“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.

My momma, who woke up before the roosters crowed and before the early birds tickled worms from the earth, was always the last person ready. As I walked by her room before gracing my spot on the couch for the morning wait, she had on her robe and was just setting the temperature of her curling irons. The third time I checked, she was scrutinizing two almost identical necklaces. Holding one to her chest in front of the mirror, then shaking her beautiful black curls to and fro as she reached across the basin for the other. 

I remember bouncing on the edge of the couch, Bible gripped tightly, as Bobby Jones’ gospel played in the background. Pink peacoat layered on top of a pastel-colored dress, ruffled matching socks, gloves, and polished shoes. Momma assured us that rather than vain pageantry, our attire was symbolism of our adoration for the Lord. When she said this, I imagined angels seated like a panel holding large boxing-style score cards in their wings and watching each of us as we entered the sanctuary. Their task: to rank our attire in order of holiness. As I pondered their nodding in approval or blushing in disdain, I spun my head from the clock to the television so quickly it appeared the hands stood still. Nonetheless, we would be late to church once again.

Throughout the washing of dishes, and syruping all of our pancakes, and ensuring each hair on all four of our heads was in place, she licked her thumb. Swiping a lingering crumb from Leilon’s face, she was finally ready. En route, I begged to crack a window as our dusty van seemed oversaturated with my anxiety and momma’s bitter perfume. The ride usually took about eighteen minutes allowing either for a nap or several minutes of my wishing my mother were a more aggressive driver. She drove as if we were floating on clouds, cranking up The Clark Sisters’ Living in Vain as we coasted. My stomach could have easily competed with the world’s best on beam — tossing and turning in and out of knots. Fifteen minutes late and probably missing all of praise and worship, I struggled to place each foot in front of the other while entering the double doors to the church. Not a single thing would be different on the program; yet I scanned its contents, feeling as though I heard an ominous “tisk” and vowing to make up what we had missed later at home. Momma said God was our everything – a healer and a way maker. And we should be grateful for all He’d done for us — life, groceries, and clothes. But we were always late.

It never made sense to my tween brain. How could she love God so much, dedicate an entire day to honoring Him, but show up late every time? How could she be so rude?  How would God know we took him seriously as we slumped into the last pew of the sanctuary? During my Saturday night scarries — what I called my anxiety-filled dreams on Saturday nights –each church member would turn around in unison, heads shaking in disgust, as we dragged in like stale bread. How many points off would we receive on the scales of good and evil? How would God know I truly cared if we missed half the sermon or praise and worship? As I pondered God’s love evaluation system, questions bounced around in my dome like pickle balls at a senior center. I soon realized I’d left my eyes open, and my head was up instead of bowed during the benediction. How would I ever make it to heaven?


Jasmine Harris is a multi-genre writer and educational specialist featured in the Hidden Sussex Anthology, Prometheus Dreaming, Syndrome Magazine, and several others. She most recently served as the 2023 Arts and Science Center of Southeast Arkansas Arts in Education Artist in Residence.  Harris focuses her writing on celebrating Black culture and community, intersectional identities, and the evaluation of popular culture. She frequently quotes her inspirations as Maya Angelou, Ntozake Shange, and Tupac Shakur. Stay updated with her work and projects through her website https://jasminemharris.weebly.com or on instagram at dr_harris.

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.

November 2023: Trans-ekulu, Enugu.

All my life I have viewed death at arm’s length, through the lens of a stranger. Even the death of other family relatives smelled differently, almost like a faraway thing. But when I think about my parents, I wonder the colour grief would assume when they exit this earth. When it finally strikes home, would death take on a smell too putrid for catharsis? Would grief succeed in stealing the rooms in my body, becoming too intimate to eject?

*

A light rain patters down the roof of our house while I thumb through an old album of pictures. I am sitting in one of the four black sofas, tucked in a rectangular ring. I don’t know if this is my mother’s favourite chair, but she never fails to plop down on it whenever she strolls into the living room. I believe when someone does something or uses a thing, unconsciously, over time, that action or thing becomes a vital part of them. Just like this sofa has become a repository of my mother’s body, imbibing her scent and warmth. The sofa sits on the left, beside a glass center table, directly opposite the TV plastered to the wall. It’s a privilege to take my mother’s seat, to rock my body against the spaces she’s been. At this point, I stop fiddling with the pages, and close my eyes. Instead of me, I imagine her on this chair, and train my ears to the gentle tap of her hands on the arms of the chair. On most evenings after a shower, my mother wears a faded blue and black patterned wrapper. Even now, I picture the wrapper flung around her body and inhale the dry muskiness that speaks of age.

Mama, a retrenched bursar, is not dead. She’s in Abuja, with my father, who works with the Ministry of Mines and Steel Development. My parents are both alive but sometimes I fear that one day, the thread holding their existence in place would snap and all that would remain are memories heaped on history’s back. My father is 5.8 feet, taller than my mother, and he wears a dark skin, while my mother is the colour of ripe pawpaw. Both have fairly large noses to accommodate their round faces; unlike Papa, Mama has a pair of beautiful bright eyes. But sadly, these features are slowly eroding with the passage of time. My mother’s hair is now glazed with specks of white, and unlike her, my father wears a cleanshaven head and beard, as if he’s determined to make a case against nature, a demand for his youth. In the pictures, my parents’ bodies have witnessed a series of metamorphoses. There’s a picture of them, taken when their eyes were full of light and ardor. A time when they wore their afros with style, thick and glossy, and grinned. Against a black and white background, Papa can be seen sporting an afro, a craggy beard and a pair of bootcut trousers. He poses in front of a tree, his arm resting on the shoulder of another man in afro. There’s a tenderness to my mother’s pose: the tilt of her head to one side, the smile on her face, the graceful arch of her back as she plants a hand on her waist, her knee-length gown devoid of pleats. In today’s world, their pose could be tagged prosaic and their clothes too simple to meet the new wave of high fashion taste.

There are other pictures of my parents taken at different places and events. Some of them make me laugh, smile and cry at intervals. I hold a picture against the light and blink back hot tears. It was probably taken in 2013, but the memories are fresh as dew. Somewhere in Kogi State, we are standing in front of a church building, posing before a camera: our parents and three brothers, my sister and I dressed in white beside the Bishop clad in a purple vestment. We have just been confirmed, newly conscripted soldiers of Christ, and everyone else is radiant with smiles except me. I don’t know how to smile before a camera and each time I force it, my face comes out squeezed. I remember that day, the sun boiling over our heads, the sweat dribbling down my face as the photographer urged me to smile a little, and my parents glaring at me.

Years later, I wish I had smiled. I wish I wasn’t a mimosa plant, always shutting myself out of the world, away from my parents each time they stepped into my space. Growing up, love was measured in small dosages and passed around. When we greeted our parents, we added sir or ma, thanked them after every meal, chanted“Daddy welcome, Mummy welcome”, following their return from work or the market. There were no hugs. It wasn’t a taboo to hug our parents or siblings, but it could be viewed as perfunctory, too elastic to be real. Our parents were the adults I was first introduced to early in life, and without the strings of cordiality properly binding us together, I saw them only as parents—people who had decided to be married, have children, protect them and provide their needs. I didn’t fully understand the reason for the chasm between my parents and me or my sudden withdrawal each time they tried to reach out, to show affection. Perhaps, it had something to do with the countless times they fought in our presence without a speck of regard for us, their children, our feelings. Or the moments Papa launched vile words at Mama from the quiver of his mouth that ran like a faulty tap, unashamedly, even while we pleaded with him to stop. Maybe I couldn’t comprehend how two individuals, living under one roof, could become depositories of distinct attributes. How they could so easily morph from the sweet-loving couple they had been moments ago into ravenous wolves determined to tear each other to smithereens.

Still, one thing stood out among us: our love for the mundane. Like telling stories or spending the whole weekend huddled in front of the screen, watching Africa Magic or Telemundo (despite my love for both gradually fading away). My parents, especially Mama, fed us with stories of people, places and moments in their past life. She told us about the Biafran war, how some people fled their homes in terror, and those who could not escape the onslaught ended up as dead bodies lining the streets of Okigwe. How a mother had flung her crying baby into the bush to escape being seen by the soldiers and returned hours later to find the spot where she had thrown the child empty. The baby was gone.

My growing up was bushwhacked by bouts of illnesses that ate into my time for school and house chores. Yet, I remember being struck by malaria and fever at the same time. It was so profound that I was confined to my bed for days, only wriggling off to the toilet to vomit. I thought I was going to die. One evening, the door squealed open, and my father walked in.“Imeriagha?” he said. “How is your body?”I could barely nod or open my mouth. His eyes were laced with fear as he asked if I had vomited again, and I nodded my response. He leaned in and touched my head and said my body was too hot. It felt awkward, his hand on my body, his outright display of warmth and affection, the way he said “ndo.” I was so used to my mother’s touch—her hand running down my body, as if trying to massage the hotness away, her measure of love—that his felt alien.

*

Over the years, the gulf between my parents and me has congealed into walls; so, I’m making a deliberate effort to break through them. I am 27 and still living with my mother. As a teacher working at a private school, it’s almost suicidal to plant my hope on monthly salary. After school, I scuttle from house to house for home lessons, because I’m trying to make ends meet. Because I’m so passionate about being successful, and because I want to be available for my parents. To help oil their path towards senescence, to support them financially just as they’ve done for me.

Despite all these, I try to carve out time to be with my family; and although it’s difficult to fully comprehend my parents when they talk, I provide a listening ear. Where needed, I humour their dry jokes, cringe at the death of an old friend, stifle the urge to lash back at my father when he insults me. I don’t blame them when they fail to recall what I told them some days ago. Neither do I remind them of the staleness of their stories. On second thought, who gets tired of old wine?

Maybe everything happening to my parents—the sudden loss of memory, the stories they tell that sound like songs on repeat—is all part of the ageing process. But I’m scared of losing them. In the pictures, I compare their lives from whence they started to where they are, and I feel so hog-tied at the hapless reality of their slipping away. I scroll through my phone’s gallery and pause at a photo of them standing beside my younger brother, dressed in a convocation gown. This picture is the most recent I have of my parents, and I can’t help but imagine how stilted they look from those wrinkled lines, how fragile the smiles on their faces appear, the exhaustion on my mother’s face. It’s mentally tiring to picture a moment when their smiles, faces and voices would become bags of memories I’d have to carry throughout my life.

*

Two months ago, Mum slipped off a flight of stairs at the back of the house and twisted an ankle. Whenever I remember this incident, how I had been absent from home when it occurred, my heart hammers against my chest. Sometimes I imagine a different scenario: what if her head had landed heavily against the block of cement and not her hands? What if she lay on the ground, still, her eyes wide with tears, blood oozing out of a gash in her skull, the world moving on without her?

