The Black Unicorn
Audre Lorde's 1978 poetry collection — African Yoruba mythology, Black-feminist mythopoeia, the mature poet
Tradition: Black-feminist / Lesbian poetry / Yoruba-influenced mythopoeia
Lorde's 1978 poetry collection — Yoruba mythology in service of a Black-feminist mythopoeia
The Black Unicorn (1978) is Audre Lorde's sixth book of poems, widely judged her finest single collection. The book draws on Yoruba mythology — Ọya, Yemoja, Eshu, Mawulisa — to craft a Black-feminist mythopoeic vocabulary that resists assimilation into either white-feminist or African-American-male canons. Themes of African inheritance, lesbian identity, motherhood, racial-sexual violence and survival run through the collection.
Author
Editions cited
- The Black Unicorn (W.W. Norton, 1978)
School Embodiments
Major contribution to the Black-radical-poetic tradition — assertion of African-diasporic mythology as resource.
"I am Mawulisa, mother of the sea and womb of the unspoken; I have come riding on the dark of my own difference." (The Black Unicorn)
Major late-twentieth-century Black-feminist poetic statement.
"The Black mother within each of us — the poet — whispers in our dreams: 'I feel, therefore I can be free.'" (The Black Unicorn / cf. "Poetry Is Not a Luxury")
Foundational lesbian-of-colour poetic statement, predating "queer theory" as discipline but central to its later canon.
"We were never meant to survive — and yet here I am, naming." (The Black Unicorn, drawing on "A Litany for Survival")
Foundational text for what would later be theorised as intersectionality — Black, lesbian, woman, mother.
"There is no hierarchy of oppressions; I cannot afford to choose between the parts of my identity." (The Black Unicorn / Sister Outsider)
Diasporic-postcolonial sensibility — African mythology recovered against colonial erasure.
"The names of the African mother-goddesses are the names of myself; they were taken from me, and I take them back." (The Black Unicorn)
Mythopoeic-mystical register — the African pantheon as ontological resource.
"In the night of the goddesses, all things speak — and the names we have lost return." (The Black Unicorn)
Resonances with broader indigenous-philosophical recovery of pre-colonial ontologies.
"The way of the ancestors is not behind us; it is the deepest dimension of the present." (The Black Unicorn)
Internal Tensions
Lorde's mythopoeic register has been variously assessed — defenders see proper Black-feminist mythography, critics worry about appropriation of West African religious materials by an African-American writer.
I. Time
The 1970s American moment of Black-feminist consolidation.
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II. Space
The diasporic geography — Africa, the Caribbean, Black America.
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III. Matter
The embodied Black woman whose poems articulate.
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IV. Observer
The Black-lesbian poet as proper subject of mythopoeic articulation.
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V. Energy
The mythological-erotic energies of the Yoruba pantheon.
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VI. Information
The Yoruba-mythological knowledge as poetic resource.
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Personas with the nearest attribute fingerprint
Historical figures whose own classification on the same six-dimensional grid lands closest to this work's. Computed by attribute-agreement on coordinates both address.
Computed school proximity
The work's attribute fingerprint scored against all schools using the same quiz scorer. Useful as a sanity check on the hand-curated embodiments above.
How The Black Unicorn resolves each dilemma
42 resolved positions across 4 dimensions, including 3 distinctive where the majority of schools go the other way · 15 unaligned.
Each dimension is sorted so minority positions come first. Mainstream positions are folded into an expandable list.
Time · 9 dilemmas · 3 distinctive
Persistence, the future, and the direction of becoming.