Zenique Gardner Perry
Zenique Gardner Perry writes stories about family, race, faith and all its intersections. She is also the co-founder of Undo Bias, a group that accompanies organizations in their moves toward antiracism. Zenique has an MFA from the Washington University in St. Louis where she lives with her family and their pets. On Twitter she is @Zenique_GP
What They Call Us is Magic
We were kids who wore talking shoes and too small clothes, spending paper dollars from the feds on hot pickles and penny candy at the corner liquor store. Kwintessa and LaCreshia, Tameka, Shaunta, Tanisha, and Miesha were the names my friends were given. The boys who chased us were Lamont and Tyrone, Demetrius and Malik, DaQuan, Jamal and Javion. It was the nineties. And a post-industrial, Black, Midwestern town was home. Here, everything about what we called ourselves and each other felt right. Our names we carried with pride, correcting pronunciation when warranted, enunciating each consonant and vowel, elevating our voices and spelling our names out loud when the listener didn’t return the right phonetic sounds associated with our identity. Whatever was happening in the tainted, misshapen world we inhabited, our names, what we called ourselves and each other, became an embodiment of safety, an extension of whatever we believed was sacred.
But when money was enough, Daddy and Momma moved us to the suburbs. The same ones where the white folks who flew from our town went when we Black folks bought houses beside theirs. In our subdivision, we became the “Good Coloreds” of our cul-de-sac. I learned quickly the shame of names that contrasted the Sarahs and Emilys, Kates, and Connors, who automatically shortened my name to “Zee.” Or the Dustins and the Lukes, Tims, and Taylors who opted for the whole first syllable, the Buddhist term they thought was fun to coopt in the same ways they had Namaste. When they didn’t shorten my name, an “a” was added to extend it.
It’s zuh-neek-KWA, right?
They’d ask, almost certain. I would recoil and correct them, a half-chuckle from us both by the end of the exchange. My name had lost its shine. It felt ghetto when it fell out of their mouths and I felt ghetto in receipt of it. Shedding half of my name became essential to feeling whole.
#
Somali poet, Warsan Shire, has famously written,
“Give your daughters difficult names.
Give your daughters names that command the full use of tongue.
My name makes you want to tell me the truth.
My name doesn’t allow me to trust anyone that cannot pronounce it right.”
This quote was all over the internet the day after a reporter on the red carpet for the movie premiere of Annie resorted to calling the lead actress the name of the character she played in the film. The actress, not even a teen then, told the blonde woman with the microphone, “My name is not Annie. It’s Quvenzhane.”
This was 2013, and I was a grown ass woman still shortening my name upon introductions, offering “Zee” instead of “Zenique,” extinguishing for them the fullness that they’d have to hold on their tongues. A fullness that Shire insisted upon.
Later that year, while in Lagos to participate in the Farafina writing workshop, I observed the honor with which Damilola and Okechukwu, Timendu, Kelechi and Arinze, Chidinma and Uchenna touted the entirety of their names, refusing alternatives and uttering each syllable as easily as they exhaled their breath. Eghosa, the program director, after greeting us all and reveling in the rare occurrence it was for African Diasporic writers to create together, extended his hand to me. “And here, we have Zenique, our African-American. Welcome home.”
Tears welled up in my eyes.
That same summer, after two weeks in Nigeria, I went to East Africa to visit my host family and the friends I fell in love with when I studied abroad there years before. I heard their names anew when I arrived after my time on the west side of the continent. The Christian names they preferred were as simple as the ones from the suburbs of my childhood: Margaret and Alice, Ben, Mark and Alex. I sometimes asked about the opposite of these colonial markers. Those names have since escaped me.
Days before I left the country, while on a drive with my dear friend, her belly, pregnant and heavy, brushing up against the steering wheel, she told me the name she planned for her unborn child. It was a Luganda name. Its meaning, “Praise.”
“Oh?” I asked earnestly, “No Christian name?”
“No, Zenique,” she began while using one hand to make gestures as she spoke. The other hand keeping the steering wheel steady. She always called me by my full name.
“My husband and I have decided to give our children only African names. Why should we take on the names of white people? Would they take on ours?”
