Kenya Curtis is growing up in 1970’s Philadelphia with a dad who wants to seed a revolution and a mom who’s working to pay the rent. Her living room is the gathering place for the Seven Days, a collection of tired but dedicated survivors of the Civil Rights movement, fending of complacence and creeping towards middle age. Because she is the kid that celebrates Kwanzaa and can’t eat pepperoni pizza because of the pork, school is a place of derision that borders on shunning.
You catalogue the early shames,
a tattoo on the lining of your lungs.
The mural leaves its stain despite the stretch
and growth you chart first on door frames
then belt notches
then monthly statements,
each unit of measure distorting the fresco
as much as the measurement taken.
Recognizable no matter the eons intervening,
the arcs of those stories.
All tales have tongues.
They scour the natal down
from your heart. They leave a taste
like pennies and char.