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”

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

All you ever wanted was to be seen. For someone to read your writing, give remarks, identify you, respond, criticize, and recognize your work. Although it never happens, you share your writing: hoping it will resonate, hoping they will love it, hoping someone will notice your tone, hoping that life will be better after all.

No retweets, no reshares, not even a casual, “This was nice.”

And every time, there’s a distinctive level to the pitch following the uncountable rejections you have received: from the magazines you admire, from people who claim to “support upcoming writers.” And every time you send work to them, there’s a beauty in how they bounce back to you with an “unfortunately”.

The sadness wells up, pushing at the back of your eyes, threatening to tumble and rain down. Your mind floats to everything you’ve tried. Every thought that has rained in your mind. You just want to be heard, to have someone see you, for people to read and cherish the gift/curse you’ve always had.

***

You’d written what you thought was your best. You spent hours reading and rereading, trying to get it just right. And still, they didn’t see you. And when someone finally did, they didn’t listen. They didn’t understand the fight in your words, the way you were writing for more than yourself, for your family, for your future, and for the dreams you thought were simply living in your head.

Every story you wrote was a piece of your life. You’d disguised it in other characters and other settings, but it was always you in there: your struggles, your hopes, your truths, dancing with reality within the lines.

***

That night, as you walk into Valco Hall, the heavens open into you, and you look for a sign to sort your problems. You think about what you’ll say to Fatau, your roommate. You’ll ask him for help for the first time. You don’t want to; nonetheless, you’re running out of options. You don’t want to bother your mother. She’s done too much already, always standing by you, always encouraging you even when things were hard. You know she doesn’t have the money.

Today feels like your last chance. You know Fatau will say yes if you ask. He’s kind, always thoughtful, and has shown you how good he can be. However, you’re not close to him. You’ve never been close to anyone.

Most of the time in the room, it’s just you. Talking to yourself, laughing at your own jokes, planning stories in your head, and speaking out loud to yourself. You’ve read your drafts alone and clapped for yourself because no one else ever did. Fatau never noticed. He probably thought you were mad. Or he never heard you probably.

When you step into the room, his friend is there. The one with the braids, the one from your mother’s home country. You’ve never told him that. He might ask too many questions, and you don’t feel the urge to answer him. You are never fond of sharing too much about yourself.

You greet them, but they don’t even look up. They’re busy, playing on the PS5, their faces lit up by the movements on the screen and their mouths shouting out words to people who only live in such realities. You move around the room, from your bed to the balcony, hoping both will notice you, say something. Recognize your agitation. They don’t.

That’s how it’s always been.

***

You think about the time you tweeted, tagging all those advertising agencies, hoping someone would see it. No one did. You remember scrolling through LinkedIn, sending messages to HR managers, and pouring out your heart into every word. One of them read your message. You saw the “seen” tick, but he never replied.

In your emails, you even said, “If you’re not interested, just send me a rejection. I’ll understand.” They didn’t bother. You followed up, again and again, sending more messages into the same nothingness.

You think back to the time you waited for a response from Ogilvy, your dream company. The delay dragged on until you gave up, deciding to move on and start school again. Then, out of nowhere, they called you for an interview. You sat across from them, explaining that you were now back in school. They nodded politely, and you knew in that second, the job was gone before it even began.

You remember that day. The day you received a call from Insel Communications, the rush of adrenaline as you checked your balance. Twenty-five Ghana cedis. Just enough for an Uber to East Legon. You booked the ride anyway, stomach tight with worry, but excitement overflowing in your soul the way a caged bird sings of freedom. You had been waiting for this.

The boss was accommodating. He was short and made sure his words carried the room, making him taller than his frame. He was in a meeting. You knew it had to be the Gong Gong Awards. You had spent nights combing through industry articles, memorizing jury members’ names like a desperate student before an exam. Your life, at that point, revolved around these professionals, their movements, their triumphs. You followed them the way the tide follows the moon — pulled, fidgety, unable to resist, and determined to play its part.

Then you saw him.

A glance. No! It was a frozen second suspended on the screen, appearing with every wish that you had once made to be near him.

 Andrew Ackah. The man whose career you had studied the way Christians study the scripture. His words had guided your dreams, his achievements, a map to places you wanted to go. You had stalked his life online, knew the places he worked, the books he recommended, the speeches he gave, and even where he stayed with his family. And now, here he was, a few feet away, discussing something with the director of Insel online. You needed the job more than anything just so you could… be so close to your industry idol, just so your dreams could sprout from the ground.

