Jackboots and helmets demarcate us and freedom. 

Plus in binoculars, multiply with machine guns, divide by 

bows and arrows and the ever ubiquitous police dogs 

who growl yellow teeth, salivate for captured flesh and the 

sum equals a walled city, a concentration camp. Here 

inmates are ducks, our destiny lies with a hunter’s 

loaded gun. Daily we watch killers bump up and down in 

armoured cars, aware that they will shoot should rebels 

venture near the line. Sometimes we hear noises and 

sometimes we see the incidental plume, tall, beautiful, 

shaped like a chute and particles, falling poetically to 

earth and we know that that is another victim gone. 

Always we see stuff, always stuff moves up and down, 

stuff we can’t see but which we suspect to be solids and 

liquids, diodes you can connect and koboom goes the earth. 

Then there are the trucks, laden with fruits and vegetables 

and always trucking out and never in and we wonder why 

oppressors can sit under trees and munch on dates 

while natives grow thin in the legs and fat round the belly. 

The kingdom of man suffereth violence and men of violence 

take it and blessed are the weak, for they shall be decimated. 

The border is where you come when you are done with running, 

when all you want is to sneak among the crowd, read your 

obituary, find out how you died—fast, or slow, alone or with 

neighbours calling your name, uninjured or bleeding from your 

head while shrapnel fell and bulldozers shifted bricks and 

concrete. The border: a net, spun by a spider, cast by a crab, 

dragged by a shark while fish fumble and flounder. The border: 

Ukraine, Gaza, Bịafra, Mexico, Armenia, Rafah—

you, me, the hunger, anger, blood, bile, cold, sweat… 

The border: a flock of queleas when at dawn they 

cloud the neems and jacarandas.


I Wake with the Intention to Show You Beauty

(for Obianuju) 

but instead death strikes in the form of a falcon, 

this dawn of a harmattan season when doves 

preen overnight feathers, coo into the cool 

of sunless clouds—the move so quick, so precise 

it drowns my happiness, cuts short my laughter. 

I watch talons lift, head toward the rocks and the 

lifting of claws is the lifting of pages of a book I 

closed last night for the final time. Or so I thought. 

Memory beckons me, grief draws me to the dance floor, 

I waltz with tribes, waltz with rifles and machetes, spin 

till I become drunk on a war and the chaos it left in bodies 

of a tribe. Here is the bitter truth: in the game of survival 

we give or take all. Beta anụ bụ n’aru nama. Here 

is the music that keeps all nature grooving: the 

python tests his muscles on the bush pig and the deer. 

A pebble, placed in a catapult, shot aimlessly 

cannot save a dove, carried high into the clouds. 

I would not have pointed at birds had I known a 

quest for beauty would translate into a lesson on blood 

and how it can stain our best day…Come, nkeọma, 

return to the room and to mama. Playthings there are 

more rewarding than watching death display his wildest 

skills. A father has nothing to return to than a book I 

closed last night, its commas and comas. That is the balm I rub, 

drug I drink. That is where I fish for answers, angle for 

clues to help me crack the code of country, history, memory. 

Help me make sense of mornings such as this.


I Told You You Would Win a Jackpot

(for Bosede, for Akunnia)

I remember vaguely, not photographically or diagramatically. 

(Nowadays I remember in grey and burnt umber, 

in ultramarine and periwinkle blue). I remember he said:

this is your sister and left a boy to unmorse the code. 

I remember a room and you, stretched on a bamboo bed. 

A crow sauntered across your cheek and a canary 

crooned into your voice at the joy of seeing the bone 

of your bone. I remember that despite the 

needle sticking from your wound we talked and laughed 

ever after. Your fascination with uniforms and boots

matched my fascination with rifles and mortars. 

His fascination with weapons and their makers

canceled our fascination with a world, 

spinning in a space choked with gasses. 

I remember that shortly after the doctors 

laid down their tools in surrender to the power of poison. 

I remember the last scene: it was in my room and 

he sat on a chair, cried bowl, after bowl, after 

desalinated bowl. I remember I looked on: 

was it with a brow of bricks, a heart of stones? 

I remember the trip to Ihiala, green leaves 

stuck in the front and rear, mourners mouthing 

onye o’melu dibe while a giant popped chocolate bars 

into his mouth: the giant being earth, chocolate, 

what remains of earth. I remember you. I remember him. 

I remember the current that swept you away, 

remember the isle where it deposited you, a place 

you wrote to say is the epitome of cool, 

rifles do not bloom and the words stroke and poison 

do not belong in your idiolect. 


Victor Osemeka is a Nigerian of Igbo extraction. His poems explore the spaces between man versus man, man versus nature and man versus divinity. Aside from writing, he draws and paints. He has work published or forthcoming in Brittle Paper, African Writer, Morning Star UK, The Marrow International Poetry Australia and Consequence Forum. Find him on Facebook @Victor Osemeka, on X @Osemeka1123V and Instagram @victorchukwu645.

I ride to O’odham country

Passing by la niña blanca

Reclined on barbed wire, 

on desert shrines and their faded flowers


She tips her head back,

And soaks up the sun.

Bleached bone upon dust, 

upon dust.


Dust:

In plastic beads

Bottle caps, 

And stained tulle.


And then I see the crosses stretching 

to marigold fields,

And coke bottle sky.

I pass her by.


And she laughs. 

and all of us are:

Beads on bone

Bone on dust,

And coke bottle sky.


Amalia Castillo-Morrison is a Chicana writer living in Fairfax, Virginia. She likes collecting uranium glass and strange antiques. Her work has been published in Oddball Magazine.

Hail Africa, Mother of Grace:

where the rain beats you in July

and the sun burns in March.

They crawled into the limbo

of space and arrived at our shores,

deadened the strings of the djembe,

that whispers to us the dialect in

which we use to cast cowries and

pour libations upon our hallowed path.

They broke the nose of our ancestral faces.

Alas! The vagabonds are all here,

covered in Bald White; with sandalled feet

and heavy boots, awashed in foreign scent

to make war upon our house.

They saw us and marvelled between

puffs of blue waves of tobacco smoke.

And proclaimed: close your eyes let’s pray!

Her gold-plated breasts are broken

And the pyramid on which she

leans is fallen.

Mazi if you could go out and cry

to your kins and brothers;

tell Kanayo, Olisa, and Mkpa

that they have befallen us with evil;

tell them their house is falling,

and the yam barn in the fence

have been eaten by termites.

Tell them, while the strangers idle here

we suffer, and eat dust, watching

the raven and vulture hover above

our broken palm frond roofs.


Echoes in Chant

“Freedom is not just about being able to do what you want, but about being able to be who you are, without fear or shame, and to fight for the liberation of others so they can be who they are too.”

— Assata Shakur

Through the language of our mother tongue

we juggle through the remains

of colonial dent, we press our hope

upon the dreams we carved out

of our common struggle.

We pray to Ọya and swirl

like her waters flowing freely

in the veins of our body!

We dance to the music of mourning

while we carry the placard of an identity

in our hearts. When we feel weary

and unable to proceed in this dire straits

and our throats dried of thirst —

we tap and sip strength from the palm wine!


