Our Stolen GrandmotherThe Entanglement of Slavery and Colonization in Anna Lee Walters's Ghost Singer Reid Gómez What do we know, really? What can we know, finally? But more importantly, how do we begin to articulate these stories, their stories, this (un)knowing? These conversations take very seriously the question of the absence, or some would even say, the impediments, in the work of mourning the millions of dead in the aftermath of slavery. How do you tell a story that must be told and yet cannot be told? A number of scholars, including Saidiya Hartman, suggest that we begin by "not telling." Patricia J. Saunders, "Fugitive Dreams of iaspora: Conversations with Saidiya Hartman" That life is complicated is a fact of great analytical importance. Patricia J. Williams, Alchemy of Race and Rights: Diary of a Law Professor [End Page 70] REVISITING THE SCENE OF SUBJECTION WITHOUT REPLICATINGTHE GRAMMAR OF VIOLENCE This article has been presented as a paper at a conference, and it has been read by six peer reviewers and two editors. Every version has failed to meet readers' desires for recognizable signposts and context and a cogent argument. My work cannot get past readings tuned to error analysis. Some have suggested that I give up and go back to writing fiction, and others suggest that I find a writing mentor to assist with my obvious and grievous errors in clarity, grace, and style. Clearly, writing is very hard for me—readers say that one thing my writing says eloquently and clearly is that I struggle. I have faced the critical and creative divide for over twenty years now and have recently strained to write everyone else's paper. That paper—the one demanded from me—is impossible to write. Michelle Wright begins the Physics of Blackness: Beyond the Middle Passage Epistemology with a discussion about the immediate cogency provided by linear progress narratives.1 There are rules for how we present knowledge and how we can narrate ourselves and our findings. We are meant to subordinate our research, summarize and evaluate the research of others, and not violate the rules of standard American English. I will return to Wright's work throughout this piece, but I begin here to name the way a desire for linear progressive arguments shapes what is thought of as convincing, believable, relevant, and pertinent—coarsely, what is said to be good writing. I start here in partial explanation for my recent and painful struggle with the writing process. Many will say it is my skill set that limits my work at this moment, and others know it is also the content. I work on slavery and language. Wright asks us to work in an epiphenomenal now that requires us to locate ourselves in space, on land, before beginning our analytical project. I have learned most about writing in two areas of life: through my work on slavery and in my work with sixth graders. At this moment, I point out the several failures inherent in linear progress narrative techniques, failures Wright describes as the assumption of fixed origins, the establishment of cause and effect, and the linkage of linear time within a single body.2 I will return to these as they relate to my subject—the novel Ghost Singer and slavery among the Navajo—in a moment, but I point to them now to indicate the challenge I continue to face in my attempt to write this piece in a way that does not replicate the violence it describes. Reading William Leap's work on American Indian English and remembering my own teaching of Ghost Singer to sixth graders, I have found some useful frames to introduce this writing to readers. Leap cautions readers to remember that the content in such nonstandard English compositions, like my own, "require[s] familiarity with the whole [End Page 71] text, and not just individual segments." Information is "inter-related and inter-dependent."3 This describes what I experience in terms of a failure to provide context: the context I provide goes unrecognized. These same writers, whom I am proud to align myself with, hold their text together by "coordinated imagery not rhetorical...