The X-ray showed that she sustained a fracture, and the doctor suggested a bed rest. Still, Mama has a resilient spirit. “I’m healed in Jesus name, no need for any bed rest. That doctor thinks I’m going to return to that hospital. God forbid!”she says each time I beg her to take it easy on herself. Then, my father calls to complain about his sight failing him, perhaps cataract, and he wants to go under the knife. I don’t tell him that I hope he doesn’t have the surgery, that I’m scared of losing him. Instead, I pray for him to be healed so he doesn’t have to go under the knife.

Nowadays, I know I have no control over anything: my parents’ complaints, the fear of losing them to the cold grip of death before I finally find my balance in this shifting world.

In “The Slipping Away,”Chinonso Nzeh concludes his essay on a brighter note, stating his resolution to live in the moment that includes his parents.“I want to enjoy the now with them. Every moment with them holds meaning for me. I count one to ten when they provoke me; it cools the burning fury in me. I ask them if they need water or food. I call them to check up on them.”

Just like Chinonso, I do my best to live in the moment with my parents. I don’t wait for birthdays or any such precious occasions in their lives to gift them presents; I do it before, when the means unfurl. I strive to make them laugh while I continue to fill my head with the possibility of having them alive for many years. I choose to bask in the euphoria of their joy, laughter and tears.


Ewa Gerald Onyebuchi is an Igbo storyteller from Nigeria. He writes short stories, essays and poems with deep interest in feminism, sexuality, queerness and religion. His works have been published in Isele, Afritondo, Uncanny, Brittle Paper, and elsewhere. He was long listed for the Abubakar Gimba Prize for Creative Nonfiction 2023 and the Brigitte Poirson Short Story Prize 2023 amongst others. 

Image by Gorleku Sampson Tetteh

Dear Mr. President,

I am a photographer with huge concerns for the environment. Please allow me to tell you a story about my Mama’s village.

You see, once upon a time, in the middle of the village, there existed a huge forest called Python-Forest. The forest seemed to bother the people in the village because it was home to many animals including some enormous African pythons. From time to time the pythons came and stole livestock, poultry, and the like belonging to the people of the village. One day they agreed to get rid of the pythons.

In doing so, they cleared the whole forest. It was a good bounty – trees were to be used as firewood, forest game as food, and extra land was acquired for agricultural purposes. In the end, everyone thought it was needed and mostly for the best. Decades later, somebody thought and realized that it did not rain like it used to. Years later, someone else thought and realized that when the pythons were around, it rained heavily. And in the rainwater, the pythons came from the forest for their livestock and poultry. Ah! The python-forest was no more! Nor was the rain.

You see Mr. President, the fruits and rewards of nature’s existence are enjoyed together by all. The rain falls upon every land where we then have sunshine for all and clean air for all to breathe. But when we convert resources of nature into economic resources, not everybody benefits. You would agree that the distribution of our nation’s wealth is unfair and unequal. You should agree because the masses agree, and agreement amongst the masses is the most powerful, more powerful than the office you occupy. It is my prayer that the masses know this.

Mr. President, I would like to bring to your attention the quarrying activities going on in Shai Hills. The activities going on in Shai Hills is a crime against nature punishable by death. Judging according to “an eye for an eye”, the activities are killing the people and destroying the beauty of our land along with it — the land our forefathers fought to protect, only to be destroyed by selfish individuals and for profit.

Mr. President, I am a photographer who has fallen in love with the beauty of our landscape. Have you seen the magnificent inselbergs at Shai Hills? To look upon them when they appear silhouetted in front of an enchanting sunset sky is truly magical. Please, pause for a moment and try to picture that. You will be left in absolute awe of our God. It really is a magical place to be.

Here is the problem: the quarry dust is clogging the lungs of men, women, and children in these communities. The quarries are too close to the people. Have these humble citizens been condemned to death? Must they rise up against you like their forefathers did against the colonial masters before the quarries stop?

The quarries are leaving big holes in the earth. How would you feel if you were living with a big hole in your tummy? The earth is alive, Mr. President, and right now it is dying with all her beauty.

You see Mr. President, though you should, we do not think you know of everything that is happening on our land. Given that countries have suffered the effects of quarrying and now have to invest billions into restoring the land, your experts will tell you this is true. Why then are we going the same way? Please tell us how it benefits our country and her people to allow those historical inselbergs in Shai Hills to be reduced to rubble? Tell us with every shred of honesty in you, Sir. If it’s the money, then I can tell you there’s always another way, as one would tell a criminal. And the way we are going as a country is an unpardonable crime against nature. Shai Hills holds unearthed history; lives have been lived atop the inselbergs; discoveries are yet to be made; the professors are out overseas seeking more wealth. Money seems to be ruling the world, and we have become the weapons of destruction of this earth.

By executive order you can end this. Declare the Shai Hills resource reserve a national park. That will expand the reserve’s land space and then the quarry licenses will be rendered invalid. Just like that. That should be the end of the wicked who destroy the land. It is what the people want. Your experts will tell you it is the right thing to do. You would then go on to plant trees to replace the quarries because trees protect the land, as the hair protects the head and its contents. The trees will heal the earth and clean the filthy air in the city, which is only 45 minutes away. You see, a huge, concentrated number of trees in a national park at Shai, just 45 minutes from the capital, is bound to attract a lot of our shit called co2 away from the city. The trees need the co2, hence they will attract it. They go for it, kind of like we also go in search for food. That is what trees do.

Let’s face it Sir, the capital stinks! If it didn’t, once in a while you’d find yourself turning off your a/c and rolling down your windows to inhale the fresh air (if any). Let us not leave the stench to only the windowless troskies. And outside of the cities, God knows there are limitless untarred road networks, even in Shai where the historical inselbergs are destroyed for construction purposes.

I have asked my fellow citizens what is up with the fighting in parliament? Have we elected a babbling, bumbling, band of baboons? Shouldn’t they be united in building our nation?

Mr. President, as Ansel Adams once said, “It is indeed horrifying that we have to fight our own government to save our environment”. This means the governed are fighting amongst themselves, and Christ the Savior of the Christians as the “Christians” in this country love to put it, said that “a nation that fights against itself shall not stand”. We want to stand tall, Mr. President, and we believe you do too.

Mr. President, if you really care about being a true son of the land, start acting in benefit of the environment. Make that executive order now! Stop the activities that are destroying the historical inselbergs at Shai Hills.

Our youth shall be employed to plant trees to heal the land. Hell, if they won’t, the world will send volunteers to do so if need be. God knows they want to come!

The quarrying will eventually bring down the Shai Hills resource reserve. I have witnessed the rocks atop the inselbergs cracking over time. It is just a matter of time before they come rolling down. People from all walks of life come to climb them all year round, people from countries where they are immensely cared about. We need to start caring, Mr. President, in order to prevent a disaster from happening. Better safe than sorry. It will ruin our reputation as one of the tourist hotspots. Tourism is the new gold anyway. Stop the quarrying and turn to it. That will yield more money since that is what we want. And it will protect the earth in the process.

 Abandoning a well-paying job to photograph our landscape has taught me that money for daily bread is essential. I believe the same for my country. Destruction isn’t the way; doing the right thing is. By doing the right thing, we are brought face to face with the help we need. Photographing landscapes is the right thing for me, just as protecting the land from vampires is the right thing for you to do.

Mr. President, I hang on to hope that you shall act to stop the mindless quarrying at Shai Hills. Always know that three things will last forever: faith, hope and love. Love is the greatest. Move for love, Mr. President. God loves all, he is more favorable to one who loves.


Tetteh Unity

Afterword

My photographs convey the simple yet wonderful beauty of nature that nature gifts us season after season. In the rainy season, trees blossom and bear fruit; the fields turn green; wildflowers bloom bringing with them beautiful insects like bees and butterflies; the sky is blue and snow-white clouds appear, travelling across the sky from east to west.

The trees shed their leaves in the dry season, teaching us that we have to change with the season. Bare naked trees become beautiful portrait subjects with a background of an enchanting December sunset sky.

We tend to miss nature’s gift of beauty due to our now busy lives, or worse because of urban and industrial development. In a hundred years, man has changed the face and beauty of the earth more than nature has changed herself. Entire forests destroyed; whole mountains brought down. We have polluted bodies of water killing the life in them, made filthy our shores, and the list continues.

Nature is our best chance at emotional and physical survival, yet we destroy her. Are we not harming ourselves? Poisoning ourselves by our own thoughtlessness and greed?

Ansel Adams (God bless his soul) once wrote, “Since all life and it’s continuity are dependent upon the earth, our ultimate security must rely upon wisdom, compassion, determination and the awareness of the unity of man and nature.” I agree.


Gorleku Sampson Tetteh is a Ghanaian and a landscape photographer from the Kingdom of Kasunya who is deeply in love with nature’s beauty. Through his lens, he captures the soul-stirring moments that connect us to the earth and fill our hearts with joy and wonder. He acknowledges how every sunrise kisses the land with warmth and color, and every sunset paints the sky with dreams. In the arms of untouched landscapes, he finds peace and purpose—a feeling he strives to share with all through his photographs. The images are a reminder of the magic that surrounds us and a call to protect the precious gift that is our planet.

The airport officer opened my passport on his desk and looked at my photo. He put the boarding pass on top of it and held his pen. But he didn’t mark it right away. Instead, he stared at my eyes. I tried to act normal, just being myself. Four and a half seconds passed, and I started to worry. Had I doubted myself? He finally took his eyes off me and drew a half circle on the boarding pass. Then he handed me my passport, and I took it back. I started walking toward the airport inspection point which was crowded. One of the officers was guiding people forward. Behind me, people were waiting. I just wanted to pass through quickly. My passport had been issued less than a year ago. Have I changed so much?

For as long as I can remember, I have always liked the photo on my passport; but that was never true for my driver’s license and ID photo. The picture on my very first driver’s license was a little black-and-white photo attached to a corner of an opaque white card – imagine a guy with black hair and thick brows staring out into the world from a low-res photo wrapped in plastic, featuring a small hole. There is nothing in his eyes that I could say is attractive. He doesn’t seem bold or smart. And why is he so low-spirited? Why does it seem he doesn’t have anything to offer? No, it’s not like me. I don’t like it. I have never liked it.

As the airport officer stared into my eyes, I wanted to help him out. I wanted to say, “Come on, dont bother, man. I pinky promise that its me!”

Like everyone else, I like some of my photos better than others. Perhaps the ones that were taken at a specific angle. Those taken from down and a bit to the left or maybe kitty-cornered or from some special angle! I don’t know. Those photos that reflect Ali. Those that are similar to me. In those moments when you want to be yourself in a photograph, which self do you refer to exactly?

In the photo of my very first passport, I wore a green T-shirt. I was a young pal with a pair of glossy eyes staring out of the frame. It’s like I wanted to get out of that two-by-three quadrangle. You can see the fearlessness, the soul in my eyes. I want to go . . .” “I fear nothing . . .” It’s like I was whispering something like that to myself. Why not wear more formal clothes? Who takes his passport picture with a T-shirt on? The funny thing is, I used the same picture for my l-20 letter and also for the American Embassy. I didn’t care if the officer asked what kind of picture it was. Maybe that was the reason I could take my visa sooner than others. The photo was taken ten years ago. It’s Ali during those years, those days when I wanted to prove the freedom in life, with that round neck and green T-shirt! With that uncombed gelled hair! Could all of this be compressed into just a few thousand pixels? In those few inches of paper? Maybe that’s what photographs are made for — an attempt to fit all of life into a color or black-and-white image.