Teacher Don’t Teach Me Nonsense”


Fela Kuti was right!

Mungo Park discovered River Niger.

The unfair narrative of an invader

that carries fire, burning a people down

from their history and values.

This is the tool of control embedded

in our educational system — and we do

trail behind it seeking approval with our

beaten and imprisoned tongue.


many years

since the sandalled feet left

scramble for Africa


Uchechukwu Onyedikam is a Nigerian haiku innovator and interlingual poet fusing Igbó and Yorùbá linguistic textures with short-form poetry. His work appears in Presence Haiku Journal (UK), Wales Haiku Journal, Asahi Shimbun (Japan), and is archived at Japan’s Museum of Haiku Literature. A forthcoming critical essay in Presence explores weaving African languages into haiku. He seeks to relocate to Cardiff, UK, via Global Talent Visa to enrich British short-form poetry with underrepresented voices. Follow him @MysticPoet_ on X.

(for Black History Month)

handpicked from the colour wheel of humanity, a hued placard was paraded on the streets of light as a misfit. the race sheltered in this shadow of light was not proud enough and paraded like a martyr before being leashed. we could have been kind enough to our history before history abandoned us in the whispers of ancestors. there seems a millennial woe on this skin of mankind— black is now the self-pity of nights, the pedigree of crime & profanity, the void of esteem in the n-word lifted by hip-hop. you’re a broken egg from the manhandles of a delinquent black cop in your homeland. the black eyes of the law see what is white that ascends the pyramids only. the earth is an eyeball of monochromes. cataracts of inhumanity blind the black man from his kindred, and when the white cotton is separated from the darker ones in the laundry, the blacks turn a blind eye to what belongs to their source and agitate for a place in a whitewash. home has never been kind to them either. the keys to their doors were swallowed by rotund key holders. we hawk the hoes of our names to foreign lawns. our plantations are left uncultivated, unlike our virgin hairs. our forests are overdue for harvest, while we witness the innocence of our cousins in vain.


Heritage

We cradle humanity with nature’s foot grounded in our communal spirit.

Like Eden, stripped of the hides of paradise, we bask in the purgatory

Bestowed on us by those who preached heaven to us with bottles of gin.


Across the Nile and the Sahara, our voices, drums, and plantations

Are bound by the heritage of liberation in the face of civilisation.

Skin deep, we are crafted from the brown soil with the science of melanin.


Like cattle, we’re milked by thirsty nomads on pastures we now long to graze.

On our heritage’s never-ageing forehead, our fathers and mothers’ toil

Wrinkles with time, and our sweats mirror the sun and quench earth’s thirst.


We now struggle to harvest from the blessed soils and trees.

On the desert of drought is our oasis, but for our strength drawn

From our ancestors’ blood and spirits.


With our right hands, we guide our children home, where lies the food,

Fabrics and tongues of our kinsmen, uniformed by anthems of proverbs,

Poetry and songs laid on the drums and strings, swinging our sisters’ hips

And throwing our brothers’ bodies in acrobatics.


May the sacred rivers and soils of our heritage not be adulterated

By foreign narratives in time’s library.


Tukur Ridwan (He/Him) is a Nigerian author of three poetry chapbooks, poetry mentor at SprinNG Writing Fellowship, and the winner of Brigitte Poirson Monthly Poetry Prize (March 2018). Publications include Aké Review, Feral, Disabled Tales, Poetry Potion, Coalition Works, Stripes, Engendered, Afrocritik, and many more. His poems were shortlisted in the Collins Elesiro Poetry Contest (2019), the Eriata Oribhabor Poetry Prize (2020), the Bridgette James Poetry Competition (2025), and also featured in the Eyes that Speak Art Exhibition by Prince Saheed Adelakun in 2024. He loves black tea, sometimes coffee. Find him on X at @Oreal2kur and Instagram at @Oreal2kur. He can be found on Facebook at Loba Ridwan.

In Fall 2022, I took the course Women and Minorities in Mass Media for my graduate curriculum at Jackson State University. During the second week of class, we discussed how cultural hegemony affects society today, what it shows us about minorities, and how they are represented. After some discussion, our instructor asked us to name a character we saw ourselves in and why, and to explain the relevance and importance of this character in our lives. More specifically, a character we saw on screen. The question got me thinking about any character I have ever seen in which I saw myself, or a version of myself. After honest reflection, I admitted not only to the class, but to myself, that the character I saw myself the most in was Pecola Breedlove, from Toni Morrison’s novel The Bluest Eye.

I first became acquainted with Toni Morrison after reading Well-Read Black Girl by Glory Edim. It was the summer before my senior year of high school. My English syllabi throughout grade school never mentioned the Nobel prize author. Not only was I introduced to Morrison, but I also learned of many other Black authors I had not heard of. Edim made the books sound like classics, and yet every book I considered a classic had a White author behind the pen. So, I went on a mission to read more Black authors and found myself holding a copy of Morrison’s The Bluest Eye. I have read this novel many times since, and I did a study of the novel in a critical analysis theory course during undergrad. I wrote two papers on The Bluest Eye in the 2020-2021 school year and still consider it to be one of my favorite novels. It wasn’t until hearing my professor ask the question about characters that we saw ourselves in that it finally clicked why I loved this book, why I kept writing papers about it, and why it was my response to my professor’s question: I saw myself in the character Pecola Breedlove because I was Pecola Breedlove.

Pecola Breedlove is a dark-skinned Black girl who grew up in Ohio in the 1940s surrounded by White people and their influence. She has only one wish in the world: to have blue eyes. Pecola lives in a world of Eurocentric beauty standards and is criticized every day for lacking those characteristics — dark skin instead of milky white, kinky hair instead of straight, brown eyes instead of blue. What a world it must have been for eleven-year-old Pecola to see how life treated those who had everything she did not? To hear comments on the playground about her skin color, to be picked on because of her hair, to never hear that she was beautiful because the world decided that description was only meant for people who looked nothing like her.

Pecola felt familiar to me because I was a dark-skinned child on white playgrounds. I grew up as one of three Black kids in each grade throughout elementary school, and I attended predominately white schools throughout middle and high school. Among my teachers, classmates, and in extracurricular activities, I was one of the “only ones,” and I began internalizing negative perceptions about my own appearance. I know how Pecola felt when she looked in the mirror and thought she was ugly because her nose was wide and her lips were big. I remember how much I wished, just like Pecola did, that the world treated me like every blonde-hair-and-blue-eyed girl who stood beside me. I never realized I was different from those White girls until my parents told me, and, as I got older, the world continued showing me the same. Seeing how White people were treated and knowing that it was because there was something fundamentally different separating me from them didn’t make me angry. It made me wistful. A world catered to them exactly as they were. How could I not wish to have everything they had?

I saw that beautiful meant straight hair instead of kinky and asked my mom for a perm because all the White girls had straight hair. I saw that beautiful was light skin instead of dark and learned about skin bleaching because all of the pretty girls had lighter skin. I started learning those differences and applied them to my life, and no one was there to tell me not to. Pecola thought that beautiful was blue eyes instead of brown and made it her mission to get those eyes because all the beautiful girls had blue eyes.

