WEBVTT

00:00:00.000 --> 00:00:00.500 align:middle line:90%


00:00:00.500 --> 00:00:04.130 align:middle line:84%
So in that poem, I was not
just searching for Kaufman,

00:00:04.130 --> 00:00:07.760 align:middle line:84%
but I was also
searching for language.

00:00:07.760 --> 00:00:13.580 align:middle line:84%
In my poem "What Not to
Do," an unfinished poem,

00:00:13.580 --> 00:00:19.310 align:middle line:84%
in content and theme and emotion
it's the typical poem for me.

00:00:19.310 --> 00:00:23.990 align:middle line:84%
And I traced my exposes of
police brutality and killings

00:00:23.990 --> 00:00:28.280 align:middle line:84%
to my witness encounter and
intervention in an incident,

00:00:28.280 --> 00:00:33.320 align:middle line:84%
when I found a police officer
nervously shaking a .357 Magnum

00:00:33.320 --> 00:00:35.900 align:middle line:84%
in the face of an
unarmed black boy who

00:00:35.900 --> 00:00:37.880 align:middle line:90%
was even younger than me.

00:00:37.880 --> 00:00:40.640 align:middle line:84%
And this was only two
blocks from my family home,

00:00:40.640 --> 00:00:44.630 align:middle line:84%
and just a few weeks
following my graduation

00:00:44.630 --> 00:00:47.180 align:middle line:84%
from Woodrow Wilson High
School in San Francisco,

00:00:47.180 --> 00:00:49.520 align:middle line:90%
at the age of 17.

00:00:49.520 --> 00:00:53.630 align:middle line:84%
But as common as a theme of
police brutality and police

00:00:53.630 --> 00:00:57.050 align:middle line:84%
killings have become for
me as a writer, the role

00:00:57.050 --> 00:01:00.320 align:middle line:84%
of poetic form, and
the language that I

00:01:00.320 --> 00:01:02.750 align:middle line:84%
used in the poem
"What Not To Do"

00:01:02.750 --> 00:01:06.320 align:middle line:90%
are very atypical in my writing.

00:01:06.320 --> 00:01:09.710 align:middle line:84%
It may be the least poetic of
my poems in terms of language.

00:01:09.710 --> 00:01:13.130 align:middle line:84%
It is a serial poem
that I've been updating

00:01:13.130 --> 00:01:15.680 align:middle line:84%
with the names of,
especially, unarmed black boys

00:01:15.680 --> 00:01:17.840 align:middle line:90%
and men executed by the police.

00:01:17.840 --> 00:01:23.090 align:middle line:84%
The essay includes
an excerpted version.

00:01:23.090 --> 00:01:27.440 align:middle line:84%
That is the essay that
will appear on the blog.

00:01:27.440 --> 00:01:29.510 align:middle line:84%
But since I have
enough time today,

00:01:29.510 --> 00:01:31.790 align:middle line:84%
I'm going to share
a longer excerpt

00:01:31.790 --> 00:01:34.080 align:middle line:90%
than what appears on the essay.

00:01:34.080 --> 00:01:39.050 align:middle line:84%
So this is the poem, this
serial poem, "What Not To Do"--

00:01:39.050 --> 00:01:42.020 align:middle line:90%
an unfinished poem.

00:01:42.020 --> 00:01:44.420 align:middle line:90%
"Breathe, Eric Garner.

00:01:44.420 --> 00:01:45.440 align:middle line:90%
Choked.

00:01:45.440 --> 00:01:48.140 align:middle line:90%
Sell (loosies).

00:01:48.140 --> 00:01:51.140 align:middle line:90%
Resist to death.

00:01:51.140 --> 00:01:53.600 align:middle line:90%
Stare, Lamont Hunt.

00:01:53.600 --> 00:01:56.490 align:middle line:90%
Shot, back of head.

00:01:56.490 --> 00:02:00.320 align:middle line:84%
Make: Akai Gurley,
a jarring sound.