I put my shoes, bag, and coat in a plastic basket and left it on the conveyor to pass through the X-ray device. In front of me, there was a huge cylindrical scanner. There was a person before me, standing in the middle of it with his hands up, staring straight, waiting for it to take his nude photo!

I have never taken a nude photo before. A full-body nude picture! Well, I have seen myself in the steamy mirror of my bathroom, of course. Or when I change my clothes at home. But even those images are half-naked in my head. Not fully. Fully naked photos are frightening. Being naked is frightening. It was my turn. I took a few steps forward. I stood inside the big cylinder and put my hands up. The device turned, and a light passed through my eyes rapidly. Electromagnetic waves record your naked picture, whether you have your clothes on or not. It doesn’t matter if you’re smiling or not. If you’re beautiful or . . . I never heard that anyone would ever want to know how his photo in the airport inspection device would actually look.

The officer pointed with his hand, meaning that I could pass. I came out of the big cylinder and stood aside. I was standing with my arms folded, looking as the conveyor was pushing the plastic baskets forward one by one. My coat, bag, passport, and shoes were closing in, inside a big plastic basket.

Why did it take so long? Was it me that had changed so much, or was it the photo that was so different from me? I reasoned that if airport officers worked eight hours a day, and took ten seconds to match a person’s face with their passport photo, it would be three thousand people a day, sixty thousand a month, and more than six hundred thousand people a year. What in the world do they see in people’s faces? Fear of going, doubt of coming. Hope of getting back? If she won’t let me go. If he won’t let me come. Hope she doesn’t notice that I have changed. Is it actually possible to put all of these in a single photo? How much can a photo tell about someone anyway? They say you should not use a photo taken more than six months ago. Six months? No, not even that long, let’s assume six weeks, six days, or even just six minutes ago! Am I the same me, even right after the photographer pushed the shutter button?

I’m thinking about the airport’s scanners. Maybe those huge cylinders might be able to take a beautiful photo of you without even trying to do so. Even without your favorite clothes. Even without a smile on your face. Without shadows and highlights and without fear. That flawless art of nudity.

I like my passport photos best. My ID card and driver’s license are nothing to me but official certificates of identification. But my passports are permits. Permits for leaving! I know this by experience that any permit to leave is a blessing to me. Its photo is closer to the Ali that I know. Whether or not it’s colorful or black-and-white, it’s bright. It’s alive. It has color! And I don’t mean “color” literally, as in a “color photograph.” I mean that it is the perception of the world I create and give in my photos. I have seen black-and-white photos of myself that had more color than the colorful ones and vice versa. My passports have always been colorful, but my certificates of identification . . . not so much.

I took my things from the basket, put on my shoes, and walked to the gate. The hallway was crowded. People were carrying their suitcases. The airport-speaker was announcing the flights one by one. On the way, I was constantly looking around. I wanted to find a mirror.


Ali Motamedi, artist and educator, explores themes of travel, immigration,
and identity. His essays and short stories, published in literary magazines in Farsi and English, intricately weave these themes. Holding a PhD in civil engineering and having studied fine
arts at the City University of New York, he seamlessly combines his
engineering background with artistic vision. Additionally, his photography graces group and solo exhibitions in Iran and the US. Since 2014, he has led students in engineering, critical
thinking, and creativity courses nationally and internationally. He can be found on twitter and instagram.

Jen Soriano’s writing pulls the reader into her memoir in essays starting with a chronological history of medicine and its approaches to the nervous system. Soriano studied the history of science at Harvard; thus, her book has abundant historic detail. Included in her chronology are the Kahun Papyrus medical documents from 1900 B.C. written by women and focusing on women’s health. These documents were later obscured during Europe’s Middle Ages when St. Thomas Aquinas warned that women were weak, those who practiced healing were minions of the devil, and that hysteria was evil. By 1486, two centuries of witch hunts began across Europe. In 1894 Santiago Ramón y Cajal, founder of modern neurosciences, described the nervous system as organic and flexible, like a system of waterways. And it wasn’t until 1980 that the American Psychological Association stopped using the term hysteria and replaced it with stress disorder.

How does this history fit into the life story of Jen Soriano? Soriano describes herself as someone who has always been nervous. From the ages of twenty-eight to forty-three, she had a series of diagnoses connected to her nervous system. Not only has she suffered from nervous disorders, but she has also had a life of chronic physical pain — pain so great that it kept her awake at night and resulted in her being prescribed meds. So chronic that it led to suicidal ideation in her twenties. Yet Soriano didn’t accept her medical and psychological suffering as an individual circumstance related only to her personal life. Because she had experienced violent dreams of her grandparents for three decades, she was left wondering if she was experiencing transgenerational flashbacks from her grandparents’ trauma in the Philippines. She became certain that the war experiences of the Philippines — including her grandfather being tortured and then disappeared as a prisoner of war and her grandmother having to eke out survival while her home was enemy-occupied — lived on inside of her.   

Born in the US, Soriano realizes that not only her personal experiences, but the history of her body is connected to her forebears and the history of the Philippines. The violence that has been inflicted on the Philippines is hidden behind the American myth of Filipinos as simply agricultural and later healthcare migrants. Yet Filipino immigration to the U.S. has been part of the push-and-pull of colonialism and revolutionary resistance that began with three and a half centuries of Spanish domination. The Spanish viewed the island territory as an outpost for trade where they didn’t even bother teaching the indigenous population Spanish as they did in Latin America. In 1896, the Filipino population revolted against Spanish rule, and during the Spanish-American War that began in 1898, Spain sold the Philippines to the U.S. for $20 million. The war lasted until 1913 and resulted in the deaths of more than one million Filipino people. In World War II, after the Japanese bombed Pearl Harbor, they went on to bomb eight targets throughout the Philippines. In the summer of 1942, the U.S. surrendered the country to Japan. And from 1941-45 more than 1.1 million Filipinos were killed, and some as a result of horrid war crimes that included skinning victims alive.

When Soriano’s parents immigrated to the U.S., they left a large portion of that tragic history behind. Her father was a medical doctor and her mother, an industrial pharmacist. Both parents focused on upward mobility in the Chicago home where they raised the writer and her two brothers. Her father viewed his nuclear family – now cut off from the larger extended family in the Philippines — as a sign of progress. And when her parents took their kids back home for vacation, they stayed in hotels instead of staying with family. The effect on a young Soriano was the absence of a sense of secure attachment with her parents. She felt she hardly knew her dad because he was constantly working. Her mom was distant and did not assume the role of a nurturer. Also, during her youth, both of her medically-trained parents dismissed her complaints about body pain – a dismissal which caused her emotional pain greater than her physical aches. In sum, the writer viewed many of the experiences with her parents as emotional neglect.

The writer’s young adult years included both a process of self-discovery and learning to cope with pain. During her studies at Harvard, Soriano felt alienated from the White elites in her environment. After moving to the San Francisco Bay Area in her mid-twenties, she became part of a Filipino population much larger than she had encountered in the Midwest or on the East Coast. The move to the West Coast brought her closer to her ancestral shores and allowed her to immerse herself in political activism as well as ethnic studies. Performing in a protest band not only served as a therapeutic ritual that advanced social transformation, but it also led to her forming lasting relationships with some of the most significant people in her life. She describes hanging out with her Filipino friends as akin to constructing her own nipa hut that sheltered her from pain and isolation.

Jen Soriano sees the connection between our personal lives, our history, our communal experiences, and the natural environment. For this reason, she can draw the conclusion that nature functions like an autonomic nervous system regulator and our human health depends on the health of our natural environment, especially our rivers. She experienced the interconnection between the personal, social, and environmental firsthand while participating in a protest to resist the damning of the Chico River – the largest river in the Philippines. For centuries, the Chico River has sustained the farming, trading, and daily life of the indigenous people who live near its shores and farther afield. For more than five decades, activists have resisted plans for the construction of hydropower dams on the river system. For Jen Soriano, the Chico River symbolizes a critical crossroads between the exploitation of natural resources and a more sustainable way of being that is not reliant on colonialism, exploitation, and trauma. To experience the full force of this crossroads, we must submerge ourselves in the crystalline whirlpool of the narrative that is her memoir in essays — Nervous.

I think about my ancestors often. Specifically, I think about matters like healing, faith, hope, and love.  Currently, my curiosity centers around how enslaved women were denied time for self-care. In historic photos enslaved women donned hair rags and hair wraps; the difference in wrapping could distinguish between a woman who worked in the house and a woman who worked in the field. Under the wrap one might find fine curls or course matted hair.  Mulattos, by no choice of their own, often inherited their enslavers hair. Some head wrappings were cultural, and some were worn as acts of resistance.

I am reflecting on hair wrapping as a result of being denied the right of self-care. Neglect of personal hygiene at the demand of an enslaver. I started thinking about this, trying to connect the lessons of self-care for our hair based on the lessons that have been passed down over generations without questioning if we should do things differently.

For most women our hair is a symbol of beauty and for some, hair can be a symbol of protest and independence.  My curiosity is focused on the emotional and mental trauma that our ancestors experienced in not being able to care for their hair. What was the psychological cost of enslaved women losing their hair because they were denied the personal right to self-care? This is what has been on my mind. The inability to relieve mental pressure by feeling water wash over their heads on a regular basis, having an itch that caused them to scratch until blood was drawn.  In some cases, if they wanted to untie the coverings, they were denied the right to expose their hair.  

I can’t imagine working in a field among flies, mosquitoes, grasshoppers, and caterpillars and not being able to return home and wash my hair. I cringe at the thought of scratching my scalp infested with lice or creating remedies out of bacon grease, butter, and kerosene while being denied the right to cleanse my scalp.  Imagine hearing a sermon in church about cleanliness being next to Godliness, but being denied the right to bathe.  I am pained by the thought that my ancestors, being treated as property, were made to feel inferior to white women enslavers. White women could flaunt their tresses that enslaved women had to wash, and comb, and care for, while covering their own tresses in a rag. Is there anything more painful than providing the highest level of care to someone that looks at you and calls you property? 

Today we are hyper-focused on our hair because our hair has a history in enslavement, oppression, rejection, and classism. Our hair has a connection to our African ancestors and our white enslavers.

I grew up getting my “hair done” —  meaning washed and pulled into an afro puff, or washed, pressed and curled once every two weeks. Unless it was summer, which meant I went swimming every day. I am grateful that my mother never required me to wear those gawd awful rubber swimming caps. She did, however, demand that I wash and deep condition my hair after my swimming excursions. Water running through my curly, wavy hair felt comforting. For me water is healing, cleansing, a source of renewal and rejuvenation. After immersing myself in water, I feel pretty, clean and shiny, like a new penny. 

