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Some Questions for Louis Febres

Editorial Intern Brenda Lema had some questions for Louis Febres.

What inspired you to write “Something Lost”?

Languages have always fascinated me: their origins, evolution, and especially the idea of a language and culture being supplanted due to conquest.  That to me is one of the most tragic things that can occur to a culture.

What was your writing process like for this piece?

I wanted to write a micro-story for a class assignment and thought it would be a good challenge to write one about the demise of a language/culture. In keeping it compact, and establishing a kind of rhythm it turned into a prose poem. I’m not sure I had a process aside from trying to keep it as short as possible and trying to tell the story from the point of view of the people whose culture is being lost, but telling it in a direct, objective manner without any sentimentality.  Sort of like a news report.

How has COVID impacted your creative work?

Working from home since March of last year and not having to commute due to COVID has certainly freed up a little more of my time for creative endeavors, though not as much as I would have liked (or would have imagined).  The general shock of the pandemic earlier on and the dread and fear that followed, plus the political climate last year with the election, certainly killed my desire to do anything but watch the news with my free time.  But I guess we’re now approaching the end of this long dark tunnel and there’s some light coming through, so I hope to be more creative/productive in the months to come 🙂


Read Louis Febres’s prose poem “Something Lost.”

Into This World

by Madelyn Romero-Melgar

I’ve always known my mother was born in El Salvador, but for a long time I didn’t know what being an immigrant meant. For us, it meant instability and uncertainty. It meant exhausting our options: spending a few nights with family but getting kicked out by their landlord, sleeping in shelters, or in our car. For my mother, it meant sacrificing her standards, like putting up with men that didn’t respect her, just to have a place for us to stay. Places that never lasted because my mother was a fierce woman, but each time we moved, she would comfort us with a promise that one day we would have our own house and our own rooms.

In the quietest neighborhood of Bay Shore, the White House peacefully watched my older sister regularly beat me at board games. It sang along with us to “Graduation” by Vitamin C on the radio. That song made my sister sad because it reminded her of old friends. One night, I saw a shooting star and wished for a million dollars. I went to bed imagining what I’d do with all that money. But the next morning when I shared the good news with my sister, she said it wouldn’t come true since I revealed it. The White House eventually kicked us out because of loud fights between my mother and her boyfriend.

The Apartments welcomed my brother into this world. We lived on each corner of those apartments; it knew us well. The East corner watched my brother take his first steps. The South corner danced to Selena with me. The West corner taught me how to ride a bike. The North corner taught my sister and I English. One night, my mother left to attend a party with her boyfriend. My sister snuck us out at midnight to go to the opposite corner of the apartments where my aunt lived. That caused problems for my mother within her family and her relationship. There were many fights here too. We eventually had to leave.

My mother told my sister and I that she was sending us on vacation to El Salvador. That vacation lasted most of the school year. It wasn’t much different than the Apartments, but instead of kids, I played with the farm animals. One day the girls in my class put gum on my skirt and laughed at me. My sister stood up for me and stayed with me during recess instead of playing with her classmates, even though those girls liked her. Eventually, she walked us out of school to never return again. My sister called my aunt back in the states everyday to remind her that we were there.

When we came back, my mother wasn’t ready to receive us. They split us up and I stayed on a busy street called Gibson Avenue with my aunt. Gibson introduced us to a case worker that wanted us to choose who we wanted to live with. I watched my sister cry uncontrollably for the first time. I knew it was my turn to be strong. We didn’t answer that woman but somehow we reunited with my mother.

1580 was a big blue house that stood between two towns. It gave my sister her own room but I still had to share with my brother. 1580 introduced us to kids with trampolines, and in its own backyard it had a tiny pool that we played in everyday. My mother eventually ripped it apart because we kept wetting the floors. 1580 taught my brother that he could run and hide behind me when he was being punished and that I would protect him. It taught my sister to stand in between and break up our mother’s fights with her boyfriend and their separation meant we had to leave again.

