This is what language did to us. Here
is the wound, the silence, the wretchedness
of tides and hillsides and stars where
we languish in a grammar of sighs,
in the high-minded search for euphony,
in the midnight rhetoric of poesie.
We cannot sweat here. Our skin is icy.
We cannot breed here. Our wombs are empty.
Help us to escape youth and beauty.
Write us out of the poem. Make us human
in cadences of change and mortal pain
and words we can grow old and die in.
Update as of Jan 25, circa 2am: Alexis Fishman has issued an apology via Twitter stating that she ‘never intended offense’ and that her page was a ‘poor attempt at parody’. Though she is missing the point a bit as to why her profile was problematic in the first place and sticks to her story that it was parody, her regret does seem genuine. In any case, it seems she is feeling the full consequence of her actions now. Hopefully the lesson is learned not just by her, but by her fans and others like her.
First and foremost, thanks to Wall Street Journal columnist Jeff Yang and composer/lyricist Timothy Huang for bringing this to attention.
Alexis Fishman, at first sight, seems like a perfectly average woman. She graduated in 2004 from a performing arts school in Western Australia and went on to pursue a career in the arts, now ‘based permanently in New York’, as per her official website. Her performer’s page is professional, her website is tastefully metropolitan, and the posts on her personal Facebook give no indication of strange or deviant social behavior. She is, in essence, the typical young woman trying to make a name for herself in the performing arts industry. Why, then, has she created a Facebook profile dedicated solely to the enthusiastic spread of what amounts to racist garbage? Internet, meet Arexis Fongman.