My cousin and I celebrated rainy days walking in the rain, no umbrella. We bought Tropical Punch soda pop and walked home slowly. The fun and laughter on those walks still rank as the best days of my youth. Our faces so wet, raindrops hitting the top of our heads; it was magical.

During COVID, I stopped using chemical straightening products in my hair, gaining the pleasure of washing my hair more. I love how water opens my mind, clears my head. Great ideas come to me in the shower. Watering my crown from the top with no protective covering is like watering my garden on a summer’s day. I ache thinking of how the ancestors, after laboring until broken, after being beaten, raped, and forced to produce babies, survived the atrocities of enslavement without being able to wash them away.  What kind of monster was an enslaver to make bathing an option? I mean, water is recovery.

Harriet Jacobs wrote about her life of enslavement; she hid in the attic of a shed for almost seven years to avoid the wrath of her enslaver. She survived summer heat, the cold of winter, fever, and near death. Harriet writes in Incidents of a Slave Girl, “I suffered much more during the second winter than I did during the first period my limbs were benumbed by inaction, and the cold filled them with cramp. I had a very painful sensation of coldness in my head; even my face and tongue suffered, and I lost the power of speech. Of course, it was impossible, under the circumstances, to summon my physician. My brother William came and did all he could for me. Uncle Philip also watched tenderly over me; And poor grandmother crept up and down to inquire whether there were any signs of returning life. I was restored to consciousness by the dashing of cold water in my face.” The mental trauma, emotional toil, and physical hardships are unmeasurable. Thinking about her hair might appear trivial. Yet imagine what she must have felt when her scalp started to itch uncontrollably? Surely, it must have felt like the torture experienced by prisoners of war. I would love to ask her about her journey back to health. I am sure it began with water. Water. I wonder how they made it over, from enslavement to freedom, without the daily ritual of a water dance.

When a mother’s water breaks, she brings life into the world. Water is a representation of all things new. Water is used to dedicate our lives back to the Creator. Water is used to keep the body hydrated, the earth moist, plants, animals, and the universe from overheating and dying. Water is the spiritual renewal of life. When water hits my face in the mornings, I feel renewal. Enslaved women, rising at daybreak with stiff bones, and aching backs, were crippled early in life by the demands of a slave breaker daring them to bring underweight sacks into the storehouse. If working in the field didn’t break you, a whip for not meeting your quota would. I linger in the shower knowing it is a privilege provided me by my ancestors.

I decided to make washing my hair a priority, not for styling, but for connecting to my crown chakra and, in a sense, connecting to my ancestors. The crown chakra gives us access to our intuitive energy and wisdom. The divine feminine is supported innately by the spirit of the Creator through our intuitive understanding. I require connection to creativity, nurturing, maternal connections, and healing support for my self-care. I can be more supportive of others when I am fully centered. The process for spiritual renewal is immersing the whole body, starting at the top of our crown, in water, dedicating ourselves back to life. My water dance feels like that moment after the rain; my body opens like a flower, tired muscles relax, my skin softens, letting the rain roll down my body.

After experiencing macro and micro-aggressions, our crown requires renewal.  I believe our ancestors would consider washing our hair several times a week a privilege. I want to honor them as I work to ensure my own self-care at the highest level of love. Maybe our blood pressure would be lower, maybe our mental health would be better, maybe our thoughts would be clearer. Just like the dew of morning, the mist of water on my brow connects me to something greater than myself.

Black women were not created to be a human resource, a tool for production, an appliance for usage like a machine. We were not created to support everything, everyone, and women of other cultures while neglecting ourselves. We are not made of steel. We can’t carry the anger of the world around us because everyone except us, men included, are immersing their entire bodies in water for renewal daily; meanwhile we wait to refresh our entire body when it is convenient to wash our hair. We are delicate, we are made to be graceful, we are meant to seek our help from the Creator. Ours is a culture of peace.

Our hair is not our crown; it is the ornament of protection decorating our crown. Our hair doesn’t determine how the rest of our body, mind, and soul respond to the issues of life. Yet, great hair is beautiful when topping a nurtured crown. In the end, it is our crown that enables us to radiate from the inside out. When we care for ourselves, we honor our ancestors. 


April L. Smith is a writer, literary agent, and motivational speaker. She is committed to eliminating mindsets that obstruct diversity, equity, and inclusion initiatives, especially for African American women. April is a Yale Writers Workshop alumnus. She loves spending time with her two adult children Kinnidy and Zackary. April lives in Raleigh, NC. She can be found at The Kinzac Group Literary Agency and Marketing Company and on instagram and facebook.

There is no place like home. So, the idiom goes. And generally, it is agreed upon as true. Or, as containing some element of truth at the very least. Not every idiom about home is as literal as this one though. To say a man’s home is his castle doesn’t mean exactly that. To say, in a patriarchal sense, that it is the responsibility of a man to bring home the bacon doesn’t exactly mean that either. If it did, one might ask, jokingly, where that leaves the vegetarian or vegan family.

In a recent PSA by PETA, the animal rights organization appealed to people to stop using anti-animal language. I agree, words matter, but I disagree that using an idiom like “bring home the bacon,” is comparable to using language that would be considered racist, homophobic, or ableist. I’m sure this would likely have me tagged as a proponent of speciesism, which PETA insists is part of our daily conversations. Much like idioms are. Besides “bringing home the bacon” other examples noted by the PSA include “beating a dead horse,” “killing two birds with one stone,” and “taking the bull by the horns.” PETA, of course, provided alternatives for what we might say instead. For “bring home the bacon,” it suggests “bring home the bagels.” For “beat a dead horse,” “feed a fed horse.” For “take the bull by the horns,” “take the flowers by the thorns.”

I love the fact that things mean more than what they purport to mean. It’s why idioms fascinate me. More often than not, I incorporate them in my work. However, I deploy them in a literal sense, usually to emphasize the absurd, but also to find what new thing might show up. Consider, as an example, “beating a dead horse.” In a poem that is a meditation on Coltrane about joy, I wrote:

—born running from lord-knows-what… 

            No. Let allusion find no stable in this song.

No room for measurements, or compromise.

            It’s dead, I know, the horse is dead—

                                    but what to do with the music


trapped under its hide?

In an earlier draft of the poem, which invokes the idiom even more directly, I wrote: “Yes, I know the horse is dead and I want to stop beating it / like a percussion instrument, but what about the music / that’ll stay hidden under its hide if no one lets it out?” I hate to think about what would be lost if I were to follow PETA’s recommendation. The poem is, as I wrote earlier, a meditation on joy. To be more specific, it is about the reality of joy as something one must fight for, especially when there seems to be so much that seeks to rob one of it. By virtue of my name, which translated means joy fills the house, joy should be natural for me, to me, and in some ways, it is. However, it is a difficult thing to think about joy when the reality of death is always at the foreground, especially in this country where one isn’t able to escape the constancy of news about the killings of unarmed Black people. To be sure, the question of home is political. As is the body. And really, what in this country (or anywhere else for that matter) isn’t?

Last year, I couldn’t stop obsessing about death. About the reality that I could be next to have my name included in the long list of names — known and unknown — of people who have been victims of police brutality. It is a terrifying thing. I wrote feverishly. As if my death were near. I could not escape, as my mother pointed out, metaphors about being swallowed. Every poem was essentially about death or dying. As has been the case for me since I started writing, writing was a way for me to figure out all the questions I had. Why is this happening? What can I do to make sure I am not next? Is this even possible? And so, poem after poem after poem, I sought to explore what it means to live inside my body. With this constant fear of death. How exhausting it was. How exhausting it is. The poem above came at a period when I was indeed tired. I wanted to write about something other than death, but it almost seemed impossible.

According to the Merriam-Webster dictionary, to beat a dead horse is:

  1. to keep talking about a subject that has already been discussed or decided
  2. to waste time and effort trying to do something that is impossible

In a way, I became the horse. I couldn’t stop beating myself up for my inability to come up with a solution for systemic issues that are, essentially, the foundation and the building blocks of this country, if we are to think of it as a house. My poems didn’t mean shit. In another poem I ask: “What good is a poem? What good is a poem if it can’t stop a bullet?” In yet another, I ask, “What is a Black body if not an unending question?” I have no answers.

For this poem, I was curious what it means to literally beat a dead horse. It isn’t too far a leap to consider how once, at a point in history, Black people were subjected to burden in the way mules are. Still are. One only needs to consider, for instance, how mass incarceration is just a modern iteration of slavery. It turns out that we are nowhere past the reality of Du Bois’s treatise about  striving in The Souls of Black Folk. Even then, I was curious if there was music to be found in the beaten hide, something akin to joy. My name, as I mentioned above, means joy fills the house. And though a house is not exactly a home (that distinction matters), the body too is, in some ways, a house. Or a home. Can be at least. Whatever language we decide on, however, we can agree that not everyone feels at home in their body. I don’t always.

I don’t always feel at home in most places. Born in Nigeria, in Ilesa, Osun State, I have lived in the United States since I was seventeen. First, in Cypress, TX. Then, Houston, TX. Huntsville, TX. Kingwood, TX. Humble, TX. I have also travelled a bit across the United States. A few years ago, in 2016, I took my first and only trip thus far outside the U.S., to Costa Rica which reminded me so much of home — the gravel road, the hills and mountains on the way to Monteverde were reminiscent of the trips to Imesi-Ile, where my grandparents lived, where my dad was born.

In a recent interview, the question of home came up. “Tell me about home,” the interviewer says. In response, I say:


My relationship with home is kind of a complicated one. For the most part, I believe it is nowhere or rather, everywhere we make ours. I believe we find it, or sometimes, it finds us. In the geographical sense, Nigeria is home. I was born and lived there till I was 17. It was home then. In some ways, it still is though it doesn’t quite feel like home anymore. For the most part, I’ve lived in Houston since 2007. That means it’s been home for that long. In some ways, it too doesn’t feel like home anymore. I still live in Houston, or at least around its perimeters — I currently live in Humble. So, in some other ways, it still very much is home. Home for me isn’t really a fixed place. However, both places have equally been home in the way I understand home — anywhere you belong, where you’re known and always welcome and, where you can return to if you ever leave it.


In the scientific sense of the word, displacement is quite simply a change in position. In a sense, it can be argued that the word displaced is an accurate descriptor for everyone who leaves — either by choice, or otherwise – the place they’ve historically known as home. This, I think is what it means to be in diaspora. No matter how settled one might be in a new home, I think it’s impossible to escape the feeling of homelessness. Of restlessness, which is, for me, a default.

As with my poems, this essay was prompted by a question: Is there still no place like home? The straightforward answer to the question is either a yes or no, but I think it’s more complicated than that. It has something to do with the word ‘still’ which was, in 2018, my word for the year. I don’t remember when I first started deciding on a word for a new year, but the earliest documentation I have of this practice is 2012. The word for that year was “run.”.

