Biography

Writing

Patience Agbabi (CC BY-SA 4.0) via Wikimedia Commons

Patience Agbabi came to prominence in the spoken word scene in the late 1990s. This followed her acclaimed debut collection R.A.W., her collaboration with Adeola Agbebiyi and Dorothea Smart on FO(U)R WOMEN, and the success of Atomic Lip, touted as poetry’s first pop group. Mixing rap with a poetic style influenced by writers and performers as diverse as Sylvia Plath, Samuel Taylor Coleridge, and Public Enemy, Agbabi’s work is inflected by what she terms a ‘bicultural’ upbringing and outlook.

In the introduction to Agbabi’s debut collection R.A.W., Merle Collins describes her work as ‘poetry in the tradition of social commentary, informed by techniques of the oral performance mode,’ (9) reminding the reader that performance is Agbabi’s primary communication method. Yet she is equally adept at writing poems meant specifically to be read rather than heard. The poem ‘One Hell of a Storm’, for example, relies on visual structure to convey its meaning, evoking the rush of turbulent weather within a narrative of feminist resistance. Her 2000 collection Transformatrix brought Agbabi particular renown and she undertook writing residencies at institutions as diverse as Eton College, Oxford Brookes University, and ‘Flamin’ Eight’ tattoo parlour.

Her third collection, Bloodshot Monochrome (2008), deals most explicitly with themes of sexuality and race: poems such as ‘Comedown,’ ‘Skins’ and ‘Eat Me’ evoke the transnational anxieties of marginalisation and uncertain belonging in one’s own body and in social space. Literary critic Manuela Coppola notes that ‘as she steps beyond safe boundaries of literary conventions in a creative interplay of formal constraint and experimentation, Agbabi queers the sonnet form, destabilizing normative gay, lesbian, black, men’s and women’s identities’ (369). The comment gestures to the multiple influences on Agbabi’s work and her adept reshaping of traditional poetic forms so as to produce new conceptions of intersections between race, gender, and sexuality—conceptions that are loaded with social and political critique.

During her time as the Canterbury Poet Laureate, Agbabi produced her fourth collection, Telling Tales (2015), in which she satirically revises Chaucer’s fourteenth-century Canterbury Tales for modern times. Simon Armitage lauded Telling Tales as ‘the liveliest versions of Chaucer you’re likely to read.’ This collection was also shortlisted for the 2014 Ted Hughes for New Work in Poetry. In 2015, responding to the growing refugee crisis, Agbabi participated in the first Refugee Tales walks with Gatwick Detainees Welfare Group and Kent Refugee Help. The resulting collection of work from this project, published in 2016, reflects the capacity of the written word to capture otherwise inarticulable experiences of dislocation. Resistance to the dehumanising of refugees in the media and political narrative is encapsulated in the final line of Agbabi’s contribution to the collection: ‘The story ends where you put the frame: / but however it begins, remember my name’ (132).

—Chelsea Haith, 2019

Cite this: Haith, Chelsea. “[scf-post-title].” Postcolonial Writers Make Worlds, 2019, [scf-post-permalink]. Accessed 14 February 2026.

The post Patience Agbabi appeared first on writers make worlds.

Biography

Writing

Akala at the Hull Jazz Festival, 2015 (Photo: Ben Pugh CC BY 2.0)

Since the publication of Natives: Race and Class in the Ruins of Empire, Akala has become a prominent commentator on empire and race, both in Britain and globally. Written in the wake of a resurgent white nationalism, Natives is a tour de force of imperial history and anti-racist critique, and a must-read for anyone hoping to understand Britain today. Akala dropped out of college and did not attend university, valuing other forms of community-based knowledge and autodidacticism instead. He has spoken proudly of the pan-African Saturday school he attended as a child, and his aptly named 2012 two-part mixtape, Knowledge is Power, places an emphasis on knowing your own history and your place in the world (“when you hear somebody’s rapping, the base of it is African […] Don’t let them tell you ‘bout yourself”). In 2018, just months after Natives was published, he was awarded no fewer than two honorary doctorates – one from Oxford Brookes University and the other from the University of Brighton – for his book about anti-racist politics and history. As he joked in his Twitter handle for some time afterwards, he is now “Dr Dr Akala”.

Akala’s artistic career extends back far longer than this most recent book, however. His older sister is the ground-breaking female rap artist Niomi Arleen McLean-Daley MBE, otherwise known as Ms Dynamite. Because of his stepfather’s theatrical work, Akala saw “more theatre growing up than any rich child is likely to”, and the power of performance to make new worlds is a central theme in his work. Akala scatters Shakespearean references into much of his hip hop work; in fact, the fourth track on his first studio album, It’s Not a Rumour (2006), is named after the Bard. As he raps on “Shakespeare”:

It’s William back from the dead
But I rap about gats and I’m black instead
It’s Shakespeare, reincarnated.

