Jeneba paused from sweeping the red dust from her porch and looked up at the familiar sound coming from the dirt road. It was the dry season, making the dust more relentless as it hit the hot evening air after another push from her broom. The rebellious swirl of the soil annoyed Jeneba; she was determined to have a dust-free porch that would only become tainted again the next day. It was the town crier making his way through the village. His tall, lanky figure swayed with speed; one arm swinging back and forth and the other resting on top of a small drum tied to his waist. He beat the drum at the top of each new announcement, repeating in rhythmic cycle, the evening news.

Prompted by the crier’s impending approach, Jeneba’s mother, Ramatu, joined her on the porch. She stopped and opened the front door again to toss a few insults at the house girls inside.

“You no de clean well! Don’t even bother showing up tomorrow!” She sucked her teeth and slammed the door.

Jeneba looked at her mother in disbelief. “Mama, why are you always harassing those girls? I don’t need you running them off like you did those two boys. I need the help!”

Ramatu grabbed a second broom that was leaning against the far end of the porch that was decorated with two black metal chairs. “That’s the whole point. Even though the girls are supposed to do the cooking and cleaning, you still need help.!” She joined her daughter in the sweeping battle, soon taking over with her high energy and strength. Her 80-year-old full frame defied any sign of aging.

The town crier interrupted their conversation, now passing in front of Jeneba’s porch. “The Sesay family has welcomed a baby boooyyy!” He slapped the drum to break out another announcement. “The thieves, oh! Beware of the thieves who continue to disrupt in the night!” 

Ramatu put her hands on her round hips, shaking her head. “This is ridiculous! Those thieves have been here at least two times now.”

By this time, other residents of the village had gathered in front of their homes, watching and listening to the town crier as he marched by. They chatted amongst themselves, concerned about the warning of the thieves. One couple, Jubal and his wife Isatu, who were close friends of Ramatu’s family, made their way over to Jeneba’s porch. Their faces, especially Isatu’s, were washed with concern.

“But what is all of this?” The neighbor, Jubal held his hands out, waiting for an explanation to fall out of the sky.

“Did you hear the crier, Ramatu? The thieves are coming back, oh. They will attack those they didn’t attack the last time!” Isatu, the wife of Jubal, was near tears. Her voice trembled.

“Nonsense,” snapped Ramatu from the porch. “You mean to tell me you’re afraid of those fools? Let them make the mistake of coming back here!”

“These thieves are relentless,” Jubal said. “The last time, they stole all of Pa Santigi’s crops. I even heard they took one of his goats.”

“Both of you make your way back to your house so that you can crawl under your bed and cry,” Ramatu replied. “I don’t care what they took, they will learn a big lesson if they try to come here again.”

Jeneba chimed in. “It’s simple. We will be vigilant, and we will also pray.”

Ramatu delivered a cold look at Jeneba with her slanted eyes. “Please, don’t start talking that nonsense. We have the protection of our ancestors. That’s why they didn’t attack us.”

“Mama, I know you don’t like hearing about God, but it is true. Our prayers to Him will provide protection.”

“You and your silly husband, talking about this God. In fact, he should be here with you now, preparing to deal with those stupid thieves, but instead, he’s running around with those pale-looking missionaries.”

The back and forth between mother and daughter continued, with the neighbors, Jubal and Isatu, fueling the conversation with their own fears. The evening wore on into the early part of the night. Then, everyone retreated to their homes and slept incident free.

The next morning, the thieves continued to be the hot topic of discussion, with the elderly Ramatu leading the conversation, gathering fresh crops to deliver to family and friends around the village. “Even when Suleman was alive, you think I waited for him to protect me?” Ramatu reminisced about her late husband with Jubal, who had stopped by in the late morning.

Jubal laughed. “I think Suleman had to worry about protecting himself from you more than anything.”

While they continued to reminisce, Jeneba and one of the local missionaries made their way to Ramatu’s yard, where she was still sorting the crops as Jubal looked on.

“Mama, you remember Sister Catherine?” Jeneba then turned to the small-framed woman with sharp blue eyes. “Sister Catherine, you remember my mother Ramatu and our family friend Uncle Jubal.”

Sister Catherine gave a huge smile, the wrinkled sides of her mouth and eyes on her vanilla-creamed skin gave way. “Ramatu, so nice to see you again.” She nodded her head at both Ramatu and Jubal. “I wanted to stop by and thank you all for your support. The Bishop and I are so excited about the new church that’s being built. We’re hoping to see you all at this Sunday’s service.”

Jeneba smiled at Sister Catherine, then looked at her mother and Jubal for a response. Ramatu, focused on separating the remaining crops, sucked her teeth and chucked a freshly picked yam into a pile, ignoring everyone around her.

Jubal decided to give a response to break the awkward silence. “Well, Sister Catherine, we are happy about the work you and the other Catholic officials have been doing. You’ve helped us build schools, taught us English, and helped us make good relations with the nearby towns and villages.”

Sister Catherine gleaned at his response. “Oh, Jubal, we are more than happy to provide in any way we can!”

Jeneba looked at her mother out the side of her eye. Ramatu refused to make eye contact, focusing on her growing piles of crops. After more small talk, Sister Catherine and Jeneba finally left, leaving Ramatu to finish her project. All the crops were assorted for nearby family and friends with whom she took turns growing and sharing fruits and vegetables. This late morning was her turn to dispense the crops. She recruited the house girls, distributing wooden baskets full of assorted crops amongst them to deliver as instructed. She grabbed one of the baskets and walked over to Jubal and Isatu’s place. She walked up the stairs, banged on the door and went back down the stairs. Isatu let out a sharp scream from inside.

“Crazy woman, what are you screaming about? It’s me!” Ramatu stood at the bottom of the front porch stairs, with one hand around the full basket and another on her hip.

Isatu came outside, her eyes bulging from her face. “Are you trying to kill me, banging my door like that?”

“But what is wrong with you? I always bang on your door. Anyway, here’s your portion from the garden.” She gave the basket a quick and hefty toss, sending the crops all over Isatu’s porch.

“Eh, Ramatu! Why must you always deliver our food like this? We never do that when it’s our turn. Why don’t you let me use the basket?”

“Agh agh! You will take the basket and I will never see it again,” Ramatu replied, waving her finger with disapproval. Walking away and heading back to her house, she turned back and looked at Isatu, who was now gathering the crops with a scowl on her face. “You need to relax, oh. You’re jumpier than usual because of the news of the thieves. We must be prepared, not scared…silly woman.”

