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I use my poetry to confront the violence against women | Elizabeth Acevedo | TEDxMidAtlanticSalon

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    Some young men possess disjointed psyches,
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    makes them destroy our discs and joints
    with swollen fists and coveted Nikes.
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    I have turned the last age you ever knew
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    and know what it is like
    to fear both love and being left.
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    Although his knuckles never kissed
    fractures into my bones or flesh,
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    I have been consumed and made excuses,
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    thrown myself at his words
    though they were fenced with barbed wire
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    and then cried about the acquired bruises.
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    I do not know how many times
    I passed you in the hall.
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    Did you press prayers
    like duct tape onto your brokenness?
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    I only ever noticed your smile,
    now I notice your ghost,
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    and too many girls,
    it could have been any one of us,
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    who love enough
    to actually return Adam's rib.
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    Did he ever ask if you would die for him?
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    And did you unknowingly answer,
    attracting fate with feverish promises?
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    I want answers from you.
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    I want to know how to carve
    your name on the wind
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    because that will never die.
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    I want you to tell me
    this is the last poem I will ever write
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    about a girl who danced
    with the night in her palm.
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    I wrote that poem 10 years ago,
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    after learning
    that a high school classmate
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    had been brutally murdered
    by her boyfriend.
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    That last question, "is this the last poem
    I will write about a girl like you?"
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    haunts my work.
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    The last 10 years, I keep writing
    about violence against women:
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    physical violence, sexual violence,
    psychological violence -
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    my work cannot get away from it.
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    I think it's partly because I know
    that poetry can immortalize a topic.
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    And so often, when violence
    against women happens,
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    it's a quick hashtag or a short byline,
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    and then the names
    and the stories are forgotten.
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    And this work of art is to elevate
    those stories, to elevate those pieces.
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    On the other hand,
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    I really, really hope
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    I don't have to perform
    these poems ever again.
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    A part of me is really trying
    to work toward obsolescence.
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    I do not want to feel
    that this poem is useful.
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    I want it to be antiquated.
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    I want it to be a bygone era
    where we feel like poetry is the only way
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    that we can talk
    about this kind of violence.
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    My partner and I have been talking
    about having children. Awesome, right?
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    Because you're like, "Yeah, I have
    a partner, we're going to have children."
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    (Laughter)
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    But on the other hand, my work has started
    contemplating what that would look like.
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    And now, I find myself
    writing all these poems
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    as advice to my future self
    upon being a mother.
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    And I find myself writing guide books
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    on how I'm going to have to raise
    a daughter to deal with this world.
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    And it's scary.
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    It's scary to contemplate
    how you will raise a kid,
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    particularly a girl,
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    in a world that oftentimes sees them
    as something that can be easily dismissed,
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    or easily abandoned, or not worthwhile.
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    I won't raise my daughter to be nice,
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    to give her laugh away, to smile polite
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    as some men plot and plan
    to turn her body into a weapon of war.
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    And if they try, she will know
    how to wield herself.
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    Don't tell me it's wrong to want
    to raise a child from this kind of fear.
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    I know for every finger that we loosen,
    another knuckle grows back crooked.
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    Another knuckle is looking
    to crack into my daughter's skin.
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    And I can't trust this world to teach
    their sons how to treat my daughter.
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    So I will raise her to be
    a sword, a spear, a shield.
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    To turn clasped hands into heated hatchet.
    To hold razors between her teeth.
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    To cut unkind advances
    with the sharpest eyes.
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    To hold all of this together
    with leather or lace.
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    To be chiseled, prepared
    for rebellions against her flesh.
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    My daughter will be carved
    from hard rock, sharpened,
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    shrapnel, a spear -
    her whole body ready to fling itself
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    and arrow the hand of the first man
    who tries to cover her mouth.
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    I think poetry is amazing
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    because it is so easily
    carried in the body.
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    We know how to deal with rhythm, right?
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    Most of us know how to deal with rhythm.
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    (Laughter)
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    And we know how to deal with song.
    And we know how to deal with stories.
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    And poetry allows us to carry these names.
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    It allows us to live knowing
    that we've all these other women with us.
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    Specifically women
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    because that's the challenge
    I want to give you on a little bit.
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    And to me, poetry is
    a type of artifact, right?
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    It distinctly says,
    this is the life and times
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    what someone recorded based
    of what they thought was important.
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    And I truly, truly hope
    that these poems I'm writing
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    will one day be artifacts
    at the bottom of a dusty box,
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    at the bottom of a museum,
    no longer considered necessary.
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    But I know that that's not the time
    we're in right now.
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    That's not where we are
    in this current moment.
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    And so, I have a challenge
    for everyone in this room.
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    I want you to find a woman poet;
    I want you to memorize one of her pieces.
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    And on the days when things
    feel really heavy,
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    when equality for women
    seems unattainable,
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    when one of your male
    co-workers says something
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    they don't even recognize
    is a microaggression,
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    when yet another person asks you,
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    "When are you going
    to get married and have kids?"
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    And you're like, "Bro,
    I don't want none of that."
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    (Laughter)
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    On the days when you hear yet another
    story about a girl who's disappeared,
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    a woman who's been brutalized,
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    when it just feels like
    we can never escape this reality,
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    recite that poem to yourself.
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    Because at the end of the day,
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    all poetry, even when dealing
    with these heavy topics,
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    our poems, they're hope.
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    The whole point is for hope, right?
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    Hope to be heard,
    hope for all of us to heal,
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    and hope that these poems
    will be obsolete.
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    That we don't need them.
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    I want to close with a poem
    that's not my own,
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    but it's from one of my favorite poets,
    and is one of the first poems
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    I ever memorized
    by someone other than myself.
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    It's what I recite on my heaviest of days,
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    that I give to myself as a gift
    and that I give to another woman
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    whenever I know
    that she's struggling with something.
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    And so hopefully it will inspire you
    to find a poet for you to memorize.
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    So that's your challenge.
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    Think about a poet,
    find a poem, memorize it.
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    It doesn't take much
    to memorize twelve lines.
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    And then you have it
    for the rest of your life.
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    This is a poem by Lucille Clifton.
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    Won't you celebrate with me
    what I have shaped into a kind of life.
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    I had no motto, born in Babylon,
    both non-white and woman.
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    What did I seek to be except myself.
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    I made it up, here on this bridge
    between stars shine and clay.
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    My one hand holding tight my other.
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    Won't you celebrate with me
    that every day,
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    something has tried
    to kill me and has failed.
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    Thank you.
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    (Applause)
Title:
I use my poetry to confront the violence against women | Elizabeth Acevedo | TEDxMidAtlanticSalon
Description:

Elizabeth Acevedo shows us on the TEDxMidAtlanticSalon's stage how she masters and uses poetry to confront the violence against women.

This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx

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Video Language:
English
Team:
closed TED
Project:
TEDxTalks
Duration:
07:59

English subtitles

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