00:02:00.320 --> 00:02:02.210 align:middle line:90%
Shot accidentally.

00:02:02.210 --> 00:02:05.810 align:middle line:84%
"Stand, Amadou
Diallo, in vestibule.

00:02:05.810 --> 00:02:06.560 align:middle line:90%
Carry.

00:02:06.560 --> 00:02:07.220 align:middle line:90%
Wallet.

00:02:07.220 --> 00:02:08.720 align:middle line:90%
Loiter while walking.

00:02:08.720 --> 00:02:10.160 align:middle line:90%
Look out of place.

00:02:10.160 --> 00:02:11.570 align:middle line:90%
Act suspicious.

00:02:11.570 --> 00:02:13.100 align:middle line:90%
41 fire.

00:02:13.100 --> 00:02:15.080 align:middle line:90%
19 bullets kill.

00:02:15.080 --> 00:02:19.220 align:middle line:84%
"Walk, Terence
Crutcher, hands in air.

00:02:19.220 --> 00:02:21.440 align:middle line:90%
Appear intoxicated.

00:02:21.440 --> 00:02:23.840 align:middle line:90%
Have a very hollow look.

00:02:23.840 --> 00:02:26.240 align:middle line:90%
Shot in back.

00:02:26.240 --> 00:02:29.780 align:middle line:84%
"Drive, Samuel DuBose,
without license plate.

00:02:29.780 --> 00:02:31.370 align:middle line:90%
Shot in head.

00:02:31.370 --> 00:02:34.910 align:middle line:84%
Drive, Walter Scott,
with broken tail light.

00:02:34.910 --> 00:02:37.320 align:middle line:90%
Shot in back.

00:02:37.320 --> 00:02:41.850 align:middle line:84%
Move, Kendra James, into
driver's seat after driver

00:02:41.850 --> 00:02:42.480 align:middle line:90%
arrested.

00:02:42.480 --> 00:02:43.950 align:middle line:90%
Shot in head.

00:02:43.950 --> 00:02:49.530 align:middle line:84%
"Sit, Jordan Edwards, unarmed,
in car shot, with rifle.

00:02:49.530 --> 00:02:52.890 align:middle line:84%
Reverse, Diante
Yarber, too suddenly.

00:02:52.890 --> 00:02:55.830 align:middle line:90%
30 bullets fired, 10 kill.

00:02:55.830 --> 00:03:00.270 align:middle line:84%
Park, Tanya Haggerthy,
on side of road.

00:03:00.270 --> 00:03:03.480 align:middle line:90%
Talk on cell on side of road.

00:03:03.480 --> 00:03:06.180 align:middle line:90%
Shot on side of road.

00:03:06.180 --> 00:03:09.780 align:middle line:84%
"Drive, Philando Castile,
with broken brake lights.

00:03:09.780 --> 00:03:11.940 align:middle line:90%
Carry legal firearm.

00:03:11.940 --> 00:03:13.920 align:middle line:90%
Announce you have a gun.

00:03:13.920 --> 00:03:16.860 align:middle line:90%
Shout, not reaching for gun.

00:03:16.860 --> 00:03:20.850 align:middle line:90%
Shot five bullets, two to heart.

00:03:20.850 --> 00:03:24.930 align:middle line:84%
"Crawl, Daniel Shaver, toward
officers as instructed.

00:03:24.930 --> 00:03:30.540 align:middle line:84%
Pull loose gym shorts too
suddenly, beg not to be shot.

00:03:30.540 --> 00:03:32.070 align:middle line:90%
Shot anyway.

00:03:32.070 --> 00:03:34.800 align:middle line:84%
"Approach, Oscar
Grant, the police.

00:03:34.800 --> 00:03:36.630 align:middle line:90%
Beg not to shoot.

00:03:36.630 --> 00:03:37.380 align:middle line:90%
Kneel.

00:03:37.380 --> 00:03:40.500 align:middle line:90%
Shot anyway in back.