Cardinal Court welcomed my baby sister into the world. It enjoyed Selena too. It taught my brother how to ride a bike and it was one of many places I defended him from the bigger kids on the block. Cardinal toughened me up and it gave me two scars: one from falling off my bike and one from opening a can of food, which should have gotten stitches but I didn’t want to bother anyone. One day, I accidentally caught my sister smoking. She told me to keep it a secret and confessed that it helped her relax. We had to leave Cardinal behind for the same old reasons. 

After a long car ride, we ended up in North Carolina. My baby sister cried a lot. I think she missed her dad. I enjoyed rocking and singing her to sleep. North Carolina didn’t get to know us that well because her father eventually came to get us.

We arrived at a dead end street in Brentwood called Wendy Lane. I continued putting my baby sister to sleep since I learned how to calm her down. My new friends would come to my window to rush me to play baseball, football, and manhunt. My older sister was in high school, had a boyfriend, and started to work. Wendy Lane witnessed my first kiss and my first fight. It taught me how to make mac-n-cheese and write poems. It idly watched my mother’s boyfriend argue with us and throw our stuff away and it noticed when I stole his cigarettes and beer. My mother made many attempts to leave but we always came back. One day, as I was playing outside, I noticed police cars pulling up and my aunt pulling up to the house. I was greeted by my sister saying, “We are leaving for good this time.” Saddened but not surprised, I waved goodbye to all my friends as we drove off.

On Wendy Lane my mother pretended to work overtime as she secretly took her citizenship classes. My mother’s first act as a citizen was to fulfill her promise. We moved on our own to a little white house with blue shutters in Central Islip, a town we’d never heard of. Cranberry Street officially welcomed my mother into this world.

 


Read Some Questions for Madelyn Romero-Melgar


Madelyn Romero-Melgar was born and raised mostly on Long Island, New York. She is first-generation American and her parents emigrated from El Salvador. Throughout her life, she has faced many challenges that created a passion within her to help children and families. She is passionate about child development and developing healthy family dynamics. She is graduating from LaGuardia Community College with a psychology degree and aspires to transfer to a four-year college that will help her achieve her goals. Find her on Instagram @madx320.


Image credit: “Welcome.” Flickr Public Domain. 

I Can Carry It All

by Ethan Velez

“I always hate when movies do that. It feels like, oh, I don’t know.” Tabs spoke with her hands. It was hard to keep them by her side.

“It’s always like, the fucking teacher in front of the class,” she went on. “His voice is fading because our protagonist isn’t paying attention. Meanwhile, he’s going on and on about the theme of the book they’re discussing which happens to also be the theme of the movie.” 

Her hands clapped together, separated for emphasis, went up in the air to conclude her piece. Her cigarette smoke formed a line out the window.

Eduardo wanted to add, “Next teacher in a slasher is going to be teaching Frankenstein.” He did not.

“Are you all right?” she asked him.

There was nothing odd about a dizzy spell, so Eduardo only nodded. He sipped from a plastic cup of coffee he hated. He was sitting on Tabs’ bedroom floor, which he hated, while snow was beginning to brew outside, which he hated the most. 

“So Midsommar, yeah?” Tabs asked. 

“Yeah!” Eduardo answered. He hated everything else, but he loved Tabs.

Tabs found her USB in a bowl she kept on her desk. Her room was wide, clean, white. There were album posters and stacks of expensive sneakers she bought herself. 

“Snow’s falling,” she declared, her eyes fixed on her screen. Eduardo lifted one of her linen curtains. She was right.

He wanted to ask Tabs how she knew. He did not.

Everything in Eduardo’s home was free of witches and ghosts. No monsters unless they were mentioned in a Saturday morning radio sermon. His home lacked lore. He hated it, but he loved his parents, and found middle ground in waiting until he was with Tabs to watch movies.