I know why Pecola wanted blue eyes … because I wanted them too.

My relation to and identification with Pecola Breedlove wasn’t solely based on a shared wish for blue eyes. Rather, I related and identified with her because I knew Pecola’s exact thought process when she determined having blue eyes was going to make her beautiful. Outside of my own home and church, I was never in areas where I was anything other than the minority. I don’t think anyone truly considers the mental toll this can have on a child. Growing up immersed in a culture different from your own encourages assimilation rather than differentiation, especially when you are lacking positive reinforcements for your own experiences. It is a powerful thing for the world to tell you that you are not enough. We are not stronger than the world by ourselves. How was Pecola supposed to fight off the world’s influence? How was I? Both young, both impressionable, both yearning for a place where we felt loved. Pecola did not grow up loving her blackness because the world wasn’t telling her to. Our society encourages and compliments whiteness and tears down anything that doesn’t fit into that paradigm. Pecola wasn’t told to love her hair, skin, or features; I know that feeling. I wanted to be beautiful, too. I wanted to feel pretty. I wanted what everyone else seemed to have, but they all had the one thing that I didn’t.

I have spent so much of my life wishing to be something other than what I am. I remember thinking I’d be pretty if I was lighter. Maybe if I was slender instead of having curves. A smaller nose instead of a wide one. When everyone around you is different, it is only natural to want to assimilate. When the world is telling you what it deems acceptable, it almost becomes a necessity. I sat in classrooms with White kids and teachers, and I sat in many rooms where I was the only Black kid. Being around them it never felt like a good thing to be Black. Around them, Black always felt like a burden. Until I got older, it didn’t occur to me that there might be an experience different than mine.

For others, blackness was natural. It wasn’t until I was in college that I finally had a Black teacher. I was in graduate school the first time I sat in an academic setting where there were only Black people at the table, and Black women at that. I know why Pecola wanted blue eyes. I know why she was ready to risk her life to fit in. I know why fitting into the white stereotype was at the forefront of her mind. I know why she would rather feel insane in whiteness than sane in blackness. Pecola was a victim of circumstance and had no one to advocate for her blackness. Ultimately, the one thing that saved me from Pecola’s fate was learning there was nothing wrong with my blackness; there was something wrong with my surroundings.

My early years were spent hearing how my education would not be worth as much if it came from a Black institution, and that to hold true to the label of being smart, I had to be educated in white spaces. And yet, I am writing to you now from the campus of my HBCU where I am pursuing my master’s degree. I’ve seen and experienced being Black this past year in a way I never have before, and I have fallen in love with a large part of myself I spent too long denying. The world made me feel like it shouldn’t exist, but I realize now that the society I was exposed to was never meant to encourage me to be Black. Instead, I was supposed to suppress anything that discouraged me from what a white school of thought deemed acceptable. This is why I know Pecola’s struggle, and why I connect with her.

Cultural hegemony influences ideologies about groups of people. We are subjected to a paradigm which both consciously and subconsciously affects our lives. Our racially biased media encourages some things and discourages others. Because the world convinced Pecola that her blackness was not enough, she succumbed to believing that whiteness was. I spent most of my life thinking that Black people had no spaces in which we were safe from the white gaze, and that we would have to spend our lives assimilating into a white society. Because of my surroundings, I knew nothing else. Yet here I am, living and realizing that is not true. I held onto the belief that when I found myself immersed in different circumstances, in different surroundings, and with different people, it would change me. I am happy to say that I was right.

There are many things I learned and am still unlearning. I had many perceptions and misconceptions about being Black, all of which shaped my views about Black people. I often think about how different my life would have been if I had had a Black teacher when I was younger or if I had seen a Black heroine in the stories I read. Where would I be now if I had been introduced to more images of blackness and told it was okay for me to be me? Pecola Breedlove was not exposed to positive images or affirmations regarding herself or other Black people. Unlike Pecola, I am now at a point in my life where I know all the things that make me Black also make me beautiful. And I know that my experience of not having as much Black culture does not negate my blackness. I am all of my experiences, and I remain Black through them all. One of the hardest lessons in my life was learning that is okay. I fought the societal belief that I had to be something other than who I was in order to be successful and accepted. And I won.

Coming from predominantly white spaces to now existing in spaces where being Black is a footnote in my life rather than a defining characteristic, I am grateful for my journey. People will spend their whole lives wishing to conform to the world instead of living their truth. I conformed, but now I am free. And this is the only space I desire to exist in now. I know why Pecola wanted blue eyes. But I no longer do.


Lauren Washington is a North Louisiana native with a passion for reading, and rediscovering her passion for writing. You can keep up with her reading and writing journey on Instagram at @laurenreads.alot.

Growing up in the Motor City (aka Motown) during the sixties, I was a politically precocious child. My parents had been Black members of the Communist Party when they lived in Greenwich Village, a decade before moving to Detroit. McCarthyism had been at its height, and Americans, Black and white, suspected of being pro-Communist were publicly rebuked, blacklisted, jailed, and, sometimes, had their passports revoked. The country frenetically searched for Communists under beds and behind closed doors. I can only imagine that the raging anti-communist sentiment of that era contributed to my parents’ decision to remain close-mouthed about their political beliefs, even to their own children. Fortunately, two Negro graduates from the University of Michigan, my father from the medical school and my mother from the school of nursing, who both hailed from unassuming southern families, were not high on McCarthy’s radar. And although they never shared their political history with me or my siblings, the books they made accessible to us, the television programs we could and could not watch, and their discourse about the Civil Rights movement and of Black historical events, all helped shape my worldview.  My father established a large medical practice in Detroit, where a majority of the Black populace had migrated from the South and where the labor union movement was robust. He exposed us to values and practices he hoped would give us a head start in a society he knew did not nurture Negroes.

As soon as I was old enough to hold up a sign, my mother drafted me to accompany her to labor union rallies and civil and human rights marches where we protested nuclear bomb testing, demanded an end to the Cold War, urged the legalization of abortion, and called for freedom for all political prisoners.


Each time we attend a march,

she clasps my hands around the wooden handle

to demonstrate how I should hold my sign

as we join fellow protesters . . .

My mother is a patient teacher in the art of protest

and explains the how’s and whys of saying “no”

to the Establishment, her word, not mine.


Among my childhood friends, mine was the only mother who was a self-proclaimed existentialist and whose bookshelves contained authors such as Simone de Beauvoir, Camus, Sartre, and Bertrand Russell. I do not recall seeing bookshelves in most of my friends’ homes.  My mother also made clear her intentions to visit every socialist and/or communist country on the globe.

One of the most interesting aspects of my mother’s parenting style, is that she did not simply read existentialist philosophical theory, she embodied it. When I left home to attend Stanford University for undergraduate education, she said, “If I don’t hear from you, I will assume that everything is alright.” That became her mantra. While my freshman classmates were fielding calls from their parents who were anxious for an update about classes, or adjustment issues, or grades, my phone was silent. My mother believed in the singular freedom of the individual to grow and follow his or her own path. When she accompanied my brother, Paul, to Yale College for the start of his freshman year, she kissed and hugged him at the quadrangle gates and then walked past other students’ mothers carrying supplies to decorate their darlings’ dorm rooms.

