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Patient., by Bettina Judd
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Poetry. African American Studies. Women's Studies. "Bettina Judd's phenomenal debut poetry collection, PATIENT., is about recovery in many senses: recovery of the subjectivity of several historical figures, through the recovery, reconstitution, and telling of their stories--among them Anarcha Westcott, Betsey Harris, Lucy Zimmerman, Joice Heth, Saartjie Baartman, and Henrietta Lacks, who were infamously 'patients' or subjects of inspection and 'plunder' by, among others, J. Marion Sims, the controversial gynecologist, and P.T. Barnum, showman and circus founder. Sims (and the speculum) and Barnum are the featured antagonists in many of these flawlessly empathetic poems, but an unnamed speaker who adds a contemporary voice to the lyric chorus implicates those in charge of her care during a present-day hospital stay at Johns Hopkins--suggesting the linkage of modern medical treatment to the traumas vulnerable Black women, enslaved and not, suffered at the hands of unethical scientists and physicians in earlier eras.
In the collection's opening poem, the speaker reckons, '...verdicts come in a bloodline' and she determines 'to recover' from 'an ordeal with medicine' by 'learn[ing] why ghosts come to me.' She ends her testimony by asking, 'Why am I patient?' (Read that line in however many nuanced ways you want.) In this profoundly layered witnessing, the subject might be 'in the dark ghetto of my body,' or 'an idea of metaphors that live where bodies cannot.' Yet even as Judd vividly evokes the precise brutalities visited upon the Black female body and psyche--letting us see and hear women who 'quieted / broke into many pieces'--these poems also speak of 'shedding something,' 'another kind of sloughing.' Ultimately, PATIENT. enacts a healing and move toward wholeness, recovery of, as one speaker puts it, 'spirit [that] flees the body and / its treacherous / tearing.'"--Sharan Strange
- Sales Rank: #249834 in Books
- Published on: 2014-11-30
- Original language: English
- Dimensions: 8.25" h x 5.50" w x .50" l,
- Binding: Paperback
- 90 pages
Review
"This...is the equation that runs throughout Patient. The weight of history is a punitive force." - Southern Humanities Review
"Patient is not just the sad past. Judd's ire is not simply historical, how would that be possible. These poems hum and pulse like the air around a transformer during a heat wave.
These haunting poems are brave and bloody and bound to guilty truths that Judd artfully turn to balm. Patientis a book you can love, admire, extol." - Michael Dennis
From the Back Cover
In Patient. Bettina Judd beautifully (and horrifically) draws on historical evidence of nineteenth-century medical experimentation on black women, scholarly explorations of the body and the archive, and personal medical history. The result is haunting in its insistence on laying bare these stories as they not only articulate experiences of the past but also resonate deeply with black women's experiences with the U.S. medical complex in the present. Patient. is a brilliant meditation on race, gender, and science and a thrilling anthem to black women's self-knowledge. --Elsa Barkley Brown, Associate Professor of History and Women's Studies, University of Maryland, College Park
J. Marion Sims, the legendary, now controversial, 19th century gynecologist looms large in Bettina Judd's recent collection Patient. Sophisticated, complex, haunting, Patient. beckons readers to remember, to feel, to think deeply, to discover, to probe. Slavery's stench, the bodies of Black women, death, scientific racism, memory--these themes link the poems in extraordinary ways. Judd is a masterful new poet. Patient. is unforgettable!!--Beverly Guy-Sheftall, Founding Director and Anna Julia Cooper Professor of Women's Studies, Spelman College
Joice Heth. Lucy Zimmerman. Betsey Harris. Anarcha Wescott. Bettina Judd ensures you will remember the names of four women assaulted by science, violated by curiosity--survivors of physical invasion and torturous experiments. She presents their dignity, heretofore denied, as imagined in their own voices in conversation and parallel with a modern speaker, similarly (coldly) ensnared by a medical machine powered by detachment at best, cruelty at worst. Judd re-centers the narrative, however, to where it belongs--on the person(s) confronted, examined, in pain--not on the problem to be studied or solved. In visceral language that indicts, worships, haunts, and empowers, Patient. illuminates "a dynasty, a bloodline, a body" imbued with the full human spectrum of emotion and brilliance.--Khadijah Queen, author of Conduit and Black Peculiar