Eduardo said goodbye to Tabs when the movie ended and the snow began to settle. He forced himself to the L train with a jacket too thin to keep him warm. 

In Eduardo’s neighborhood, the Russian Orthodox Church was a community landmark and just a few streets before his building. It was once large, dominant, and brick red. A color that reminded Eduardo of his old Sunday classrooms. 

All that remained was disaster. A violent fire swallowed up everything it once was just months ago. 

Eduardo breathed heavily and his skin itched. He rubbed his arms with his hands. It was a mistake to use a thin jacket. He could feel his throat tightening and waited for a clear crosswalk. He was allowed one step before the sirens of a FDNY truck jolted him back onto the sidewalk.

The sound ran down his ears. With it, he could imagine the sky, always dark before anyone was ready, taking long sips of smoke from the church’s steeple. Eduardo once saw the steeple as regal, only now it was a leering eye, judging him for walking away.

Eduardo dropped his keys at his front door, which he hated standing by. A faint sense of a threat loomed behind him. He thought he could smell smoke.

“¿Qué es esto?” Eduardo ‘s mother demanded when he was inside.

“It feels like someone is watching me,” he gave away. He shivered and couldn’t stop.

God is always with you, mijo,” she comforted him, satisfied. She wore a dull pantsuit and smelled like her favorite perfume: flowery and dense. Her hair was long, dark like Eduardo’s, which she proudly claimed had never been cut until Eduardo’s father told him otherwise. She cut it often when she was sixteen. 

“We have to go to church tonight, I’m speaking,” Eduardo’s father confirmed as he closed in. “Y tú también, mijo.

Eduardo perked up.

“One day you’ll be preaching too.”

Eduardo saw his parents off and joined the quiet of the apartment. The four walls of his bedroom were painted an inexpensive tan. There were two small bookshelves on either side of a sharp and square coffee table. His bed was a twin, and nailed above it was a cross that always felt ill-placed.

“It’s too far to the left,” Eduardo’s mom had said years previously. 

“It’s fine,” he  said.

“Es bien,” his father added.

Eduardo studied the cross as his body shuddered. It was too long, with a sad color and honed corners. Yes, he thought, it was too long. 

He made sure his heater was on, turned the lights off, and buried himself under his sheets.

“Everything hurts too much, it’s too cold,” he wanted to yell. He didn’t.

Instead, Eduardo thought about his father preaching. He thought about Tabs and her wicked, thrilling movies. About the fire. The night the church burned down was, all things considered, a peaceful night.  “ELECTRIC ISSUE?” flashed through TV screens that morning, videos of scorched walls and black wood circulated on Twitter, and by evening it was well behind everyone. 

Eduardo didn’t see any of it. What he did see (for the brief moments before it went dark) were his limbs stretching beyond him, blurring yellow lights, and the buildings in his neighborhood shrinking.

He forced his eyes shut and listened as the wind knocked the front door back and forth in its frame. It was furious. Like someone on the other side needed to get in.

Eduardo listened until he couldn’t. He focused on the dark in his eyes until he couldn’t see. In succession each sense plummeted until, without warning, an ache shot through his body. 

It was warm. And then it was numb.

“Did you see the way she just gave in?” Tabs asked Eduardo the next morning. She often needed some hours after a movie to really comprehend her thoughts on it. “She’s hurt, but then she gives in.”

Eduardo nodded with his phone on his ear. 

“I like Midsommar more,” Tabs continued. “because in the end, your family is going to fuck your shit up. They’re programmed that way. But in Midsommar, she’s saved. In Hereditary, everybody just dies.”

Eduardo made a face Tabs couldn’t see. “That makes sense, actually.” 

 


Read Some Questions for Ethan Velez.


Ethan Velez is a Manhattan native, sculptor, writer, and amateur bartender. His work is inspired by Italian horror movies of the 70’s and his mom.