That Saturday, two evenings later, the village carried on with their usual routine of cleaning up, gossiping, and chasing down the children for their baths while an underlying nervousness floated from house to house. It had been two nights of quiet and no thieves, but this encroaching night felt different, especially with the elderly Ramatu.

“As I told you all, those thieves better not make the mistake of coming here.” Ramatu was sounding off on her front porch, in the company of Jubal, Isatu and Jeneba, who was braiding her two-year-old daughter’s hair.

“Eh, Mama. Why do you insist on looking for a fight? Let us just pray for protection. I even mentioned it to Sister Catherine the other day. They are all very concerned!”

“What is that frail ghost of a woman going to do,” Ramatu inquired. “Is she going to protect us? How is she going to do that when she can’t even pronounce Jubal’s name properly?” She turned to Jubal and his wife. “You heard her the other day, eh? ‘Gee-buh’, hi ‘Gee-buh,’” she mocked with a nasal tone.

Isatu chuckled. “Eh, Ramatu. You nah’ case!” She clapped her hands, giggling.

Jubal also laughed, then reflected on their surroundings. “Since the past two nights have been quiet, everyone is wondering if something will happen tonight.”

“I will be right here in front of this house, waiting for them,” Ramatu asserted.

“Well at least come with us to tomorrow’s service,” Jeneba requested. “All the tribesmen and chiefs will be there to celebrate the new church that will soon be finished.”

“As you wish, my child. I will be there,” Ramatu said playfully. “Even though I will be up all night, I will make sure I’m there to shake my head at those foolish chiefs making deals with those pale people.”

Keeping to her word, Ramatu was on guard, in the dead of the night. Her failed attempt to recruit people earlier to join her on the watch didn’t curtail her from her mission. She marched up and down the dirt road, listening out for any strange sounds or movements, even announcing out loud that they better not make the mistake of trying her. Everyone else was sound asleep in their homes. After a few rounds of marching and looking out from the porch, Ramatu heard a rustle coming from a bush near Jubal and Isatu’s backyard.

“Who is that,” she demanded. “Don’t make me come over there!”

After a few moments, another stir gave way. Ramatu shouted, “Jubal! Isatu! Wake up!”

A stern thud came from the side of their house, sounding like something fell to the ground. Then, the light of a lantern came from the couple’s bedroom. Ramatu made her way to the noise, demanding once again, “Who is that?”

Then, the sound of panicked voices. A figure dashed back into the thick bushes that led to the village’s deep forest, then another one quickly followed suit.

“The thieves!”

Another rumble rose from the side of their house, followed by a clashing sound. Isatu screamed from inside. Jubal raced out his back door, picking up a big stick that was used to build fires for cooking.

Out of the darkness from Jubal’s yard, a young boy, whose face was painted with fright, sprinted from the side of the house toward Ramatu.

“Come here, you!” Ramatu attempted to grab the boy’s arm as he ran past her. He freed himself from her grip and pushed her to the ground before taking off into the bushes.

Ramatu, now on the ground, let out a sharp cry. Her left hip took most of the fall. Jubal came racing to her rescue. More lights were turning on, and people now stood in front of their homes trying to figure out what happened. A small crowd gathered around Ramatu, then Jubal and one of the other neighbors helped her to her feet. Jeneba burst out her front door and ran to her mother.

“Mama! Mama! What happened? Are you okay?”

Brushing the dust off while being escorted to Jeneba’s porch, she said, “I told you they were coming and that I would be ready for those fools. Their mission failed!” She paused from dusting herself and stood staunch, looking at her daughter.

Jeneba’s eyes widened. “The thieves were here? They could have hurt you!”

“But they didn’t,” Ramatu declared. “They ran off like the cowards they are.”

“You stubborn old woman,” Jeneba fumed. “This could’ve been a lot worse. Only God protected you!”

“Yes, the god of our ancestors protected me!”

“Mama, please. You have to let that nonsense go. There are no ancestors protecting you. All of that is rubbish. Don’t you know things are changing now?”

 Ramatu raised her hand and gave Jeneba a swift slap across her face. Jeneba stumbled back and held the side of her face in shock. The chatter amongst the villagers came to an abrupt halt. The only sound that could be heard was the heavy breathing coming from Ramatu and Jeneba.

That next morning, everyone gathered at the makeshift pavilion for Sunday services. Once everyone was situated, Sister Catherine made her way to a small wooden podium positioned in front of the crowd.

“We want to thank each and every one of you on this blessed day,” she said. “This church being built symbolizes that friendship made with the wonderful tribal Temne chiefs who have been so gracious to us, and to the families who have been supportive and sweet, making our mission here so successful.”

Jeneba sat in the front row, representing her husband who wouldn’t be back for several more days. Ramatu, Jubal and Isatu sat behind her. There was little exchange between Ramatu and her daughter since last night’s incident. Sister Catherine continued to make more announcements and give blessings before welcoming the main speaker. Ramatu was beginning to get impatient.

“But when is this foolishness going to be over?” Ramatu whispered to Jubal, who was listening to Sister Catherine intently.

“I don’t know,” he said before fixing his gaze back on Sister Catherine.

“And now, I would like to introduce to you all, King George Cummings, the Headman from Freetown!” Sister Catherine held out her hand to welcome the tall slender man who was dressed in British militant attire. His thin, wispy hair blew in the breeze as he made his way to the podium.

Ramatu nudged Jubal again. “Who is this King George supposed to be?”

“He’s representing our tribe and the Mende tribe in establishing the churches. I heard he has a big, beautiful office in Freetown.”

She looked at Jubal with surprise. “He’s representing us…in Freetown…doesn’t look like us, but he’s our representative?” Ramatu took another look at the man, looked around the room and noticed everyone’s eyes were fixed on him with admiration and excitement. She then let out a hearty laugh that rippled through the pavilion. In an instant, all eyes were on her. She threw her head back and let out an even deeper cackle, her chest jiggling with humor.

Jeneba turned around in horror from embarrassment. “Mama, what are doing?”

Ramatu, still laughing, pointed her finger at King George and Sister Catherine at the front of the room. “There they are! The real thieves!”


