Though Invisible Man
was written more than 60 years ago, the politics of recognition are still with us today, as a new play, Queer, Mama. Crossroads
(written by local poet and performer Anastacia-Reneé, and codirected by her and Aviona Rodriguez Brown) makes abundantly clear. Though the subjects of the play—which is short, direct, poetic, and charged with powerful emotions—are black, they are also queer women. That second identification makes them even more invisible than the invisible man. They simply and painfully live in a society that cannot and refuses to see them either in life, or death. The three main characters in Queer, Mama. Crossroads
are the ghosts of women whose lives ended violently. One is named Forgotten (Simone Dawson); another, No Hashtag (Kamari Bright); the third, Invisible 1 (Ebo Barton). They speak to us from the crossroads, the place where the numerous souls of dead black people, black women, black queers, journey to demand recognition. They want to be known, named, counted.
by Charles Mudede