The lyrics to his later track, “Comedy Tragedy History” (2007), build the titles of twenty-seven Shakespeare plays into its first two verses, which Akala wrote in less than half an hour during a live challenge on BBC Radio 1Xtra. In 2009, he established The Hip-Hop Shakespeare Company, an organisation leading live events, educational workshops, and theatre productions that reinterpret Shakespeare’s works while at the same time “expanding the Hip Hop art form as a medium of self-expression for the masses”.

Akala remains at once an activist and an artist, as captured once again in his epic poem, “The Ruins of Empires”, an abridged version of which he performed live for the BBC in 2018. Anti-imperialist in his politics and anti-racist in his practice, Akala’s is a holistic vision: he has the ability to see how disparate crises are connected by global histories and the ambition to build worldly solidarities in response. While recognising how tough the struggle for these solidarities can be, in his own life and practice Akala has demonstrated that theatre, performance, and writing must be central to any worthwhile attempt.

—Dominic Davies, 2020

Cite this: Davies, Dominic. “[scf-post-title].” Postcolonial Writers Make Worlds, 2020, [scf-post-permalink]. Accessed 14 February 2026.

The post Akala appeared first on writers make worlds.

Biography

Writing

Inua Ellams, 2009. Photo: Kim-Leng (CC BY-ND 2.0)

Ellams’s lyricism and cultural references point to influences ranging from Shakespeare’s Hamlet to the intellectual playfulness of Terry Pratchett, with a strong undertow running throughout of Nigerian oral literature or orature. Critic and writer Delia Jarrett-Macauley highlights the success of Ellams’s ‘linguistic, but low-key virtuosity’, as strikingly demonstrated in the lines written for his stage characters. Inspired by his heroes, the Nigerian writers Chinua Achebe and Ben Okri, Ellams’s poems and plays tell stories of his own life and those of others’ that are infused with the myths, legends, market gossip and lively cultural intermingling of his birth country.

Writing about Ellams’s dramatic work, Nigerian critic Uche-Chinemere Nwaozuzu notes that the solo drama style of his play The 14^th Tale reflects characteristic dramatizations in Nigeria of the outsider figure who struggles to come to terms with their identity and with fate. For Nwaozuzu, the play’s protagonist is a ‘split personality who battles with inherited personal demons and the need to chart a social identity’ during his youth in Nigeria and later in the diaspora. At the same time, he embodies the classical image of the Greek hero at the mercy of fate. Another of Ellams’s influences, Wole Soyinka, writes about characters beset by internal conflict in comparable ways, such as in a play like The Road. Here we see Ellams bringing together and channelling influences from European and Nigerian dramatic traditions into the British dramatic scene.

Ellams’s first full poetry collection The Actual / Fuck began its life as an anti-Trump project tentatively called ‘Fuck 45’ that Ellams composed on buses, trains and in the in-between moments of his busy life (Armitstead, The Guardian, 2019). His target was clearly the populist right-wing nationalism of the 45^th president of the United States, and the way in which Donald Trump’s values revealed that country’s divided consciousness. Drawing also upon his own experiences of troubled national myth-making, Ellams’s collection comprises fifty-five poems that engage passionately with themes of empire, nationalism, and racism, while also calling out the corroding, toxic effects of some forms of masculinity.

Speaking about his writing process at the Oxford Playhouse Search Party online event in November 2020, Ellams observed that many of his ideas first start as poems and then move into dramatic and dialogue forms that are further fleshed out on stage. He feels therefore that he is first and foremost a poet. However, all of his work grows out of his two major thematic and experiential influences: his odyssey as a migrant to Britain, and his experience of finding ways to belong in his new country. His journey from Jos, Nigeria to London via Dublin at the age of twelve is an especially major influence on his stage work and is frequently alluded to if not directly referenced in his plays, especially in his early work. His poems deal prominently with questions of being-in-place, and of cultural differences experienced in the African diaspora.

Ellams’s work is produced  in the moment and he shares it generously, drawing on the world as he sees it and performing off the cuff at the audience’s whim. In performance, he is innovative and daring. For example, he often uses an app to search for and share poems using single words suggested by the audience. His virtuoso mix of deep cross-cultural allusion with technological innovation is reflected in his recognition as one of the Royal Society of Literature’s 40 under 40 writers.

—Chelsea Haith, 2021

Cite this: Haith, Chelsea. “[scf-post-title].” Postcolonial Writers Make Worlds, 2021, [scf-post-permalink]. Accessed 14 February 2026.

The post Inua Ellams appeared first on writers make worlds.

