“Higher” by Rihanna

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Rihanna’s ANTI keys my side like you would key the side of a car, leaves me changed for someone to come claim me by the side of the road, inspect me and rub me ineffectually. But as for the barely-enunciated “Higher” I’m grateful I’m neither passive or inanimate. So I can–what. “I’mturntupoffsizzandIloveyou.” And what is the sound that can be held as collateral which is inscribed into the sound that indebts itself and what is the sound used up and unapologetic even while apologizing, inchoate and grown sound and how do we know it’s not sorry and how can we hear a sound that scratches at empty a sound that is begging but a sound that is knowing and beyond knowing that it will be satisfied and in what repose should we be when we finally hear it so that we’re not inviolable?

-Caitie Moore

IMAG1997_1_1Caitie Moore‘s poetry engages her white femme subject position and can be found in her chapbook Wife (Argos Books, 2014), No, DearSink Review, Brandon Shimoda’s Ancients, No. Two and The Racial Imaginary: Writers on Race and the Life of the Mind (Fence Books, 2015). 

Questions, compliments, (hopefully not) complaints?

Contact Jackie Clark: jackie [at] coldfrontmag [dot] com.

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