed:
    In kitchens. In bathrooms. In the street. In the quiet moment after the meeting ends.

    And maybe that’s what makes it dangerous.
    That we still feel.
    That we still care.
    That we refuse to forget.

    Because in a world trying to erase us, grieving is a form of resistance.

    Palestinian Grief and the Politics of Denial

    If Black grief is read as a threat, Palestinian grief is denied altogether.
    Or worse—criminalized.

    In recent months, we’ve watched mourning itself become a battleground.
    Vigils banned.
    Flags confiscated.
    Photos of murdered children labeled “too political.”
    The dead rendered offensive.
    The living forbidden to name them.

    The message is clear:
    You can grieve, but not like that.
    Not too visibly.
    Not too loudly.
    Not in a way that disrupts the narrative.

    The same governments funding the bombs demand silence about the bodies.

    But Palestinian grief refuses to stay quiet.
    It pours into streets, onto murals, through chants.
    It insists on being seen—even when the world tries to look away.

    And that insistence resonates.
    Because for many of us—Black, queer, displaced—it feels familiar.
    We know what it means to mourn in public and be told it’s too much.
    We know what it means to be asked to tone it down, make it palatable, put it away.

    Still, we mourn.
    Together.
    In public.
    Without apology.

    Queer Mourning and Rituals of Refusal

    Queer people have always built our own ways to mourn.
    No one gave us space.
    So we carved it out ourselves.

    In clubs. In alleyways. In bedrooms and chat threads.
    We’ve lit candles in parking lots.
    Laid flowers on steps where no police ever came.
    Held vigils that no news crew covered.
    Carried names no one else bothered to say.

    This is part of our lineage:
    ACT UP die-ins.
    Ashes delivered to government steps.
    Protests that doubled as funerals.
    Grief that refused to be silent.

    That legacy is still with us.
    Every time a trans name is whispered online because no outlet printed it.
    Every time someone cries in a bathroom after reading a headline and someone else holds them.

    Queer mourning doesn’t always look like mourning.
    Sometimes it’s awkward.
    Sometimes it’s loud.
    Sometimes it’s just showing up.

    But it’s always a refusal.
    A refusal to grieve quietly.
    A refusal to perform respectability.
    A refusal to act like this world hasn’t taken too much from us.

    This grief is a kind of care.
    Not the kind taught in workshops.
    The kind that says:
    “I see you. I’ll carry this with you. Even if no one else will.”

    Grief That Doesn’t Fit

    I’ve been in spaces where I knew I wasn’t allowed to grieve.
    Not really.
    I could speak, maybe. But not feel too much.
    Not shake the frame.
    Not say something that might get labeled “too intense.”

    Sometimes, the silencing is subtle.
    Someone avoids eye contact.
    A conversation gets politely redirected.
    A room falls quiet—not in respect, but discomfort.

    I remember being told I was ben énervé for naming the violence of Black bodies on slides, with no disaggregated data, no context, no care.
    Just images.
    Just performance.

    I wasn’t angry.
    I was grieving.
    Grieving the way our lives get reduced to symbols.
    Grieving the absence of real recognition.
    Even that was too much.

    Most of us learn to shrink our grief until it fits.
    Until it sounds strategic.
    Until it’s digestible.

    And when it doesn’t shrink, we’re called unstable.
    Disruptive.
    Unprofessional.

    But grief isn’t supposed to make people comfortable.
    It isn’t a moment.
    It’s a condition.

    It lingers in the breath, in the body, in the way your shoulders won’t release even when the meeting ends.

    Some days, I carry it like fog.
    Some days, like glass.
    Some days, it doesn’t arrive until I’ve taken off the mask and closed the door behind me.

    But I no longer apologize for it.
    Because I’ve learned something simple:
    Grief is proof that something hasn’t been taken from me.
    Not yet.

    Toward Abolitionist Mourning

    We need to stop pretending grief only matters when it’s quiet, clean, or backed by institutions.

    We need to stop asking the systems that harm us to validate the losses they cause.

    Abolitionist mourning doesn’t wait for permission.
    It doesn’t ask for policy.
    It doesn’t make pain legible to power.

    It mourns on its own terms—messy, collective, unsanctioned.
    It stays with what hurts.
    It lets the wound speak.

    We’ve always known how to do this.

    Black and Indigenous people have mourned in ways the state can’t hold.
    Palestinians have carried memory through exile and massacre.
    Trans people create rituals that no church would sanctify.

    We don’t need more professionalization of pain.
    We need more space for its truth.
    More honesty.
    More refusal.

    Because grief is not what breaks us.
    What breaks us is having nowhere to put it.
    And what repairs us—if anything does—
    is knowing we don’t have to carry it alone.