While still in the meeting, the director turned to you and asked about your favorite book.

Gone Girl” you said without thinking. A lie. A reflex. You couldn’t have told him the truth. You couldn’t have said your favorite book was by Akwaeke Emezi, a writer whose words were home to you but whose identity you feared would betray you before you even had a chance.

Then came the test. The page in front of you looked surprising. The creativity you carried as a second skin abandoned you. This is copywriting? You knew, even before handing the horrible handwriting back to them, that you weren’t going to get the job. The Uber fare had been a gamble you lost. So, you walked.

From East Legon to Bawaleshie to Legon. The rain came down in sheets, filling your shoes, soaking into every piece of your trousers and the white boxer shorts you bought before the Kantamanto fires. You prayed. Not for another job, not even for a sign. It should just be for something, anything, to remind you that you were still headed in the right direction.

Four days later, hunger was eating itself around your stomach. You lay on your bed, staring at the ceiling when your phone rang. Regina, an administrator from another company. A meeting on Monday.

This time, you borrowed from MTN Quick Loan.

The journey was long. A crawl through traffic, through neighborhoods that screamed wealth and places you had never been. The estate was lovely, your first time in one. You wanted to work there. To belong there, to smell like them. And you crossed your hands to do your best in the interview.

Thomas, the boss, liked you or so you thought. You could tell from the way his eyes shone when you spoke, the way he nodded, delighted and impressed with your background.

“Great diction,” he said. “You’re eloquent. You have quite a presence.”

And for a moment, just a moment, you believed you had finally found a place where you fit.

Then you walked out, the door clicking shut behind you. But something kept your feet planted just outside, your breath moving in rhythm to your curiosity. You listened to him and the other board members.

Laughter. Its sound had cruelty in its throat. The one that stung more than mosquito bites.

“He’s too effeminate. Probably gay. Sounds too much like a girl.”

The words cut like glass lodged in the gums, impossible to ignore. And your mouth opened in shock to the words. Your breath faster, heartbeat swifter, the promise of belonging disappearing behind the door as you bid bye to the estate.

They never called back.

And despite your follow-ups, your emails, and your polite check-ins, the silence was its own kind of answer.

***

It wasn’t the first time life had teased you with possibilities only to snatch them away. After your bachelor’s degree, you struggled just to start National Service. When you finally got a placement, you worked hard, but no one noticed. You felt invisible. It’s almost as if you didn’t exist in the same world as everyone else. You were a ghost people spoke to when needed and ignored when you desired them to see you.

You dreamed of studying abroad, of leaving everything behind to start fresh. But when you asked for help, no one came through and it was a battle too big for you to even start. After National Service, you sat at home, endlessly applying for jobs. Every email you sent felt more personal than the last, and the rejection came like rain in June.

You thought going back to school would fix everything. Another degree?! Surely that would open doors you reassured yourself. You gathered what little savings you had left to buy the university forms, not even sure where the money to pay the fees would come from.

Your mother, who always stood by you and supported you, scraped together what she could. She used the last of her savings to help pay half the fees after you got admission. That left you to figure out how to survive.

Feeding yourself? You didn’t know how you’d manage, so you left it in God’s hands and hoped for the best.

***

The first day you walked into Legon Interdenominational Church, you hoped to find something more than sermons and praises. Perhaps someone there would see you, connect with you, and perhaps help you. Instead, you got leftover food and free meals from the events you attended. You were grateful and ashamed, feeling smaller with every bite that you took.

And then there was love. Or at least, what you thought was love. It arrived like a promise and left you the way a bad memory is never forgotten. Your honesty became a joke; your confession was something to laugh about, and the betrayal following it stung so painfully in your heart that it left you questioning if anything in your life was real.

***

You think about the day you wanted to end it all. You were tired. Too tired of fighting, exhausted from trying, bushed out of feeling as though nothing you did would ever be enough. That was the day someone finally noticed you. He reached out to help, but even then, he didn’t listen. He didn’t hear the way you were saying you couldn’t take it anymore. He should have just let you be without interfering with your journey to the next life.

And you’re still here. Somehow, you kept going on.

It’s hope that keeps you moving, stubborn, and persistent in the way a weed grows out through a crack in the pavement. Or maybe it’s just the voice inside you that refuses to give up.

Now, you stand on the balcony with the cool metal rail under your fingers as you stare out at the night. You feel invisible; you always do. A part of you wants to scream, to force the world to turn and look at you. The words fail you. Your mouth is buried inside.