Musu Bangura is an established freelance writer in the Washington DC area. She recently published a short story in Brittle Paper. Her work has been featured in local and national media outlets, such as Hello Beautiful, a leading online platform for women that covers topics on health, resilience, and beauty. While connecting and supporting other writers, Musu is currently working on her novel, The Mango Tree Shade. You can find her on her website and follow her blog at musuwrites.com.

How fearful they must be

That they shoot you children”

                       Sarafina, funeral song lyrics


let’s take the word 

scream


scream, screamed,

have screamed,

were screaming,

will scream,

are screaming,

be screamed

as in scream

me a nightmare


as in Soweto, South Africa

in the mid-nineteen seventies

when apartheid reigned king

and a simple scream

travelled


screams of 20000 parents

waded through blood fields

to collect

fallen book bags

and blood-drenched

bones

of children

mowed like errant

turf-grass


screams hallowed the gut

like an elevator in free-fall


in Sesotho hoeletsa:  scream

in Zulu ukuthethisa:  scream

in Xhosa memeza:  scream


the screams

tsunamied

clamored witness

echoed screeches


the entomology

of scream       fuses

Middle Dutch scremen ( yell, shout)


and Old Norse skræma (“to terrify; scare”)


as in Dutch schremen (“to shout; yell; cry”)

as in Dutch schreien (“to cry; weep”)


a persistent sound


as in Michael Brown  (18)  friend-walking                                                

as in Tamir Rice  (12)  toy gun-park-playing                                              

as in Ma’Khia Bryant  (16 ) womanaltercating                                                  

as in Adam Toledo   (13) police-complying

as in Daunte White   (20) girlfriend-driving

as in Breonna Taylor (26) bed-sleeping

as in Atitiana Jefferson (28) house-chilling

as in Stephon Clark (22) grandma’s backyard-standing

as in Botham Jean (26) sofa-ice-cream-eating                                               

as in Janisha Fonville (22) home-chilling

as in Gabriella Navarez (22) driving


as in


To My Formerly-Enslaved Great-grandmother, Missouri, Who, Once Freed, Would Not Speak

Ancestors.com

Ancestors don’t come

To the page

Are missing


Am haunted 

By the idea fact

My ancestors were numbers 

On a page

Not people


Portrayed lazy despite pyramids 

Despite the sphinx

And the White House    still white

Black   but invisible 

Black   come silent

Nameless

Silenced

Tongues meaty blue- red organs 

Twisted muted

Tongues never tried


Missouri is her given name

Miss her I

Missing ri  we

A missing people

Missouri 

Name her

Ma misery   I’ve named

This big black-boned woman 

Great grandma  

Missing but conjure-able

Through memories         imagined


   Not being      

                people


Her Silence as stunned

Her Silence as dunned

Her Silence as horror

Her Silence as deference

Her Silence as reverence

Her Silence as speech-free

Her Silence as shame


Here hear    we give back 

Your tongue  Missouri

To tell us   Tell us

What was it like?


Joanne Godley lives in Mexico City. She is a physician, writer, poet, and a Pacific University MFA student. She is a Meter Keeper in the Poetry Witch Community and an Anaphora Arts fellow in both poetry and fiction. Her poetry has been published or is forthcoming in the Bellevue Literary Review, Mantis, Light, FIYAH, Pratik, and Account, among others. She was twice nominated for a Pushcart prize. Her prose has been published in the Massachusetts Review, the Kenyon Review online, Juked, Memoir, and others. Her second poetry chapbook, Doc.X, was recently published by Black Sunflowers Press. You can find her at Joannegodley.com, on IG at indigonerd, and on X at DrJoanneGodley.

Polished grains, seed pearls

opalescent white against

my white palm. Winnowed,

milled, pounded—husk

and bran and germ all

rubbed away—seeds denatured

ungermed to starch not seed

to feed and feed and feed.


“Cherokee blood” family would say,

marking my uncle’s rich and easy tan,

my grandfather’s broad face—

we descendants of

the rice people of the south,

the lowlands, the sea islands,

people of Savannah, Charleston.


Carolina Gold:  If I take

this rice into my belly

will I taste in the passage

over lips, tongue, back of teeth

the dry bitter remnants,

the dark parts, the bran, the germ—

what was milled and polished white

into what was to be forgotten?


I turn each mouthful on my tongue

before swallowing , hoping

to taste some sign of heritage

to name and to know the

power of pain my ancestors

held in white hands–power to consume

land, labor, the ancient knowledge

of the first rice people

people of Senegambia their knowledge

of the planting and flooding,

the winnowing, the pounding,

the baskets and the boards,

the soil and the sweat—everything

that was taken I seek to take

into my body and the salt of grief

salt of blood salt of the wide Atlantic

to eat, swallow, trying to remember all

that I have never known,

the dark germ, the winnowed husk


let it nourish the hidden germ

the dark seed once denatured,

polished to whiteness

and forgetting. Let each grain

teach my tongue to speak

this rift of history to speak

the debt of blood of gold to speak

to the broken kinship  

among the people of rice.


Caroline D. Le Guin taught English at Portland Community College until retiring a few years ago. She now writes and tends a small farm on the traditional ancestral lands of the Molalla, Clackamas Chinook, and Kalapuya peoples in the North Willamette Valley of Oregon. 

Written by a person deemed ethnically ambiguous.

I know France isn’t a racist country, and I am not Arabic, so to speak. I’d like to believe that my resume, my showreel, my social media, or even my face speak for themselves, but apparently, they don’t. My mom has been fully integrated in France since she moved there as a child; yet she’s experienced systemic racism her whole life. She thought that giving me a French first name would be sufficient since I was born in Paris, white and atheist. Apparently not. In primary school, a kitchen server refused to serve me pork, said I should ask my mom if I could have some. That was just the beginning.

But France isn’t a racist country.

I started auditioning as an actress. Casting directors kept asking me about my origins, my ethnicity. I told them I didn’t speak Arabic, that I was born here in Paris, and raised in French culture. They continued asking about my origins.

But France isn’t a racist country.

They asked me to audition for a masseuse role, a Middle-Eastern-looking woman who loses her temper and starts “acting ghetto” with the customers of a five-star hotel because she “just can’t help it, it’s her nature”.  Then they asked me to audition for Fatima’s sister and learn a bit of Arabic. I could do that, right? They asked me to wear a hijab, to play a Syrian refugee. They asked me to play a Muslim YouTuber doing a DIY on how to put on a hijab. They asked me to play Samia, sitting by her husband’s side in a car before being pulled over by the police. “Hey, can you come in and audition for Suburban Arabic Girl Number Four? Basically, you’re with your homies in the subway, and you make a fuss, start yelling at people, throwing things around!”

