say? I was once reading an interview with James Baldwin, and he described a frustration he had with Langston Hughes. He said when Hughes told you about a lynching, it was too realistic. That Hughes sounded like his daddy. Baldwin preferred Countee Cullen. He wanted the art, the suggestiveness, the distance to make it possible to digest horror.

It is helpful to imagine these roadblocks as questions: How do we rediscover ourselves anew? How do we right our collective rememory? Think of rememory as an undoing, unraveling and rewriting of corporeal constitutive elements. In the changingness of rememory, could we find transcendence? Or perhaps a trace of a former history that gives us the