00:03:40.500 --> 00:03:43.470 align:middle line:90%
"Fail, Sandra Bland, to signal.

00:03:43.470 --> 00:03:45.150 align:middle line:90%
Act too uppity.

00:03:45.150 --> 00:03:47.220 align:middle line:90%
Found hanging in cell.

00:03:47.220 --> 00:03:50.760 align:middle line:84%
"Carry, Anthony Lamar
Smith, planted weapon.

00:03:50.760 --> 00:03:52.410 align:middle line:90%
Shot, five [INAUDIBLE] bullets.

00:03:52.410 --> 00:03:55.920 align:middle line:90%
Carry, Tamir Rice, toy gun.

00:03:55.920 --> 00:03:57.930 align:middle line:90%
Shot with real bullets.

00:03:57.930 --> 00:04:01.620 align:middle line:84%
Carry, Cameron
Tillman, BB gun, shot.

00:04:01.620 --> 00:04:04.710 align:middle line:84%
Carry, Rumain Brisbon,
prescription bottle.

00:04:04.710 --> 00:04:07.020 align:middle line:90%
Shot, two bullets to torso.

00:04:07.020 --> 00:04:10.890 align:middle line:84%
"Carry, Laquan
McDonald, knife in road.

00:04:10.890 --> 00:04:13.230 align:middle line:90%
Shot, 16 bullets.

00:04:13.230 --> 00:04:17.040 align:middle line:84%
Carry, Miles Hall,
gardening tool.

00:04:17.040 --> 00:04:19.649 align:middle line:90%
Have schizoaffective disorder.

00:04:19.649 --> 00:04:20.310 align:middle line:90%
Shot.

00:04:20.310 --> 00:04:25.410 align:middle line:84%
Carry Stephen DeMarco Taylor,
baseball bat at Walmart.

00:04:25.410 --> 00:04:27.630 align:middle line:90%
Have a manic episode.

00:04:27.630 --> 00:04:28.350 align:middle line:90%
Shot.

00:04:28.350 --> 00:04:33.120 align:middle line:84%
"Not carry, Keith Lamont Scott,
a gun when told to drop it.

00:04:33.120 --> 00:04:33.900 align:middle line:90%
Shot.

00:04:33.900 --> 00:04:38.220 align:middle line:84%
Drop, Kajuan Raye,
a gun found later.

00:04:38.220 --> 00:04:40.600 align:middle line:90%
Shot in back.

00:04:40.600 --> 00:04:43.990 align:middle line:84%
"Be, Natasha McKenna,
schizophrenic.

00:04:43.990 --> 00:04:47.050 align:middle line:84%
Be superhuman, stunned
while shackled,

00:04:47.050 --> 00:04:49.210 align:middle line:90%
50,000 volts to death.

00:04:49.210 --> 00:04:54.550 align:middle line:84%
Be, Tanisha Anderson, bipolar,
head slammed to pavement.

00:04:54.550 --> 00:04:58.360 align:middle line:84%
Be, Michelle Shirley,
bipolar, while driving.

00:04:58.360 --> 00:05:01.720 align:middle line:84%
30 bullets, 8 to
chest, back, arms.

00:05:01.720 --> 00:05:06.430 align:middle line:84%
"Be Shereese Francis, off
meds, four police bodies.

00:05:06.430 --> 00:05:07.180 align:middle line:90%
Suffocate.

00:05:07.180 --> 00:05:10.150 align:middle line:90%
Be Aaron Campbell, suicidal.

00:05:10.150 --> 00:05:11.560 align:middle line:90%
Be unarmed.

00:05:11.560 --> 00:05:12.250 align:middle line:90%
Shot.

00:05:12.250 --> 00:05:16.210 align:middle line:84%
"Be Yvette Smith,
armed when not armed.

00:05:16.210 --> 00:05:18.400 align:middle line:90%
Shot on front porch.

