In 2000, I wrote an introduction for a new edition of Essex Hemphill’s magnificent collection "Ceremonies." I pointed out what I believed to be that work’s purpose: remembrance as the only way to begin the process of healing the wound that white supremacy, poverty, homophobia, heterosexism, and most recently HIV/AIDS had inflicted upon us as Black Gay Men. (Cover image of Essex Hemphill by Barbara N. Kigozi, June 1994)

Sandwiched in an alleyway on the northeast side of Washington D.C., Black queer, gay, and lesbian artists like Wayson Jones cultivated fertile ground in a coffeehouse. What they did in the cramped space is the stuff of legends, yet the coffeehouse is long gone—much like the city of old. A documentary recently released online captures what the coffeehouse meant—and continues to mean—to Washington, D.C. as well as to Black and queer histories.

"Fierceness Served! The ENIKAlley Coffeehouse" has been making its rounds at select screenings. The ENIKAlley Coffeehouse was a performance and rehearsal space for a cohort of artists, a gathering spot; plus a meeting place for political organizations. This was almost hallowed ground for Black artists to share and workshop their craft. Jones, Essex Hemphill, Cheryl Clarke, Audre Lorde, Blackberry, Casselberry-Dupree, and Pomo Afro Homos all stepped foot into the former carriage house-turned-coffeehouse between 8th, 9th, I, and K Streets, NE. The space at 816 Eye Street, NE was brick, the size of a large walk-in closet, but had great acoustics.

"The intimacy lent itself to that feeling of being part of the family," Jones said.

The film "Fierceness Served! The ENIKAlley Coffeehouse," celebrates this time.

There was a bedtime and morning ritual in the Malebranche household. A kiss from the family patriarch to his son David and daughter Michelle that was so routine—his decision to replace David’s kiss with deafening silence—reverberated loudly throughout their home in Galway, NY, in the summer of 1992.

Despite being an exceptional student with degrees from Princeton, Emory, and Columbia Universities, Malebranche, now 53, had become accustomed to achieving a level of success that appeared to impress everyone but the Haitian-born surgeon he called dad. Yet he was not accustomed to being viewed as a disappointment by the man he idolized.

“Donna, is our son trying to tell us something?” Malebranche recalls his father asking his mother almost daily, particularly after getting his ears pierced, and choosing to wear an earring in the right ear only on this particular day, which in the early 90s was a cultural indicator that a man was not heterosexual.

“He would ask her that question every morning. He would not let it go,” Malebranche said. “So after the third or fourth morning, she'd say, ‘What do you want me to do? I can’t cover for you.’”

“I'm 23. If he's not man enough to ask me directly, he’s not man enough to hear it from me, so you tell him,” he said. “And so she did. Those three days that I was home, he didn’t speak to me at all.”