Image credit: “church,” bigoneep. Flickr CC BY-NC 2.0.

Some Questions for Alicia Evans

Editorial Intern Brenda Lema had three questions for Alicia Evans.

What inspired you to write “Whatever Will Be,  Will Be”?

The inspiration for “Whatever Will Be, Will Be” came from my own life experience. I have made some mistakes along the way but they were all stepping stones to the person I am today. Watching the Hitchcock classic with my mom really happened. It wasn’t until I became an adult that I understood that we don’t know what the future holds for us. We don’t have a crystal ball to tell us what is in our future. The words of the song “Que Sera Sera” hold so much meaning to me: “The future’s not ours to see.”

Another inspiration for this story was taking Fictional Writing with Dr. Sonia Alejandra Rodriguez. She showed us how you can take an incident and turn it into a story.

What was your writing process like for this piece?

My writing process, I don’t know if it is the conventional way, but for this story, I had the title first.Then I knew I wanted it to be about a wedding day. So I just wrote what came to me. Then of course I read what I wrote and was like, nope that doesn’t fit. It was a lot of writing and rewriting before I felt it just might be okay. I also listened to the song “Que Sera Sera” over and over while I was writing.

How has COVID impacted your creative work?

At the beginning of COVID, I was stuck. I could not think let alone be creative. That started changing when my professors started having us include something about the pandemic in some of the assignments. I had to change the way I was looking at this pandemic. Once I did that, it helped me see a story in everything: from the discarded mask tossed on the sidewalk, to the woman that walks past my house every morning at 7:15.

 


Read Alicia’s flash fiction piece “Whatever Will Be, Will Be.”


Image credit: “Doris Day: Qué Será Será, 1956,” Wolf G. Flickr CC BY-NC-ND 2.0. 

Tears of a Clown

by Brianna Jo Hobson

Eyelash curl, the insect lipstick is wet.
Heartstrings cut, the eyeshadow castrate.

My smile, a deep segmented crack—foundation coils to jack in the box my neck.
No matter how much I stroke, the painting won’t dry on its own
The vanity brush is artifice down my throat.

My eyesight bloodshot, the tile beneath my feet, solidified pus
Conditioning at its finest, the mirror tells me;
“I’m prettier in folds of hemorrhage eyelids.”

Hidden behind bile eyeliner, the tears of the clown have now widened
Nosebleeds run thin and stain the inside of my bra lining
“Did you hear she hides her flaws with blush and highlighter?”

They say you can’t be proud if you choose to play your face
Feminism is not about what they give you—it’s about what’s taken

When beauty is at stake, makeup becomes the knife on your plate.

 


Brianna Jo Hobson is a poet, essayist, and short fiction writer from the Bronx. Her work skews more towards horror as she is heavily inspired by folklore, surrealism, dark fairytales, and the gothic subculture. She was one of the recipients of The Award for Outstanding Achievement in Creative Writing in 2020 and is a part of LaGuardia’s graduating class of 2021. She aspires to have a career in book publishing and will be attending Baruch College in Fall 2021, pursuing her Bachelor’s in English. You can find her blog here and find her on Instagram @m0thluv.


Image credit: “Palette,” Toshiyuki IMAI. Flickr CC BY-SA 2.0.

Prosthetic

by Brianna Jo Hobson

Apron string, tied and undone like an umbilical cord
Stitching needle loops through hypodermic buttonhole

I cinch every waist that dears to breathe,
Every pupil that tears to cry or prickle

Corset skin beset like silken organdy—unraveled, cut, slip knotted,
Kept, like, a woman, I suppose

The presser foot stands on the bulge of my neck,
But I survive, I survive. Every time through the skirt of pleated breath.