Sometimes, you wonder if it’s because you’re a man — the reason no one sees you and makes your struggles easy to ignore. You think about the female celebrities whose beauty seems to do all the talking, opening doors and winning attention in ways you can’t.

You blame something bigger. It’s not you at all. Possibly, it’s the country: the way it feels like it’s designed to work against you and the way your soles crack from running around. You keep trying, putting in the effort. Trying, and yielding to a lack of results. It’s as if the system is broken. As if no matter how hard you try, the soil just won’t give back your results.

It feels like God has forgotten you. He doesn’t see you. You’ve prayed so many times, poured out your heart, fasted, and still nothing changes. No answer, no sign, no rain. Just nothing. The faith you once held onto so tightly now feels shaky, and it could slip away at any point in time.

You climb into bed, your roommate and his friend still glued to their video game, still not paying you any attention. You pull the sheet over your head, trying to block out the world and let everything disappear. The sadness feels enormous. It’s pulling you under, and you let it. You let your thoughts carry you away, far from the noise, far from everything. Far into somewhere else.



Bright Aboagye counts Aja Monet and Akwaeke Emezi amongst his influences. He dreams of becoming a surrealist blues poet, writer, and restaurant entrepreneur. Bright hopes that his work inspires and gives hope to all who engage with it.  He can be found on Medium, Blogspot, and Linkedin.

Decolonial Passage is honored to announce the 2025 nominations for the Best of the Net Anthology.  This list includes writing published between July 1, 2024 and June 30, 2025.  Congratulations to the nominees!



Poetry

“His Tousled Hair, His Toothly Grin” by Eric Braude

“color you dark” by Ashley Collins

“The Ancestor’s Song” by Leslie Dianne

“Sonics” by Joanne Godley



Fiction

“Michael, Deportee” by Stephenjohn Holgate

“From Glasgow Without Love” by Albrin Junior



Creative Nonfiction

“I, too, am California” by Kimberly Nao

“Note From Nonpeople” by Serhat Tutkal

When my daughter was in daycare, I wanted to let everyone know about Eid. I bought dates, teamed up with another mom, asked to go to a class and share what Eid was with the class. I read a Bengali folk tale for children from a children’s book.  Then, we lit candles, and the smoke alarm went off. It was her third year in daycare — a time when my daughter was falling off the end of the world. In her first year, she was happy. At first, she didn’t know the language, so she would wait the whole day until she saw me, then run towards me and burst into tears.

 But the third year, it was the bullying. She wanted to be white. She drew herself white with blonde, straight hair and blue eyes. When a friend bleached his hair white, she kept asking him questions. Another friend and I locked eyes. We both knew what was going on in her mind. At that time, I asked many friends what to do. I asked my classmates who then referred me to other moms who also spoke to me about what children of color face in school at a young age and how to deal with it. So much figuring out, how to fit in, how to make things better for my daughter — a child growing up in America. 

“I sacrifice so much for her. Why doesn’t she understand how loved she is?” I said to my husband. “I don’t even brush my hair!”

“Why don’t you brush your hair? Why do you look like that? Maybe if you dressed nicely, she would look up to you.”

In the end, this was the strategy I chose, which seems strange to me now. I’m not the same person. I dressed up in shalwar kamiz with the gold earrings my mother had given me. I also wore a teep on my forehead.

 I went to pick up my daughter.

“What’s that on your head?” a child asked, pointing.

“Hush,” the teacher said, as if what I had on my head was something shameful.

I brought teeps for all the girls as gifts. I went to Bangladesh in the summer, and I brought back bangles and little cloth dolls to give away. We watched Hindi movies on a VCR, and I dressed my daughter in gaudy dresses, jewelry, teep, so she would have her own standard of beauty, her own role models, her own cheap, cheesy way of being feminine. 

The atmosphere among girls at that age in America is toxic. Girls watch Disney movies and dress and think of themselves as Disney princesses. She didn’t watch TV. She didn’t know anything the other girls were talking about, so they excluded her. But also, the clownish racist exclusion of someone with dark skin and curly hair, and adoration of another girl with white skin seems outlandish to even write about. The teacher said, “There is no racism here.” Of course. So, we watched these movies so my daughter would be able to join in the conversation and fit in. My professor explained that at this age, girls are arranged in hierarchies according to the status of the moms — like a hive around the queen bee. I scheduled playdates, threw parties, positioned us as a family in the hive.

