THESE MORAL CURRENTS CUT
Half my bad childhood racial memories happened
at middle-school dances. The blond boy who snatched
the fresh Malcolm X hat off my head, threw it down
into a dancefloor mess of fruit punch & gritty footprints,
& told me you’re not black—stop pretending. (Entire careers
made of upholding that line when we refuse to run patrol
for them.) At another dance, I was ringed by leering
white faces that belted out, It don’t matter if you’re black
or white. I wasn’t sure what those faces meant, but I knew
they meant to hurt. I’ve never held that lyric against Michael
Jackson. I do find, though, listening to his old albums,
those Jackson 5 records with cuts like “Never Can Say
Goodbye,” has gotten hard. These days I know how that story
ends: the descent into dysmorphic madness, the predatory
doors bolted and shut behind boys, one stolen childhood
thieving another. My better angels think it’s wrong
to separate the art from the artist. I hated learning
Pound in school when we all knew he was a Fascist
& anti-Semite. He should have stayed locked
in the gorilla cage of his hate. But then I admit Miles Davis
has lodged brass notes irrevocably under my fifth rib,
and some of those notes he bent while blacking & bluing
Cicely Tyson. (Cicely goddamn Tyson . . .) & on the night MJ
died, I danced to his music in a circle of dancers until my shirt
was sweat-stuck to my chest, until I stank with grief.
I didn’t know then all that disgusts me now —the doors,
the boys—but the hard truth is: if the King of Pop died today,
I don’t think I could stop myself from letting hips sway
to music that, especially in the writhing all-night body rock
of a house party but even in my mother’s halting soprano,
pushes past joy to abandon. These moral currents cut the other
way too: the blond boy who snatched the “X” hat off my head,
when a young man, walked into a gas-station store to find a woman
being beaten by her boyfriend, & when the blond boy went to stop
him, the boyfriend ignited a lighter & touched it to the boy’s shirt,
which burned until it curled into a sneer & then stuck to his white skin.
Iain Haley Pollock is the author of Ghost, Like a Place (Alice James Books, 2018), which was nominated for an NAACP Image Award, and Spit Back a Boy (2011), winner of the Cave Canem Poetry Prize. His poems have appeared in many literary outlets, including African American Review, American Academy of Poets Poem-a-Day, American Poetry Review, The New York Times Magazine, PoetrySociety.org and The Progressive. Outside of publishing poems, Pollock performs his work widely, from the Dodge Poetry Festival to libraries and art centers; he curated the Rye Poetry Path, a public poetry installation in Rye, NY; and he serves on the editorial board at Slapering Hol Press and on the board of Tiger Bark Press. Pollock currently directs the MFA Program at Manhattanville College, where he edits the literary journal Inkwell.