Why are they showing this to us? Why were only our heroes nonviolent? I speak not of the morality of nonviolence, but of the sense that blacks are in especial need of this morality. Back then all I could do was measure these freedom-lovers by what I knew. Which is to say, I measured them against children pulling out in the 7-Eleven parking lot, against parents wielding extension cords, and “Yeah, nier, what’s up now?” I judged them against the country I knew, which had acquired the land through murder and tamed it under slavery, against the country whose armies fanned out across the world to extend their dominion. The world, the real one, was civilization secured and ruled by savage means. How could the schools valorize men and women whose values society actively scorned? How could they send us out into the streets of Baltimore, knowing all that they were, and then speak of nonviolence?

Malcolm was the first political pragmatist I knew, the first honest man I’d ever heard. He was unconcerned with making the people who believed they were white comfortable in their belief. If he was angry, he said so. If he hated, he hated because it was human for the enslaved to hate the enslaver, natural as Prometheus hating the birds. He would not turn the other cheek for you. He would not be a better man for you. He would not be your morality. Malcolm spoke like a man who was free, like a black man above the laws that proscribed our imagination. I identified with him. I knew that he had chafed against the schools, that he had almost been doomed by the streets. But even more I knew that he had found himself while studying in prison, and that when he emerged from the jails, he returned wielding some old power that made him speak as though his body were his own.

I wanted to be like Malcolm X! Fuck it! Shit! I wanted to be Malcolm X, you know. I was so unhappy that this man was killed. Everything about Africa started coming back to me.

Then one day I sat down at the piano in Sandra’s house. I said to Sandra: “Do you know what? I’ve just been fooling around. I haven’t been playing AFRICAN music. So now I want to write African music … for the first time. I want to try.” Then I started to write and write. In my mind I put a bass here … a piano there. … Then I started humming, then singing. I said to myself, “How do Africans sing songs? They sing with chants. Now let me chant into this song: la-la-la-laaa. …

Not only did being biracial mean that I looked out of place, but I also didn’t always know how to behave within the norms of my chosen nationality: Ghanaian. My English was too posh-sounding, courtesy of my time in England. It earned me the nickname Lady.

I now interrupt myself with a small but crucial consideration, because now that I’ve said it several times, I realize that I am troubled by the title Slave Ship. It’s the word “slave”: a word which still strikes the ear like a lash. There are those who enslave others and there are those who are enslaved by others. But there’s no one whose essence or true description is “slave.” A person can be enslaved, can be trapped in the death-in-life known as slavery, but that is not who they are. It is something intolerable that is happening to them or that happened to them. For this reason I think that part of the original title is more accurate: Slavers Throwing Overboard the Dead and Dying.