Another dad with a daughter in an older class suggested bending the princess trope, introducing her to other versions of fairy tales, so we read The Paper Bag Princess and watched Kiki’s Delivery Service at his recommendation. (I really admired a lot of these fractured, fairy tale picture books and still love them.)

I surrounded myself with allies and we survived.

I don’t do that anymore. I don’t want to share, to be known, accepted. I write fiction rather than essays because what I have to say is not welcome. Even in my stories, I want to establish a faraway voice at a remove. It seems so long ago, the earnestness, the frenzy of wanting to be known, to explain. I would be embarrassed by the me of that time.

I don’t enjoy being in these spaces or the ways in which I have to compromise, grovel, demean myself to be in the room. In 2014, Obama had iftar in the White House. Many Muslims attended, gleeful, while Gaza was being bombed, with full support from Obama and the Senate. I asked one of them online why they would go to such an event, and they mumbled something about making space for Muslims. During the Ramadan one year while I was a student at Princeton, Bill Clinton was bombing Iraq. All the years that I have lived in the US — first as an international student, then as a mom, and an employee — have left me wandering the halls alone during Ramadan and Eid. I associate Ramadan and Eid now with silence, a complete erasure in our schools and places of work, with the added bonus of a bombing campaign somewhere.  

Now it is Eid again. My daughter is in college. Sick, I asked for leave from work. I asked to teach online. While negotiating, I realized it’s Eid. Every year, I either have to take the day off as a personal day, have my children miss school, or come to work, and just go about quietly pretending nothing is going on.

I am an atheist. 

I thought I would send an email out to everyone at work, wish them Eid Mubarak. Just to let them know. Then I asked myself, “Why? What does it matter when countries are being bombed?”


Gemini Wahhaj is the author of the short story collection Katy Family (Jackleg Press, Spring 2025) and the novel The Children of This Madness (7.13
Books, Fall 2023). Her fiction is in or forthcoming in Granta, Third
Coast, River Styx, Chicago Quarterly Review
, and other magazines. You can find her at GeminiWahhaj.com.

I never had a crush on David Lee Roth, but he had a crush on me.  And, he sang a song about it. You remember the video. David dressed as a tour guide leading tourists through sunny California, dancing around bikini clad girls singing, “I wish they all could be California girls…” On the beach, at a movie studio, so many girls in bikinis and with big Aqua Net stiff hair teased up much higher than David’s golden locks. He just loves these California girls. And well, that’s me. But wait…

There are no brown-skinned girls in this video. Tan, yes. Brown? No. And my hair? My hair is actually too big to be teased up to look big. My hair is long almost down my back, but it’s thick and frizzy and more like Diana-Ross-Central-Park-in-the-rain concert hair than bikini-clad-blonde-on-Venice-Beach hair. So, am I a California girl?

In fact, it wasn’t David Lee Roth’s song anyway. It was the Beach Boys’ song. They’re the original ones who loved California girls. As long as they had blonde-bobs-on-the-beach hair. Yes, bikinis and tanned bods. Not the 80s, but women in the 60s doing the jerk while the band defines the quintessentially endless summer sound and California lifestyle. And there are no brown skinned girls.

There’s cute, perky surfer girl Gidget. Not Sally Field Gidget. But Sandra Dee Gidget. The one that personified the California vibe in the 60s. The one that made everyone who wasn’t a Californian want to move to California and buy a surfboard and live on a Malibu beach for the summer. And it was always summer. Blonde Gidget. Is it her? Is Gidget the culprit? Is she the one that made every media image of a California girl thereafter blonde, tan, and bikini clad?

Seriously there are so many California blondes. Not just any blondes but the ones that defined the “California girl.” The Bionic Woman. I did not have a crush on David Lee Roth, but I did have a crush on the Bionic Woman. She was blonde and beautiful and could rip the yellow pages in half. And she had a bionic ear that could hear across long distances. I mean miles. She would push a blonde lock behind her ear and listen.  Apparently bionic ears can hear for miles, but they cannot hear through hair. I couldn’t push a lock of hair behind my ear. Well, I could but it wouldn’t stay there. My hair was not tame. It was wild and did what it wanted to do. The Bionic Woman was indeed a California girl. She lived in Ojai. You can’t get more California than that. Unless, of course, you lived in Malibu.

