1

Outside Air

I sometimes like to just go outside

And stand

No certain spot where I stand

I just go wherever my feet lead me

Once I’m where my legs decide I’m supposed to be

I just stand

To hear the world

And smell the air

Air different than inside air

Outside air

And look at the sky

Cause there’s something beyond it

Beyond the sky

Space 

You can’t see it but you know it’s there

I’ll look to the nearby street when I hear a car tire rolling

Indicating a human

A human driving 

Translating to a human living 

A human who I can’t see and who I don’t know 

But nonetheless another life

It reminds me I’m not just me

I’m not just alone in this existence 

Living is living with other people 

Even when you don’t know the people

You don’t know the human 

The human driving that car

They’re still there

And when you stand outside and smell the outside air

And see the sky which is hiding the endless mysteries that are space 

And hear the tire bringing the human to their life

You’re reminded of all of that

Of you not being alone

Even when you’re standing by yourself




Tell Your Truth: A popular poetry open mic moves online

Damont Combs, aka Mr. Orange; photo credit: James Lastowski 

Damont Combs has been writing since an early age, after a desire to improve his handwriting sparked his creativity. As he grew up in Southside Jamaica Queens, NY, Combs would write stories, songs and poems to improve his script. While it ultimately didn’t help his handwriting, it did bring out his love of writing, especially the short form of storytelling and the wordplay of poetry. He studied the medium and worked his way from the bottom, eventually releasing books of poetry: My Poem…My Riddle in 2015 and A Touch of Orange in 2016. This all led to Combs becoming 2018 poet of the year and 2019 RI mentor of the year in Rhode Island.

Combs started sharing his work at local open mic nights while attending college at Johnson & Wales.

“I needed to connect with community,” Combs explained. “I didn’t know anyone, so poetry became a way for me to connect with a form of community.” 

It was at the open mic nights that Combs networked and improved his craft. He watched the events grow until all 13 strangely died out when their venues closed. He wanted to keep the community going, so Combs started hosting his own open mic nights. This was a difficult task at first, and every one of them failed, but Combs looked at them as lessons learned and figured out ways to make improvements.

“It became my mission to revitalize the open mic scene,” Combs said of his decision to keep trying.

Combs eventually became the host for Lively Literati, an event presented by the Association of Rhode Island Authors (ARIA). He had some worries about hosting, but it became a success. This led to him create the Tell Your Truth open mic night in 2019 at Skye Art Gallery in PVD. Tell Your Truth is an open mic that encourages open dialogue on many of the topics providence residences have on their hearts and minds. it features New England artist and local community members.

“The event went from a simple open mic to having one feature to multiple features while still keeping the intimate setting,” Combs said.

Combs worked to build an audience and gained multiple sponsors. He received a RISCA grant in 2020, which gave him additional funds to pay featured authors, book a venue and market the event. All of this allowed Combs to keep the event free to the audience. 

Tell Your Truth had its momentum stopped short by the COVID-19 pandemic that has wreaked havoc on the world. Undeterred, Combs used this as an opportunity to move the event online. He posted a link that readers could submit their work to and went to work building an online community. Combs said that the online open mic has been just as challenging as if it were live, with him still needing to manage all aspects, including audience attention, the list, proper equipment usage, flow of performance, reader introductions and the overall energy of the room. 

With readers performing from their home, most perform live on the spot, though Combs did allow for readers to submit previous work if they didn’t have the technology to read live. Combs kept the rules the same and is planning themed events, contests and videos to create a lasting experience. One difference was that Combs was able to feature readers from all over the country as opposed to just local or touring readers.

“It has gone just as well as the regular open mic has. A huge success,” Combs boasts proudly. “I had my poetry mentor, Pawtucket poet laureate Jay Chattelle, call me before I started this online open mic and he let me know that anything I do, especially now, I have to give it my all and to not sleep on the opportunity. He gave me the idea to bring people on live via Zoom and other platforms before Zoom was as popular.”   

