Ugly Black Girl Analysis
In the dictionary, the word “ugly” is defined as someone or something that is unpleasant and repulsive. For a black girl, the connotation of the word transforms from unpleasant to unworthy; repulsive thus becomes invisible. “Ugly” was initially written as a way for me to be in conversation with the Webster Dictionary word. However, over some months the piece began to be a conversation I was having with myself, other poets, and black girls in general. After ten months of working on this collection, I found myself in deeper thought with the tradition of being a black female writer speaking through another black female character. “Ugly” is a vocal manuscript that praises, scolds, and condemns the black girl and her peers in the outside world.
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Lilac represents the black woman that chooses to follow the guidelines of the patriarchy traditionally seen in the Black community. I payed extra attention to capture moments in which Lilac was voiceless, literally and figuratively. This can be seen in “Thirsty Uproots A Lilac” and “Healing God’s Bruises.” Madea was written after an archetype I noticed in the written Black tradition which is the old magical negro. African-American grandparents are often depicted as having ethereal powers attached to them; many related to blessings, protection, and wisdom. Although Madea was the matriarch of the family, much like her daughter, she is voiceless against men[Thirsty]. The only times Madea actually speaks up is through violence towards her granddaughter, as seen in “Madea During the Rapture.” Madea is a character with an internal conflict against herself and her family. What I really wanted to grasp in this character was the need to feel validated. This is kind of hinted at in “Madea During the Rapture” with the line: “standing on the corner/black van after black van/black man after black man”
One thing I wish I could have done with this collection is dedicate more poems to Madea’s life leading up to the current
Lilac represents the black woman that chooses to follow the guidelines of the patriarchy traditionally seen in the Black community. I payed extra attention to capture moments in which Lilac was voiceless, literally and figuratively. This can be seen in “Thirsty Uproots A Lilac” and “Healing God’s Bruises.” Madea was written after an archetype I noticed in the written Black tradition which is the old magical negro. African-American grandparents are often depicted as having ethereal powers attached to them; many related to blessings, protection, and wisdom. Although Madea was the matriarch of the family, much like her daughter, she is voiceless against men[Thirsty]. The only times Madea actually speaks up is through violence towards her granddaughter, as seen in “Madea During the Rapture.” Madea is a character with an internal conflict against herself and her family. What I really wanted to grasp in this character was the need to feel validated. This is kind of hinted at in “Madea During the Rapture” with the line: “standing on the corner/black van after black van/black man after black man”
One thing I wish I could have done with this collection is dedicate more poems to Madea’s life leading up to the current