The Bionic Woman’s boyfriend was the Six Million Dollar Man. The Ken to Jamie Somers’s Barbie. The Six Million Dollar Man was played by Lee Majors who was married to the very blonde Farrah Fawcett. Another quintessentially California girl (even though she was from Texas).  Fawcett was Jill Monroe — the blonde on Charlie’s Angels with feathered hair bouncing in the wind as she chased down criminals. She ran the way boys run when their peers say, “You run like a girl.” Farrah was the breakout star of that show. And yes, you can find pics of the ultra-feminine Fawcett trying to look like a tomboy skateboarding Dogtown style down the street. But more importantly, there is the poster — Farrah, sitting in front of a striped Mexican blanket wearing a red bikini, one knee up, one leg down, head cocked back in a smile that shows all of her white, perfectly straight teeth. It is very California, and it is said to be the best-selling poster ever. I did not look like Farrah Fawcett. I tried to cut and feather my own bangs and ended up with an afro on my forehead.

Maybe that’s when I stopped trying to be the California girl. Yeah, I was born and raised in L.A. and went to school so close to the beach that the boys would surf every morning before making their way to class. I said “grody” and “gag me with a spoon” and “groovy.” But I wasn’t Gidget, or Farrah Fawcett or Lindsay Wagner. I wasn’t Pamela Anderson in another red bathing suit saving lives on a Malibu Beach. I wasn’t Angelyne or Malibu Barbie. I wasn’t even Bo Derek, hair adorned in cornrows, running in slow motion on a misty seashore.

I was the brown-skinned, frizzy-haired girl. Born of a Japanese American mother and Black father. My Japanese grandmother was Nissei, first generation born in San Francisco, California in 1913. My paternal grandparents came to California from Baton Rouge, Louisiana. My parents met in the Bay Area, and I was born and raised by my single mom in L.A. We did not live near the beach. We did not live in a sprawling, ranch-style home like all those blonde Brady girls. We lived in a two-bedroom apartment in a neighborhood both affectionately and derisively called the Jungle. With its grassy lawns and abundant foliage, it was the perfect playground for bike riding, hula hooping, sock ball, and tree climbing. But the crack-laden 80s and 90s made it resemble more the urban hellscape of Boyz in the Hood than the dreamy paradise of The Endless Summer.

But this, too, is a California story. Better than the glossy, glamorized image projected on television, this California is real. It’s brown-skinned and frizzy-haired, and mixed-race, and multicultural, and queer, and it’s me. I’m it. California is after all named after me. Not as if  David Lee Roth had a crush on me but instead, where the name comes from. According to the book, California Place Names, “[t]he term originally referred to a mythical land of Amazons, ruled by the beautiful black queen Calafia, as described in the Spanish novel, Las Sergas de Esplandian.” It’s me!

The city of my birth, Los Angeles, was inhabited by the indigenous Tongva people and was founded by a band of 44 pobladores who settled the area in the 1700s. These pobladores were of Spanish, Indigenous, and African origin. Brown-skinned. Pio Pico, the first governor of California under Mexican rule, designated Los Angeles the state’s capital. Yes, the Pico that the boulevard is named for, and he was mestizo, mixed with African, Indigenous, and Spanish ancestry. Brown-skinned.

The bouncy, blonde surfer girl version of California leaves out the Chinese immigrants who worked in the Gold Rush, the Japanese farmers who were later interned in concentration camps, the Mexicans and Native Americans who were here before the state was annexed to the U.S. The African Americans who brought jazz and soul and hip hop to waft along the Santa Ana winds with the Beach Boys and Van Halen and the Red Hot Chili Peppers. It left out the non-blondes who made the state what it was and is today. And by the way, surfing was invented by brown-skinned Polynesians, and Malibu is a Chumash word meaning “it’s loud over there” in reference to the waves of the unruly sea. Wild like my untamed hair.

I want to take a black crayon to plain white paper and draw a thickly bordered square. Above it, I want to draw a triangle and give the square a roof to make a house I never lived in. I want to take a brick red crayon and draw a rectangle for a chimney. And a gray crayon to draw a curlicue of smoke coming from the chimney I never had. I want to take a yellow crayon and draw a circle for the sun and a sky-blue crayon to outline perfectly fluffy clouds. It will be the home I never had but for some reason the one I always drew at school when my teachers asked me to draw a house. I imagine it on a perfectly manicured California street. Under it, I want to  pick up a black marker like a French teacher and write “Ceci n’est pas une maison.” This is not a house. Like that painting of a very realistic, very idealized pipe under which Magritte wrote “Ceci n’est pas une pipe.” Because it wasn’t a pipe, it was a painting of a pipe. And this drawing wasn’t my house. And that California was not California at all.