A few days later, I flew back to the U.S. I no longer wanted to be known as Zee.
#
In the Midwest, in a summer that was after Michael Brown and before Breonna Taylor, I met a woman named Shaniqua. We were DEI facilitators spending a week together on a college campus with a camp for teens and their teachers. Shaniqua didn’t code switch in front of the white folks we worked with and she didn’t pretend her name was anything but what it was. She reminded me of the freedom I felt with friends from back in the day and, while at the camp, she and I hung out often. Two dark skin sistas, our hair out in coils and kinky styles, our boisterous banter, our raucous cackles. In a space where we were teaching racial equity and justice, we didn’t hold back. We were wholly ourselves.
One night that week, we sat on a curb away from the campus buildings to sneak a few puffs from a pack of Newports.
“Shaniqua, I love how you show up in this space, Girl. You’re just so…so real.” I told her this as I released a cloud of smoke into the air. We both squinted as the billow dissipated in our faces.
“I mean, Zenique, I’m too old to be trying to be anything else! I’m a Black girl from the South. That’s it!” She leaned back onto her haunches, unfolded her legs out in front of her and stretched them farther into the street. Night fell on her face and illuminated her brown skin and big hair, the contrast of the half-cigarette hanging from her lips help my attention. What I’d considered when I met her was the same thing that awed me this night. “Shaniqua” didn’t make her shrink, didn’t make her overpronounce words and reach for an extra lilt in her language. She didn’t mind the movements of her body, or tuck in her belly and pull down her spine, make smaller movements with her limbs, all of this in an effort to fit in. Assimilation and acceptance, I realized, asks that we bury ourselves by day only to unearth again by evening.
By the end of the week, when the teens lined up to hug us goodbye, some would slip up and interchange our names or merge them together: Shaniqua would become Zenique or Shanique and I would become Shaniqua or Zeniqua.
“Oh, that’s fine!” we both exclaimed to the red-faced teens who just learned about microaggressions. After they all left, we threw our arms around the other’s neck and playfully switched out one name for the other.
“Heyyyy, Zenique, Girl!” I boomed.
“Hey, Shaniqua!” She teased as we crashed into each other, doubled over in laughter.
“Girl, I just love you!”
“I love you, too.”
#
Another time, while facilitating a caucus workshop for Black and Brown folks engaging in racial justice work, after our introductions where we shared names that were both common and ethnically intricate, I asked the group to share, in Column 1, their biggest pet peeves about folks from their own racial group and, in Column 2, the reasons why that action or behavior distressed them. A participant, reading from the two columns on their sheet of paper, shared those ghetto names as the thing that annoyed them and because it’s unprofessional and silly as the reason why.
The room was quiet. Eyes averted and some folks reached for the fidgets that were strewn among the tables. Others held their breath. I saw them counting inside their clenched cheeks. Together, we took a beat.
“This is good, this is good…” I began, “BECAUSE this workshop is all about us figuring out together how racism has influenced the ways we engage with one another. Here is where we come to terms with how racism has made us hate ourselves.” I touched the shoulder of the person who had just shared so they didn’t think I was picking on them.
“Think for a moment about how you learned Black names were ghetto.” I implored.
My first-grade teacher with an upturned lip asked what kinda name is that. My class laughed at my name. Coach and my teammates opted for my last name, said my first was too hard, too complicated, too ghetto. Co-workers gave me a nickname. A white woman smirked and said interesting when I introduced myself. My name has been reduced to an initial or acronym. An employer asked if I had a nickname I would like to be called by, the name you got is too hard, too complicated, too ghetto, he said.
“Now, let’s take a minute and reframe this for ourselves. Let’s get into some emergent strategies and revisioning like Auntie Adrienne Maree Brown has taught us.”
I then asked the group to reflect on the “Blackest” names they have ever encountered and challenged them to find the beauty in it. Afterwards, I asked them to silently extend into the universe an apology and an applause for that person and for their parents who named them. Finally, we closed with these affirmations and revisionist prompts:
- Black names aren’t ghetto, they’re magic.
- Yes…even the Shananaes, Shaniquas, Daquans and Tyrones.