The ideologies of my parents were best reflected in the music they played in our home. During weekday dinners or on weekends, their vinyl records filled the house with a rich mixture of folk protest songs, prison work songs, Negro spirituals, and classical music. My mother’s record collection included Odetta, Paul Robeson, Pete Seeger, the Weavers, and Harry Belafonte, along with a smattering of blues singers. My dad was a classical music aficionado. He also shared with my mother a fondness for Paul Robeson’s deep tenor and his unrelentingly passionate songs highlighting the plight of the oppressed. It made sense that their firstborn boy, my first sibling, was named Paul, in honor of Mr. Robeson. Paul Robeson was blacklisted on charges of un-American activities during the 1950s. I knew that story inside and out, like some children knew the story of Hansel and Gretel. I had a vague awareness that my parents were oddities compared to my friends’ parents and that our household was not your typical Negro household.

Immersion in books was my solace, my joy, and my retribution, even when I could not comprehend all what I read. My parents had a large library to which I was given free range. No book in the room escaped my perusal. They possessed a bound copy of the petition presented to the United Nations in 1951 entitled We Charge Genocide. The book was compiled by William L. Patterson of the Civil Rights Congress and charged the United States government with genocide against Negro Americans. Page after page of this document contained black and white photographs of Black men hanging awkwardly from trees, each with a synopsis detailing the circumstances that resulted in their murder.

Curled up on a plush sofa in our family room with the book in my lap, I peered at the photos, pondering them with morbid fascination. I traced the dark figure with my finger and tried to imagine the scene. What did this man feel when the crowd held him down? Did the smells–of chewing tobacco, putrid sweat—make him recoil? Did the crowd jeer or was there anticipatory silence as they slung the rope tight around his neck? Did he flail and kick in anger until some rednecks beat him into submission? Or did icy fear prevent any resistance on his part? In those last seconds before his neck snap-popped, did he ask himself or his God, “Why me?” I asked this question for him and for each person pictured on those pages:  Why? Who would do such a thing as string another human being to a tree by his neck?


Who does this? It’s a rhetorical question,

because I see the white people gathered around the trees, watching.


Why would anyone even consider burning a person alive? What type of society was this that condoned atrocities such as cutting off a man’s penis and stuffing it in his mouth? Yet, these narratives were about real people whose lives ended in horrific and grotesque ways because of their skin color. The revulsion and the disquietude that I experienced after reading the book resonated deep within me.

After reading, We Charge Genocide, something within me snapped. I felt as though I was standing on the bank of an island watching as the rest of the country drifted further off into the distance. I felt disenfranchised, disembodied, and, disconnected from the concept of being American. I no longer wanted to have anything to do with this country or the things that America stood for. This was my first experience of feeling like an outsider in my own country and the point at which I pledged to someday become a native expatriate.

Around this time, I began writing poetry and titled my small collection of poems, Poems of Black Pessimism. I wrote in reaction to sociopolitical events and my poems were deeply introspective. At fourteen, I grappled with the question of what it meant to be a Black person in America. The Detroit Free Press, a local newspaper, ran a poetry contest around the same time and my poems were front and center:


The French are home in France

Spaniards retreat to Spain

I looked in vain for Negro-land, But

The whereabouts of the country escaped me

Perhaps it has been drained for lack of popularity.


Not long thereafter, I was contacted by Dudley Randall, the then-editor of Broadside Press, a Black literary press based in Detroit. He expressed interest in seeing more of my work and I made a slow motion note of his request. I say slow motion because giving him a copy of my poems meant my having to retype each one of them. Computers did not yet exist. Circumstances would prevent me from executing my plan. Some fifty-plus years later, I marvel that my poetry is being published by the same press.

My father disavowed formal membership in organizations that embraced class distinctions within our Black community, although, such groups were popular. I attended public schools, from elementary through high school. My brothers and sister attended private Quaker schools. We were forbidden to participate in Detroit’s elite Jack and Jill social club. We were shipped off to private summer camps but could not attend Cotillion balls—another hallmark of Black high society. My parents frowned upon membership in Black fraternities and sororities. As a result, I didn’t grow up yearning for the social trappings of Black society. That is not to say that I was not comfortable with material trappings. I was. But I harbored a modicum of outrage that racial, class, and economic disparities needed to exist. From my oversimplified perspective, there was enough wealth to go around such that everyone could be provided the basics.

It was the mid-sixties, and the tumult of the Civil Rights struggle was front and center in the news.


On black and white TV, Civil Rights marches chokehold the news. 

Aunties are composed, in shirtwaist dresses and tiny-heeled pumps.

Uncles stand proud, in suits, white shirts, and ties. They’re dressed to vote.

They try to be brave as German Shepherds chomp at their ankles.

Fire hoses squelch their will. Dying to vote. They are dying to vote.


Other competing news items included the Vietnam War, Malcolm X’s death, the 1967 Detroit Rebellion, and the emergence of the Black Panther Party.

I initially joined the Young Socialist Alliance, an organization at my high school. The group was comprised of white teenagers whose political idealism surpassed my own. Then I enlisted in the Black Panther Party at the age of fifteen. The group was not sponsored by my high school. I was attracted to the fact that these were young Black people, knowledgeable of our history and oppressed status, who were taking matters into their hands and pushing back at the system.


they render the revolution

an enticing taboo and brandish big guns–

these black activists–shaking, moving,

molding history with their hands


I wish I could say that my political activities were supported by my parents, particularly, given their own historical political involvement. Quite the opposite. My father’s reaction was so extreme as to haunt me for many years to come. It was one of the reasons I invested in therapy as soon as I began working and could afford it. When I began writing, after many years, it was the one thing I dared not write about. Why? Too triggering.

 Of course, when I began my MFA program, my first professor, Kwame Dawes, said, “You should write about that which you are afraid to write.” He inspired me to take the plunge, peel back the time, and enter the era of my teenage participation with the Detroit Black Panther Party. Initially, I was scared to reminisce. I was terrified to touch the wound. But I began writing, little by little. I am still unsure whether I will share the work with the elders in my family who are alive. The jury is still out on that issue. Some of my elders insist that their memories of what transpired in the 1960s are different than mine.

In my very first poem about the Black Panthers, I evoked the image of myself hailing a Black cat like a cab and climbing on.


I hailed that Cat

like a gypsy cab     

threw my leg 

over its wild part        

and clutched its warm recesses

I rode with revolutionary wile 

into the city’s bowels 

then rose up through its consciousness

flying high like Icarus


It did not then occur to me to employ the myth of Icarus, either in the title or as a recurrent theme throughout the collection. It took my attendance at a lecture on mythology by Mahtem Shiffraw in which she emphasized the importance of creating echoes employing myth to provide cohesion in a body of work.

Initially, I thought of titles such as Running with the Panthers. The manuscript was a coming-of-age narrative, and I envisioned myself hanging out with the Panthers, in the vernacular sense. As the collection grew and I began to weave in the poetic connection with Icarus, it became clear to me that, as much as this was my story, it was really about the rise and fall of the Black Panther Party. Fall as in the literal sense. The title declared itself:  How the Black Panthers Fell from the Sky. The explicitness of the title allowed me to situate my personal story within the larger framework of the Black Panther Party’s decimation by the federal government. It also gave me room to create speculative narratives as to why the Black Panther Party was destroyed.