Combs will continue the online Tell Your Truth events for as long as necessary, and may continue an online version once businesses open back up. He has big artistic plans in his future.

“I will be working with the Invisible Veteran to produce a podcast that brings awareness to disabled veterans and families of the help that is available to them that they may not know about. I will continue to host my open mic tell your truth and use the grant I got from RISCA to continue doing what I do best. I have my work accepted into a film festival in New York City and in Chelmsford, Massachusetts. The biggest thing I’m doing right now is waiting on my official swearing in to a three-year term for the advisory commission on arts and culture in Pawtucket.”

Combs stresses the importance of supporting local artists at a time like this.

“Art keeps communities connected,” Combs said when discussing the value of art. “Art provides healing. Art is not only entertainment, but community.”

Tell Your Trust goes live every Thursday from 6 – 8pm. Visit facebook.com/tellyourtruthRI for rules and other information. Interested readers can submit their work to mrorangelive@gmail.com




Youth and Poetry: An interview with RI Youth Deputy Poet Laureate Eugenie Rose

Eugenie Belony, aka Eugenie Rose, is the 2019 Galway Kinnell Youth Poetry Slam Champion and the 2020 RI Youth Deputy Poet Laureate. She is a young teenager who is a true rising star in our community. I recently sat down with her to discuss her art.

Damont Combs (Motif): When did you fall in love with poetry?

Eugenie Rose: I fell in love with poetry when I was about 11 years old, listening and reading into the works of Maya Angelou and Audre Lorde along with Def Jam records as they would perform poetry that always interested me. Seeing how the performers used their emotions and pain to give the image in your head of what they were trying to portray. So from those points on, I began trying it out, seeing if I could portray my emotions with my words. And with time I’ve come to be where I am now. 

DC: Can you create a short poem for us using the words orange, Rhode island and advanced?

ER: As my cocoa butter skin awakens from the glow of an orange sun. So bright and pure it made my life fall into a spectrum of gods and goddesses. Remembering the taste that Rhode island coffee milk left on my tongue. How advanced was my spirit if my soul could dance through a celestial drive by. Did I really understand the matter of gravity, or was it the history of pain that weighed me down. 

DC: What are some important topics you talk about in your poetry? 

ER: Some of the important topics that I talk about in my poems are of social injustices, racial discrimination, youth empowerment, female empowerment, global warming, history not entailed and the future (technology, advanced systems, new ways of learning).

DC: So you’re officially the youth deputy poet laureate of RI. Can you tell me more about that? 

ER: Not only do I get to hold the title of Youth Deputy Poet Laureate of RI, but I also have an amazing opportunity to meet so many incredible youth poets and advocates from Rhode island who have the same mindset as me to get more youth into the poetry community. I also have my partner, who is the Youth Poetry Laureate of RI, and together we are starting to plan more events and places to gather with more youth from Rhode island who either haven’t had the resources to put themselves out here in the poetry community or newcomers who would like to start their own poetry journeys.

DC: How is it working with Tina Cane so far?

ER: Working with Tina Cane has just been amazing. For her to have created such an amazing opportunity for the youth of Rhode island in the poetry community has impacted my life and the lives of many others with such helpful resources and guidance.

DC: Do you have any other talents and passion you like to share?

ER: Yes, I do have other talents besides poetry, like singing and producing my own beats along with dancing (all styles and gymnastics), also a very high capability with math skills and I’m multilingual.

DC: Where do you see yourself in 10 years ?

ER: I would hopefully like to graduate from my high school at Providence Career and Technical Academy as valedictorian, go on to attend either MIT or Princeton University to then become an astrophysicist and aerospace engineer. Then work for NASA, but throughout my years of schooling and working, I would like to help other young girls of color to aspire to be whatever they want to be and make sure that they have the right path and take the right steps to get there. Also I would like to have a nice house and enough money to give back to my mom and church for everything they have done for me. Along with giving back to my community and high school.