00:05:18.400 --> 00:05:20.440 align:middle line:90%
Be Michael, large.

00:05:20.440 --> 00:05:23.500 align:middle line:90%
Be, Michael Brown, too large.

00:05:23.500 --> 00:05:26.020 align:middle line:90%
Be same height as shooter.

00:05:26.020 --> 00:05:28.720 align:middle line:90%
Shot, six bullets two to head.

00:05:28.720 --> 00:05:31.900 align:middle line:84%
"Be John Crawford,
an imminent threat.

00:05:31.900 --> 00:05:34.690 align:middle line:90%
Shop for Walmart air rifle.

00:05:34.690 --> 00:05:37.630 align:middle line:84%
Carry Walmart air
rifle at Walmart.

00:05:37.630 --> 00:05:40.120 align:middle line:90%
Talk on cell phone at Walmart.

00:05:40.120 --> 00:05:43.810 align:middle line:84%
Shot with real
bullets at Walmart.

00:05:43.810 --> 00:05:46.480 align:middle line:84%
"Be, Terrance
Franklin, a suspect,

00:05:46.480 --> 00:05:48.670 align:middle line:90%
shot five bullets to head.

00:05:48.670 --> 00:05:51.400 align:middle line:90%
Be, George Floyd, a suspect.

00:05:51.400 --> 00:05:54.580 align:middle line:90%
Be a 6'7 black man.

00:05:54.580 --> 00:06:00.670 align:middle line:84%
Be claustrophobic, asphyxiated,
knee on neck while handcuffed.

00:06:00.670 --> 00:06:03.460 align:middle line:90%
"Be Tony McDade, trans.

00:06:03.460 --> 00:06:06.580 align:middle line:84%
Move consistent with
using a firearm.

00:06:06.580 --> 00:06:07.330 align:middle line:90%
Shot.

00:06:07.330 --> 00:06:10.240 align:middle line:84%
Pose as though for
an imminent threat.

00:06:10.240 --> 00:06:12.010 align:middle line:90%
Shot while schizophrenic.

00:06:12.010 --> 00:06:16.300 align:middle line:84%
"Display, Manuel Loggins
Junior, a 'mean expression.'

00:06:16.300 --> 00:06:18.400 align:middle line:90%
Shot in front of daughters.

00:06:18.400 --> 00:06:23.110 align:middle line:84%
Call, Charleena Lyles,
police while mentally ill.

00:06:23.110 --> 00:06:24.880 align:middle line:90%
Shot, seven bullets.

00:06:24.880 --> 00:06:27.850 align:middle line:84%
"Fit, Jordan Baker,
the description.

00:06:27.850 --> 00:06:28.360 align:middle line:90%
Shot.

00:06:28.360 --> 00:06:32.920 align:middle line:84%
Flee, Freddie Gray, unprovoked,
spine severed in custody.

00:06:32.920 --> 00:06:35.980 align:middle line:84%
Run, Stephon Clark,
through grandmother's yard.

00:06:35.980 --> 00:06:37.660 align:middle line:90%
Carry cell phone.

00:06:37.660 --> 00:06:43.660 align:middle line:84%
Shot, 20 bullets fired,
eight hit, primarily in back.

00:06:43.660 --> 00:06:47.200 align:middle line:84%
"Run, Chinedu Okobi,
unarmed in traffic.

00:06:47.200 --> 00:06:49.150 align:middle line:90%
Tased to death.

00:06:49.150 --> 00:06:51.010 align:middle line:90%
Run, Walter Scott.

00:06:51.010 --> 00:06:53.410 align:middle line:90%
Shot in back.

00:06:53.410 --> 00:06:55.390 align:middle line:90%
Jog, Ahmaud Arbery.

00:06:55.390 --> 00:06:57.040 align:middle line:90%
Shot, two bullets.

00:06:57.040 --> 00:06:58.690 align:middle line:90%
Killed while hunted.