Joanne Godley is a thrice-nominated Pushcart and Best of the Net poet and writer, and a recent MFA graduate from Pacific University. Godley’s work has appeared or is forthcomingin Crab Orchard Review, The Kenyon Review Online, and The Massachusetts Review, among others. She is an Anaphora Arts Fellow in poetry and fiction. How the Black Panthers Fell From the Sky, is a memoir-in-verse and Godley’s first poetry collection. It won the Naomi Long Madgett award for 2025 and will be published in 2026. You can find her at Joannegodley.com, on Instagram at @indigonerd, and on Bluesky at jgodley-doctorpoet.bsky.social

I

The War had ended, or so the soldiers said, but in Asanteman it felt as though the world had only changed its clothes. The air no longer shook with the whistle of bombs or the crackle of gunfire, yet silence carried its own kind of violence. Roofs still bore scars from shrapnel, roads were broken into gullies, and compounds stood abandoned, their walls marked with the red earth stains of hurried burials.

But worse than the ruins was the waiting.

Every evening, as the sun began to soften, the women gathered beneath the broad cocoa tree by the stream. Its branches spread wide like the hands of an elder blessing a people, though its roots now coiled around rusting tin helmets half-buried in the soil. The tree had seen the war. It had seen sons march past with rifles too heavy for their shoulders, seen planes circle like hawks above the villages, seen women carry cassava roots on their heads through the bush while their babies whimpered on their backs. Now, in the silence after, it became a place of vigil.

They came wrapped in faded cloth tied tightly around their waists, the wrappers patterned with stories of fish, tortoises, and shells. Some carried chewing sticks between their teeth, others fans woven from palm fronds. The air was heavy with the smell of palm oil and smoke clinging to their hair. They brought with them calabashes of water, baskets of peeled groundnuts, sometimes even kola nuts, though kola nuts were scarce and precious.

They did not gather for gossip, though their tongues sometimes strayed there. They gathered because sitting alone in their compounds, staring at the empty mats of their husbands or sons, was more unbearable than sharing silence together.

Maame Kukuuwa always arrived first. She was still young enough that her waist beads jingled when she walked, though her face had begun to carve itself into the tired lines of widowhood. Her husband, Bediako, was taken by the Ashanti army in the second year of the war. He was no soldier at heart, he was a schoolteacher, his head always bent over chalk and slate, but the recruiters swept through, demanding every able-bodied man. He kissed her forehead that morning, promising to return when the rains came. The rains had come and gone three times now, but his voice had not returned.

Still, Maame Kukuuwa wore the coral beads he gave her on their wedding night. The string was fraying, but she told herself that if she kept them close, it would anchor him back to her. Every time footsteps sounded on the road, her eyes lifted.

Then there was Maame Efua. Her son, Kwamena, had been only sixteen when he vanished. He ran off one morning with nothing but a rusty rifle slung across his shoulder, his chest puffed up with the fire of youthful bravery. “I will fight for Asanteman!” he shouted, his voice cracking like a boy’s, not yet a man’s. He never returned.

Maame Efua refused to believe he was dead. Every market day she roasted yam in her compound, laying a portion in a calabash by the door in case Kwamena came back hungry. When neighbors shook their heads and told her to accept fate, she hissed and said, “Is the river dry before the fish disappears? My son is out there.” Her eyes had grown sharp and hollow from waiting, but her stubbornness burned bright.

And then there was Maame Adjowa. She did not carry the luxury of hope. Her first son, Kweku, was swallowed at Kumasi in the first wave of fighting; her second, Agyenim, was taken at Ofinso. The war drained her womb of pride, and she carried herself with a bitter dignity. She did not speak of them often, but sometimes, when the wind turned, her voice cracked and she muttered, “Two goats, both lost to the bush.” She came to the cocoa tree not for hope, but for companionship. She had no one left in her compound but herself, and silence was heavier than company.

The women sat together as the sun slid down behind the raffia palms, telling small stories to pass the time. They were stories of stubborn goats, of tricks played by the village children, of prices in the market. But underneath each word was the unspoken question: when will they come home?

Customs demanded silence until proof was given. In Asanteman, no one mourned a man without a body, or at least a token, a shoe, a lock of hair. Without it, the ancestors could not accept the spirit, and the man wandered in darkness. The women lived in that in-between—neither wives nor widows, neither mothers nor mourners.

Strangers mistook their silence for strength, but it gnawed like hunger. They remembered the war too clearly: the smell of flesh in bombed markets, the hollow eyes of starving children, the planes that sang death. They remembered burying pots of food from soldiers, chewing cassava peelings to quiet their stomachs. But worst was the leaving, the men taken in droves, some willing, others dragged away at gunpoint.

The men never came back.

The war ended with radio announcements and signatures far away in Kumasi, but in the villages, the war lingered. Women carried the war in their empty beds, their unswept mourning mats, their daughters who grew without fathers to negotiate their bride prices, their sons who never learned to wrestle in the fields with their elder brothers.

Each evening under the cocoa tree was a small rebellion against forgetting. They refused to weep until the truth returned, but in their sitting together they made their grief visible. They were waiting not only for their men, but for the permission to grieve.

Sometimes a traveler passed through, a soldier limping home, a trader from another village, and the women sprang to life, surrounding him with questions. “Did you fight near Sefwi? Did you pass through Kumasi? Did you see men with the name Bediako? Kwamena? Kweku?” They listed the names like rosary beads, hoping one would shine.

Most of the time, the traveler shook his head. Sometimes, he looked away too quickly, as though truth was a bitter kola stuck in his throat.

When the fireflies began to blink in the dusk and the first stars pricked the sky, the women rose, tying their wrappers tighter. They walked home, past the broken houses and fallow fields, back into the emptiness of their compounds. Tomorrow, they would return again.

II

The waiting began to change when whispers started to drift into Asanteman like harmattan dust. They did not arrive loudly, with drums or proclamations, but slipped quietly through the mouths of returning soldiers, the kind who walked with a limp or carried shadows in their eyes.

One afternoon, when the women gathered under the cocoa tree, a boy no older than ten ran to them with wide eyes. He had been at the lorry park fetching water for travelers. “I heard two soldiers talking,” he said, breathless. “They said in Sefwi there are papers. Papers with names. Names of the dead.”

The women stared at him. Maame Kukuuwa clutched her beads, her knuckles white. Maame Efua hissed under her breath, muttering a prayer. Maame Adjowa spat on the ground, her voice flat.

“Names are not bones,” she said. “If they have papers, let them bring us bodies.”

But the rumor stuck. That night, the women could not sleep. They turned on their mats, wondering: Could it be true? Was the state hiding what it knew?

The next market day, the whispers grew louder. A trader from Sefwi, his voice heavy with palm wine, told of a clerk he knew in the government office. “They keep lists,” he said. “When the fighting ended, they gathered names. Men shot in the bush, boys buried by the roadside. They wrote it all down. But the papers are locked away. They will not release them.”

“Why?” the women asked.