 But France isn’t a racist country.

You can easily tell France isn’t a racist country when you walk around Paris accompanied by my mom who has dark skin. Besides the aggressive stares and whispers when we go to posh places, I have witnessed her getting pushed by a Karen’s trolly in a fancy market and followed by security guards when we stepped inside various stores. We even had a saleswoman tell my mom as she tried on clothes that she looked more like “someone dealing narcotics at the bottom of the building.” And then: “Are you going to pay cash? Wonder where that money comes from,” followed by condescending laughter. For the record, this last incident happened when my mom tried on a three-thousand-dollar coat that we bought despite everything.

But France isn’t a racist country.

It’s actually easy finding work in France when you have Middle Eastern ancestry. I’ve recently come across the most encouraging video on social media, about a Middle Eastern man who graduated as an airline pilot but couldn’t find work because of his name. A few years ago, I remember reading about another Middle Easterner who applied for a managerial position, got an interview where the employer told him he had the right qualifications, but couldn’t be hired because frankly, “no one will accept being managed by an Arabic man”. For my part, I remember when I applied for a job as a receptionist, and the recruiter pressured me to know if I had a criminal record. Because she “would find out eventually.”

 But France isn’t a racist country.

“So, tell me something: Where are you from? Really from? Oh, gee, why are you getting so cranky about it? It’s just a question! I’m trying to get to know you better! Are you ashamed of your roots? Don’t you want to act as a standard-bearer for all Arabic peoples? Stop playing the victim already! How dare you call me racist. I was about to introduce you to the best couscous restaurant in town! I bet it’ll taste exactly like the one in your country! What did you think of the movies directed by Riad Sattouf?”

But France isn’t a racist country.


Zoé Mahfouz is an award-winning actress, screenwriter and content creator. Her humor pieces have been published in Defenestration Mag, Wingless Dreamer Publisher, Spillwords Press, A Thin Slice of Anxiety and Witcraft. You can follow her on Tiktok @lessautesdhumeurdezoe.

You sat with brushes in hand and the light flowing above and below,

a prayer like paper. The light illumined all our sacred trees.

Somehow, we forgot all our raucous and joyous past love

when I asked you to listen for the screen door’s slam

and the call to supper as I brought you the evening meal.


And then there was that folio of your recent sketches:

so many similar dark faces filled with joy.


Then I gazed at the rich, brown texture of a watercolor on the page,

a man’s tortured face, his beard, his tough glowing bronze skin.

You said it was a portrait of your brother,

who died overseas during a rain of fire in the Viet Nam war.


And you put down your brushes to confess

we are going to start life all over again 

without waging the private wars that keep us together.


You painted your dead brother’s face

against a background of blue.


Beth Brown Preston is a poet and novelist with two collections of poetry from the Broadside Lotus Press and two chapbooks of poetry, including OXYGEN II (Moonstone Press, 2022). She is a graduate of Bryn Mawr College and the MFA Writing Program at Goddard College. She has been a CBS Fellow in Writing at the University of Pennsylvania; and, a Bread Loaf Scholar. Her work has been recognized by the Hudson Valley Writers Center, the Sarah Lawrence Writing Institute, The Writer’s Center, and the Fine Arts Work Center. Her poetry and reviews have been published in numerous literary and scholarly journals.

Our grandparents sit us down and teach us where we come from: Africa, enslavement, Jim Crow. Our parents tell us where it’s safe to travel and where our brown skin makes us targets. Fear infects our dreams.

They don’t talk about us much in their history books. Erasing us and those whose land was stolen. It’s hard to find accounts of those who went before us, but we know we were resilient. We know we survived.

They teach us to be ashamed of the hair on our heads. We women are pressured to straighten our hair with caustic chemicals or cover it with a wig. Our wild coils are beautiful, but they say we look unprofessional.

We are paid less but are expected to be exceptional. If we dare to be average, they call us lazy. We have no money to leave our children. All we have are stories to pass down.

We have siblings, cousins, friends who aren’t here anymore, executed for the crime of being Black. We shout the names of the dead, write them on placards, print them on t-shirts. Trayvon, Breonna, George. When we protest the murders, they call it a riot.

Sometimes we dream of better days, but those dreams are haunted by the dead. Sometimes we dream of justice, but in the end, we always wake up.


Claudia Wair is a Virginia-based writer whose work has appeared in Pithead ChapelAstrolabeTangled Locks JournalJMWW, and elsewhere. You can read more at claudiawair.com or follow her on Instagram @CWTellsTales

for Gaza

1.

my eyes 

              two dead seas

witness 

              daily slaughter


—the butcher’s feast,

the reaper’s bounty—


witness 

—the healer’s gauze,

the morphine’s mercy—


              Oyez! Oyez! Oyez! 

              don’t    you know? 


Gallant says human 

animals 

do not need      when

              corralled or culled.


life does not      need life.


beyond rations 

                or rationality, 

this is the desert 

where   insurgent winds

choke   on phosphorous

               where   open 

                             mouths 

                             have 

              stitched tongues. 


2.  

so, give me your 

              list of banned words


intifada – nakba – ya’aburnee.


              i will give you a list

of the dead—olive        trees

ripped from     root, sunbirds

plucked             from sky.      i 

will lay a tatreez of   martyrs

at your feet. i will craft lianas

from              amputated limbs

so even        Death can carry 

Palestine like a germinating

seed.      i will turn my distilled 

                tears          into bullets,

i will turn my          complacency 

              into a thing thrown,

i will turn the world

upside-down, 

              until all saplings 

              are replanted    as limbs 

                             returned. 


3.  

but if    you do not cease the fires, 

do not ask         smoke for balance. 

life cannot        home in death 

                           or occupation. 


              night is meant to be filled 

              with       dark delirium


              —the dreams of children,

              the impolite 

                            hopes of ghosts—


it is not             meant 

                           to be carcass. 

thus, let us 

              invent new ways to blush. 

let us 

              make bullhorns of our 

              dusted anger

                              until we exhume 

                              new futures. 

              let us 

              be shameless. 