Kimberly Nao was born and raised in Los Angeles, California where she works as a professor of education at Mount Saint Mary’s University. She is the founder of Nao & Associates, a DEI and antiracism consulting agency. Her current projects include integrating contemplative practices in education, helping organizations engage in antiracist practices, and researching the historical landscape of Black Los Angeles. As a certified yoga and mindfulness facilitator, Kimberly believes that self-awareness and compassion for others leads to social transformation.

This tongue will never force words from a body that wants to remain shut. But I am packing in things you will need for the journey. I feel the heaviness of your secrets. Pin in strength and ask if this is what people want to help you carry. No, it’ll kill them, I say. It’s better you don’t say it. Some parts of me still believe you deserve saving. You deserve any ear that wants to listen, so I cut in. (And this is painful.)

I find you crying, and this is almost like a home I’ve lived in before. I find familiar paintings I left on the wall—stretches of red colours, begging me to stop, begging me to leave, begging me to wait. When it hurts to share, it hurts to even find solace in the eyes of people who will genuinely help ease the pain. When it hurts to share, we do not know if we want to share or not. We do not know when you have to leave because some parts of us will want you to stay.

I’ve been here before. Exactly what the others tell you. But when I tell you this is not a good place to rent, trust me, I do not say this to comfort you. I say this to tell you that there will only be a burial after a burial, a funeral with no song, and on days when you can’t let go of what is to be left gone, you will run back digging to reach the corpse of everything that burns your nose, of everything that will make you close your mouth shut while you want to vomit. (And this is painful.)

And that’s too much heaviness for you to carry. That is too much pain. That is too much for your eyes to hold in. When these words find a place close to you, I hope you hand them an axe to cut through your doors. I hope it breaks through your windows. I hope it gives you sunshine, air, and all the feels to stay open. (And this won’t be painful.)


Something New

Whatever happens in the womb of a woman is a time capsule, and I am told it’s the man who puts everything there.

He tills the grounds, ploughs, wets each side and plants the seeds. Every sweat that breaks loose from his face is water to quench his thirst for the hard work he does.

The woman holds everything in until a labour is due, and I’m told this is done with pain. Pain is the only belt one wears to create something new. They do all this with their hands and hold on until the time of harvest.

I want to ask them why they do this—I won’t say they do this for pleasure. I want to know how long they intend to love their fruits—I won’t say forever; it depends. I want to ask them if they think only about themselves when they argue. I want to know if they feel the pain they cause to other lands when they set theirs on fire. I won’t call the shots. I won’t say the children; the fruits and the farmlands have a lot to say, a lot to ask, and a lot to know about what happens during the farming season.

I’ll be quiet. I’ll have my peace. I’ll let them wonder what their pain does to us.


I Am Nothing But Rust

People perceive I have the strength of a wall, and anytime they want to build trust, they use me as a pillar. In their conversations, they mention my name as a verb. A sure ticket to get the work done. An assurance. A soothing tap on the shoulder, the blues in their skies. The star that waits beside the moon.

The wind comes knocking, and I’m supposed to hold still, bleed where I am cut, and break the mouth that wants to shout this pain away into smiles because I can’t afford to let anyone down. And imagine if we wore our intentions like handbags. I bet people would really see how often I give up.

How often I tire of being a punching bag that sleeps over and over every night for another round of training because it needs to be there for others and not itself.

I’m that thing that will fit in every bag. Like a comb or a perfume, or anything that stays to be used.

And they say the value of a thing is in its usefulness, but what they don’t say is that every useful thing must be treated with compassion for it not to lose its colour. And here, I’ve lost my colours, and I am nothing but a rust writing you a poem. I am nothing but rust, reminding you to give me back my shine.


Richard De-Graft Tawiah is a creative writer, spoken word poet, and LLB graduate from Central University. He is a 2022–2023 Nadèli Creative Cafe Bootcamper. He’s fueled by his passion for words and the change they bring. His journey includes volunteering at the Foundation for Educational Equity and Development where he channels his love for community service through literacy and youth empowerment. He also volunteers at Nadéli Creative Company on the Book of the Month Team. His works are published and forthcoming at the Global Writers Project, Ghanaian Writers, Nadèli Creative Company, and elsewhere. Find him on instagram at richydegraft, on Facebook at Richard De-Graft Tawiah, and on LinkedIn at Richard De-Graft Tawiah.