- Our ancestors were stripped of their language. Elaborate names are the way back to our mother tongue. To our heritage.
- As such, these names should be borne with pride.
- Let us give to the world our whole names and let them hold its shape in their mouths.
- African-Americans don’t need new names.
After the workshop, the participants thanked me. Some shook my hand. One participant, who waited for the rest of the class to pass, stopped in front of me and hugged my neck, but didn’t linger after the embrace. But I didn’t need them too. I believed that whatever power had been taken from the name they carried, could now be restored. Just like magic. ╪.
Madina Malahayati Chumaera
Madina Malahayati Chumaera is a writer (amongst other things) from Jakarta, Indonesia. Her interests lie in the intersection between the humanities and sciences. CONTACT LIGHT: the void inside and out was published by Gramedia Pustaka Utama in October 2017, and her self-published chapbook if i’m not a fire then what am i on June 2020. Her hands are ready. malahayati.carrd.co/
Malahayati
they forgot your name in the end, didn’t they.
your wikipedia page has citation needed littered all over it. been that way
for five years
/a decade, now: but really, what are reliable sources
when history has never cared about us that much?
i know this much: you raised a typhoon of women who were only honed
by the gaping loss beside them. [two thousand hearts slicing apart a fleet
& an ache, tender-hurt, stinging with saltwater.
] the words Laksamana Keumalahayati is only uttered
with reverence by the sultan. you forged your own path in that wet soil
and never looked back – this much i know.
when i think of you i think of the Aceh blood flowing silently in my capillaries.
diluted and thinned. almost gone now. the cities have claimed me
but not the coasts. not the sea where you belonged:
you and the blood you spilt. you and the pale hands you shook, wary.
tete gave me your name when i was born. i don’t know
what he wanted from me when he did: did he want me
to sharpen my gaze, hold my head high, be fearless like you. or:
did he want me to rise from grief with a fire burning in my bosom like you did.
Miceala Morano
Miceala Morano is a writer from the Ozarks whose work is published or forthcoming in Berkeley Fiction Review, Eunoia Review, Kissing Dynamite Poetry, Pidgeonholes, and more. Find her at micealamorano.weebly.com.
misspellings
Not Mikayla, McKayla, Makayla, Michaela, Micaela.
My name a crumpled piece of paper. My name detached
from my body like a lizard tail, my name
autonomous, my name a misplaced modifier to the self.
I’d like to believe that you know me, so I say
Yes, it’s okay. I don’t mind misspellings,
your mispronunciation after years of knowing me.
Maybe I’m Michael. Maybe it’s Maybelline.
I joke that I’m a walking spelling mistake.
Everyone gets participation trophies at the bee.
No one tries and everyone wins. I unsyllable
my tongue, unspool my anger into forgiveness
and apologize for being so difficult.
Hayley Wu
Hayley Wu (胡禧怡) is a writer and arts administrator based in Hong Kong. Interested in questions of solidarity, localisms and land rights, selected publications include Sine Theta Magazine, Liminal Review, Rulerless, and DATABLEED. They are currently working on a collaborative poetry zine titled “poozine”, and can be found @ahaybale on twitter.
on a quirk of language acquisition
Is it Syracruse or Sycaruse?
Syca as in sycamore tree:
I do not remember what
they look like but I picture
tall lines, small leaves and
warm, red wood.
Later, I will look it up,
see if it matches my
imagination and swap
straight lines for nubby ridges.
But just like it will always be
Sycaruse first – not the
rolling syra but that caustic
sic- sic- sic- sic- sound –
and just like how I wrote
that Raymond Carver’s
anthology was titled
What I’m Calling To
(even the mistake I am
unsure of now),
I mismatch my memory;
scramble sound.
What comes to Syracuse
stays in sycamore.
Matthew O’Rourke
Matthew O’Rourke is an Irish poet and short fiction writer whose work has been recognised by Chinchilla Lit, Rotary, and Immrama. He was shortlisted for the Edna O’Brien Writers Bursary in 2020. His writing traverses cursed settings, matters of healing and release, and identity.
The name I used to wear
The name I used to wear
is following me around.