00:06:58.690 --> 00:07:03.670 align:middle line:84%
"Play, Atatiana Jefferson,
Call of Duty in bedroom,

00:07:03.670 --> 00:07:04.900 align:middle line:90%
little Zion watching.

00:07:04.900 --> 00:07:05.470 align:middle line:90%
Shot.

00:07:05.470 --> 00:07:08.170 align:middle line:90%
Sleep, Alyana Jones, on couch.

00:07:08.170 --> 00:07:11.170 align:middle line:84%
Shot, one bullet to
seven-year-old head.

00:07:11.170 --> 00:07:13.870 align:middle line:90%
"Sleep, Breonna Taylor, in bed.

00:07:13.870 --> 00:07:15.440 align:middle line:90%
Shot, eight bullets.

00:07:15.440 --> 00:07:15.940 align:middle line:90%
Kill.

00:07:15.940 --> 00:07:18.910 align:middle line:84%
Sleep, Rayshard
Brooks, at Wendy's.

00:07:18.910 --> 00:07:21.070 align:middle line:90%
Flee for daughter's birthday.

00:07:21.070 --> 00:07:23.380 align:middle line:90%
Point dead taser over shoulder.

00:07:23.380 --> 00:07:25.520 align:middle line:90%
Shot, two bullets in back.

00:07:25.520 --> 00:07:28.690 align:middle line:90%
"Walk, Elijah McClain, home.

00:07:28.690 --> 00:07:30.100 align:middle line:90%
Look sketchy.

00:07:30.100 --> 00:07:31.420 align:middle line:90%
Play music.

00:07:31.420 --> 00:07:32.710 align:middle line:90%
Wave hands.

00:07:32.710 --> 00:07:34.060 align:middle line:90%
Wear ski mask.

00:07:34.060 --> 00:07:35.350 align:middle line:90%
Shop for iced tea.

00:07:35.350 --> 00:07:36.610 align:middle line:90%
Carry iced tea.

00:07:36.610 --> 00:07:38.020 align:middle line:90%
"Resist contact.

00:07:38.020 --> 00:07:39.130 align:middle line:90%
Act crazy.

00:07:39.130 --> 00:07:40.780 align:middle line:90%
Explain can't breathe.

00:07:40.780 --> 00:07:42.040 align:middle line:90%
Beg to go home.

00:07:42.040 --> 00:07:43.630 align:middle line:90%
Be superhuman.

00:07:43.630 --> 00:07:45.100 align:middle line:90%
"Be anemic.

00:07:45.100 --> 00:07:46.630 align:middle line:90%
Be an introvert.

00:07:46.630 --> 00:07:48.190 align:middle line:90%
Be suspicious.

00:07:48.190 --> 00:07:50.260 align:middle line:90%
Be agitated.

00:07:50.260 --> 00:07:51.670 align:middle line:90%
Be tense.

00:07:51.670 --> 00:07:53.350 align:middle line:90%
"Be on something.

00:07:53.350 --> 00:07:55.060 align:middle line:90%
Be medicated.

00:07:55.060 --> 00:07:57.280 align:middle line:90%
Be undetermined.

00:07:57.280 --> 00:08:00.080 align:middle line:90%
Choked to death.

00:08:00.080 --> 00:08:00.580 align:middle line:90%
Breathe."

00:08:00.580 --> 00:08:03.290 align:middle line:90%


00:08:03.290 --> 00:08:08.780 align:middle line:84%
So the starkness, the cold,
autopsy-like cataloging,

00:08:08.780 --> 00:08:13.040 align:middle line:84%
the focus on the victims' names,
the exaggerated punctuation,

00:08:13.040 --> 00:08:16.910 align:middle line:84%
the painfully plain
language are purposeful.

00:08:16.910 --> 00:08:20.150 align:middle line:84%
My intention is to
honor the victims,

00:08:20.150 --> 00:08:24.320 align:middle line:84%
to make the unaware aware, and
expose both the perpetrators

00:08:24.320 --> 00:08:26.930 align:middle line:84%
and the mundaneness
of the incidents

00:08:26.930 --> 00:08:28.910 align:middle line:90%
precipitating the killings.