Prosthetic scissors are phallic, like Freudian appliqué.
I do what I can, to hide my dysmorphia, like crinoline under a dressing gown form

I slit, I snip, I rip, I sigh, but I can’t thread material to twill free-will
or save my midwife life,

With birthing pangs ruffled and sharpened to needlepoint,
My bleeding heart materializes as wire hanger anger sewn

Mannequin arms, and legs, attached by a string of crewel,
I, lay figure, abortifacient of expectations, am shot, sutured and brutally reused.

Only bodkin eye holes left to pierce and peep tom through

I stab and seam, bind and weave, emotions, only to have them locked away and closeted,

Rope of my rapist’s mother’s homespun tapestry, hangs there, in embroidery, “We always weep what we sew.”

A pincushion of unblinking gender sits in chest; caught mid-swallow,
between lips, amidst deep throat,

Undressed and depressed, crocheted in Kitchener stitch, I am a gentle whore,
Abhorred as a replica bore, forever, an Eve dummy

To be knit upon, hit and, ignored.


Listen to Brianna Jo Hobson read “Prosthetic” below.


Brianna Jo Hobson is a poet, essayist, and short fiction writer from the Bronx. Her work skews more towards horror as she is heavily inspired by folklore, surrealism, dark fairytales, and the gothic subculture. She was one of the recipients of The Award for Outstanding Achievement in Creative Writing in 2020 and is a part of LaGuardia’s graduating class of 2021. She aspires to have a career in book publishing and will be attending Baruch College in Fall 2021, pursuing her Bachelor’s in English. You can find her blog here and find her on Instagram @m0thluv.

Some Questions for Ethan Velez

The editorial team had some questions for Ethan Velez.

What inspired you to write “I Can Carry It All”?

The story came together through some stages. I was having a hard time sleeping one night until I felt this warm, calm breeze that helped me out a lot. Slept like a baby. It turns out that the breeze was hot air from a nearby church burning down. I explained the situation to my sibling, Ash, who said it was good material for a flash fiction piece. It was definitely gradual. The title comes from a Ted Lucas song.

What was your writing process like for this piece?

I spent a lot of time thinking about the piece and how I wanted it to go. I mean a lot of time. To the point where when I finally started writing the first draft, I already knew what I was doing. It was a great feeling. I wish everything I wrote went like that.

How has COVID impacted your creative work?

There was no work. I couldn’t be creative through the pandemic until I started reading and watching what I liked as a kid. I also read a lot of essays by people who were writing about whatever they wanted, which was freeing for a person whose writing felt and read like something I put together for a grade.

Now I write what I want. I’ve truthfully spent the last year feeling like l’ve been learning to write for the first time again.

Horror movies come up quite a bit in this piece, and you mention in your bio that you are a fan. What draws you to the genre? How do horror movies inform your creative work? 

Horror movies had a hand in shaping who I am today, definitely. John Carpenter’s Halloween was one of the first movies I can remember watching as a kid. I remember being terrified, but thrilled, because at the root of a story about a masked criminal stalking teenagers was an ordinary person trying to survive. I was drawn to that. I’m more interested in stories about people trying their best than I’m interested in horror, but I like ghosts and witches, so scary movies have been a good middle ground.

When I’m able to understand and relate to a character who makes it to the end of a horror movie, I better understand myself, and that reflects in my writing. I pull confidence from the Nancy Downs and Barbara Steeles of the world.


Read Ethan Velez’s flash fiction piece “I Can Carry It All.”


Image credit: “Happy Halloween,” eyecmore. Flickr CC BY-SA 2.0.

Something Lost

by Louis Febres

It started out small. Borrowing from brothers, sisters, cousins, and neighbors, until it grew strong enough to stand on its own. We took it from our tiny village as we braved nearby lands, and from the lips of a few it blazed like wildfire. Across cities it went, propagating knowledge, wisdom, and tales of our people. Through it our ancient gods sprang to life, our world was given form, and our heroes gloried in triumphs across terrestrial and celestial battlegrounds. Spoken, written, and sung, it birthed our every thought.  