DC: Why is poetry important to the younger generation?

ER: Poetry is important to the younger generation because it’s an outlet. Not just something like roses are red and violets are blue, but truly a way to express your feelings through past and present aggressions and oppression throughout society today. We see all of the protests, marches and rallies held all by the youth of today who have seen nothing but hatred and violence, especially among young kids of color.  

DC: Is poetry integral to the culture here in Providence?

ER: I believe that poetry is integral to the culture of Providence because it gives youth a place to put the anger we have against the school systems, or how certain things in Providence communities aren’t up to par with what kids would like them to be. Poetry gives people a sense of being or balance within their lives. And with everything going on from the State House to the Senate, I think having this outlet to show our best qualities and our worst really shows the truth behind smoke and mirrors.

DC: If you could inspire/encourage someone to start writing today, what would you tell them?

ER: If I had the chance to inspire/ encourage someone to start writing today, I would say to them that life isn’t perfect. We see what’s on tv, on social media, in the newspapers, but you could be the change that happens. You could write out your feelings and express your pain into words that others could feel, words that somebody might need to hear. It doesn’t matter if you don’t share your work with the world, but to know that however you’re feeling is being mirrored by someone else. Somebody somewhere, whether it’s your friend or teacher or maybe a complete stranger, is feeling the same way you do about the same topics. Don’t ever let somebody yuck your yum because they can’t taste the same things that you do. We’re all different, so let’s enjoy and explore each other’s differences and similarities. Whether we like it or not, poetry is a universal language, so start talking.




Mama’s Rap

Yo!!!!!!!!!!!!!!

Listen up to the Mama

In her drama bout the change

I’m feelin’ like an arrow

Target ready / taking aim

Some think I’m going crazy 

Yeah actin’ insane

Damn right

I got an attitude

But let me explain

I said

Who-decided-the-rules 

To diss my clock

To say-I-got-to-keep-tickin’ 

When I wants to tock

To say growin’ old is ugly and sad

To throw me-away-like-trash

Like I just been had

They say about forty our best life begins

But some dimwits won’t let us win

To be women now 

Wise and strong

Liftin’ us up

Where we belong

I’m sixty-seven now

And in another stage

It’s me writin’ chapters 

For my next page

You men and you women 

Listen up and take note 

This sister’s not crazy

She’s got a new coat!




Spit, Poet!: An interview with Anthony DiPietro

Anthony DiPietro is a prose poet from Rhode Island, who currently lives in Massachusetts and teaches prose poetry at Frequency Writers. His poetry prose has been accepted into multiple magazines. In a recent interview, we spoke about his methods of writing and poetry’s importance.

Damont Combs (Motif): When did you fall in love with poetry?

Anthony DiPietro: There are many ways I could answer this question, but I’ll say that I started out trying to be a songwriter. Michael Jackson’s Thriller and Madonna’s first albums came out when I was a tiny kid, and I would carry around a cassette player. When I was 14, I tried to teach myself how to play keyboard, but I wasn’t very good, and I also tried to write song lyrics. They became my first poems. At 15, someone gave me a massive anthology of all the best-loved poems in the English language, and I still have that original copy of that book, with playing cards bookmarking my favorite 40 or so poems. That was the beginning of my love of poetry. It took me much longer to admit it was a lifelong love and to consider myself a poet.

DC: Who your favorite poet and why?

AD: The one who always jumps to mind is Sylvia Plath. She was always taking on a powerful voice, but with a certain kind of restraint. And once you start learning about the sonics of a poem, she’s hard to beat. She loved her hard consonants and knew how to marry them together in a way that added a whole other layer to a poem’s meaning. It even affects the way her poems feel in your mouth when you read them out loud. She just had it all.

