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By Paul Ariste

First released in 1997. Routledge is an imprint of Taylor & Francis, an informa corporation.

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Hammad not only places those phrases within the body of the poem but also turns to a discussion of prisons and criminals in the second part of the poem. ” In the former instance, “thugged” emphasizes that criminals are constructed. The latter usage points to the embrace of a criminal persona. The two are not mutually exclusive. In contrast to the thuggedas-made criminal (by self or others), the speaker positions her father as one born into a narrative of criminality. 81 The corollary, which Hammad highlights, is that she too would be considered a criminal.

In that case, both “fly away” and “taxi” lump racism into a category of 32 New Body Politics what people have disdainfully described as so-called first world problems, concerns experienced only by the privileged and wealthy in industrialized nations. Yet the tone of both is plaintive (“fly away” more so than “taxi”) and understanding. 74 Her poem “letter to anthony (critical resistance)” links the intimate nature of racism and sexism to their quotidian praxis while it draws connections between Palestinians in Israel and Blacks in America.

Bell, “Doing Representational Detective Work,” Blackness and Disability: Critical Examinations and Cultural Interventions. Ed. Christopher M. Bell (Berlin: Lit Verlag, 2011), 1. Cherríe Moraga, “Entering the Lives of Others: Theory in the Flesh,” This Bridge Called My Back: Writings by Radical Women of Color. Eds. Gloria Anzaldúa and Cherríe Moraga (Berkeley, CA: Third Woman Press, 2002), 21. Introduction 15 24. Linda Alcoff, Visible Identities: Race, Gender, and the Self (New York, NY: Oxford University Press, 2005), 1.

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