One morning, the strangers came. If not for their outlandish clothing and ornamentation, they would have appeared to be our brethren from the Eastern border. When we spoke our words of welcome, they were received with bewilderment and returned with jumbled sounds we could not comprehend. And when we presented to them our words of proclamation and law, they met our eyes with scornful gazes and spat upon our parchment and clay.

Soon after, blood was spilled. The fighting lasted many weeks. Their enormous ships piled upon our shores in great flocks, on their backs the never-ending rows of warriors, delivering destruction and death with their strange and barbaric implements. When our cities choked on rot and ruin, and our babes suckled the shriveled breasts of dying mothers, we could no longer resist; we bent our knees, and our land was theirs.

In time, it became small again, like in the early days. It was spoken only by a few elders, but by then the temples were rubble, our halls of learning cinder, and the sacred scriptures and wise words turned ash. And when the elders perished, so too did our language disappear, like a whisper in the sea.

 


Check out our Questions for Louis Febres.


Louis Febres worked by day and studied by night but since the pandemic, it’s been a big blur of work and study from home and he no longer knows when the days begin and end. He knows he was born in Brooklyn and has lived in Queens most of his life. He was once a musician bursting with creativity, and then the 9-to-5, family life, health issues and an assortment of events derailed him. He likes to think he is back on track, finding a new creative outlet in writing, and soldiering on like everyone else.


Image credit: “Languages,” ArTeTeTrA. Flickr CC BY-NC-ND 2.0.

It’s a COVID Party

by Shoshanna Soleyn


Watch Editorial Intern Jin Martin’s Interview with Shoshanna Soleyn

 


Shoshanna Soleyn was born and raised in Brooklyn, New York, in Crown Heights. She is a Commercial Photography major at LaGuardia Community College. She was first introduced to photography by a friend in 2016, and got her first camera in 2018. She then started to learn how to make images and wanted to learn more about photography. She enjoys doing portrait photography. Shoshanna‘s favorite photographer is Tyler Mitchell, and her favorite filmmakers are Issa Rae, Ava Duvernay, Spike Lee, and many more. She got accepted for LaGuardia’s Camera for Science for 2021. She looks forward to seeing where it will take her in life. Shoshanna is looking forward to graduating from LaGuardia Community College this June with an ASA degree. Shoshanna will be attending Brooklyn College for Film. Find her on Instagram @_shays.photography_. 

INTROspective

by Tamra Cosby

[trigger warning: sexual assault]

 

Dear Johnathan,

 

Looking at my GPA reminds me of you
I am reminded of the paralyzing pain
swollen pussy
your peculiar smile in my head
like a catchy commercial
Some niggas never get off probation
your excuse to stay inside of me
after revoked access.
Empathy for our life wounds
led us through a shower
hands intertwined to your bed.
I never thought
you would be another rapist
I knew by name
Heavenly Father
thank you for my place
on your wake-up list
every morning. Thank you for blessing my
beating heart with empathy, passion, and
purpose. Sometimes I question
Why do you love me?
Why did it take this long for me 
to love you back?

 

I just can’t believe that you, would have anything to do
With someone so insecure, someone so immature 
(Lyrics from Lauryn Hill’s “Peace of Mind”)
(read in a mimicking voice)
If it wasn’t for this Me-Too movement 
I would laugh at you
Daughter of transit workers
Keith Cool Cos strong boxer
Suzette dimpled, light skin, short, strict
(read in a mimicking voice)
If I knew about your father’s other kids
you wouldn’t be here 
Insults from a drunken bitch
Oops, I mean my older sister
(read in a mimicking voice)
Raggedy ass
Hot hoe
Get your life
You’re a disgrace 
My daughter is doing better than you
I really used to love you
You burning
Go back to the projects with your mom
The youngest of 8
Felicia, KeKe, Shanesha, Sean, Shannon,
Keona, Yndira
The youngest of 2
Richard
Feeling like an
only child
of 8 siblings