For contemporary poets writing today, Sam Sax is the one I most admire. He’s a queer Jewish writer who first got recognition in the slam poetry scene, what’s now called spoken word. He’s prolific. He’s younger than me and has four chapbooks and two full-length books. His poems take sexuality and identity as their base, but they grow out from there and become about so much more — psychology, history, insanity, oppression. I try to read everything he writes. I think it’s good to know what poet you’re comparing yourself against. It keeps you pushing yourself forward. What’s also great is that the poetry world is so small that you can easily meet your heroes. I’ve gotten to meet Sam and hear him read in person a few times.

DC: I know you live in Massachusetts, but Providence is your home. What are you doing for the Providence community?

AD: I love Providence. I’m so proud that it’s my hometown, and because I’ve traveled and lived and met people from all over, I know that it’s a city that has a great reputation. People know that Providence has a historic feel and good food and a vibrant arts scene and down to earth people.

At the same time, I feel that I got to know the city as a community really well because my career started there. For 10 years I worked in the nonprofit sector, including areas such as nonviolence and affordable housing. So I understand how Providence can be a tough place to grow up, how hard it is to get ahead financially and career-wise.

When I worked in Providence, I was writing grant proposals as part of my work, and to do that well, I had to know the city both on in an anecdotal way, the feel of it, knowing what it’s like to grow up there and be raised there, and also had to know it on the level of demographics, history, and economics. So I feel really intimate with the city of Providence. It’s where my roots are, and it’s still very much part of me, and I’m excited to be coming back to teach a course in the spring through Frequency Writers.

DC: Why choose prose as your main form of expression?

AD: Prose poetry is one of many forms I use to express myself. I’m also working on writing a screenplay, which is a totally different way of thinking and writing and has a different kind of power than poetry. In a screenplay I can write, “Mars crashes into Earth,” and let the film director figure out later how to show that, but the audience has to accept that it just happened. As a writer, sitting at my desk, I just made planets collide.

Prose poetry is really a hybrid form, and I don’t think that I appreciated that before I got to know it well. Many people would look prose poems as, “Oh a poet was trying to be cute” or “They wrote a paragraph and were too lazy to break it up into lines and stanzas.” But it’s more intentional than that. Some of my poems are definitely poems with lines, and others are definitely prose poems. They’re different animals.

With prose poems, I still use all the other tools at my disposal as a poet, other than lines and stanzas. And at the same time, I get to pull in some different things. I get a different pace, a different voice. And in a way, prose poems can be more unexpected. Because the form isn’t going to vary, it’s going to stay in that boring looking prose block all lined up like a newspaper column, it means that within the text, I can take wild leaps of logic and content that I might have to control more if I were trying to fit that in a stanza with just so many lines. And the control would not serve the piece.

DC: Why is poetry even relevant in today’s society?

AD: Often the public debate is, “Why do we even need poetry?” or “Is poetry dead?” But the fact is that studies came out in the past couple years showing that poetry readership has been way up in the last decade. Poetry right now has its biggest audience maybe of all time.

It may be partly because of the Instagram poets, and some people reject them as “not real poetry.” I think that anything that exposes people to poetry and creativity is a good thing. I think our lives are more emotionally based than we like to think, and usually emotions make us struggle for the right words, and really that is what poetry is all about. How did you struggle to articulate that feeling, and how did you both succeed and fail in the same piece? That’s why you can still have people writing poems about love and loss, which may be two oldest and simplest subjects out there, and they’ve been written about for thousands of years. You can write a poem about those things today and make the feelings new, because you’re grappling with your own individual way of expressing something that’s relatable to everyone.

More broadly speaking, the arts and creativity are basically under attack in 2020. I know all about this because I work in a museum. Public arts funding is always on the chopping block, and every year thousands of organizations have to advocate and mobilize and prove why we have the right to exist, and that we’re adding some value to society. And that has to be stated in terms of what we really value as a society, education, jobs, money. All you hear about education nowadays is STEM, science, technology, engineering and mathematics. It turns out that creativity is equally as important to every person’s education and development, as much as knowing math. And that makes sense, right? You can understand math and science, but you can’t really make a new discovery or design something new without having the creativity to solve a problem outside the box, or to take a risk. The arts help teach those things.