Dana Francisco Miranda is Assistant Professor of Philosophy at the University of Massachusetts Boston. His research is in political philosophy, Africana philosophy, and psychosocial studies. His current book manuscript, The Coloniality of Happiness, investigates the philosophical significance of suicide, depression, and wellbeing for members of the African Diaspora. His most recent work has been published in Creolizing Hannah Arendt, The Movement for Black Lives: Philosophical Perspectives, Journal of World Philosophies, EntreLetras, Journal of Global Ethics, Disegno: The Quarterly Journal of Design, and The APA Blog: Black Issues in Philosophy. Find him on Twitter at @DanaFMiranda.

You grabbed me! I didn’t expect it. Weren’t we smiling and greeting just moments before?

Passing each other, you and I, on our way to our own worlds, with our own errands, sent by our selves?

Your muscles were shining, sinewy, curved, beautiful even. They were strong, filled up, betraying the many fights already fought, and won. They shone with the sweat of effort.

Eating all your opponents is no small thing. Even their bones, you’d crushed in your jaws.

I felt your strength when you gripped me; it surprised me. I wasn’t expecting it nor this wrestle; yet here we now were, locked in an uncomfortable embrace. I gave my all in the tussle. I gripped back, arms around your middle, locked in, I braced myself, I would not be thrown! This way and that way we went, pushing, shoving, finding, keeping, losing ground.

My face contorted, each crease matching your own, ears closed to anything else, eyes tracking your every move. My muscles tightened as yours flexed. You would not get the better of me!

You didn’t expect my tenacity either, did you? A couple of times, you nearly had me on the floor, with your stealth and tackle, but the gazelle and the hare have taught me well. I jumped, regained balance, and pushed in new directions. We scuffed up the dust; it rose in a cloud all around us, blocking view of all but our struggle. We scarce could see it, locked in our embrace as we were.

And then — was that — a half smile — that just crossed — your face? Could it be? You enjoy this? You enjoy this! Your shiny muscles tell you that you will win, that I will tire, eventually, just now, you think you have me figured out. I can’t stand you, but I can’t bear to look away. I will keep fighting. I will NOT be thrown! Locked in this our embrace, cheek to cheek, brow to brow, muscle against muscle, jaws locked, teeth gritted, feet scuffing dust, some gain, some loss, we’ll wrestle on and on and…

You think you have me figured out? I’ll show you! I tighten my hold on your arms, put my back into it, dig my feet in, and push harder, searching for the opening to fall you.

But just as I kick at a new place, what’s that? Playing with the nape of my neck, flitting with the sweat running down my brow and shoulders? Dancing with my ears…A butterfly? A breeze? The sound of a god who is memory, who is wind…

Slow, within the quiet pupil of the noisy scuffle the message arrives, and lands: You don’t know me. You’ve only heard about me. I know myself; I know my self. I re-member. I look into your eyes and half-smile. I slacken my grip on you, dropping your arms, and our death embrace. I jump back.

Amazing, isn’t it? When I loosen my grip, you can’t hold me. I see surprise on your face, you weren’t expecting that!

Before you think to restart a fight that chases us in circles, I turn and walk away. I was on a journey before, one on which I sent myself. Butterfly song carries on the wind; I hear it.

Goodbye.


Wangũi wa Kamonji is a regeneration practitioner researching and translating Indigenous Afrikan knowledges into experiential processes, art, and honey. She centres Afrika, ancestrality and Earth in her multigenre storytelling extending ancestral invitations to rethink and reimagine everything with Indigenous Afrikan ontologies. Her children’s story “The Giraffes of the Desert” appears in the anthology Story, Story, Story Come. She is published in Shallow Tales Review, Open Global Rights, Africa is a Country, and The Elephant. Wangũi holds close Micere Mugo’s call to find the songs lying around and sing them for all to hear and sing with us. She is based in Ongata Rongai, East Afrika. She can be found on instagram at @_fromtheroots and @wakamonji and on X/twitter at @_fromtheroots.

for girls frail & brittle.  for body crossed

with a disheveled spirit. & everything in

the     name of gender distill

salvation. how much illumine a reflection?

there’s a sag  story  in shattered glasses.

every ample breast hangs as a pendant

of grief. of past merge from                    jarring

voices. of future that splits in shards.

of many solitary night that craves

the gift of death.

my poem gradient to a girl. don’t

know if that                   counts. & each hour

past

flesh & blood  she loses identity.

it hurts to rove into strange waters.

but girls sail

broken                      in agitated waves.

what depiction are we? maybe a girl with

the shadow of a damsel. mother

says we’re feminine ‘cause our legs opens.

 & we immerse  a cycle of  ritual:

       splitting & opening. [daughters of Eve].


Chinemerem Prince Nwankwo, SWAN IV, is an Igbo apprentice poet and essayist who’s currently a final year student of the Department of History and International Studies, University of Uyo, Nigeria. Chinemerem is poetry editor at The Cloudscent Journal and an assistant poetry editor at Arkore Arts. He tweets at @CPNwankwo.

Dearest, Lilith. Israel is carpet bombing Rafah, Gaza—right NOW.

Shh…I’m watching the Superbowl.

     But, Lilith. More than 1.7 million Palestinians are in Rafah, Gaza—right NOW.

Shh…I’m watching the Superbowl.

     But, Lilith. The Prime Minister said Rafah was a safe space for the displaced—

Shh…I’m watching the Superbowl.

     But, Lilith. I am watching newborns and toddlers with their legs blown off in real time.

Shh…I’m watching the Superbowl.

     But, Lilith—see these images teeming with terrorized children hanging from the rafters.

Shh…I’m watching the Superbowl.

     But, Lilith.  Babies are being wrapped into the tiniest bags.

Shh…I’m watching the Superbowl.

     But, Lilith. Mothers and Fathers are weeping            wailing in desperation          trying to find safe passage for their babies.

Shh…I’m watching the Superbowl.

     But, Lilith. Multiple families are being decimated by Israel as we speak.

Shh…I’m watching the Superbowl.

     Oh, Lilith. A little girl called Hind Rajab is starving to death among her decomposing relatives        and those who set out to save her are scorched alive    and strewn into smithereens.

Shh…I’m watching the Superbowl.

     My Dearest Lilith. The world has tipped over onto its head and I am          afraid. Enough is enough                       and I am too weary                      to whisper      

          “No more?”

Shush now. Please! The President is tweeting.