I love that a word can have more than one meaning. Still. Still. Still. By definition, being without motion, the continuance of an action or condition, or a static photograph (specifically one obtained from a motion picture). In retrospect, I think the word ‘still’ was important to me in 2018 because the year before that, I was everywhere. I was hardly home. Even when I was home, I spent the majority of my time away from my apartment – a residence I really had so I could have somewhere to sleep when I returned. I almost didn’t do anything else there. In 2017, touring for a book took me to 11 cities outside Houston, across 3 states. Texas: College Station, Laredo, San Antonio, Austin, Galveston, Huntsville, San Marcos. Louisiana: New Orleans, Baton Rouge, Lafayette. Missouri: Kansas City.

To return to the idiom, I found out that its origins trace back to a time in Europe, “before the 14th century when the institution of family started taking precedence over other factors. Society, environment and family life all came into being and also the realization that the person is truly at ease when at home” (theidioms.com). In so many ways, the family we grow up with (or without) shapes our understanding of home. The world outside isn’t always a safe place, and the family, home, in the most ideal circumstance, provides a sense of safety, a sense of refuge.

True as that may be, a question remains for some of us. How can one, how does one, feel at home in a country that wants one dead? I have no answers. Still.


Ayokunle Falomo is Nigerian, American, and the author of Autobiomythography of (Alice James Books, 2024), AFRICANAMERICAN’T (FlowerSong Press, 2022), two self-published collections and African, American (New Delta Review, 2019; selected by Selah Saterstrom as the winner of the New Delta Review‘s eighth annual chapbook contest). A recipient of fellowships from Vermont Studio Center, MacDowell, and the University of Michigan’s Helen Zell Writers’ Program, where he obtained his MFA in Creative Writing–Poetry, his work has been anthologized and published widely.

It takes a reminder, a compelling moment, to bring the scope of sorrow and beauty back into focus. As I entered an RV park in Payson, Arizona, a mountain town favored by locals for its mild summer months, I had such an experience.  Often, in the light of something truly magnificent and inspiring, equal measures of sorrow and beauty mingle. We might know it as poignance, wherein joy and sadness combine to become a sweet fermentation of experiences. This is generally reserved for later years of life. And yet, despite its power, this condition often goes unnoticed.  

Upon arriving, I immediately noticed towering cottonwood trees, their leaves gently agitated by the wind. Safely away from the Phoenix sun, I felt a sense of freedom; no scorching heat would triumph against the breeze or bear with us into the evening. With that thought in mind, I felt refreshed. However, as I drove my motorhome over the winding path to my site, I took note of other things, situations contrary to the beauty of trees and sunlight.

Although called a “resort,” the place is really a trailer park in a small town, pleasantly overshadowed by mountains. Those of us with modest means either vacation here or live in “park model” homes year-round. And, with that, a sense of sorrow prevails, despite the sheltering cottonwoods that resist summer heat. I spoke to a few residents who were older and very concerned about skyrocketing rent. In a mobile home park, you must purchase your unit and then continue to lease the land—until you either sell or vacate the structure. For some residents, the latter option might be their only choice. Few people consider this as they enter such communities. Park owners present new units, ready for purchase, and emphasize the conveniences and amenities of the arrangement. Most people forget that the homes are very costly to move, and they devalue quickly. Moreover, the rent will increase annually—without fail, rent control being very much a thing of the past. Even with this in mind, I am still intrigued by the contrasts of the place.  

A tour of the park reveals a large, well-maintained clubhouse, a handful of newer Class-A motorhomes, and the shiny “park models” awaiting their new owners. Also in evidence are dilapidated structures, dreary with the neglect and desperation of older people who simply cannot afford to move. I spoke to one woman who cares for her 96-year-old husband. After he passes, she plans to walk away from their mobile home and live in a renovated van. And there are other stories, as well.

My nearest neighbor to the west had a number of drunken arguments with her son, when he came to visit and brought his little dog. Hailing from Tennessee, the family has been devastated by opioid addiction and the tragic death of a daughter and sister. Across the road and just to the north, a frail woman in her forties smiles in the mornings, attempting to be cordial as she hurries to work. She was ostracized when her pedophile boyfriend arrived to share her trailer. Although it’s nearly July, they keep Christmas lights blinking in the yard, draped around stone cherubs and pots of wilted flowers. With such occurrences, tragedy feels like the prevailing aspect of life here in the “RV resort.”  However, there is still the soft beauty of nature to enjoy, a power that abides throughout the seasons. And the place is not without a bit of charming irony.

As the only African American in the park, I was greeted in an interesting manner by a white neighbor. She said, quite sternly, “It’s a nice place, very quiet. We don’t have any riff-raff here.” Right. I tried not to laugh out loud or take offense at her insinuations. After all, I am not the owner of a park model. As a full-time writer and RV nomad, I am free — merely passing through as a seasonal guest. Although I am relieved to be leaving, I feel a strong sense of sympathy for this environment, this place of contrasting themes.

For the moment, mountains and pine trees prevail, as I regard the poignance before me. The glories of nature and a gentle climate are powerful in their role, softening an atmosphere of desperation with a sense of beauty, albeit temporarily. And this is the way of things in so many small towns. Such places embody poignance, demonstrating the scope of sorrow and beauty. I will be grateful to move on in a couple of weeks, as new horizons await.    


A. M. Palmer is a writer, graphic designer, and retired park ranger with work appearing in Belle Ombre, Adelaide Literary Magazine, Dissident Voice, and other publications. Inroads: An Urban Park Anthology is the author’s first book. Palmer holds a master’s degree in history from the University of San Diego and continues to research art and social history with a variety of upcoming projects. The author is a member of the National Association of Independent Writers and Editors.  Read the author’s latest work at A.M. Palmer, Literary Nonfiction.

JESSICA and ANNIE were two of the most super-duper, uber forces in my second-grade class at Brethren Missionary School where I had been banished by my professor parents. Run by and for White expatriates, the admissions practice at Brethren meant no colour bar impeded wealthy Nigerian locals and rare hybrids.

At seven years of age, I was aware that these two big timers’ energetic vibrations seeped insidiously into everything – everywhere – altogether — without discrimination.

Yes indeed, everything about JESSICA and ANNIE was big, bold, brassy and BOMBASTIC.

Boom! Boom! Boom! KABOOM!

Reverberating echoes flared, flinched and flickered every time these two beauties entered any    room with their long, loose limbs, luxurious locks of accessorized hair, high top sneakers and empty, shell-blue peepers. It seemed that everywhere I went, they were there too. Not because they relished gazing at my brown face but because they took up SO-MUCH-SPACE, evidently enjoying using their invisible elbows to prod me out of their way with impunity.

OUCH!

My motley-type of mother said JESSICA and ANNIE were “strapping yet striking in response to my query about how pretty she thought they were. Come again, Mummy?

Strapping and striking like the Vikings?” I further inquired.

“That’s right, Cher!” she chuckled. Then smiling, she stated dryly, “Hitler would have been proud of those two”.

Her pointed wink and suppressed girlish giggle told me the last point wasn’t intended to be a compliment, and so I garnered she was trying to comfort me in her familiar, feeble-while-bizarre kind of way. Regardless, I was under no illusion that I was of any significance when standing alongside the two little-girl giants christened JESSICA and ANNIE. Me, with my cornrow hair; them, with their corn-colored hair seemed to say it all.

Corn-colored was better than cornrowed.

I didn’t know exactly why this had to be so, but it seemed incontestable by the way JESSICA and ANNIE looked right through me as if I wasn’t there.

I will never look like them, no matter how hard I try.

From their imperious ribbon hair ties all the way down to their frilly ankle socks, these two outdid me in every way. Even more hellacious were their voguish backpacks hanging side by side in their respective cubbies; one red and one blue, sequined embroidered initials and all, commanding attention from every corner of the room.

One warm morning, swaddled by the green-grey, partially misty hills of the Jos Plateau — an emerald shawl, perfectly draped, ethereal as a scene from the Brigadoon of my wildest daydream — all thirty of us children were sitting cross legged on the floor of our open-door classroom, when Miss Rose chose JESSICA and ANNIE to show and tell where they were in their science project. Springing to their feet in unison, and speaking accordingly, these beauties proudly yet aloofly held up their once empty jam jars now filled to the brim with piles of brown pellets. They explained that they had spent the previous week collecting the pellets, which were actually called cocoons — if you pleaseand were going to keep a close watch on them until they turned into butterflies. Up until this point, I had been staring at these two in reluctant admiration.

A shrill, sane voice from the back of the class asked Miss Rose, “What are they going to do with the butterflies?”

Now grinning in unison, JESSICA and ANNIE produced a glass frame divided into separate compartments, the way a pair of premeditating magicians might, and said they were going to poke the butterflies through the heart in order to kill them, using colored pins (they gestured to their weapons) then place them in the glass frame as a gift to the class so we could all admire them forever and ever.

Silence.

Then, the worst type of stabbing pain began to form in my gut, a sort of wretched chronic punch, as I slowly digested the information amidst these monsters’ beaming faces.

Jagged red evil eyes.

Why was Miss Rose nodding and clapping?

Looking around the room, I noticed some of the other children in my class with accentuated downward-turned smiles.

☹☹☹

I didn’t need to find out how many of them felt the same way that I did.

I just knew that I had to act stealthily and FAST!

***

If anyone had been paying close attention, they might have perceived that I became very quiet for a good portion of that whole day. Indeed, they might have noticed that I went missing at lunch time. But I don’t think that was the case. Nobody noticed at all that during our tennis class, on the tennis courts, while everyone else was baking in the generous Nigerian sun, under the scrupulous watch of three large birds of prey– stately as the magisterial magi of Persian fame and biblical proportions — I stole my wily way back up to the second-grade classroom.

HA-alleluia! It was my lucky day. (No one was there.)

Feverishly I made a bee line for those cocoons, and wouldn’t you know, when I ransacked the red and blue sequined embroidered backpacks, those darlings rose to the top almost immediately, making things easy peasy. I grabbed the two teaming-full jars, wrapped them in paper towels, wedged them under my arms and fled the scene running and running and running until I came to the old, prickly briar patch that nobody liked to go anywhere near — the one that I had always fancied the plantation proverbial Brer Rabbit would have loved. Then my seven-year-old fingers successfully prised off those ghastly jam jar lids, and I threw those darlings into that briar patch as far back as I possibly could.

 “You’re free now!” I whispered, gleefully.

***

Immediately fleeing the scene, my surroundings became more nether-worldly with each step. Somewhere in the not-too-distant landscape I pensively observed my sister, Clare, milling her way around the school compound.

Hmm. What was this?

Not only was Clare a whole three years older than me, but she was also quite a bit taller, and skinnier too, and she walked with a slight stoop. Her eyes were larger than mine, with a slight bulge about them, and she wore her dark brown hair in a short, tightish, slightly unkempt afro. Sometimes when she poked around aimlessly, she reminded me of an ostrich, and other times she seemed like Olive Oil (the cartoon character with the annoyingly high-pitched American voice).

