So much of the work of oppression is about policing the imagination.
- Saidiya Hartman
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So much of the work of oppression is about policing the imagination.
- Saidiya Hartman

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waywardthought:
“the only cure will be a transformation of the whole society, and an entirely new knowledge order altogether - otherwise we will remain trapped in this.”
- sylvia wynter
The undoing of the plot begins because she won’t do shit. She won’t be no bird in a cage, no black woman at the lectern, no model Negro, no cog in the machine.
The undoing of the plot begins when everything has been taken. When life approaches extinction, when no one will be spared, when nothing is all that is left, when she is all that is left. The undoing begins with a potion poured into a silver soup tureen before she delivers it to the table, with acts of sabotage and destruction, with idleness and destitution. The undoing of the plot begins with her drifting from the course, with an errant path, with getting lost to the world. The undoing begins with an escape to the woods, with perilous freedom, with petit maroonage, with wading in the water. It does not begin with proclamations or constitutions or decrees or appeals or a seat at the table or a stake in the game. The undoing of the plot does not start on bended knee, it does not begin with ballots or bullets, or with an address to the court, or with a petition, or with the demand for redress, or with the slogan: no justice, no peace. It begins with the earth under her feet. It begins with all of them gathered at the river and ready to strike, with all of them assembled in the squatter city, with all of them getting ready to be free in the clearing. They don’t say what they know: all things will be changed. The undoing of the plot begins with her runaway tongue, with her outstretched hands, with songs shared across the unfree territory and the occupied lands, with the pledges of love that propel struggle, with the vision that this bitter earth may not be what it seems.
- excerpt from The Plot of Her Undoing by Saidiya Hartman