We have crossed the Big Island of Hawaii to the western Kohala shore in search of a sandy beach and surf. It is raining hard on the eastern shore, in Hilo, where we are staying for two weeks. We haven’t come this way – over seventy miles of two-lane roads – because of the rain. No, the rain is agreeable to us: the rain is warm, the air is warm, the rain comes and goes like a Top Ten Hit every twenty minutes on the AM dial. Our condo on the eastern shore is on the third floor of an old concrete building, and our generous lanai is perched over Carlsmith Park, where the flowering jungle is kept back by the pool wall. Beyond the wall, tiny, clear, blue inlets weave in among the palms and acacias, and turtles break all the state’s laws about staying ten feet away from tourists. This is what I imagine when someone says “paradise.”

We have come this way, west over the saddle road, because paradise and all its rocky cliffs, all its turquoise and white water, waves humping unyielding lava flows, are not the best place to take a dip, to boogie board, or to stroll along the sand. Hapuna Beach is one of the island’s few sandy beaches, over on the western, older shores of the island where time and water have tamed the lava. And so, we have driven over in an old, faded, dirty Honda Civic rented from a local boy named Tony who surely knows his wrecks. We are standing under a shade tree with round, shiny, dark green leaves the size of lunch plates. Stu is holding a boogie board and scanning the sea.

But there are no waves on Hapuna Beach today. Stu shrugs and tosses the boogie board on the picnic table under the tree, and we walk out across the beach. For the afternoon, we read and walk and read and swim. Stu sits at the picnic table after a swim, sees something in the sand, and wiggles loose a piece of flotsam with his toe. It’s a teaspoon, dropped by some recent picnicker. He sets it on the bench and wanders back to the sea.

The sandy teaspoon is upside down on the bench. Something about its shape is familiar to me, and as I reach to turn it over, I know what I will see: a few curlicues and a small flower stamped into the cheap stainless. The very same pattern on the flatware my parents bought with Green Stamps in California and that I used every day of my childhood. A few pieces even came with me when I left home and are still somewhere in our camping equipment in Oregon, sixty-three years after my parents handed those Green Stamps over to the gas station attendant and took home the service for eight, serving spoon and butter knife included. 

The spoon, like so much else in Hawaii, is not from around these parts. The spoon is an example of what’s thwarting me in my Don Quixote-like search for the local and the real – the people, the food – on this big, fecund island. Which, oddly enough, I’ve been thinking about a lot on this particular afternoon, sitting under the tree with the lunch plate leaves, reading MFK Fisher’s Serve it Forth. When I travel, I come full of expectations. Not that I will shop in boutiques or put on a tan. I come looking for local food and local people I can talk to about the food they eat. Just as Fisher in her book is traveling the centuries, looking to make sense of how and why we eat what we do, I want to understand the food of Hawaii, and why and how Hawaiians eat it. I want to experience it from the inside out.

When we arrived at the condo in Hilo, I opened a cupboard to find two boxes of Jell-O left by the previous renters. Not an abomination exactly, but a curious purchase in the land of papaya, passion fruit, and macadamia nuts. Why did they buy Jell-O? And why didn’t they eat it? Maybe they visited the big Hilo Farmer’s Market one morning and brought home a papaya, which made them forget entirely about the strawberry banana Jell-O in the cupboard. 

It is hard to override our baser tastes, driven by convenience and habit. Our condo Jell-O eaters, the spoon in the sand, they’re why I am tilting unsuccessfully at this windmill, searching for local food, and the old ways of eating it. All 1.5 million Hawaiians and the eight-to nine-million tourists who visit here each year are consuming mostly imported food. Only about twenty percent of what Hawaiians eat is actually produced in the islands. In 2013, food imports here were almost $7 billion of Jell-O and other pantry staples, $8 million in bread, pastry, and cakes, $16 million in beer, $19 million in frozen beef, and $23 million in tuna. The number-one fruit import? Oranges. Yet nearly every neatly trimmed yard we pass is home to a tree that groans under a canopy of oranges. So many oranges that paper bags full of oranges are often left at park entrances for our pleasure. 

 As I sit thinking about the power of local food for local people, I watch the Hapuna Beach gardeners raking up the fallen leaves and the larger-than-life, almond-like seeds that have fallen from the trees with the big green leaves. Could these be the Malabar chestnuts I’ve read about? After we return to Hilo, I read up on Hawaiian trees and discover I have spent the afternoon under a Sea Almond, and that its seeds are a prized nut in India. Here in Hawaii, where they import eighty percent of their food across thousands of miles of ocean, they are swept up and tossed away.

