Postcards to the Future: HORRIFIC / Adjua Gargi Nzinga Greaves

In this untitled poem, Adjua Gargi Nzinga Greaves pulls the lens on racial violence all the way back to explore the notion of “intra” racial violence, killing among members of the human race, identifying many of the differences we see as rationales to violence as even smaller than they are in our home on this shared earth.


Untitled Facebook Post, 2016 by Adjua Gargi Nzinga Greaves

just casually murdering each other like we ain’t’ out here alone together in the void

like this aquatic spaceship isn’t festooned with the most exquisite flora

like this house we share ain’t a living chandelier in an unconcerned graveyard

like we ain’t cosmically identical

like existing doesn’t matter


Adjua Gargi Nzinga Greaves (New York City, 1980) is an artist chiefly concerned with postcolonial ethnobotany working in mediums of scholarship, performance, corporeal wisdom, archival gesture and language. Greaves has been published in The Black Earth Institute’s About Place Journal, The Recluse, The Poetry Project Newsletter, and No, Dear. In 2017, Belladonna* published her first chaplet—Close Reading As Forestry. She lives and works in New York City where she is Monday Night Reading Series Coordinator at the Poetry Project, a Wendy’s Subway board member, and young mother of The Florxal Review.

On the 2012 autumnal equinox, Greaves began unschoolMFA —a durational performance of higher education culminating on the 2015 summer solstice in a comprehensive public reading and subsequent group discussion of her manuscript The Bulletin of Wilderness and Academy: an introductory conclusion to unschoolMFA . Galleries of her documentary photography and Afrofuturist dioramas are viewable on Instagram via @TerraBot and @SuperModelStudioPractice respectively.

Photograph by @TerraBot.


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