It breathes like a boar, secretes unholiness,
open wound stuff, I blank a thousand
and return smarting—
saviour cotton: the new name.
It sings like a turtle upturned, spinning.
Sweet is the air of its space,
held up sustained without intruder / accuser / diluter
(I can’t remember the last time I apologised
when the mistake was someone else’s).
You are responsible to me
to my name
to the very bones I lug around
which I have called after the sky / the earth / the light through
a window / across a sill / between the black feathers
of the musical percher,
nameless.
Nameless, and flying.
Nameless, and still loud.
Nameless, and still wakes
after the moon splinters through leaves
and the turtle relearns how to stand.
The name I used to wear
has been following me around.
I don’t thank it; I don’t ask how it is.
I simply hold the hand of the one
I have chosen
and sing like a blackbird,
unencumbered.
Laetitia Keok
Laetitia Keok is a writer and editor from Singapore. She is interested in writing as a site of/for collective care and embodied grief. Find her at laetitia-k.com
Misrecognition
The day she leaves me, I forget I have a name.
I forget my name.
Outside, I hear something break
and imagine the bruise it will leave.
Still, the sky is beautiful.
There is a man walking a dog that looks like hers.
Maybe the world does not care for lovers.
My friend texts, asks if I’m okay.
I am looking around the house for things I have
to put away.
Shoes. Socks. Dental floss.
Fur from the dog that was never here.
In the mirror, I pretend we had a whole life together,
me, and the girl who knows my name.
Night. Dust. A tapestry.
Sand. Skin. Glass.
She loved me, I had a name once.
Time raining through my empty hands.
When she loved me, I had a name.
Nothing in the world is mine.
Xinyi Jiang
Xinyi Jiang was born in Qingdao, China and studied in Nanjing University and Fudan University. She now lives in Scotland.
Queef
Unable to say in her mother tongue,
she’d buried it in a bottom drawer,
shrunk drawers,
skeletons of the past, the conditions denoted,
I hang it on the washing line,
it flexed the joints, made a little dance.
I can’t shake off the look of her face,
drips from a leaking tap.
In a basement boutique in Edinburgh,
he considered my tartan,
I swallowed my murmur,
aftertaste of a venison burger,
a strawberry champagne hiccup,
as the word tumbled on my tongue.
Rebecca Ferrier
Rebecca Ferrier won the Bridge Award in 2020 and funding for her first full-length lyrical novel from Creative Scotland in 2021. Her recent poetry has been published in Lighthouse, Siegfried’s Journal, Paradox Literary and The Heather Anthology of Scottish Art and Poetry. Her latest prose can be found with Gutter (Issue 25) and Channel. Twitter/Instagram: @rmlferrie
Lambing Season
When I was young I misheard catkins as cat-skins
and did not fathom how the pollen clusters met their name.
You’re not like other girls I took as truth. Perhaps I was different.
Special in a way he could see and I could see he
was special too, grew specialness in catkins which ran from his hands,
extending from his nails in yellow tassels. Everything he touched
was bleached with his prints. I saw him everywhere,
on women I had never met, who saw me as a stranger, and I longed
to say I know you, I know what he did.
I learned the catkins’ other name when I grew wise: lambs’ tails, a severing.
Knowledge obtained when I learned no girl is as other girls
and yet we are, I promise, the same.
Sarah "Nnenna' Loveth Nwafor
Sarah “Nnenna’ Loveth Nwafor (they/them) is a queer Igbo poet, dancer, and facilitator who descends of a powerful ancestry. Nnenna resides on occupied Pawtucket land, colonially known as Boston, MA. They believe that storytelling is magick and they speak to practice traditions of Igbo orature. When they witness their ancestors are pleased. Nnenna has been writing for a minute and is learning more about their voice each year, but they are proud to share that they’ve had a partner piece featured on Button poetry and that they published their debut chapbook “Already Knew You Were Coming” with Game Over Books in January of 2022. When Nnenna’s not writing they’re probably sitting under a tree, reading about Love, dancing with friends or cooking a bomb-ass meal. They can be found on twitter @nwafor_sarah or on their website: sarahnwafor.com
Self Portrait as a Paradigm Shift
I speak, unwrap my jaw, and red earth comes tumbling out.