There are farmers’ markets here on the Big Island every day of the week. This is a positive sign, no? Farmers, coming together, selling local food. But I had been warned before we ever arrived that most of the food sold there was bought wholesale by the vendors from large produce suppliers, much of which is not even grown on this island or any of its brothers here on this chain of lonely isles, the farthest from other land masses of any islands in the world. Some vendors offer a backyard papaya or long beans from their garden, but the rest of the items on their tables come right out of Dole boxes, sitting in plain sight, and are parceled up into convenient tourist-size bags, meant to go back into that tiny fridge in the resort hotel.

Yes, there were passion fruit, lychee and rambutan. And I was happy for them, and even for the common, familiar things like eggplant and peppers. A banana grown here, or a fresh pineapple is full of the flavor we never taste on the continent, 2,500 miles away, after a long ocean voyage en route to mainland cold storage.

But I wanted more, things I had read about and longed to taste: tree tomatoes, egg fruit, ice cream beans, Malabar chestnuts, ohelo berries from atop the volcanoes. I asked about them, or about particular things I did not know or understand, and a veil came down over the seller’s eyes. They pointed out that papaya was five for $3. What else did I need to know? A busy market is not the time or place for history and cooking lessons. I left, a few somewhat familiar items in my bag, but an ache in my heart to know more, taste more, to be for a moment not a haole, a cracker, a gringo, a honky. But for just a few days, a part of the āina.

Āina. It’s what Hawaiians call the land, but it is more than that.  It is more than the Italian notion of terroir, which is merely all the physical things — land, earth, soil, sun — that impart flavor to a particular wine. To Hawaiians, the land is alive in a very human sort of way: “… it can do things, want things, and know things. [Hawaiians] are the offspring of a union between the earth and sky, making the āina a direct relative,” writes Judy Rohrer in her book, Haoles in Hawaii.

All Hawaiians needed, the āina provided, and then Captain Cook showed up in 1778. Suddenly, āina was not enough. In less than one-hundred years, ninety-five percent of native Hawaiians had disappeared, ravaged by diseases and our ways. “This powerfully demonstrates” writes Rohrer, “how colonialism can be seen as a form of genocide in Hawaii.”

Now the islands are dependent on the mainland and foreign markets (mainly Indonesia and Thailand) for mattresses, cars, the oil to fire their electric generating plants. And yes, stainless steel flatware, oranges and Jell-O.

Maybe I want what is inappropriate for a haole to desire. Or for a honky to want in New Orleans, a gringo to crave in Oaxaca. My own whiteness means I am forever shackled to the only food culture most of my kind can experience and most of it does not interest me: processed fast food and the diminution of the world’s cuisine. Think French cassoulet recreated as franks ‘n beans in a can. I can never make rabbit as a Frenchman, or gumbo as a Cajun, or poke as a Hawaiian. And yet, I want to go deep, make it part of my marrow. I, who am a symbol of another kind to Hawaiians. I am the spoon, I am the Jell-O. I am the descendant of Captain Cook.

So, I bash along against the tide. I arrive. I observe, I ask questions, and I teach myself. I paw through Hawaiian cookbooks in the Hilo bookstore, and set aside in a stack on the floor, unwanted, the books by celebrity Hawaiian chefs and the recipe collections by haoles much like myself. Where is the good stuff, the original ways? There is nothing else left on the shelf.            

I come home to the condo from the Maku’u Farmer’s Market on Sunday with taro and pumpkin blossoms. I dice the unfamiliar pale purple taro and boil it until tender. Is this the way? I don’t know, but I know tubers, and this seems right. When the taro is fork-tender, I drain it, let it cool, mix it with local goat cheese, and stuff the mixture inside the pumpkin blossoms. I dredge them in flour and egg and flour again, and fry them, and serve them up on a salsa of peppers, avocado, papaya, shallots, and cilantro. They are not Hawaiian, but they are very good, out on the lanai, near the turtles.


Kathy Watson is a chef and writer. She is the lead chef of the Chefs Collective at Ruby June Inn in Husum, WA. and was the owner and chef of Nora’s Table in Hood River, OR. She recently completed her first novel, Orphans of the Living, and is searching for an agent. Her earlier journalism career included six years as editor-in-chief of Oregon Business magazine. She lives with her husband, writer Stu Watson, and wonder dog, Satchel, in Hood River. When she is not cooking or writing, she runs the hills. She can be found on her website, Hunger Chronicles, and on twitter at @KathyisHungry1 .