 

Matthew, Sheldon, Ty, Faison

 

(read in a mimicking voice)
You know you kant tell her bout me
You know that right?
That’s all you can say? 
I lied about my age
You got a train ran on you in the Bronx
I was drugged 
Get Up
If you had told me, you were raped 
I would’ve stopped

 

Dear Sheldon,

 

I barely knew you. We met on Facebook
I wanted to sleep
you pulled me up, tugged my pants
did I ask for this?
I wanted to sleep
Now your friend thinks it’s his turn
Footsteps come our way
Ty leaves me alone
I wander to the exit
Find my way
Father GOD high school was hell
I needed you more than unwanted
male attention
more than the sweet and sour lies
I believed. I needed your words,
your genuine touch
           to call your name
instead of moaning theirs

 

At 15,
Minnie Mouse tattooed on my right thigh
Small metal balls on the tip of my tongue
like a python’s eyes
Tongue piercings are for freaks, hoes, thots
You can’t come out with me with that in your mouth

 

I dreamed of sweet sixteen
 a beautiful cotton candy pink dress
pictures with my friends
dancing our feet blue
Anesthesia burns my left arm
light beams drift to black
R.I.P baby
Wanton soul
Rebellious
Honors student
(read in a mimicking voice)
You don’t have a life
You look miserable
I am
Suicidal broken-hearted girl
Too weak for cutting
Pills with the most milligrams
washed down with white wine

 

If only my teen years were filled
 with sleepovers and dance classes
Grown boys used to reside here
The devil works to dim my light
Kason, Benny
have you ever seen
one hand fights and the other guards
his weight to pin her down
Let’s pick our brains
like sunflower petals
Hold me from behind
gently wrap your arm around my neck
come sit with me under the moonlight
spark a spliff  and take flight

 

You gave me hope, can I give you some

 

Psalm 65:11
Mark 9:23
Matthew 6:33

 

College?
A never-ending dream
During a living nightmare
it became my reality after
two long years.
Desperation drove me to places
I never wanted to explore

 

New Jersey
An Amsterdam wild night
in between her legs
she rides my face
Harlot in training
giving tricks thrills
watching my self-worth deteriorate
Came a long way from fighting in hallways
traumatic days
dazed and floating through life
misunderstood and misidentified
years of tears
Came a long way from shaking
my ass for money
I said what I said
don’t look at me funny

 

City Scapes

 

I can’t talk about love or feel love
unless it’s GOD, family, and friends
Am I capable of loving?
Will I ever love again?
you need a spiritual man
someone who  builds  dreams
a man who makes canvases in bed
who celebrates your grind
wants you to shine
get high, drink wine, watch him dine your body
travel the world with you, his lady
You helped me breathe
through gasps of air
I held you inside of me tightly
2017
● Psychotic break (Psychosis)
● Psych ward

 

Anesthesia burns my left arm
Involuntarily transported
It’s 4 A.M. I have 3 hours until
 I can leave my room
One day I will become what I want…
A poet psychologist
carelessly soaring through life
like a vibrant orange butterfly
no obstacles stop me
flap my wings and smile
it’s underneath me
           Stomp out demons on my way to the light
drag them in my hand
I won the fight

Tamra Cosby a.k.a Mama Cosby is a 22 year old African American woman from South Jamaica, Queens. She is a sophomore at LaGuardia CC and is majoring in psychology. In 2019, Tamra was elected VP of Leadership in LAGCC’s Phi Theta Kappa Chapter Alpha Theta Phi. She aspires to become a licensed psychologist with her own private practice and aspires to write books. Her hobbies are reading, writing, dancing, yoga, and going on walks with her dog. Tamra’s trauma history and the loud silence of her suffering inspired her to write it out. She began digging deeper when she became a part of The Rock Churches poetry ministry. One of her biggest inspirations is Nikki Giovanni.