“It wasn’t enough to just rely on my orality. I had to siphon other instruments.' Our March cover star, TheAmandaGorman on her spoken word performance strategies.
). Of course, we did what our Black mothers taught us and said hello. First there was a nod of acknowledgment, then proper introductions.
“If you look into the history of spoken word, especially poetry among the African American community, so much of that heritage comes from the Black church,” Gorman says. “I was raised Catholic, and my church, [St. Brigid parish in L.A.], had a firm stronghold in the Black community that I was growing up in. I think those things influenced my poetry and then even other aspects beyond it.”
Gorman brings that same grace to this cover shoot, placing her hands just so and tilting her head to the side. It’s a dance that makes her look regal, and yet she takes time to give me a friendly wave as I look on. But when the camera cuts off, there is a shyness there. The woman a nation has put on a pedestal and the “skinny Black girl descended from slaves and raised by a single mother” are one and the same, but also two sides within Gorman — each stepping forward at the appropriate time.
Gorman wanted to create works that reflected her world as a young Black woman when so much of the standard curriculum was focused on uplifting “the classics,” which is code for works by white men. “Why am I reading Herman Melville and not James Baldwin?” she asks. “Both are representative of the human experience, one just happens to be Black. I wanted to not just absorb, but also create works by which I would have a window and a mirror.
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