And beyond education and just as important, I think, self-expression is something I value very highly, as well as aesthetic experiences, the kind I have when I look at art, watch a play, or hear music or read poetry. It expands my soul, it teaches me empathy, it helps me understand how I feel and think about things I encounter, as well as things I will never encounter firsthand myself. We need more of that in this world. It’s a way of building bridges and understanding each other.

DC: What people can expect in your class at frequency writers?

AD: It’s a creative writing workshop, so anyone who is looking for practice or writing prompts or feedback from other writers will find that. I want people to find their way to being comfortable in the form and write new material in the course of the class, whether they use class time to do that or just take inspiration from it. The way I’m designing the class is to balance three major elements: reading and discussing great examples of short prose poems, practicing our own writing, and sharing our writing to get useful feedback. I love discussing the great examples of the form as a way to learn, so that as writers we can play and imitate and apply the principles that are at work in these short pieces. I know some people will want more of one element of the class or another, so I’m planning to be flexible. When I meet the class members and find out more about what they need and their preferences, I can lean more in one direction or another.

I’ve been in many community-based workshops, because that’s all I did for 10 years before going to graduate school. In those workshops where everybody is at a different experience level, inevitably it’s somebody’s first time ever sharing their work and getting feedback. So I’ll start by setting expectations and modeling respectful, appreciative feedback so that everyone feels comfortable to share and can respond in a way that builds people up. I think it’s useful to read and listen to each other’s work for appreciation first. I’ve learned a lot about writing workshops over the years and what makes them successful, and I’m excited to bring that to Frequency’s audience and people who may be trying it for the first time.

DC: Can you give us a short prose using the words orange, Providence, and historical?

AD: Here’s a try!

the dream is always the same. it has a ground zero where red brick turns orange in sunlight, the place where my mother left me to find my own providence. I was eighteen and didn’t know I had no history yet. this was benefit street and the dream is really a memory. when I was twenty-three I met my destiny one rainy day. the day I go back to most often. or maybe the day is what can’t escape me. it’s just a useless thought experiment. what if I stayed home instead? would he and I have eventually still met? would we have fallen in love the same way? how long would it take? how many days of drinking in that surreal version of his life would wither his liver? his liver that melted and bled through his skin like wet brick.

I usually title my pieces last and often throw away the first title. So keep in mind this is a first draft. Right now I would want to title this piece “high noon in the desert womb of pleasure.”

DC: How do you inspire the next generation of young poets?

AD: Thank you for the opportunity to geek out on my favorite topics!

I think that I inspire people by helping them realize the power of aesthetic experiences. When I was teaching college courses, I would always build in what I called “favorite media day.” I would have students bring in examples of any art or media they found compelling, that resonated for them, and they would introduce it and share it with everyone else in class. They showed them on their laptops or tablets, and some brought an image of their favorite painting, or a page of their favorite novel. Some brought a song. Some even brought a video game they’re obsessed with and played the intro to it. 

The point is that understanding what is compelling to you about these aesthetic experiences helps unlock the creativity that’s already in you. And also, these experiences bring us together. There is something to appreciate in absolutely any art form, and when you’re sitting there just looking or listening for what you appreciate, rather than what you want to judge, you’ll find something. Or if not, at least you’ll understand that person better who brought and shared that. And it brings everyone in the room a little closer. I like to think I’m building a community of writers on a micro level, and I like to think it creates a better world outside the classroom as well.