00:08:28.910 --> 00:08:32.059 align:middle line:84%
Typically, poetic form
is less important to me

00:08:32.059 --> 00:08:35.720 align:middle line:84%
than the music, the rhythm,
and the message of the poem.

00:08:35.720 --> 00:08:40.039 align:middle line:84%
In "What Not to Do" the form
is critical and so necessary

00:08:40.039 --> 00:08:43.789 align:middle line:84%
that I had to create a structure
to maintain creative continuity

00:08:43.789 --> 00:08:48.620 align:middle line:84%
in a poem that I would be
revising with morbid regularity

00:08:48.620 --> 00:08:49.940 align:middle line:90%
as the killings continue.

00:08:49.940 --> 00:08:52.280 align:middle line:84%
So I have to kind
of discipline myself

00:08:52.280 --> 00:08:56.300 align:middle line:84%
to resist turning each
despicable incident

00:08:56.300 --> 00:08:58.520 align:middle line:84%
into a separate poem,
because each one of these

00:08:58.520 --> 00:09:00.060 align:middle line:90%
could be a poem in themselves.

00:09:00.060 --> 00:09:02.420 align:middle line:84%
I had to restrain my
journalistic instinct

00:09:02.420 --> 00:09:04.640 align:middle line:84%
to add more detail
and background

00:09:04.640 --> 00:09:07.610 align:middle line:84%
while writing and
editing the poem.

00:09:07.610 --> 00:09:10.160 align:middle line:84%
I was concerned less
with whether or not

00:09:10.160 --> 00:09:13.010 align:middle line:84%
it was poetic, and more
concerned with creatively

00:09:13.010 --> 00:09:15.950 align:middle line:84%
conveying its
content, its truth.

00:09:15.950 --> 00:09:18.200 align:middle line:84%
While the questions
of form and language

00:09:18.200 --> 00:09:21.020 align:middle line:84%
are a major part of the
essay that I've contributed

00:09:21.020 --> 00:09:25.750 align:middle line:84%
to the University of
Arizona Poetry Center blog,

00:09:25.750 --> 00:09:28.600 align:middle line:84%
the other point that I attempt
to drive home in the essay

00:09:28.600 --> 00:09:31.090 align:middle line:84%
is that when I'm
moving as a poet

00:09:31.090 --> 00:09:35.560 align:middle line:84%
from observation, commentary,
cataloging, and searching,

00:09:35.560 --> 00:09:40.090 align:middle line:84%
to a mode where I'm writing with
the hope of transforming minds

00:09:40.090 --> 00:09:43.540 align:middle line:84%
and conditions, I'm
conscious of that shift.

00:09:43.540 --> 00:09:48.220 align:middle line:84%
And when I write with the
intention of transformation,

00:09:48.220 --> 00:09:52.900 align:middle line:84%
I struggle with my belief
that language is not enough.

00:09:52.900 --> 00:09:56.350 align:middle line:84%
And based on the intent and
the purpose of the poems

00:09:56.350 --> 00:10:00.700 align:middle line:84%
that I started with, not even
as "San Joaquin" and "Searching

00:10:00.700 --> 00:10:03.490 align:middle line:84%
for Bob Kaufman," I
find that language

00:10:03.490 --> 00:10:06.160 align:middle line:84%
is enough for the
purpose of those poems.

00:10:06.160 --> 00:10:08.740 align:middle line:84%
For the intended purpose
of "What No To Do,"

00:10:08.740 --> 00:10:12.520 align:middle line:84%
an unfinished poem, I find
that language is not enough.

00:10:12.520 --> 00:10:14.980 align:middle line:84%
I feel the need to connect
that poem and its language

00:10:14.980 --> 00:10:19.090 align:middle line:84%
to social movements, to
organizations, to distribution

00:10:19.090 --> 00:10:21.010 align:middle line:90%
platforms and to the public.

