I’ll begin with the tale of a great downfall, a tale that begins with the main character born as a symbol of all that is beautiful in the world who dies a spiritless victim of the world’s greatest faults.
I had never thought of a slave witnessing a volcano before; that specific scenario was not conceivable in my reality. As someone who had always longed to connect with the ghosts of my shared diasporic past, I had to know: How did slaves react to a volcano? My project was an attempt to communicate with history and, hopefully, sew together any holes left by neglect.
A fictional museum exhibit spins a narrative from documents related to a money transfer end of the Fatimid caliphate. The interpretation casts history as an institution that permanently exists in the present.
When I began my time at an early twentieth-century historic house museum, I was expecting to find a lot of things—furniture, yellowing diaries, shelves and shelves of vintage clothes—but I never imagined I would find my grandmother.