Today my sister is an odd-looking ostrich.

At school, Clare was devilish in her modus operandi. As an interesting consequence of her “unacceptable acting-out behaviors” she was often to be found enjoying enviable coloring activities — during which she was allowed to use thick, bright, smelly, and interesting-looking crayons in the counselor’s office — and otherwise wander around, unfettered, to her hearts content.

Mmm, how I love the scent of those pens. Especially the grape.

Ordinarily Clare despised, and saddened me, but today I felt so happy and lucky to see that weirdo sister of mine en route to rejoin my classmates at the tennis courts! A potentially positive interaction had to be possible.

What if I tell Clare?

As I got closer to her, I became aware that my sister was not alone. Elouise, her orange-haired, freckle-faced partner in crime — as coined by my mother — had popped up like a bad penny, and now they both were looking at me with slightly sardonic grins on their faces. My feet, in seeming concert with my heart became languid with apprehension. I hesitated.

Don’t be a fraidy cat. Shuku shuku is for supper tonight!

Feeling a small burst of hopeful energy, I began to open my mouth…but before I could get a word out, the dubious duo vomited gibberish at me, projectile style, in the “secret language,” that existed only between the two of them, and ran off laughing, apparently metamorphosed into a pair of frenzied, howling hyenas.

I’d been effectively ditched by the feathered critter and its sidekick.

Once detached from Daliesque reality, it was easy to slide back onto the tennis courts unnoticed. Next to JESSICA and ANNIE, I was not that visible after all. Later on, back in the classroom, my spine trembling like a jellyfish, I watched and waited to see what would happen if per chance these two huntresses decided to furrow into their bags before the end of the day.

Well, they did of course.

Oh, my. Big ugly tears!

And later, threats that when found, their missionary daddies would expel whichever uncivilized thief it was who stole from them. I shrugged (inwardly, of course).

Oh, well. I suppose the crème de la crème did not get the cream today?

Jesus is watching, he will PUNISH you!” was J and A’s final ominous warning, followed up by a long menacing stare unmistakably directed towards the five darkest-skinned pupils in the room. I must have been momentarily unrestrained for I accidentally allowed something sounding like a scoff to escape from my throat. Upon so doing, my thunderously unhelpful heartbeat dropped into my gut…and then, WHAT in the? Suddenly a storm of butterflies was trapped in that hysterical tummy of mine. Well, a real MIRACLE must have happened, right around that time, because somebody without any type of face that Iwas able to see, ever so swiftly transformed my scoff into a camouflage cough.

Ahem. Ahem, AHEM…!

Oh, thank you, Miss Rose”. I watched the words float out of my mouth in a big fluffy thought bubble, syrupy sweet, and soft as candy floss, as I reached for the partial glass of lukewarm water my missionary teacher had extended in my direction as I furtively rubbed my belly.

Relax butterflies.

Jesus was not going to punish me. Up until this point, I don’t think I had ever been as sure about anything in my whole, little-kid life.

A little later on, the boarders and I watched the Nigerian Sun set

slowly;

a hazy, lazy red eye, filled up and fed up

with enough hungry secrets to last one hundred lifetimes,

its hot sultry stare seeming to devour my mulatto skin, knowingly

nurturing my Blackness without my consent,

and it was then that I remembered, something my misfit-of-a-mother liked to say:

“Cheryl wears her heart on her sleeve”.

Well, maybe—I thought, with the most insolent-looking, inward eyeroll that my mother could have possibly imagined. But, not this time. This time, my poker face was simply superlative.


Cheryl Atim Alexander is an African European woman primarily of Nigerian, Greek, and British descent.  Born into a family of readers and writers, she has never known a time when she wasn’t reading or writing lyrics, poems and stories. Currently an MFA student, Cheryl is enjoying leaning into a newer identity as a multi-genre writer. Her writing material emanates from lived, professional, and educational experiences surrounding holistic mental health and wellness, new thought spirituality, and human and animal rights. She aims to entertain, educate, agitate, and activate soul-filled inspiration to anyone who may have temporarily misplaced their voice. You can find her on LinkedIn at Cheryl Atim Alexander, LICSW, RMT.

In 2000, I was working at Shell in Bangladesh as a reservoir engineer, when I was sent abroad to Netherland for training. The training center was a microcosm of Shell’s global operations, with new employees from Scotland, Spain, France, and America, as well as countries that were just starting to hire local employees where Shell was developing oil and gas. There were geologists and engineers in training from Venezuela, Brunei, Syria, and other Arab countries.

In the Bangladesh office, I was the only Bangladeshi engineer in the explorations team, besides two local geologists. I had fought to join the explorations team, at great opposition from the explorations manager. The country manager had forcefully inserted me into that team. I forget what they, the expats, called us, the local employees, in the Bangladesh office. Perhaps we were locals, or perhaps we were called natives. The global employees sat separately at lunch, and, in general, expressed vicious frustrations about the country and the local employees working for them. They complained about the air quality – they were concerned about their children’s health, and many of the employees’ spouses wanted to leave Bangladesh. One geologist referred to Dhaka as a block of concrete. There were other, constant snide remarks, about the corruption of Bangladeshis, the laziness of Bangladeshis, and the lack of technological capacity. Once I made the mistake of asking an expat if they had traveled in Bangladesh, mentioning the Sundarbans, and the man looked at me with shocked eyes before replying that his children were too small to travel.

Most of the global employees were Dutch or British, with a few Americans. The atmosphere was toxic. In the explorations team, no one spoke to me, except for the reservoir engineer who was training me. When I did speak to someone, they were hostile, and they let me know what they thought of me. I had studied in the US for my undergraduate and master’s degrees and just returned to the country, so this level of open racism was shocking to me. It felt like I was back in colonial times. Once, I was asked to prepare a report. When I was about to send it out, the English engineer who was supervising me, a tall, bald-headed, smooth-faced guy, one of the nicest people in the office, said that he would check over my work first, as he was a native speaker of the language.

After months of facing constant prejudice and humiliation in Bangladesh, being in the Netherlands among other bright-eyed international trainees was a welcome change. Everyone was friendly, and there were no barriers among us. The training center was located between Noordwijk and Noordwijkerhout, beside the North Sea. I believe this was the Hotel NH Noordwijk Conference Center in Leeuwenhorst. At the end of the day, we went out to either town, Noordwijkerhout or Noordwijk, for shopping or dining. We hired out cycles to bike to the North Sea and walk on a beach scattered with striking blue jellyfish.

I was there to attend two courses. The first course was introductory. Expensive consultants had been hired to facilitate team building among new employees. We were split into several groups. Each group had to arrive by themselves at a retreat in Liege, in Belgium, while performing some wild tasks en route. The first challenge was that we had to hit about five or six countries on the way. We cracked the riddle ecstatically, putting our heads together. We would simply visit the embassies of these countries in Hague, and then take a train to Maastricht. On the train, we had to sing a song and get strangers to sing along with us. In Maastricht, we slept outside the train station all night in the cool fall weather, till finally making it to our cabin, where we slept on bunk beds and cooked and cleaned the cabin ourselves. By the end of the first week, we were fast friends.

When we returned to the training center, many of the trainees would show up at the Schiphol airport on the weekends to catch a flight to another European city. Others rode the super-fast trains to cities in the Netherlands, Belgium, or Paris. There were other kinds of entertainment. Some of the men went to a live sex show, or they brought women home with them to have sex and then later clean up after them. At our training center, no outside visitors were allowed. It was a big hotel, with a dining hall downstairs that served the same food for weeks. The only relief was the Indonesian sambal served on the side, an acquirement from the Dutch colonization of Indonesia. This bottled sambal added some spice to our bland food. We used to all dream of our native foods at night. Once, the young American engineer from Texas begged me to go out to a McDonald’s restaurant with her. I forget where the McDonald’s was. Amsterdam? Hague? Or in the local village? I will never forget that meal. We relished our burgers and fries, marveling that Europeans ate their fries with mayonnaise. The American engineer, whom I remember as a round-faced, blonde-haired, jolly person in T-shirts and jeans, was my favorite person there. She was charming in her innocence and earnestness, and we soon bonded over our nostalgia for America.

On a November day in 2000, as I watched the US election results from my hotel room, there was a shocking turn of events. George W. Bush had won the election. When I rode the elevator downstairs, all the international trainees at the dining table were stunned, either speaking in fast voices or sitting mutely with ashen faces. There was a heavy sense of bad things to come. Only my dear American friend from the Houston office seemed blithely unaware of the cataclysm the rest of us feared. Despite being my favorite person, she often made remarks with which the rest of us vehemently disagreed. We would round on her and educate her on the spot.

Once we had been having breakfast in the dining room, digging into fried eggs and fried tomatoes and paring grapefruit, when she had said, “America is trying to help world poverty by sending food and money to other countries, but how much can America keep giving?”

The rest of us had challenged her, saying that was not what caused poverty or famine, not a lack of food, and that America was not helping by keeping countries in debt. Through these debts, America and other Western countries controlled these countries’ government budgets by spending, siphoning off poor countries’ resources and controlling their policies by holding them hostage.

In a few weeks, we finished the introductory course of team building and bonding. I stayed on for another course with the other engineers and geologists. Downstairs in the hotel lobby, a large poster showed the price of oil in barrels. One day, an Iraqi employee arrived. We were immediately put on high security. Even before the man stepped foot on campus, all the trainees were briefed on the conduct we would have to follow. We were not to speak to him. He was not allowed in several areas. I believe he was not allowed access to the computers. I never saw him, but like others, I was disturbed by the tense atmosphere in the conference center. I couldn’t stop thinking about how he must feel, moving through this sea of hostility, restricted access, closed doors, and frightened faces turning away from him.

In 2008, when I read Joseph O’Neill’s Netherland about 9/11 and its aftereffects on a Dutchman living in New York, a novel the former President Barack Obama gave his seal of approval by telling the New York Times magazine that he was tired of briefings and was relaxing at nights with the novel Netherland, I was already familiar with the Netherlands, its colonial history and its neocolonial present. In 2000, I had sat together at meals with young people from all over the world with a dread in the pits of our stomachs that President George W. Bush was going to turn the world upside down. For O’Neill’s character in Netherland, 9/11 was a shocking, lifechanging event that struck a blow to his comfortable cosmopolitan existence in New York. His character didn’t seem too concerned about the US invasion of Iraq — a war that would result in over a million dead Iraqis, over five million orphans, the torture of Iraqi civilians, depleted uranium waste left behind that caused widespread cancer, and the rise of ISIS. But from where we were sitting in 2000, the people outside of America, we could already see the future, beyond the scope of the novel Netherland.


Gemini Wahhaj is the author of the novel The Children of This Madness (7.13 Books, Fall 2023) — a complex tale of modern Bengalis that illuminates the recent histories not only of Bangladesh, but of America and Iraq, and the short-story collection Katy Family (Jackleg Press, Spring 2025). Her fiction has been published or will be forthcoming in Granta, Third Coast, Chicago Quarterly Review, and other magazines. She has a PhD in creative writing from the University of Houston, where she received the James A. Michener award for fiction (judged by Claudia Rankine) and the Cambor/Inprint fellowship. She is Associate Professor of English at Lone Star College in Houston.