The trader shrugged. “Because truth is expensive. Hope is cheaper.”

The words spread like fire through dry grass. Soon, even the children carried them, calling out to one another as they played: “My Dada’s name is in Sefwi!” “My brother’s name is on a list!” Their laughter sounded strange, like the laughter of people who had not yet understood what death meant.

For the women, the whispers were salt rubbed into wounds. They remembered the war too vividly to believe in mercy.

Maame Kukuuwa remembered the night Bediako was taken. Soldiers banged on the door, demanding every man defend the land. “I am a teacher, not a fighter!” he protested, but their rifles silenced him. She watched him vanish into the dark, sandals slapping earth. That night she clutched her newborn so tightly the child cried for breath. If his name appeared on papers, it meant he had not vanished into smoke, yet it also meant he would never return.

Maame Efua would not listen. “Kwamena lives,” she insisted. “Lists are lies. Governments deceive. My son will return.” She roasted yam more fiercely than ever, setting a calabash by her doorway in defiance.

But Maame Adjowa, who had buried hope, believed the rumors. One evening beneath the cocoa tree, she said, “They let us wait because they fear our tears. If they tell us the truth, we will demand justice. If they let us hope, we sit quietly, roasting yam for ghosts.” The women shifted; none dared admit she was right.

A week later, three women, Adjowa, Kukuuwa, and another from a nearby compound, set out for the district office in Sefwi. By the time they arrived, wrappers dusty, throats dry, the yellow paint of the building peeled in the heat. Inside, a man in khaki fanned himself behind a wooden desk, his name tag gleaming, as he listened to their plea.

“We want to see them,” Maame Kukuuwa said, her voice trembling but firm. “We deserve to know.”

The man looked at them as though they were troublesome flies buzzing around his meal. He adjusted his cap, cleared his throat, and spoke with the smoothness of someone trained in avoidance.

“Madam, you must understand that these matters are classified. The government is still reconciling records. You cannot simply walk in and ask for such documents. When the time is right, if the time is right, you will know.”

“But how long must we wait?” Maame Adjowa demanded. “Our dead wander because you hide their names. Do you not fear the wrath of the ancestors?”

The man’s eyes flickered, but he did not answer. He waved his hand dismissively. “Go home, women. Go and farm. Feed your children. Do not trouble yourselves with matters you do not understand.”

They left the office with bitterness burning in their throats. On the walk back, dust rising around their ankles, Maame Kukuuwa cried quietly, while Maame Adjowa muttered curses under her breath.

That night, under the cocoa tree, the women sat in silence. Even the crickets seemed to hold their tongues. The truth was near enough to touch yet held just beyond reach by men who saw their grief as a nuisance.

It was then that a change stirred among them. For years they had waited passively, telling small stories, hoping for footsteps on the road. But now the waiting took on a new shape. The whispers broke something open: if the state would not give them truth, they would find it themselves.

Maame Adjowa said it first, her eyes glinting in the fading light.

“If the papers will not leave Sefwi, then we must leave the papers. There are bones in the bush. Graves by the river. Let us seek them. Let us claim our men with our own hands.”

The women looked at her, startled. It was dangerous talk, the kind that could anger soldiers, the kind that could bring misfortune if spoken too boldly. But as the night deepened, and the cocoa tree swayed in the wind, the idea began to take root.

III

The night the oath was made, the moon hung swollen above Asanteman, silvering the cocoa tree. The air smelled of rain, yet the women lingered, restless, like hens before a storm.

It was Maame Adjowa who broke the silence. “We have waited until our eyes ache from the road. Papers do not speak. Our men lie untended. If we do not bring them home, who will?”

Her words unsettled the group. Maame Kukuuwa touched the frayed coral at her neck. “How shall we know which bones belong to us?”
“The earth knows,” Adjowa replied.

Maame Efua shook her head. “My Kwamena lives. If I dig, I bury him before his time.” Her voice cracked, but she stayed.

The others agreed. To bind themselves, they swore beneath the tree, touching water, tasting cocoa, vowing never to betray the search. Efua kept her silence, defiant but present.

When the first drops fell, the women lifted their faces to the rain. Adjowa’s voice rose steady: “We will not rest until our men rest.”

The storm sealed their promise, and in its thunder, they felt both fear and a strange, rising strength. From that night on, waiting was no longer idle. It had become a vow.

IV

The following Monday, before the cock crowed, the women gathered in the dim blue of dawn. Each carried something small for the journey: raffia baskets, white cloth folded neatly, chalk for marking, clay pots for rituals. None wore bright colors; they wrapped themselves in sober browns and dark indigos, as if to blend with the earth they were about to disturb.

They began with the old men who lingered at the edge of the market square, veterans of a war they did not boast about. These men, bent-backed and hollow-eyed, had once marched with rifles, but now they leaned on sticks carved from acacia.

“Dada,” Maame Adjowa said to one, her voice gentle but insistent, “where did they bury the boys taken in the ambush near Sefwi?”

The old man coughed, spat, and looked away. “Why dig up ghosts, daughter? Let the past sleep.”

“Does a ghost sleep when his bones are unwashed?” she pressed.

The man’s eyes flickered. He pointed with his stick toward the thick brush that swallowed the farmlands. “There. By the old breadfruit grove. We dug quickly. The bombs were falling. I cannot say who is who.”

The women thanked him, their voices heavy with both respect and sorrow. Then they set out, their feet padding silently along the narrow bush paths. Children who spotted them whispered and ran ahead, carrying rumors that the widows were searching for spirits.

The first grave was shallow. The earth there sagged unnaturally, like a belly that had never flattened. With their hands and short hoes, the women scraped the soil away. The stench was long gone, replaced by the dry odor of rust and dust. Bones lay tangled with fragments of cloth and the skeleton of a rifle.

The women did not scream. They did not run. They knelt.

Maame Kukuuwa’s hands shook as she lifted a skull from the soil. Its jaw was broken, one tooth missing. She wiped it gently with the edge of her wrapper, whispering words as though the dead could still hear.

“Come home, love. Your wandering is over.”

They washed the bones in water fetched from the stream, rubbing chalk across the brow, then wrapped them in white cloth. They placed the bundle into a raffia basket as tenderly as if it were a newborn.

“Whose son is he?” one woman asked.

The question hung unanswered. There was no way to know. But it did not matter. Every bone was someone’s husband, someone’s child. To honor one was to honor them all.

They continued. Word spread, and soon hunters guided them to other sites: a trench where bodies had been heaped after an air raid, a hollow by the river where soldiers dumped the fallen before retreating. At each place, the women repeated the rituals, digging, washing, wrapping, singing.

Their songs were old dirges, carried from mother to daughter, laments that rose like smoke into the trees: “Return, return, children of Asanteman.
The earth calls you home.
Your mothers wait, your wives wait.
No longer wander, no longer thirst.”

The forest echoed with their voices. Birds startled from branches, and even the hunters bowed their heads.

Not all encounters were peaceful. Once, near the abandoned barracks at Asanteman North, soldiers confronted them. The men’s uniforms were crisp, their rifles slung carelessly as though war were a distant rumor.

“What are you women doing here?” one barked. “This ground is off-limits.”