Cheryl Atim Alexander is an Afro Greek woman who was born into a family of readers and writers. Her writing emanates from a plethora of life-affirming experiences and serves to inspire anyone who may have misplaced their voice. A tireless writer, she has been published in Wilderness House Literary ReviewWritten Tales Magazine, Moon Shadow Sanctuary Press, and Kalahari Review. Cheryl was recently nominated for Best of the Net 2024.

    

I was struck by the complexity of South African society as I stood in line at Home Affairs. Around me were a number of people who asked where to go, what to do and amidst that, was a lot of chattering. The intercom hailed for a who-and-who to report to the staffroom, while the lady seated opposite us eventually exclaimed, “Next!” I marshalled myself to one of the front desks to her inviting, “Good morning,” followed by “Your ID number please.”

My ID, license and a few other cards fell victim to a thief whose only gain was a couple of rands and who, perhaps, had no intention of disorganizing me to the extent that he or she did. I gave the woman my particulars, answered a few questions, and then returned to where I was instructed to sit. Next to me was a man, and in front of us were two Colored women.

I caught a disturbing whiff from the man next to me. His discomfort suggested that he was aware of his odor. I tried my best to let him feel comfortable and, in a way, to let him know that I knew that life sometimes forces us to lose control of important things that qualify us as functional human beings. I wanted to let him know that it was okay and undoubtedly forgivable to lose interest in or to forget the value society places on good hygiene, especially when one’s life is consumed by more compelling issues than bathing.  

It started getting busier, the queues got longer, and the row I was in moved at a snail’s pace. The Home Affairs we were in was in the township. It was attached to a police station and a few government offices. While eavesdropping on the women’s conversation about their acquaintances, families, and lives, I kept raising my eyebrows at some of the alarming and funny things they said. I could almost picture some of the characters and events they mentioned as individuals I knew and lived with and as things I had witnessed in my neighborhood.

As the morning progressed, a white man and his daughter walked in. They went straight to where they were instructed to sit by the security guard. Heads turned in their direction, and a stillness overcame the room as they settled in. It was obvious that they had sensed the sudden silence and the attention they’d drawn. The daughter looked in our direction while she lent a smile to everyone. Her glance was poised, and her eyes seemed to acknowledge an interested yet unwelcome audience.

It was hard not to look in their direction or to feel the awkwardness their presence caused. I took a moment in clandestine fashion to peek at the entire room. I was not surprised to find everyone’s eyes fixed on the white man. He was very tall and muscular and by no doubt of Afrikaner descent. His focus remained on his phone, and not once did he lift his head unless he had something to say to his daughter.

The activity continued — everyone followed the security’s instructions and listened attentively to the tellers. In moments when my eyes weren’t fixed on my cellphone or I wasn’t listening in on the two women’s conversation, or caught between the two, I sat back, closed my eyes, and allowed my mind to wander off. It was in between these moments that I noticed another white family of four walk in. Unlike everyone, the mother, father, son and daughter walked in brazenly without noticing the security guard at the door. They walked across the room in search of a place to sit.

I sensed that everyone wanted to see if the security guard would confront the family to direct them to where they needed to sit, something she had done quite firmly all morning. We all looked in anticipation while hesitation overtook her before she finally decided to approach the family. The white woman, however, had already left her seat to speak to one of the tellers. “Hello, we’d like to make and renew our passports. Jim here has been chosen to represent South Africa at the Under-16 cricket world competitions in Australia.” She was loud enough for us to hear what she said and for us to look between her and the security guard to see what would unfold. 

To our disappointment no drama transpired. Instead, the security guard waited for the lady to finish until she escorted her and her family to the correct seats. They shared a warm exchange, and everything was back to normal. I sat there waiting to be called to the last post. It was extremely hot, and I had forgotten to bring a bottle of water. The man next to me mumbled that he couldn’t wait any longer, so he took off, and I occupied his seat.

I didn’t know whether to be relieved that I was a step closer to completing the process or to feel sorry for him because he would have to come back again. By the sound of it, his predicament was whether to miss work for a few hours with the risk of his site manager noticing that he was absent or to work without a temporary ID which might see him not get paid at the end of the month. It was a terribly sad story, but I took up his seat with little regret and waited patiently for my turn to be called.

I was finally done. I stepped out of Home Affairs to a buzz of activity. It was unusual for me to be anywhere else but at work. I relished the feeling while I tried to map out my next stop. In the distance, I saw the father and daughter hop into a beautiful huge bakkie with wheels the size of a small modern car. They didn’t say much to each other, but both looked relieved like everyone else that exited the building. 

Kids close-by pointed at their vehicle with great admiration, and adults like me couldn’t resist following it with our eyes until it was out of sight. A dream car of note, I sighed and immediately turned around in view of my surroundings. They weren’t as inspiring or beautiful as what the bakkie had signified in my heart. I lit a cigarette and stood for a while watching people go into the police station, leave Home Affairs and others, like me, hang around.

I left the premises without having figured out why I felt the way I did at Home Affairs. However, when the second white family drove past me, it was then that it occurred to me that despite my daily interactions with countless white people, their presence in today’s setting seemed to take away a lot of what they usually embody in other spaces. In retrospect and to my surprise, I suddenly forgot about the degree of influence, authority, and power they generally assume in the worlds I inhabit, especially when subjected to the security guard’s command.

I pondered on the moment a little more until I realized that the silence and awkwardness that characterized the room was a culmination of the disbelief of seeing white people in the heart of our township and having to come to terms with the possibility that they, too, could endure what has become such a norm in much of our lives. Before then, it was hard to imagine that they could also stand in long queues, sit on skewed and broken chairs, or tolerate having to wait hours on end to get something done, when what often stood as a reflection of their livelihoods was comfort and ease.

I immediately juxtaposed this with the security guard, a black middle-aged woman, who I suppose holds very little authority in society when she exits Home Affairs. Unlike the two white families, with one set to travel overseas and the other with a stunning vehicle, it was difficult to look past her — childlike in her discolored uniform — as someone who could ever experience what the two families espouse. My thinking was eventually interrupted by a long hoot from a passing taxi whose conductor almost convinced me that I had called out to it because in fact, I could have done with a lift.


Otsile Sebele Seakeco grew up in Kimberley, in the Northern Cape, South Africa. Added to his love for dogs and fiction, he is a poet interested in creating works of art that enable him to reflect, grapple with, and speak life into the reality of existence.