Bettina Judd's stunning poetry invites us to imagine the experiences of enslaved women subjected to gynecological experiments--the blood, pain, loss, shame, and survival. Linking past and present, Patient. brilliantly condemns the inhumanity of professionals who infringe black women's bodies and celebrates the humanity of those who resist them. It will disturb and move your spirit.--Dorothy Roberts, Author, Killing the Black Body: Race, Reproduction, and the Meaning of Liberty
Bettina Judd's phenomenal debut poetry collection, Patient., is about recovery in many senses: recovery of the subjectivity of several historical figures, through the recovery, reconstitution, and telling of their stories--among them Anarcha Wescott, Betsey Harris, Lucy Zimmerman, Joice Heth, Saartjie Baartman, and Henrietta Lacks, who were infamously "patients" or subjects of inspection and "plunder" by, among others, J. Marion Sims, the controversial gynecologist, and P.T. Barnum, showman and circus founder. Sims (and the speculum) and Barnum are the featured antagonists in many of these flawlessly empathetic poems, but an unnamed speaker who adds a contemporary voice to the lyric chorus implicates those in charge of her care during a present-day hospital stay at a teaching hospital--suggesting the linkage of modern medical treatment to the traumas vulnerable Black women, enslaved and not, suffered at the hands of unethical scientists and physicians in earlier eras. In the collection's opening poem, the speaker reckons, "...verdicts come in a bloodline" and she determines "to recover" from "an ordeal with medicine" by "learn[ing] why ghosts come to me." She ends her testimony by asking, "Why am I patient?" (Read that line in however many nuanced ways you want.) In this profoundly layered witnessing, the subject might be "in the dark ghetto of my body," or "an idea of metaphors that live where bodies cannot." Yet even as Judd vividly evokes the precise brutalities visited upon the Black female body and psyche--letting us see and hear women who "quieted/ broke into many pieces"--these poems also speak of "shedding something, " "another kind of sloughing." Ultimately, Patient. enacts a healing and move toward wholeness, recovery of, as one speaker puts it, "spirit [that] flees the body and/ its treacherous/ tearing." --Sharan Strange, author of Ash, and creative writing faculty at Spelman College
About the Author
Bettina Judd is a visual and performance artist and writer born in Baltimore, Maryland and raised in Southern California. She is a researcher and teacher in Women's, Gender, and African American studies. A Cave Canem Fellow and Pushcart nominee, her poetry can be found in the literary journals Meridians, Torch, Mythium, and Aunt Chloe. She is the author of PATIENT. (Black Lawrence Press, 2014).
Most helpful customer reviews
4 of 4 people found the following review helpful.
Theme - recovery, the many aspects
By Grady Harp
California poet, writer and performance and visual artist Bettina Judd also is a researcher and teacher in Women's, Gender, and African American studies. Her powers of communication come from a rich intellect as well as a sensitivity to issues other ignore. This book of poems, her first solo anthology, is powerful as well as exquisitely written. Her subject - Recovery - be that in the memory of some famous `patients' or form assaults on the human form in other ways.
BORN STRANGE
The child in the caul
carries her eyes over
to the dead woman who pushed
her back into the womb
says, 'I'll remember you
when I'm big'
dead woman laughs
not surprised that
she's been seen,
`sho you
will'
FILL A WOMAN WITH MEANING
Look
uninhibited.
Children
the stroll
no lye relaxer.
Tell her
how to
rest her chin
wipe tears
when to
become woman
make love
never forget.
Explain to her
her sadness
fibroids,
miscarriage
blood sugar,
Wellbutrin.
Bend a spoon
find the torn,
the growing,
find what separates
apes from men.
Whatever you do,
do not pull curtains
to primitive
night.
Do not shatter the
mirror to reveal
animal trainer
artist,
lover,
surgeon.
Do not let her know
terror
belongs to you.
To appreciate this collection of emotion and creativity the entire book demands to be read and then re-read. This is powerful poetry by a very important artist. Grady Harp, March 15
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