    We’re Still Mourning

    We don’t need the state’s recognition to make our grief real.
    We don’t need institutions to validate what our bodies already know.
    Our mourning isn’t excessive.
    It isn’t disruptive.
    It isn’t unprofessional.

    It’s memory.
    It’s survival.
    It’s care.

    And it’s not going anywhere.

    If the world refuses to hold our grief,
    then we will keep finding other ways to carry it.
    We will light candles where they say we can’t.
    We will chant the names they refuse to speak.
    We will gather in the cracks and hold each other there.

    Our grief isn’t the problem.
    The problem is a world that only makes space for it once we’re gone.

    We’re still here.
    We’re still mourning.
    And we’re not asking for permission.

    Fediverse Reactions
  • What Whiteness Mourns When a Plantation Burns

    What Whiteness Mourns When a Plantation Burns

    When the Nottoway Plantation burned down, it wasn’t just a building that went up in flames—it was a monument to white fantasy. And in the ashes, what surfaced was telling: white grief, not for the enslaved, but for the venue. For the photo ops. For the imagined innocence of a land that was never innocent.

    Comment sections filled quickly. We had our wedding there. Our anniversary photos were so beautiful. I can’t believe this piece of history is gone.

    But which history? And whose grief?

    What I witnessed wasn’t mourning. It was a performance. A familiar one. A white grief that isn’t about loss—it’s about possession.

    The Plantation as Fantasy

    There is nothing neutral about getting married on a plantation. When you choose that backdrop for your love story, you are choosing to centre aesthetics over atrocity. You are choosing nostalgia over memory. You are choosing the soft light of the golden hour over the screams that once filled those fields.

    A plantation wedding doesn’t just ignore history—it repurposes it. It turns a deathscape into décor. And when that fantasy is taken away, even by something as natural as fire, the outrage that follows is not about heritage. It’s about the loss of comfort. The loss of an illusion.

    White Grief and Anti-Black Sociality

    This grief isn’t misplaced. It’s foundational. As an Afropessimist, I understand it as part of a social structure that requires Black death to affirm white life. The plantation is not grieved because of what it represents—it is grieved despite what it represents. Or rather, because its representation has always excluded the dead.

    In this structure, Black suffering is not just ignored—it is rendered background noise. It is the scenery. The atmosphere. The soft echo behind the vows.

    And when the scenery burns, grief floods in—not for the lives lost on that land, but for the loss of a setting in which white fantasies felt uninterrupted.

    What I’ve Learned from Grief

    As a social worker, I spend much of my life witnessing grief. I know its forms—raw, raging, quiet, complex. And I’ve learned to listen not just to what grief says, but to what it silences. To who it centres. To who it allows to be remembered.

    The grief I saw after the Nottoway fire was not about mourning. It was about control. Control over the narrative. Over space. Over who gets to feel what, and when.

    It was, in many ways, a refusal to grieve what should have been mourned centuries ago.

    The Fire Was Not the Tragedy

    The real tragedy is not that Nottoway burned.

    The tragedy is that it stood for so long. That it was never turned into a memorial, a site of mourning, a place to honour the enslaved. That it became a hotel, a wedding venue, a tourist destination. That it welcomed guests in linen suits and lace dresses but never acknowledged the lives it extinguished.

    And the real tragedy is that so many people still believe it’s the fire that ruined it.

    Refusal as Mourning

    I didn’t mourn the plantation. I won’t.

    What I mourn is every Black child buried without a name. Every resistance that went unrecorded. Every descendant asked to forget. Every ghost made to smile for a photo.

    I mourn what whiteness refuses to see. What it refuses to carry. What it refuses to let go.

    But a plantation is not a loss.

    Its burning is a reckoning.

  • Joy, Survival, and the Refusal to Be Broken

    Joy, Survival, and the Refusal to Be Broken

    Notes from a Night of Performance and Resistance

    As Saidiya Hartman reminds us, Black life moves through the tension of mourning and survival, a condition intensified for Black queer and trans people whose very existence challenges the terms of the social order. In a world structured by anti-Blackness, where exhaustion is manufactured and joy is framed as indulgence, Black pleasure is a radical act of refusal. It is a practice of world-building amid dispossession.

    This refusal, this reclamation, is what I found myself reflecting on last night at the Wiggle Room in Tiohtià:ke, where I attended a burlesque show wrapped in the language of tarot and transformation. The performances that unfolded were not simply acts of entertainment, but rituals—embodied acts of storytelling that spoke to the precarity and possibility of life under structures that seek to contain us.

