![]() Poet and scholar Joshua Bennett attests to this in Being Property Once Myself: Blackness and the End of Man, in which he is thinking about “the ways in which animal life operates as a site of recognition and reckoning for African American authors in the twentieth century and beyond” (6). She is fighting with the process, the relation, not the chicken.īrooks attention to the quotidian, the community member, and to the animal is well-documented. ![]() “Maud Martha was fighting with a chicken,” Gwendolyn Brooks begins chapter 28 of her novella Maud Martha, a chapter ironically titled “Brotherly Love.” By the end of the vignette, however, Maud’s attention has turned from the chicken as her nemesis to the chicken as a “sort of person” (Brooks 153), to whom she begins to relate, and what initially seems like a misnomer become epiphanic-in the quotidian, domestic task of food prepping, where the mind is free to wander, Maud begins to reconsider different ways of being in relation to the chicken that she is processing. ![]()
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