When you think of the blueprint chaotic bisexual, perhaps Megan Fox in Jennifer’s Body and less murderously in New Girl comes to mind. Or maybe pre Brad Pitt Angelina Jolie in just her regular life. Or maybe you think about the girl you met on Tinder that pretended not to know you in a weird attempt to date your roommate. And then a year later when you introduced her to your current girlfriend she asked her “What’s your heartsong?” But nothing has exuded more chaotic bisexual energy than the shocking union of Olivia Wilde and Harry Styles.
The French version of Ousmane Sembène’s film title, La Noire de (1966), translates directly to “the Black woman of” or “someone’s Black woman.” This translation implies that in the supposed postcolonial world the film is set in, the Black woman still belongs to someone that isn’t herself. Sembène’s utility of the French language further hones in on the ever persistent sense of ownership held by French colonial forces over the African woman, and the African continent itself. An assessment of both African independence and the narratives that surround it, Black Girl uses symbols to define the socioeconomic realities of Africans…
On coming out and shame
Dick Gregory’s “Shame” always reminds me of a story my father once told me about how he used to have to walk so far to school that by the time he got there his uniform was dirty and sweaty. My father told me that story because he wanted me to know what he was protecting me from by moving me to a country halfway across the world. Because he wanted me to live without the shame of poverty.
I’ve never really written about coming out to my parents and I’ve never really wanted to; mostly because I was outed, which…