Calloused hands cleave sugarcane

outstretched to Caribbean sun.

Fires of resistance forge

weapons from master’s tools.


Exiled from tribes and gods,

through slave castles to plantations,

we revolt to revel in a history

hidden within outlawed drums.


Onyx angels trouble the water

under a voiceless ocean.

Down by the riverside,

Water breaks like hearts leaping from slave ships.


We sing Soul into existence by

freeing our holy ghosts.

In America, voices rise

above lies hiding gospel truths.


Sarah Baartman is a woman in a zoo.

Her captors have forgotten their mother.

Proud buttocks attached to hips

that birthed nations, an oddity on display.


Josephine Baker is Sarah’s reckoning,

Impundulu’s plumage electrifying crowds.

Snaking hips now become an infatuation.

J’ai deux amours, both Black and women.


Black magic invokes ancestors

speaking through us in tongues,

code-switching suffering into

chariots coming forth to carry us


home is Jim Crow incubating culture in the stuff of nightmares.

This seed bears strange fruit hanging from the poplar trees.


Big Mama’s hound dog howl

shakes cobwebs off Elvis’ pelvis.

Long tall Sallys go tutti frutti

for rock’s white king.


Blue-eyed soul’s sleight of hand

makes King Richard feel Little

but say it loud Mister Brown,

I’m Black and I’m proud!


Soul power plants seeds

for Black Power now.

Funkadelic spectacle brings

one nation under a groove.


If Paris is Burning,

The House of Baldwin has set it aflame.

Let Joseph Bologne compose a melody

with the fire next time as muse.


Punk meets Rudeboy

in old Brittania,

a London calling that doesn’t Clash

With gangsters in a ghost town.


Oku Onuora’s reflections in red

migrate colonial class struggle.

Linton Kwesi’s dread beat an’ blood

is chocolate magic hidden in ganja mist.


We are moving culture people

even after our forced exodus,

we get up, stand up for our rights,

to sing redemption songs.


Tonight Amiri Baraka and Maya Angelou

will cut a rug.

Uncle Jimmy will catch a vibe as Aunty Toni

stalks the dance floor.


Earth-toned limbs and elastic bodies

vogue into Harlem living rooms.

We will house you,” says Mother at the ball

like Madonna with child.


We paint the message of our plight

like hieroglyphics on new pyramids.

white lines blow away, but

redlining remains a sign of the times.


As public enemy number one, it would take

a nation of millions to hold us back.

Within this terror dome, we fight the power

and try to shut em’ down.


This lemonade is bittersweet

yet quenching our thirst for a renaissance.

Tina was simply the best

So Beyonce had a suitable prototype.


Come forth Orishas through our ancestors as ebo.

Write Sonnets in Adinkra on our minds so we remember,

we are music rooted deep as the foundations of a nation

where our bones are bricks for monuments to liberty once denied.


Sunrise Symphony

A cacophony of cooing birds chirp daybreak through shuttered windows.

Rhythm rides sunlight scattered between curtain slits in situ.


Sza croons smooth awakening with soulful aplomb, and I

connect consciousness to the chaos of kids clomping on concrete.


Rubber soles squeak step and scratch slide across sidewalks,

with wanton abandon these careless kids collect scuff marks on new kicks.


The elongated beep of garbage backing up bellows a beware.

Gears grind dust while mechanical movement swallows detritus into itself.


The gaping maw mashes solid matter made malleable as

an attentive mama bird regurgitates food into chirping chicks.


Scared mice scramble, skittering behind thin walls,

my loquacious feline scratches plaster, mewling feral discontent.


Gravel-throated exhalation punctuates the ceremonial performance

of fluttering wisp of blanket announcing serene shedding of twilight.


Uncovered extremities crack while crawling from their extraneous cocoon.

Mattress warbles a spring-loaded whine as I shift lumbering mass out of idle.


Flat feet creak the floors of this venerated Victorian,

as I trod tenaciously toward toothbrush territory.


Turning bathroom taps triggers pressure tremoring pipes,

evacuating an element essential to eliminating the end of existence.


I hack up phlegm to emancipate lungs from belabored breath,

a primordial brew like one-celled organisms ovulating through osmosis.


Shaving my epidermis with unskilled precision that slits skin,

bleeding a truth that betrays the solipsism of lighter shades,


A denial of equal existence disassociated from the divine.

A skin displayed in human zoos and prisons perceived lesser.


My mirror meditation doesn’t reflect what bluer eyes have shown

through white knuckle-clutched purses and locked car doors upon approach,


The spritz of pink spray tans around plastic plumped lips,

Stealing features like African masks pilfered for Picasso paintings.


While Kardashians run through Black men like O.J. fleeing the police,

carving away ethnicity under the knife to live anew in Black women’s bodies.


Black men run from the police to flee the cries of Black women grieving,

high-pitched siren wails drowning out muffled gasps and lovers’ mourning.


A symphony muted by screaming teapots, the clink of a swirling spoon,

and the pin-drop drizzle of honey in a steaming cup of the blackest tea.


Byron Armstrong has been awarded literary grants from the Toronto Arts Council and the Canada Council for The Arts. He was longlisted in the Top 100 of the 7th Annual Launch Pad Prose Competition. His work is published in Heavy Feather Review and The Malahat Review. A son of Jamaican immigrants, his feature writing exploring sociopolitics and art has appeared in The Globe and Mail, Whitehot Magazine, and Arts Help, amongst others. The recipient of a 2022 Canadian Ethnic Media award for best online article, he resides in Toronto, Canada (Tkaronto) with his family. 

“It’s okay, we’re talking about those Black people. You’re different.”

“You can’t possibly be cousins with her (with your dark hair and brown skin); you   look nothing alike.”

“I know that you think he’s cute, but Koreans don’t go for darker-skinned people.”

“You’re so beautiful and olive complected.”

“She’s an Oreo; more Black than White. She talks White.”

“What’s up with your hair?”

“Your Mama doesn’t know how to do your hair; you shoulda let me do it.”

“Do you feel like you’re more Black or White?”

“What are you?”

“You look exotic; where are you from?”

“My Dad doesn’t know that your Dad’s Black; he thinks you’re Mexican, so it’ll be okay.”

“There’s not supposed to be a Black person in this show; it’s not historically accurate! Oh, sorry. You’re half. That shouldn’t offend you, right?”