Biography

Writing

Caleb Femi (photo: Caleb Femi)

When Caleb Femi became the Young People’s Laureate for London in 2016, he explained his vision for the role as seeking to,

re-engage young people, who have long been disenfranchised, through poetry. I don’t see it as far-fetched to normalise poetry among all demographics of young people in London. Poetry is the one of the purest forms of conversation there is. At its best, it allows us to communicate from an honest and safe place. And young people deserve to be included in such spaces.

Femi’s commitment to ridding poetry of its inaccessibility, revealing it instead as an art form in which young people’s voices can be heard, is central to the task of the Young People’s Laureate. Originally the role was known as London’s Young Poet Laureate (a post first held by Warsan Shire), so the name-change signals the emphasis on engaging young people across the city. In keeping with this, Femi has brought the democratising power of the internet to bear on his work throughout his career. He has uploaded his spoken word performances and short films, and made them freely available via his website and YouTube.

In this way Femi puts into practice his belief that poetry always remains unfinished, ready to be reworked and reshaped at any time. It is an idea he first explored in his undergraduate dissertation when he focused on the work of American poet Emily Dickinson, who frequently rewrote her poems or left them deliberately unfinished. In his own poetry it can be seen, for example, in the different versions of ‘Coconut Oil’ to be found online. One of these poignantly changes the close of the poem.

Often autobiographical, Femi’s poetry frequently focuses on the experiences of being a young black man in Britain. He has become a sought-after speaker, addressing audiences at the Tate Modern, the South Bank Centre, and TEDx events. In 2018, his poem ‘A Tale of Modern Britain’ was commissioned by Heathrow airport, to celebrate – in Femi’s words – ‘what it means to be British and the emotions that unite us all when we travel’. Images of the poet performing his poetry and giving words to people’s experience of flight are visible on big screens around the airport in exciting and provocative ways.

—Justine McConnell, 2018

Cite this: McConnell, Justine. “Caleb Femi.” Postcolonial Writers Make Worlds, 2018, https://writersmakeworlds.com/caleb-femi/. Accessed 14 February 2026.

The post Caleb Femi appeared first on writers make worlds.

Biography

While at school, Johnson joined the British Black Panthers’ youth section. The Panthers had access to a library where Johnson was exposed to African American literature, introducing him to a legacy of black intellectual history and literary culture that the English school system had not taught him. As well as the Harlem Renaissance writers, Johnson discovered W. E. B. Du Bois’s The Souls of Black Folk, which was one of his core inspirations to begin writing poetry. Johnson’s desire to create reggae poetry was motivated by his own passion for reggae music and by this tradition’s previous experimentations with jazz poetry.

His volumes of printed poetry include Voices of the Living and the Dead (1974), Dread Beat and Blood (1975), and Inglan is a Bitch (1980). In 2002, Mi Revalueshanary Fren: Selected Poems was published in the Penguin Modern Classics series. He has also released several reggae albums, including Dread Beat an’ Blood (1978), Forces of Victory (1979) and Bass Culture (1980).

Writing

Linton Kwesi Johnson, Bryan Ledgard, 2007 (CC BY 2.0) via Flickr

John McLeod points out that Johnson’s life and work form a bridge between the post-war generation of Caribbean immigrant writers and the ‘so called “second-generation” British-born black Britons’. Johnson’s work is deeply embedded in the tradition of Anglophone Caribbean oral poetry. However, he has simultaneously played a crucial role in giving voice to a specifically Black British identity through his anti-racist activism in Britain, innovation in the field of British reggae, and interaction with the punk movement and other British subcultures.

Johnson’s dub poetry often challenges the boundaries between music, poetry, and ‘real-world’ politics. It is often explicitly political, and many of his poems explore issues such as police harassment, racism, and classism in a very confrontational and straightforward way. His most famous poem ‘Inglan is a Bitch’ portrays the bleak reality of racial discrimination, unemployed, and low-paid jobs in a grey and depressing 1970s England. Poems such as ‘Bass Culture’, ‘Dread Beat an Blood’, and ‘Five Nights of Bleeding’ also vividly portray urban nightlife and reggae and sound-system culture in Britain.

Through his depiction of everyday life in Brixton and his chronicling of important political events and cultural movements in black history in Britain, Johnson’s poetry constantly explores the relationship between aesthetics and politics, and the ways in which poetry and political activism can merge, supplement, and challenge one another.

—Louisa Layne, 2017

Cite this: Layne, Louisa. “[scf-post-title].” Postcolonial Writers Make Worlds, 2017, https://writersmakeworlds.com/linton-kwesi-johnson/. Accessed 14 February 2026.

The post Linton Kwesi Johnson appeared first on writers make worlds.