00:10:21.010 --> 00:10:25.180 align:middle line:84%
And I feel the same
way about belonging.

00:10:25.180 --> 00:10:29.290 align:middle line:84%
I identify with the words of
John A. Powell and Stephen

00:10:29.290 --> 00:10:34.420 align:middle line:84%
Menedian in The Problem of
Othering: Toward Inclusiveness

00:10:34.420 --> 00:10:35.290 align:middle line:90%
and Belonging.

00:10:35.290 --> 00:10:39.470 align:middle line:84%
Quote-- "Belongingness must
be more than expressive.

00:10:39.470 --> 00:10:42.190 align:middle line:84%
It must be
institutionalized as well.

00:10:42.190 --> 00:10:46.420 align:middle line:84%
To counteract othering, we
must focus on providing access

00:10:46.420 --> 00:10:49.570 align:middle line:84%
to resources and
critical institutions

00:10:49.570 --> 00:10:52.270 align:middle line:90%
to disadvantaged groups."

00:10:52.270 --> 00:10:55.660 align:middle line:84%
In "Teaching to
Transgress," bell hooks

00:10:55.660 --> 00:10:58.690 align:middle line:84%
responded brilliantly
to Adrienne Rich's line,

00:10:58.690 --> 00:11:01.240 align:middle line:84%
"this is the
oppressors' language,

00:11:01.240 --> 00:11:03.370 align:middle line:90%
yet I need it to talk to you."

00:11:03.370 --> 00:11:07.270 align:middle line:84%
And hooks writes, quote,
"Reflecting on Adrienne Rich's

00:11:07.270 --> 00:11:11.200 align:middle line:84%
words, I know that it is not the
English language that hurts me,

00:11:11.200 --> 00:11:13.120 align:middle line:84%
but what the
oppressors do with it;

00:11:13.120 --> 00:11:15.760 align:middle line:84%
how they shape it to
become a territory that

00:11:15.760 --> 00:11:17.650 align:middle line:84%
limits and defines;
how they make

00:11:17.650 --> 00:11:20.890 align:middle line:84%
it a weapon that can shame,
humiliate, and colonize."

00:11:20.890 --> 00:11:22.070 align:middle line:90%
End of quote.

00:11:22.070 --> 00:11:23.860 align:middle line:90%
So what will we do with it?

00:11:23.860 --> 00:11:25.490 align:middle line:90%
There is much to do.

00:11:25.490 --> 00:11:29.470 align:middle line:84%
I suggest we include the
act as seizing belongingness

00:11:29.470 --> 00:11:31.540 align:middle line:84%
with both the
language of liberation

00:11:31.540 --> 00:11:35.500 align:middle line:84%
and the instruments of
social transformation.

00:11:35.500 --> 00:11:37.400 align:middle line:90%
Thank you.

00:11:37.400 --> 00:11:38.310 align:middle line:90%
Thank you, Michael.

00:11:38.310 --> 00:11:41.250 align:middle line:90%


00:11:41.250 --> 00:11:43.830 align:middle line:90%
I just want to--

00:11:43.830 --> 00:11:46.133 align:middle line:84%
I'm just still thinking
about that poem,

00:11:46.133 --> 00:11:48.300 align:middle line:84%
and I'm thinking about all
the things that you said.

00:11:48.300 --> 00:11:52.020 align:middle line:84%
And I'm looking forward to
seeing that on the page,

00:11:52.020 --> 00:11:55.090 align:middle line:90%
and how that lays on the page--

00:11:55.090 --> 00:11:57.277 align:middle line:84%
especially based on
what you talked about.

00:11:57.277 --> 00:11:58.110 align:middle line:90%
[INTERPOSING VOICES]

00:11:58.110 --> 00:11:59.900 align:middle line:90%
Thank you.