“We are collecting what belongs to us,” Maame Adjowa said, her chin high.

“You disturb government property,” the soldier snapped. “These graves are not your business.”

The women stood firm, their bodies forming a wall. Maame Kukuuwa stepped forward, holding a chalk-streaked skull in both hands.

“Is this government property too?” she asked, her voice trembling but fierce. “If your brother lay here, would you leave him for ants?”

The soldier faltered, his eyes darting to the bone in her hands. His gun dipped slightly. For a long moment, the only sound was the wind in the grass. Finally, he spat on the ground and waved them away. “Do what you want. But do not say you were not warned.”

The women did not look back.

Day after day, they combed the land, their baskets filling with bundles of white-wrapped bones. Some villagers whispered that they were mad, that touching the dead would bring curses. Others brought them food, laying the offerings quietly at the foot of the cocoa tree.

By the time the moon turned new again, the women had gathered enough remains to fill three mats. No one knew whose bones lay where, but the women had decided: they would bury them as sons of the whole village.

“We waited long enough,” Maame Adjowa said, her voice low but steady. “Now we will rest them.”

V

The day of the burials came heavy with dust and silence. Harmattan winds veiled the village in grief as the women of Asanteman gathered, wrappers tied high above their breasts, some with shaved heads, others clutching raffia fans.

A line of plain wooden coffins lay before them, names scrawled in chalk. Some held bones, others only earth, but to the women they were anchors after years of uncertainty.

Maame Afrakomah broke the silence with a dirge:
“The great tree has fallen, who will carry its roots?”

A chorus rose. Younger women beat the ground, children clung to mothers, grief spreading like fire through brittle air. Elders poured libations over the coffins, invoking the lost:
“Wherever you have wandered, return. Wherever blood met soil, let the earth remember.”

Abeberese lit a clay lamp for her father, sobbing, “Dada, you can rest now.”

Yet bitterness mingled with mourning. As coffins lowered, Asantewaa’s voice cut sharp:
“Our husbands were not lost to the gods but to men—men who lied, men who left us empty. Let these burials be the beginning of truth.”

The women murmured, nodding. Maame Afrakomah raised her hand.
“They thought our silence was weakness. But we will carry this fight to the councils, to the state, until truth sits open like yam in the market square.”

That evening, when the last mound of earth was patted down and palm fronds planted to mark the graves, the women sat together, exhausted but strangely lighter.

Their mourning had found a home. For the first time since the war, there was no need to wonder if their men still walked the earth.

Asantewaa felt the ancestors close, whispering through the rustle of the palm leaves. She touched the soil with her palm and pressed it to her chest.


“They buried our men once in secret, but today we buried them in the light. The earth has witnessed. The ancestors have heard. And the living will remember.”

The night fell, but the village square glowed with the warmth of small fires. Songs of remembrance replaced dirges, softer, like a lullaby for the dead. The women of Asanteman, long trapped between hope and despair, stepped into a new season.

VI

Maame Kukuuwa stood apart, her frail frame trembling as earth closed over a coffin that did not bear her husband’s name. Tears ran freely, and she whispered into the wind, “Let it be him. Let it be enough.”

Around her, wails rose and folded into one another, a chorus of grief unbound. For the first time since the war, no woman wept alone; sorrow flowed like a river carrying all their losses together. The silence of years shattered, and in its place bloomed a release. The village, at last, had permission to mourn.


Daniel Naawenkangua Abukuri is a Black poet and prose writer from Ghana. His work has appeared or is forthcoming in Transition Magazine, The Malahat Review, Colorado Review, Chestnut Review, Orion Magazine, Berkeley Poetry Review, and elsewhere. He is a Best of the Net, Pushcart Prize, and BREW Poetry Award nominee; first place winner of the African Writers Award (Poetry); winner of Poetry Archive Now Wordview 2025; and a finalist for the 2025 Adinkra Poetry Prize. He was longlisted for the Renard Press Poetry Prize, named an Obsidian Foundation Fellow, and featured in the Obsidian and The Poetry Society Showcase. Find him on Instagram @poetraniel.

Decolonial Passage is honored to announce the nominations for next year’s Best Small Fictions Anthology.  This list includes writing published from January to December 2025.  Congratulations to the nominees!


FLASH FICTION

“The Visitor” by .Chisaraokwu.


“A Voice Note from Johannesburg” by Bobbie Marie

Martinican/French environmental engineer Malcom Ferdinand distinguishes between environmentalism and decolonial ecology in his research-packed book replete with literary allusions. He uses the slave ship as an extended metaphor while arguing for the creation of a world ship that will save us from ecological collapse. While alluding to literary figures such as Shakespeare, Joseph Conrad, Derek Walcott, and Alice Walker, Ferdinand acknowledges the environmentalism of pivotal thinkers such as Jean-Jacques Rousseau and Henry David Thoreau who were both influenced by maroonage.  Drawing on research from Latin American thinkers, Ferdinand highlights the weakness of environmentalism and its inability to grapple with social justice.  To his argument, he adds a wealth of Africana philosophy from writers such as Du Bois, Sankara, CLR James, Aime Cesaire, and many others. His book shows us that the task of decolonial ecology is to hold antislavery, anticolonialism, and environmentalism together. It is this type of ecology that disrupts the current colonial inhabitation of the earth we have inherited from European colonization. In the Americas, colonial inhabitation is characterized by land grabbing and clearing, the massacre of Amerindians, violence against Amerindian women, private ownership of land, the establishment of plantations, and an exploitation system based on masters and servants. Ferdinand reminds us that on the current plantationcene in which the earth is subordinated to the plantation, we are all “Negroes” – human beings detached from ancestral affiliations, land, and nature. To lessen pollution and circumvent global warming and extinction, we must form a cosmopolitical relationship with non-humans and the landscape in order to transform the current colonial paradigm. Reading this book is a step in the direction of that transformation.

The spring lilies bloom early amidst an artist’s palette of litter.

Dumping freckles the dunes. A pregnant hound sniffs for food


before nestling beneath a tattered shopping bag. Corrugated sheets

make for bad walls along the beachfront. But what can the rust


eat away that hasn’t already been effaced? I’m holding on to the

last dregs of winter, praying it will carry me through July. Summer’s


become a consequence we’re still learning to tolerate, like love

stories like mine. I watch the vlei evaporate up into a sky of


telephone wires and hills birthed from waste. How even the earth

isn’t a stranger to scabbing over the parts of us we’re told to hide.


My mother tells me I have to make something of my life. Guess I’m

at the age where I should have figured things out by now. She insists


that there was something here once, but I’m too young to tell you

what. The city puffs plumes of smoke into the air that blend right


in with the clouds. I can’t breathe when we stop at the red light,

right next to a child reaching out an empty McDonald’s cup to the


traffic. Don’t look away like I have. To advertisements peeling ripe

off buildings that will outlive me. Has everything always been this


small? How even Table Mountain can be carried away by the elements.

Subsumed by the clouds like a floating castle or a wayward son.


Disappearing without ever truly leaving. I always wonder what it’ll be

that I leave behind when the time comes, or when I walk into it like an


oncoming train. I scry the lines on my palms for a clue. There was something

here once, something to hold onto. I just can’t seem to recall what.