I stack up the memories of my defeat, one on top of the other, until a mountain of setbacks is facing me. Once again, I am my mother. I am the dreams she had to bid farewell for the sake of a happy marriage, a happy husband, a happy family. I would rather we were miserable — since dreams that don’t live long enough to see the light always turn into nightmares ready to hunt down our peace of mind.

I often observe my mother’s blank face. I wonder in what alternate universe her dreams would have become reality and what she would have had to sacrifice in the process. I wonder if she often imagines a child-free life as her own, if she embraces, when no one’s looking, the possibilities that she left behind, and if she would have had any regrets in the depths of her heart had she prioritized academic success over the mechanized duty of motherhood.

Now that I think about it, almost every single one of my aspirations had something to do with my mother’s miscarried dreams. She wanted to go to med school, to become a university professor, to have a career in writing, to live in the United States. And when none of those dreams came true, I dreamt of doing all those things on her behalf. I sit alone, I wonder and wonder, but I never find the courage to ask her. What if she finds it insulting that I would ever think her life didn’t go as planned? What if she wasn’t even aware of her potential when she settled for a regular job that kills creativity, a slow torturous death?

My mother wrote a whole dissertation about the evolution of Muslim societies when it comes to women’s assumption of leadership roles. She made sure I read her work before I was old enough to understand the dynamics of sexism in academia, before I could even comprehend the weight of being a woman and a scholar — the responsibility and the burdens, the times when giving up feels like the best option at hand, the state of being in the shadow of your male colleagues or in the outskirts of your professor’s vision. My mom’s dissertation made me think that I knew it all, that I’ve officially found the ultimate cheat codes, the road that leads to academic success even when your crippling sense of self feels like the biggest obstacle in your way.

 I smiled every time someone reminded me of the similarities between me and my mother. “Even your dreams and life goals are similar” they say, not knowing that it was all too deeply engraved in my conscience, that I had planned every part of this puzzling resemblance that they now praise so effortlessly with words so easy to utter when you’re not the one putting in the work.

My grandmother’s face comes to mind whenever the word resilience graces my hearing. I remember her miscarried dreams too, and when I do, I find myself trying to overcome a strong urge to cry. My grandmother was married off at fourteen, forced to let go of what her once young heart desired. Her brothers grew up to become successful in their fields of study — one is a lawyer and the other is a doctor of medicine. While they worked hard to achieve their goals, she cooked and cleaned and raised the children who came from her infantile uterus. At sixty, she learned to make bitter jokes about the childhood stolen from her, careful not to laugh too hard at what still pains her heart until this day. Her youth a ripe fruit, a blossoming flower, carelessly thrown away.

My womanhood has taught me to live for the sole purpose of embodying the dreams of my female ancestors. Despite all the stories of the unfulfilled desires of the women in my bloodline, I long to dream freely and live my life in service to every dream that got away.


Aya Anzouk is a college student from Morocco, Rabat. She‘s pursuing her higher education in Clinical Psychology and Sociology. She’s an opinion writer for Arabic Post, formerly known as HuffPost Arabi, and an Arabic fiction writer for ida2at and The New Arab. Aya enjoys reading in her free time and is interested in philosophy and history. One of her favorite books is The Society of the Spectacle by Guy Debord.

The Book of Mormon, questioning the representation of Uganda in the musical:

In recent years, burgeoned by efforts to decolonise education, literature and general popular culture, we’ve seen an increase in critical engagement with classics and their depiction of what is considered as the racialised “other”.

These include Shakespeare’s plays Othello (1603) and The Tempest (1611), Conrad’s novella Heart of Darkness (1899) and Camus’ novel The Stranger (1942). However, what is still needed is a greater scrutiny of plays which are currently running — plays which are offering up diversity and inclusion as a facade, and by doing so reinforcing racial stereotypes, rather than combatting them. 

You might have heard of The Book of Mormon, a Broadway musical first staged in 2011 and still celebrated today. When I went to watch it, I knew nothing about it other than that it was hailed as “the best musical of all time” and had won a cabinet of Tony Awards. My analysis comes from the fact that I am African myself working on colonial, postcolonial, and decolonial issues. Therefore, the musical was racist rather than humorous to me.

From the outset, Uganda is represented as an undesirable location. Upon hearing their destination, the two white missionaries who are sent to Uganda are not only shocked but also unhappy and jealous of their counterparts with missions in other countries like France, Norway, and Japan.

As soon as they arrive, their belongings are stolen by armed men who terrify them and the whole village, which goes back to what Edward Said (1978) referred to that “the East has always signified danger and threat”. People of the village also laugh when the missionaries ask for the police, which mirrors the dichotomy of order and disorder, developed and underdeveloped.

The staging highlights a gloomy yellowish and dull green landscape, mud huts, dirt , and other disturbing images (a cast member pulling a dead animal around the village, another one pulling a wheel around, and a skeleton of another dead animal kept outside in the open).

These images correlate one of the Mormons saying, “there are a lot of disturbing things in Uganda”. These images differ from the residence of the Mormons in the village with light, a colourful sofa, a board, and books with bright colours around them. This depiction accentuates a dichotomy of “civilised”, “uncivilised”, and “primitive, developed” that implicitly insinuates how the “racial Others” and “white civilisers” are seen and understood.

Other problematic aspects of the play are the stories of rape (raping babies to cure AIDS), circumcision of women, AIDS among the people, militia threatening the villagers, poverty, and violence. However, it did not seem that people were aware of the stereotypes and the racist depiction of people from Uganda while the stories of AIDS among other issues made people laugh in the room.

So how is this depiction of Africa, precisely Uganda, different from other works and depictions that postcolonial and decolonial studies have tried to deconstruct? How is it different from the negative representation of Africa and Africans in Conrad’s novella Heart of Darkness that the postcolonial author Chinua Achebe criticised for its racist illustration of Africa and Africans?

The theatre plays an important role in the quest for decolonisation. The Theatre can have a positive impact by raising awareness, educating the public and bringing people together while addressing past and present inequalities.

However, it can also have the opposite effect by emphasising certain stereotypes. Some shows problematically enforce labels using comedy.   This idea  is referred  to as “Ironic racism” which has been criticised in the media for tolerating  shows’  absurd racist tropes by actors and comedians.

Jason Osamede Okundaye discussed ironic racism in comedy considering it naïve and dangerous. What is alarming is that racism often hides behind humour. Thus, there are limits to humour especially when it is racist. Moreover, the world is moving towards decolonisation, which means speaking against stereotypes and labels attached and following certain people (in the play, Africa) from the past.

White Missionaries and the colonial image of Africa in the musical:

In colonial times, missionaries were sent to colonised lands to spread their religion and educate the “uncivilised Africans,” while colonised people were seen and portrayed as “primitive”.  Frantz Fanon highlighted the role played by the missionaries in colonised lands as calling to the white man’s ways rather than to God’s ways (Fanon, 1967). In the musical, one of the missionaries taught false information to the villagers because he had not read the book himself.

The people of the village are portrayed as naïve and simple-minded in accepting the new religion even when the information communicated by one of the missionaries is an invention. For instance, one of the Mormons convinced the people of the village to have coitus with frogs to treat AIDS. Therefore, the dichotomy thinking of civilised and uncivilised, victim and saviour, white and black (one of the characters was referred to as Nicotine), East and West, order and disorder, developed and underdeveloped are strongly and directly accentuated throughout the musical.

The white missionaries are portrayed as the rescuers of the village and its people from their “primitive uncivilised” ways. One of the characters said “the Book of Mormon will do those Africans a lot of good”. The message implies that the two white missionaries and their book are bringing a positive message and way of life to Africans, and that they need it. This mirrors the past through the role played by white missionaries in colonised countries reinforcing the stereotypes that have long followed Africa and Africans.

While the show title centres around the Book of Mormon calling it a religious satire musical, the story centres around the racist depiction of Africa. It emphasises colonial legacies of a set of stereotypes attached to Africa in general, and Uganda specifically (Aids, violence, superstitious beliefs, poverty, rape, primitiveness) that the “white man” can change, and which the show reinforces. It is the image of Africa through the lens of colonialism, which Edward Said (1978) refers to as the “recurring image of the other” (p4).

The show could take place in France, Norway, or Japan. Nevertheless, there is a deliberate depiction of an African country, stressing colonial stereotypes, not challenging them. It was not France or Japan or Norway that was laughed at in the show; it was Uganda.

The arguments presented in this article serve to raise awareness about the reproduction of racial stereotypes in the theatre and decolonise these reproductions. Decolonisation is about depicting and speaking about these issues that are racist, dangerous, and provoking. It is not only the show, but also the laughs across the room and the silence around its racist messages and depiction of people in Africa which is dismissed by people saying “it is a joke”.

Decolonising the theatre means educating ourselves about the past and using it to raise awareness. It is acknowledging how the past, shaped by colonisation, still has an impact on today’s national and international landscape between “the West and the rest”. The theatre can and should be used to combat stereotypes — not reinforce them — and change the colonial narrative about locations and people outside the Western world, decentring white supremacy.

Decolonisation is not only for academics to tackle but also for everyone. Decolonization of the theatre “rests with the people, the theatre audiences”. Depicting and speaking about racism is not only for academics as well as it is for everyone, everywhere to reach a level of decolonisation.

Who is Edward Said?

Edward Said (1935-2003) is one of the pillars of postcolonial studies. He authored several books that are still the starting points for colonial, postcolonial, and decolonial theory. Some of his most celebrated books are Orientalism (1978) and Culture and Imperialism (1993).

Concepts and terms:

The dichotomy references in the article come from the representation of the East and the West, self and other, orient and occident in Edward Said (1978), orientalism, as well as the dichotomy of coloniser and colonised others in the work of Franz Fanon. This dichotomy thinking underpins the colonial system at the time as well as the colonial legacies of our time.