Jassy Ez, or Jasmine Ezeb, is an English Literature instructor in New Orleans, Louisiana. She enjoys teaching World Literature to her students and witnessing their light bulb moments as they make connections between old myths and modern-day society. She has a Bachelor’s degree in English Literature from the University of Holy Cross, and she was awarded Best English Student at her graduation. When not working, she likes to spend time with family and friends, explore small bookshops, and record audiobooks.

Rocking in the dark and silence again, 

two heads nuzzled against my breast, 

eight limbs flail out from beneath, 

an octopus gliding through the sea.


 

I know they’re old enough 

to be put straight to bed

yet here we are 

night after night 

squeezed into this glider,

once sea green

now a mossy grey, 

lulling us to the beat  

of a mesmeric sway.  


There was another glider 

in the Special Care ward 

where I sat and rocked 

my newborns light as feathers, 

me with a heart weighted

and ready for flight.

In that glider I soothed tiny bodies,

stroked downy heads, 

inhaled sweet breaths 

and prayed 

and cried 

and sang 

over my daughter 

and my son.


And there was the nurse who said 

there was something wrong with my boy— 

his tiny body didn’t move right

his cry wasn’t right, 

and he wouldn’t be right. 

But the baby next door 

had just the right cry, 

an intelligent cry 

is what she called it.

And that baby was white,

and my boy with his pale skin 

and navy eyes and wispy hair 

only looked the part—

except for his nose, 

round as the sun, 

harbinger of Blackness 

to come.


I knew she was lying, 

but I had to stake my claim. 

So I asked the doctor, loudly

if anything was wrong with my boy

(I made sure she was nearby).

“No,” he said, “not at all,”

and she didn’t come near me again, 

because I was that bitch.  

She left me to glide  

on my private sea 

with two hushed, sleepy infants 

born strong but early 

nestled in the crook of each arm. 


My foremothers glided 

on a rockier sea 

surrounded by the stench of death 

on their way to hell 

where their worth was measured

in profits not theirs.

Arms and wombs and spirits full   

of children not yet separated, 

did they too sit hushed, in stunned 

silence and darkness,

waiting, praying for renewed life 

or release from this earth?


And there was Solitude, 

insurgent mother from Guadeloupe, 

captured for abetting a slave rebellion. 

They waited until she gave birth 

to take her life. 

Did she rock her baby through the night: 

its first and her last?

Did she glide to a realm 

where they could be free?


Another nurse came at night 

when the ward was still.

She whispered that my babies 

were strong and smart 

and ready to go home. 

She saw her children in mine 

and offered a wordless pact. 

There we were:

two midnight women,

conjoined in solitude,

conspiring in the dark 

over babies to be freed. 


And I suppose that is why 

we retreat to this glider 

night after night.

It has long been this way:

Black mothers and children, 

gliding, hoping, praying, breathing. 

Nestled together in darkness 

and in silence, 

awaiting the peace 

alighting at dawn. 


We Bar at One O’ Clock

I must have circled the earth that year

in Trinidad under the blazing sun:

my sinewy legs trekking

up Mount St. Benedict for a breeze, 

and down to Curepe for doubles with pepper.

I ran across Maracas beach,

then sprinted to the maxi taxi

that carried me to Chaguanas, 

and on to Enterprise, 

where Abigail’s mother whispered,

“lean on the Lord,” 

when I nearly fainted from the heat 

one Sunday morning. 


Walking home I passed We Bar

where men gathered, imbibing the spirits 

the church had traded for grape juice. 

And I stopped, for a moment watching 

the rude bwoys and natty dreads 

who watched me constantly:

watched my legs in perpetual motion

up and down Eastern Main Road,

offering me smiles or sly compliments 

muttered at half breath,

but never a drink or a dance,

for I was marked in their eyes 

with the sign of the cross:

a good girl not to be touched. 

It wasn’t true, but no one 

has greater faith than men 

in a bar at midday.  


There was one dread

who had long studied me,

the chasm between us buckling 

under the weight of his gaze 

that I never returned. 


But that day I lingered, 

watching him from the doorway 

as he danced by himself,

lost in the medley of Marley. 

It was one o’clock in the afternoon 

and he moved as though time had stopped 

and he had floated away,

far from the concrete of St. Augustine.

See him now in the mountains

dancing among the trees,

free as we are meant to be:

a rebel, soul rebel. 


I could not disturb his reverie

or shatter the myth of my being,

so I walked back to my room 

in the house across the street 

where the music from We Bar wafted

in with spirits mixed with sweat.

And in my room I danced,

alone and with my dread— 

if you’re not happy 

then you must be blue.


There are no saints or sinners,

there is just we— all of us 

capturers, soul adventurers

moving together, dancing alone 

at We Bar at one o’clock.


Ada Chinara (Ada C.M. Thomas) is Assistant Professor of English at Wheaton College in Massachusetts. She specializes in literatures of the African Diaspora in English, French and Spanish. A public humanities scholar, she has worked at cultural institutions including Penn Center in the Gullah Geechee Cultural Heritage Corridor, and as a Public Scholar through the New Jersey Council for the Humanities’ Public Scholars’ Project. Her forthcoming manuscript, Aminata: Abbey Lincoln’s Song of Faith, will be published by Rutgers University Press.

My brother said he’d seen so many dead bodies

And had so much                  death              around him

How could he weep for the poor faces of the Palestinians?

                        How could he weep?

But I’m not a man and I could never understand

What it’s like to                    need a man              to tell me

To will me into hope for the future

I said no words to my brother really

I just remembered the little boy

Who ran away from trains who

Had                 wonder                       in his eyes at the sky

And I remember all the                   death              that has surrounded me

That has got up inside of me

And I remember the faces of the Palestinians who do not ask for hope

They ask for their story to be told and to be heard

And I listen to the shrieks of their story in my ears and I listen

And I cry real tears as I feel the full weight of my people dying

Of our people dying

And I feel the fire of death in my veins

And I wipe my tears away so that I can wash the feet of my dead

While my brother remains in his room


Taylor Mckinnon is a Black woman and writer based in Boston, Massachusetts. She has a lifelong interest in literature which she has studied in English, Latin, and Ancient Greek. She loves all things horror and loves nature a lot even though she is allergic. Her poetry has been published in a gathering together, the Papeachu Review, the BLF Press Black Joy anthology, Solstice Literary Magazine, and several other journals. You can find her on instagram at dtturns