Banshee child– I be a call for the spirits.
My mouth full of motherwort and kola nut
be a meeting house for gods– I keep my matrilineal home tucked between my teeth.
Banshee child– I be a call for the spirits.
They call me what I am
a meeting house for gods. I keep my matrilineal home tucked between my teeth
and a red lipstick-covered knife in my back pocket.
They call me what I am
dyke. hungry. mother of much. reincarnate wmn. mooney-eyed-type-bitch
with a red-lipstick-covered knife in my back pocket.
Child of Eke day— say my names and the spirits descend
dyke. hungry. mother of much. reincarnate wmn. mooney-eyed-type-bitch.
all of my names mean one who brings.
Call for me and the spirits descend
to bless and purge in equal measure.
All of my names mean one who brings
the flame, the wet pine, golden flower petals, all the slow smiles
to bless and purge in equal measure.
I brought all this earth, all this bounty, with me and the sun will leave when I go
the flame, the wet pine, golden flower petals, all the slow smiles— bitch. try me again.
like daybreak or moonrise it is a relief to see and savor my every-face–
a slow exhale that never stops expanding.
Marek Kulig
Marek Kulig is a former high school English teacher who currently works for a molecular diagnostics laboratory. His poems were published or are about to be published in Plants and Poetry, Rat’s Ass Review, Nifty Lit, Snakeskin, Orchards Poetry Journal, Change Seven, Journal of NJ Poets, Shot Glass Journal, Fish Publishing, etc.
Short third-person bio
Marek Kulig
was born in Poland
in the 80s
and immigrated
to the USA
in the 90s
where he was raised
as if it were
Poland
in the 80s.
Evan Wang
王潇/Evan Wang is a young writer and performance artist from Pennsylvania. His work has been published in Philadelphia Stories, National Poetry Quarterly, Juste Milieu, and elsewhere. Evan is an alumnus of the Iowa Young Writers’ Studio and an Anaphora Fellow. His work has been recognized by or featured at Wawa Welcome America, the ruth weiss foundation, Bleeding Soul Poetry, and Society of Poetry
Evan/王潇
Inspired by Peter LaBerge
a wannabe boy saint
tearing up his bed over the absence of another
him.
a sick believer in opposites attract
so he loves the brash and cocky,
a stupid boy.
somebody remind him of his name
and that
it is not smooth skin slick with sweat and sticky,
but ordinary and a bit
like dried paint flaking off the windowsill
of stained glass,
where he kneeled for another God.
call me Evan,
he’d say, as if.
as if it meant anything but an open bedroom door
for night men to exact their crucifixion.
Evan was a name given by two immigrants
who haven’t a clue of English
but knew
Evan was popular, and how that has changed.
and how his name named him,
who is careless with whom to pucker up to,
to show a good time to,
as i said, boy saint.
he’d rather that than be Evan.
a name synonymous to a phone number,
an address,
a whore,
not an angel baby,
but a fleeting thought in god’s memory,
too ordinary to even dare remember.
he wants all the love this country never gave him
and is willing to cut some letters off a name
to have the rest muttered.
and losing that ambition when
other wannabe boy saints
showed up with names like mountain tops,
exotic to patron hands who round their faces
like it is a silent prayer.
a bomb in their cathedral.
those milk-skinned boys hold lovers sacred.
they grace a name like Evan to save the damned.
but how can Evan ever tell them
his name is a canyon,
exotic too.
is Evan Wang before he dropped a tongue for a better kiss.
is sorry god for i have sinned if you’ll love me again. is a
Buddhist in a Catholic school,
where he laid his blood on the altar
in hopes of getting laid easier.
is a grenade pin to explode under their fingertip traces.
is a thorn in his parents’ feet
for the oceans they’ve walked across.
is a betrayal to his mother’s a mi tuo fo
with every hallelujah,
every rosary bead for earrings,
every knee bruise for sainthood.
call me Evan,
call me Evan Wang,
call me 王潇,
call me your boy saint,
and i’ll answer.