Decolonisation’s definition in general can be a contested concept that bridges different foci from Frantz Fanon (1967) questioning the colonial system and structure to Ngũgĩ wa Thiong’o (1981) writing on decolonising language and the use of colonial language to Chinweizu decolonising the literature and the mind (1980/1987). However, the definition used here is thinking about decolonisation as a “way of thinking about the world which takes colonialism, empire, and racism as its empirical and discursive objects of study” Bhambra et al, 2018, p.2


  • For further readings on the subject please check:
  • Ben Luxon (2018) The Book of Mormon is as racist as Conrad’s Heart of Darkness.
  • Bill Ashcroft, Gareth Griffiths, and Helen Tiffin (2002) The Empire Writes Back: Theory and Practice in Post-Colonial Literature.
  •  Chinua Achebe (1975) An Image of Africa: Racism in Conrad’s Heart of Darkness https://genius.com/Chinua-achebe-an-image-of-africa-racism-in-conrads-heart-of-darkness-excerpt-annotated
  • Claire G Harris (2019) “The Book of Mormon Musical Is Extremely Racist”
  • “Colonial Legacies” https://spheresofinfluence.ca/colonial-legacies/
  • Dane Kennedy (2004) “Decolonization: A Very Short Introduction”
  • Decolonisation inpractice The strangers case https://www.archives.org.uk/news/decolonising-in-practice-the-strangers-case
  • Edward Said (1978) Orientalism.
  • Gurminder K. Bhambra, Dalia Gebrial and Kerem Nişancıoğlu(2018) Decolonising the University.
  • Herb Scribner (2020) “It’s Time to Talk About Race and ‘The Book of Mormon’ Musical”
  • Johnston, A. (2003) “The British Empire, Colonialism, and Missionary Activity,” in Missionary Writing and Empire, 1800–1860.
  • Udengwu, Ngozi (2018) “Decolonize or Else – Negotiating Decolonization through Popular Theatre”

Sarah Elmammeri is a final year PhD candidate at the University of Liverpool working on refugee and border policies in Europe from a postcolonial perspective. She tackles issues surrounding the othering of refugees and asylum seekers at the level of external, internal, and everyday borders in Europe. She is interested in issues surrounding migration in general and refugee and border policies, specifically colonial, postcolonial and decolonial theory, inclusion, and diversity.

I never need to open my refrigerator to know what produce it houses; I keep a mental file of what I have purchased. For instance, I know that right now nestled next to the long-lived carrots and celery are a single red pepper and a package of cremini mushrooms.

These vegetables nag at my memory because they must be used soon, or they will spoil.  Fruit is easier to track; it mounds in changing patterns, visibly, in a bowl on the counter.  I bought a bowl from a Signals and Wireless catalog warehouse sale nearly twenty years ago, and since then it has been a focal point of my kitchen.  Today I removed a large cantaloupe from it and cut it up; I peeled an orange yesterday, and as I bit each section in half, its sweet, sticky juice ran down my fingers.   I will keep eyeing the lemons this week, pondering—muffins? lemon-sauced chicken?

Somehow, I have become a person who plans meals around produce—around a deep-seated fear of wasting.  It should not be surprising to anyone that fear leads to oversight—to order. For me, this particular fear manifests as a steady anxiety as I move through each week—even before that, as I shop, agonizing over the amount of fresh goods to buy. Often, I place three apples in a bag, then return one to the display, calculating: how many days will I cut one up for lunch? I weigh a bag of hearts of Romaine in one hand and a bundle of Brussels sprouts in the other—too much for a single week? 

I used to plan meals enthusiastically for my three boys and myself, the years we were alone, especially as they reached high school, and I had to maintain a budget.  They could eat enormous amounts of food. It was my job to make sure there was enough, that it was affordable, and that it was relatively healthy. I always went to the store with a list of dinner ideas for that week—hearty meals, often pasta-based, that would feed these young men who ate like a crowd — chicken lasagna, spaghetti pie, brown rice hotdish. Buying extra ingredients, especially fresh ones, was a burden I avoided.  I could succeed only if I avoided waste.

I made up rules in those days, too, allowing myself permission to buy certain items that were stocked in abundance—say, cereal—only when they were both on sale and I had a coupon.  It was never onerous to remember the parameters I set for myself; I was proud of my frugality and practicality.

Now, things have shifted; I have shifted. I go to the store with a list and some vague ideas, but I prefer to plan as I cook. This week, I will make a pinto-bean and vegetable casserole on Monday that will use peppers, zucchini, loads of onions; chicken drumsticks and a potato kugel on Thursday that will incorporate one package of mushrooms hiding in the crisper drawer and the remnants of a carton of sour cream. As the week progresses, I will worry more and more, scour through cookbooks to find the recipe that will allow me to use what I have before it goes bad.

When I wake in the middle of the night, I wonder: What will I do with that red pepper? An egg bake? I experience a strange mixture of triumph and relief as I figure it out, plot to avoid my shame — letting food spoil.

*                *                      *                      *                      *

The kitchen of my childhood was not always a happy place. My mother stayed at home with my two sisters, my brother, and me for many years, filling our table with hearty meals she had grown up with on the farm — fried chicken, pot roast, meat loaf. She served what my father wanted, always—never scrambled eggs because he preferred them fried; bacon that was limp rather than crisp.  We begged her to make our Sunday frozen orange juice in the blender; we craved the light froth at the top of our glass and, as we kept sipping, the cold tart taste of orange that followed. Though she made it that way sometimes, she seemed annoyed that we would constantly ask.

She did some canning in those days, too. I remember standing next to her, my nose just above the cupboard’s edge, watching her pour hot paraffin onto jars of chokecherry jelly. I sensed she did not like this work; she spoke sharply to me when I asked to have a jelly sandwich for lunch.  I knew even then she was trying to be frugal, having watched her peel a sink full of the tiny apples that grew on the tree right outside the kitchen window for a measly pie or two. The thin spirals of peel mounded in the sink, as she turned each fruit in her hand, boring out the bruises, their sweet, cidery odor filling the kitchen. She did the work because she knew she ought to and because she had helped my grandmother on their farm do it as she grew up, but it didn’t seem to give her much joy.

Then, my parents divorced (my father was an alcoholic and a philanderer), and my only brother died — twin tragedies that would change the whole trajectory of our childhoods and family life. My mother had to take multiple jobs to support us, since at the time she had no marketable skills. She’d gotten married at 19, having given up a decent secretarial job and independence, as did many women in the early 1960’s. She had four children in quick succession and had to use her energy to clean and cook and keep us out of her hair. What spare energy she had was spent to defend my father against bosses made angry when he missed work or came in hung over. She had little energy left over to hold my father accountable for his dalliances; the lipstick collars (the worst clichés) slid by with little fuss, until he confessed to my mother that he had carried on an affair with the next-door neighbor couple. That was enough for her, and the Catholic faith she treasured, to permit divorce.

After the divorce, my father rarely paid child support (which we discovered only years later), and so my mother shouldered the entire burden of feeding us on a very strict budget.  I wonder if she was as proud of her efforts as I am of mine now.

The divorce changed the way we ate, of course. Dinner was whatever could be made quickly — Kraft macaroni and cheese, Dinty Moore beef stew, spaghetti with Ragu sauce, fried Spam sandwiches.  I assumed some of the responsibility for cooking—really, heating—those simple meals because I was interested and because I knew it would help my mother.  The mood in our kitchen, not surprisingly, was often lighter without my father and the tension his drinking had brought to the family. But there was still a hint of tension underneath.

We were not destitute, but we were poor.  We had enough. Mostly. Sitting around the kitchen table on Sunday mornings, we scoured the newspaper—together, all of us, my mother, my two sisters, and I—for grocery coupons and sale items. Eventually, I shouldered this task of meal planning for the entire family. Trips to the grocery store would be as purposeful and efficient as I could design them—there was no extra money for frivolous food we didn’t explicitly need for meals.  I relished the task, took pride in making sure we ate well on our skimpy budget.

Toward the end of the month, inevitably, money dwindled. No more shopping could be done.  We ate generic canned chicken noodle soup (with its salty, slightly rancid broth) or oatmeal, sometimes bread and gravy — a dish I despised. I understood that using up leftovers was our only choice, but I swallowed my mouthfuls grudgingly.

Once the beginning of the month came, my mother got paid, and the welfare check came, we’d have a full cupboard — beginning again a cycle of abundance and want that became a familiar element of the landscape of my childhood.

We were not unhappy.  Dinners were full of conversation; we cleared the kitchen table and did homework there.  A single box of Chef Boyardee pizza mix, embellished with a bit of hamburger, fostered a celebratory mood. We picked up slices speckled with small mounds of meat, bit off greasy mouthfuls, tangy with the flavor of the sauce.  A simple bowl of Dinty Moore beef stew over a toasted English muffin satisfied; its gravy scent was overlaid with the sweet, earthy smell of carrots. The glory was not that the food tasted good; it was that we were together, fighting—though we wouldn’t have said it at the time—for our place in the world, in spite of setbacks.

The older I got, the easier it got; my mother gained job experience. She moved into accounts payable and then into credit — work that was both higher paying and more satisfying.  It took less effort to make ends meet.  She eventually began cooking again, as she transitioned from multiple jobs to just one.  She cooked for pleasure now: rich manicotti, affordable sirloin steak — seasoned and broiled –, mashed potatoes, baby peas.

When we three girls were in high school, she bought a dishwasher and had my uncle install it, though that did mean no more nights when my two sisters and I stood at our separate stations—washing, rinsing, drying and putting away the dishes—with music and good-natured bickering our soundtrack for this simple work.

*                *                      *                      *                      *

The kitchen of my present is a perfect room. It is large and square, painted recently a pale gray green with one wall—the one above the windows that face the front yard (with its bird feeders, hosting cardinals and chickadees)—painted a rich lavender-blue for contrast. Cupboards line three walls, including a tall pantry cupboard.

This is the room that sold the house to me. I spend most of my time here—it’s where the music is, where guests gather.  It’s where I scan cookbooks and magazines, looking for creative ways to use the vegetables in my crisper drawer.

This morning, as I diced that red pepper I was so worried about for scrambled eggs, I smelled its sweet acidity and felt a deep satisfaction with my life; I did not know I would end up here, in such abundance. I lead a life of privilege, one that still takes me by surprise. As a child, we rarely had fresh vegetables, except for potatoes and carrots from our garden. As I chop, I feel enduringly grateful for what I have.

Out of abundance comes vigilance.  I must not waste what I am lucky to have. To have enough also enables me to give, to extend my good fortune to others.

My son Nate stopped by yesterday because he was sick and needed to borrow a thermometer.  He took his temperature in my kitchen, then pocketed the thermometer because he needs to make sure he’s fever-free for work. Before he left, I also managed to place in his hands a few bottles of non-alcoholic beer I bought for him for a recent family gathering. I offered packets of tea for his cold, and a lemon — too good in the tea — for the vitamin C.

On rare occasions, a stalk of celery browns and wilts, or a bowl of leftover gravy or spaghetti sauce (always homemade) molds in its dark corner of the refrigerator.  I throw the celery into the compost bucket—a good save since most food that goes bad in my house can be saved in some way.  If I had a dog, I’d save even more:  I’d feed him whatever I couldn’t eat, as my grandmother did on the farm. 

I have wrestled my demons and won, warded off the certain shame that comes with failure. The reward is the wrestling.  I keep my convictions in a world of ease and waste, with muscular effort.


Tracy Youngblom earned her MFA in Poetry from the Warren Wilson College Program for Writers. She has published two chapbooks of poems and two full-length collections, including her most recent, Boy, set to release in February 2023. Her work has appeared in journals such as Shenandoah, Big Muddy, Cortland Review, New York Quarterly, Potomac Review, North Dakota Quarterly, and many other places. She has twice been nominated for a Pushcart Prize in Poetry, most recently in 2017.