Princess

There is something primal in the way she whispered

winter into the rolling green meadows,

that were riddled with legends,

and remnants of the time before

Her eyes lit up the night and sprinkled

starlight into moonbeams like a 

seed that grows into the dogwood trees

by the river and beneath

the gods on the mountain,

Or the rolling hills

I am patient and still while

dreams breathe truth into distance

and my sister sings to me;

She is tradition,

she is beauty




Orange will Rise: Local poet Mr. Orange describes his philosophy

What comes first the color orange or the fruit? For me orange is a symbol I seek every day. I have a saying, “Orange will rise in the poem Orange.” It symbolizes hope, positivity and progress each day. I’ve always considered the glass half full because we choose our perceptions.

“In life and business, don’t let your failures keep you down, fail better each time until you succeed.” This is my motto. In my humble beginnings, I was a simple poet learning how to perform in Providence on Thayer Street. One time I failed so badly at a performance that I was banned for a few weeks. I didn’t understand the power of words. The importance of how to wield them properly and the effects they actually had. I learned some of my most important lessons through failure. 

Before I started “Tell your Truth” open mic, I failed over three times to run an open mic. Each time I learned something new; one lesson I learned is location is everything. Sometimes these lessons created a deep sense of urgency; one time a venue changed negotiations at the last minute so that night I walked venue to venue trying to find a new one that night. Sometimes settling isn’t what you’re looking for, which means changing strategies. 

Poetry has been underground — hidden from the public light. Poets tend to be the pioneers unsung. The foundations written onto the backside of history. Sometimes we are simply songwriters behind your favorite song. Shakespearean sonnets and powerful monologues. In fact we are embedded into almost every historical frame and language written. Words spoken since ancient in tongues unknown.

When my career as a poet started, it brought so many doubters. They didn’t realize I had so many leaders before me who paved the way. What the doubters deemed impossible was already achievable as long as I didn’t doubt myself. If you have doubted yourself and your dreams, take some time to reflect, change strategies and double down on following your dreams. 

Many times I found that I have not dreamed big enough. Many times reality’s path brought me to places where I needed to learn something new, challenge myself mentally and grow as a person to meet that challenge. Now after enduring the “No’s” I’ve been accepted as the poetry curator for Motif, received a grant from RISCA, and I’m the poet in residence for multiple organizations. My goal with my future articles is to show you artists, poets, spoken word kings & queens who rise beyond the call. Showing those who are always there; ever present like the rising sun. Orange will rise. 




25th Annual Langston Hughes Community Poetry Reading: If you had been there. “…you would know why”

Emily Ruth Hazel, honorary poet;
Photo credit: AIJ Media

The sounds of steel pan, keyboard, bass and vocals poured out of the Providence Career & Technical Academy Auditorium as hundreds of standup citizens glided inside. They were there to hear 67 people present Langston Hughes’ works, as well as experience some surprises.

Many attendees returned for a third or 20th visit. Sylvia Ann Soares was presenting for the 12th time in 21 years. She said she was “delighted to see the varied ethnicity reflected in Langston’s poems performed by immigrants and others in their language besides English.” There were beautifully dressed children tuning in and out of the tribute to the poet. There was a touch of harmonica, some snapping, singing, drumming, some blues … and due to careful listening and collaboration, at one point we could hear the “Seascape. “

The event began from the moment one walked into the door, greeted by volunteers of all ages who were professionally welcoming. Old and new friends shook hands and hugged, families milled together, and six generations warmed the auditorium. Deborah Spears Moorehead performed the Opening Song. “A prayer that came to me at 4am,” she explained before blessing the space with “A Prayer for the People.” **

One of the quintessential “community” moments took place next. As April Brown and Valerie Tutson prepared to lead “Lift Ev’ry Voice and Sing,” there came the sound of a stunning 10-month-old baby.  Tutson said, “Joya wants to sing the Negro National Anthem,” and she held her baby on stage as the entire congregation sang along with them.