Wayden Rogers is a Coloured South African poet whose work appears in 3Elements Literary Review and is forthcoming in Ouch! Collective. When he isn’t incessantly refreshing Submittable, he’s probably listening to MARINA or avoiding his to-read pile. His poems explore the landscapes, both internal and external, that shape the stories we inherit. You can find him on Instagram at wayden.rogers.

I could always tell when my Haa-mee was enjoying herself – she would forget to hide her tattoos. Around people outside our family, she placed her hands in her lap with the palms facing up or held them behind her back, palms out. When she waited on customers at her and Grandpa’s grocery store, she wore a kimono with long drapey sleeves that slid over her hands, hiding them from sight. Sometimes she wore rubber gloves. When I was small, I didn’t understand why she didn’t want strangers to see the dark geometric designs inked into the tops of her hands and wrists. I found them fascinating – something from another time and place, though nothing to do with me and my American life. But she seemed embarrassed, and I absorbed her discomfort.  

Later I learned that all the girls in her Okinawan village received such tattoos as a form of spiritual protection and a sign of readiness for marriage. At age 19, she sailed to San Francisco to become my grandfather’s “picture bride.” But she saw that American women and even the other Japanese women did not have tattoos, and she must have felt “differentness” for the first time. Even though Japan had annexed Okinawa twenty years before she was born, Haa-mee’s generation never thought of themselves as Japanese. And though Japan banned tattooing, many families continued the practice in secret. The Ryukyu Islands, now the prefectures of Okinawa and Kagoshima, had been a separate kingdom for centuries, and the people kept to their own customs and language – Japan could not change who they were by issuing an edict. 

I’ve lived in the Bay Area for years now, with only sporadic visits home to St. Paul. So busy with work and my husband’s family events, always reasons not to make the trip. But Mom’s voice on the phone is urgent – “Hannah, you need to come now. Haa-mee doesn’t have much longer.”

I arrive disheveled from a day of travel. My grandma looks tiny and pale, dozing in a hospital bed. “Haa-mee?” I whisper. She opens her eyes, which widen in surprise when she sees the indigo circles, squares, and elongated triangles inked into the skin of my outstretched fingers.

 She pulls her hands from under the sheet, grasps my hands, and smiles.

 

 

Elinor Davis was born in Iowa and led a peripatetic childhood. After finishing a BA in sociology and realizing she had no readily marketable skills, she also completed a nursing degree and license. Based in Northern California, she is a freelance writer/editor specializing in health care topics and mentoring writers for whom English is a second language. Her fiction and non-fiction work has appeared in numerous U.S. and international publications.

Ngur yina yɛ ɛ wo?

Tat e, mam ɛ zɛ?

Ngur yina yɛ ɛ wo?

Xara yina yɛ ɛ po?

Liia nɛ nam, tat

Lɛɛa mɛ lɛngina

Where is our ancient town?

Oh, father, who am I?

Where is our ancient town?

Where is our city ?

Talk to me, father

Tell me our history

 

P. Aubham Edouhou was born in Makokou (Gabon) and is a Bekwel and Ikota speaker. He graduated in Letters (Portuguese-English) from Pelotas Federal University (UFPel) in 2019. He has a Master’s degree in Letters (Language Studies) from the Federal University of Rio Grande (FURG) and is currently a doctoral student in Letters (Literary Studies) at the Federal University of Rio Grande do Sul (UFRGS) where he studies Kandian (African) Literature in Kandian languages. He promotes the hieroglyphization, coptization and meroitization of Kandian languages.

Decolonial Passage is honored to announce the nominations for next year’s Pushcart Prize Anthology. This list includes writing published during the 2025 calendar year. Congratulations to the nominees!


Poetry

Jesse Gabriel Gonzalez – “Moon Blues”

Yanis Iqbal – “and how shall i walk when the street sings of fire?”


Short Stories

.Chisaraokwu. – “The Visitor”


Essays/Memoirs

Bright Aboagye – “Do They See You?”

Stone Mims – “A Letter to My Grandfather”

Kimberly Nao – “I, too, am California”

This rented basement is soundproof, so when

the bass guitar of homesick, make-up band      shudders

for a gone homeland, it’s resonance

pounding into the ground floor,


island children become the beat,

with bones that are loosely hem together,

rocking to and fro against the wave of non-personhood,


because when the                                                   

village where I was born  drops into the

belly of the metropolis undigested it becomes,

in anonymous ways it falls back out as


droppings,


my village & I

& this second-hand bass guitar

if dropped in the belly of this township’s  lake

would no longer be    flotsam swirling downstream,


I am broad big nosed with a  high visibility quotient accent,

accented tongue tied  up in all of this,

I stay a little off     on the periphery

always with bilingual understanding  of other’s tossed epithets,


thinking if my village fell in their lake,

I’d be an anonymous, emaciated island,

banana republic slurs,


solace is in this party 

the bass guitar like a rebel   a    runaway note  

from impersonal stiff-upper lips,


and the bass reminds my bones that I am             free

and the unkept  bass stands away from the corralling,

pounding, deep pounding heartbeats, the floor to trembling

and the bass is deep down the basement of this patrolled township


because my village is uncomfortable in the belly of the metropolis

and I dance because I am free,

I dance because the bass is a lone


actor


breaking the coupling links,

blistered fingers thumbing pylon strings,

because my birth village lives in this bass sound.


White Shirts Came in the Dark — Took Away Emmett Till

those shirts

that were washed clean & crisp

fluttering in an eerie breeze,

no evidence of the meandering blood,

of the boy

at the bottom of the reticent river,


in monochrome circa pictorials

of pyrrhic victory

leaning  on their arms their unblemished starlets,

a legal rinsing, that remake the guilty sinless,


some pieces of the Mississippi soil was of  a silent hypocrisy

some pieces of the land was less hostile,

& still some pieces of the land opened up willingly

to hide the drip  the  drip staining secrets,


upturned   uprooted stones

tire tracks in putty slurry mud,

silent mud, conspiratorial reticent mud,


white shirts that were washed clean of stains

iron crisp like  newly minted dollar bills,


multifaceted monochrome story,

of a boy yanked from innocent sleep,

bleary eyed, forcing his heels to fit in his shoes,

it’s a boy      stillness     of a  boy

at the bottom of a river of death,


of other folks in white shirts

washed clean also,

and the boy, inflated with carbuncle unearthed from the bottom

of the unwashed

never to be cleaned river.


Eaton Jackson is a Jamaican-born writer, living in America. His work traverses the fault lines of migration, faith, and resistance. Rooted in the dual consciousness of island and diaspora, these writings speak against erasure by reclaiming language and memory from colonial afterlives. His works have been published in Passager Journal and Kinship Quarterly. Eaton’s writing envisions freedom not as a destination, but as a continual, communal practice of becoming.

Decolonial Passage is honored to announce the nominations for next year’s Best American Essays Anthology. This list includes writing published in 2025. Congratulations to the nominees!


“A Letter to My Grandfather” by Stone Mims


“I, too, am California” by Kimberly Nao


“Eid Mubarak, America” by Gemini Wahhaj