Dissecting the Troll
J.K. Rowling and J.R.R Tolkien have taught me one undeniable truth about trolls; that the lack intellectual capacity. Furthermore, in childhood I learned from simple legends and lore, that trolls lurk under bridges. Therefore, I should be unsurprised that as an educator, artist, and human being, in the habit of building bridges, and combatting ignorance, that I would attract the attention of these dimwitted beasts.
Most recently, in pieces dedicated to eradicating Islamoracism/Islamophobia or satire critiquing colonial constructions that remain a part of the framework of our status quo, I’ve attracted these trolls. They lurk on social media, where I share these articles, and songs, and share their ineloquent hatred of me under the bridges I lay with these public posts. The most common phrase is “go back to where you came from,” which is ironic, in that I am a product of the colonial monster that was set into motion by the wicked wizards that also created these trolls—I would gladly go back to the royalty of my ancestral roots, if they too would recede into the coal-lined-caves from where toxic DNA emerged.
Name-calling doesn’t work on trolls—since words usually go over their heads. They understand our world only in black and white terms, in which they see what they are as purely good, and whatever is “other” as existing to serve them. Ignoring these trolls does not sit well with the educator in me either. I recognize that beneath their grotesque form, mutated by bad magic, and a long-standing legacy of hatred, that they are simplistic beings, who are merely frightened. To this end, Wordsmyths was born—to educate, annihilate ignorance, and unify that strand of humanity within all of us, my acknowledging the divinity in us all—and by extension our connection to the universe.
What does Wordsmyths mean?
A wordsmith is a colloquialism for an individual with deep diction and proficiency with language. I spell it, purposefully with “myth” replacing “-mith” in order to convey a different meaning. Specifically, I was speaking to the “mythology” that created trolls in the first place. Myths, created by “Wordsmyths” to help control ignorant, blind followers, and distract them from the reality of our connection. The refrain in the song about “One God” is about the “one reality” that binds us all—that the notion of separation is not real, but truly a construction of simplistic minds.
This song is not a critique on religion, or any dogma, but a critique on ignorance. It is also critique on patriarchy and colonialism (which are also based on and supported by falsified social construction). The lines “Like the sun and moon, swimming in their own orbits,” refer to the Quranic verses about theses celestial bodies in a chapter, that has an oft-repeated refrain, “which of the favors of your Lord do you deny.” It’s a chapter that reveals to the reader, in depth of reflection, that the entire universe is one reality and that we are all connected to the many miraculous things in it. I follow the lines with “our suns and moons, left upon strange doorsteps, African origins…” These lines are a clear critique of the social construction of race, of colonial realities and chattel slavery—it posits the notion that we are all truly African, coming from one place of origin as homo sapiens.
The lines “phantom opera mask, covers our Moorish features…” refers to the idea that those constructed as “others,” must don masks in order to be relevant in a farcically socially constructed society, such as ours. Death is referenced, as is life, in creating a sense of liminality throughout this piece. The lines “Last days, face east, it’s gorgeous, sunset, earth flipped, cats are sorted” refers to the scientific phenomena of pole shift (where magnetic poles shift their positivity and negativity) ostensibly shifting what we consider North and South, as well as lines in Abrahamic faith based traditions about the last days. The lines “On horizon, I see a cubed Borg ship.” is a nod to Gene Roddenberry and my inner fanboy, while at the same time, envisioning a cube, or Kaaba, as a vehicle for cosmic travel.
Later I say, “religion constructed; pay the doorman, life distorted, rather be a free man like Morgan; yet forging our own chains on purpose; burn bill of rights and habeas corpus, freedom forfeit…” These lines specifically call out the idea of religion as a construction, and the idea of the promise of freedom of religion, something that chains us to the idea that this is a reality, furthering our separation from the idea of the oneness of the divine and hence our reality, and therefore ourselves. The verse takes a political turn, when I speak to the truth of what this can mean to a subsection of a population, victimized by Islamoracism, by saying, “unsupported, innocent souls are deported, to an island (Guantanamo), tortured and water boarded, truth serum injected, falsehoods recorded, justifying barrels, oil barons have hoarded, this America, hegemons have exported…”
These lines specifically call out the trolls to respond to a reality that is a clear violation of that document they choose to hold dear, as they champion this land—it is this egregious hypocrisy that not only leads to Guantanamo but to “Muslim Bans” and the dignity of those racialized as “Muslims” in ignorant minds in a hate filled society.
The song finally ends with the argument that our unity, is not an extrapolation from any text, but something manifest in our minds, and the acceptance of the logic of this argument, that we are all connected, leads to peace, in soul and body: “Don’t dismiss it as, ‘Oh yeah, it’s from a core text.’ Process this; in your cerebral cortex. My body says PEACE, my Ka* says hotep.** Who will you worship? One God or wordsmiths?”
*spirit in Kemetic/**peace in Kemetic
p.s. So how do you kill a Troll? By making them bob their head to knowledge manifest on the mic.