A Biographical Moment, Rochel Garner Coleman first dazzled the crowd by quipping that he thought the preceding invocation was going to be “Ain’t No Stopping Us Now.” Later, when he quoted Hughes, some reflected on the moments of collective guffaws. “Humor is laughing at what you haven’t got when you ought to have it.” This day was one of celebration of Hughes, and it included laughter, joy, pain and contemplation. Rochel described Langston Hughes as “the original jazz” and the “JZ of Harlem.” He gave a detailed list of the vocations and let the listeners know that Langston Hughes was far from just a poet. Rochel eloquently wove wit and knowledge, including the ominous question, “What would [Hughes] think of immigration issues, 1994 Rwanda Genocide…” [Langston Hughes lived on earth until 1967.] All the while, Rochel’s voice and the instrumentals played in tandem. This was an eloquent and thorough account of Langston Hughes delivered with a passion usually reserved for eulogies. This was a birthday party.

Many were curious to get to see and hear the Honorary Poet, Emily Ruth Hazel. She had performed the previous night for Funda Fest’s event “Grown Folk Story Telling.” She submitted to the RFP from Pasadena, California. The next 67 poems (plus Hazel’s) were presented in three different categories. The turnout for an authentic community, in the truest sense of the word, emulates much of what Langston Hughes celebrated in his writing. April Brown explains, “There is an elegance, because of the time period he represents. I wanted it to have a very spiritual component to it.”

As can be expected, not every presenter was able to attend. If Ray Rickman were there, it would have been his 25th year presenting. It seems that most people, once they know about the event, attend, dare it be said, religiously. Sidney E. Okashige couldn’t believe that she had never heard of the event. “Why didn’t I know about such an amazing event?” Well, someone told her, and that someone is writing this article. Spread the word. For those who are a little down or need to reboot their spirits, this is a sanctuary where all faith can be restored.  “The power of Langston Hughes’ writing,” as musician Becky Bass stated, along with the inclusive community mentality, were ways in which the Langston Hughes Community Poetry Event is to be revered. There were 10 languages represented onstage, ages from one to ageless and dedicated teenagers who represented their age group with dignity and confidence, executive directors and teachers, visiting artists and families with small children and grandparents, donors and volunteers.

Emily Ruth Hazel talked about how “If you don’t show up, there will be an empty place” and the gentleness of being “swaddled” and how to “practice listening.” She writes about how she “waited to be chosen last” and about “high-profile and highly profiled.” She talked about America and how “you’re welcome here” and an “America still worth singing about.”

As in “Words Like Freedom,” by Langston Hughes, read by Sheila Jackson, it is in our best interest to read these poems, to talk about them, and to listen to them.




Eventually

Eventually dark skin girls start to heal 
Eventually we peel
Off the white face 
Smiling at the gift 
Of melanin

Eventually we start to see our own beauty 
Understanding there is no standard of  
Beauty even though we are the original model

Eventually we stop believing the lies 
They fed us and we start to eat organic truth
Turning off the fake news 

Eventually dark skin girls go back to 
Their roots digging deep for meaning 
Finding truth in each coiled strand 

Eventually we find ourselves ignoring 
The outside chatter 
Celebrating the inside silence 

Eventually dark skin girls stop self
Sabotaging and start self loving 

Eventually we shed insecurities 
Reveling in the depths of our darkness 
To find the light  

Eventually we heal 
We find our power 
Walk in peace 
With heads up 
Crowns high 

Eventually with eyes wide open we fly 




Orange

Orange plasmatic flames rise above all else
Consuming as is the most beautiful sight above all else
To the dawning of the sun to rise of the morning
To the burning of all things burning
Orange will rise
 
Camouflage in the wilderness life depends on it
To the deepest depths of darkness accompanied by orange
The tiger’s true colors appear and Orange shows no fear
 
Juices flow in sun bathed baths near the equator’s might
Only there in warm weather can an Orange tree grow
Orange seeds, I spit seeds instead of spilling seeds that bleed
My heart orange
 
And until the Orange is recognized
I will keep wearing the brightly colored color
Till the love song sings notes in my favorite color
Orange to you I dedicate this poem to.
Orange I’ll admit I’m a little bit, just a tiny bit obsessed with you