    Each performance was shaped by the energy of a different tarot card, an invocation of mysticism woven into movement and presence. The night had been playful, filled with laughter and cheers, until Phoenix Inana took the stage. Unlike the other performances, theirs was not burlesque—it was performance art, and it demanded silence. A rupture in the rhythm of the night.

    Phoenix embodied The Devil, but through deliberate intervention, they transfigured the archetype—not as a warning of corruption, but as an opening toward self-possessed liberation. They wove The Devil into the figure of Lilith—a symbol of defiance, a body ungoverned, a refusal to be subdued. In dominant narratives, The Devil is a sign of excess, indulgence, a descent into desire. But in Phoenix’s hands, The Devil became something else entirely: an opening, a confrontation with the self, a refusal to abide by the moral logics that have long been used to discipline those cast as deviant. Their movement, measured and defiant, enacted what Mackey calls affective choreography—a performance that is not for spectacle but for insurgency, refusing the logics of discipline.

    As Hortense Spillers reminds us, the body under colonial and patriarchal orders is always already marked for discipline. To reclaim the figure of The Devil—through Lilith, through the rejected feminine—is to refuse the very foundations of that discipline. The room held its breath as Phoenix moved—deliberate, magnetic, speaking in a language beyond words. They did not perform for an audience; they conjured something larger, something uncontainable. A reckoning with desire, with shame, with the ways we have been taught to fear our own hunger for pleasure, for freedom, for more. In that moment, The Devil was not a force of corruption but of possibility—the permission to exist outside of the constraints imposed upon us.

    Before the performance began, I noticed a tarot card had been left on my seat—the Eight of Cups. I didn’t think much of it at first, but later that night, after stepping into the cool air outside the venue, I pulled out my phone and looked up its meaning. Departure. Choosing oneself. The aching, necessary act of walking away. The card’s imagery—cups abandoned, a figure moving forward—settled into my chest.

    It was a lesson I have met before. One that keeps finding me. To leave is not to retreat but to carve out the possibility of elsewhere—to refuse the exhaustion of extractive institutions and instead move toward Black queer possibility. In the afterlife of slavery, where Black life is both hyper-visible and disposable, departure is not just a metaphor—it is a method of survival. We leave institutions, relationships, even versions of ourselves, because survival demands movement.

    I carried that message with me as I lingered after the show, laughing, exhaling, held in the kind of embrace that only chosen family provides. The space between us—our breath, our joy, our indulgence in the moment—was a refusal. Not an escape, not a reprieve, but an insurgency. These nights are not outside of struggle; they exist in direct opposition to the anti-Black, capitalist systems that demand our exhaustion, our suffering, our depletion.

    These spaces of performance, of radical belonging, exist within a lineage of Black queer world-making. One of the most enduring examples of this is ballroom—a subcultural movement rooted in the survival of Black and Latinx queer and trans communities. Ballroom was born out of necessity, a direct response to anti-Black and anti-queer exclusion from white-dominated LGBTQ+ spaces in the mid-20th century. It became not just a venue for performance but a site of kinship, a world where categories of gender, beauty, and realness were reimagined on Black and brown terms.

    Ballroom operates as a Black queer counterpublic—an insurgent archive of survival, where kinship is built outside the logics of capitalist extraction, and where the aesthetics of gender, performance, and belonging are constantly being rewritten in real-time. While ballroom remains deeply rooted in Black and Latinx history, it has also grown into a space where others who have known displacement, resistance, and the urgency of chosen family can find belonging. As Godmother Phoenix Inana Sankofa LaBeija, she has taken up the role of mentor and guide, carrying forward the commitment to craft, care, and those who come after. Her position within ballroom is not just a title; it is an obligation—to those who seek space in a world that denies them room to breathe.

    The world grinds us down. It tells us that we must earn rest. It frames joy as frivolous. And yet, we choose otherwise. We gather. We celebrate. We insist upon ourselves.

    To persist is to resist, but to insist on joy is to demand livability—not as a concession, but as an act of abolitionist defiance, a refusal to let extraction be our only inheritance.

    The Eight of Cups is a departure, yes, but it is also a return—to self, to possibility, to the world we are making together. As I walked out of the Wiggle Room, my fingers still tracing the Eight of Cups in my pocket, I felt something shift within me. Sometimes, the universe delivers its messages in grand gestures. And sometimes, they arrive in a performance piece that demands silence. A tarot card left on a seat. A night spent in the presence of those who see you fully.

    And sometimes, those messages are simple but profound:

    Keep going.
    Keep choosing yourself.
    Keep finding joy.

    Because that, too, is resistance. That, too, is survival. And even when the world gives us nothing, we will make ourselves—together.