Biography

Writing

Anthony Joseph, 2016 (Photo: Bonuggy CC BY-SA 4.0 via Wikimedia Commons)

As Anthony Joseph stated in a recent lecture: ‘I’m not British. I’m not English… I didn’t grow up here’. In both their experimental form and content, Joseph’s poetry, novels, and music seek to reflect the experience of the Caribbean, especially life and culture in Trinidad. However, rather than adhering to a single national or cultural identity, Joseph consciously situates himself and his work within a global literary lineage.

His poetry expresses this in multiple ways. He writes in several different languages, such as Haitian creole, Trinidad and Tobago nation language, Yoruba, Jamaican patois, French, and English. These are combined with an avant-garde, surrealist sensibility, that uses broken syntax, neologisms, non-linear narrative, and innovative punctuation and capitalization. The impact of the French Oulipo movement on his work is clear, but so is that of Caribbean writers such as Wilson Harris, Kamau Brathwaite and Aimé Césaire. Joseph has said that it is these ‘like-minded black experimentalists’ that he turned to when he could find none in the United Kingdom (Joseph 2009: 155).

The polyvocality and formal innovation of Joseph’s work constitutes a challenge to what he calls ‘conceptual colonialism’: that is, the predominance of a certain type of black British writing, which is ‘performative’ with a ‘linear narrative’ that calls ‘for class- and race-based social interventions… [alongside] directly discussing dual identities and cultural tensions’ (Ramey 2009: 88).

This activist-style of writing, in Joseph’s view, was once radical. However, today, it is the norm and there is a limit to the kinds of questions it allows one to ask and the answers that are possible therein. As Joseph says during the final, eponymous track of his latest album, People of the Sun (2018): ‘the surface of a thing will never give up its secrets if all you do is ask’.

This commitment to going beyond surface-level engagements translates into the mythic, dream-like quality of Joseph’s work, a style that attempts to capture experiences of alienation, exile, music, landscape, and the legacy of slavery. His earliest poetry collections, Desafinado (1994) and Teragaton (1997), experiment with this in mind, with the latter inviting ‘participants’, rather than an audience, to create the text through their interaction with it. Bird Head Son (2009) begins from the day Joseph migrated to London and works anti-chronologically through his life, focusing on landscape in a similar vein to Jean Rhys’s Wide Sargasso Sea: beautiful, unpredictable, and often biblical.

The significance of non-linear narration is most acutely felt in Joseph’s novels. The Frequency of Magic (2019) depicts Trinidad through one-hundred chapters, each exactly one thousand words long. Rather than a single protagonist, the novel features dozens of recurrent narrators, often retelling images from previous chapters in new contexts, which create momentary footholds for the reader navigating their way through the complex and fragmented narrative.

Bird in Hand, Ellen Gallagher, 2006, Photo: © Tate, London 2020. 
Joseph’s The African Origins of UFOs, like Ellen Gallagher’s Bird in Hand, is an Afrofuturist engagement with the black diaspora: surreal, otherworldly, and fractured across time.

This style is most evident in Joseph’s Afrofuturist debut novel, The African Origins of UFOs (2006). Praised by Kamau Brathwaite and Linton Kwesi Johnson, Origins is a narrative of twenty-four chapters divided across three intersecting sections. The first is set in Kunu Supia, a space colony of the Caribbean diaspora in the year 3053; the second takes place in present-day Trinidad; and the third offers a Caribbean creation myth of Trinidad set in a folkloric past. The overall narrative mimics the image of the Sankofa – the melding of past, present, and future into one shared form. In this way it explores the alienation and tensions within a diaspora ‘lost in space, drifting from place to place, still trying to find where they come from’ (137).

In a British cultural context in which nostalgia thrives, Anthony Joseph’s poetry and prose are sources of constant formal innovation that resists the mainstream while also engrossing readers through its otherness.

—Christopher J. Griffin, 2020

Cite this: Griffin, Christopher J. “[scf-post-title].” Postcolonial Writers Make Worlds, 2020, [scf-post-permalink]. Accessed 14 February 2026.

The post Anthony Joseph appeared first on writers make worlds.

Biography

Writing

Roger Robinson performing with King Midas Sound, Rome, 2010 (Photo: Riccardo Frabotta, CC BY-ND 2.0)

In 2001, Robinson moved from having his poetry printed in a number of influential anthologies – notably, The Fire People (ed. Lemn Sissay, 1998) and The Penguin Book of New Black Writing in Britain (2000) – to publishing his own debut collection of short stories, Adventures in 3D. Since then, he has published two short pamphlets of poetry, Suitcase (2004) and Suckle (2009), and two full-sized volumes of verse, The Butterfly Hotel (2013) and A Portable Paradise (2019). While the former was shortlisted for the OCM Bocas Poetry Prize, it was the latter work and the acclaim it won which ultimately cemented Robinson’s status as one of the top poets currently writing in English.

Termed ‘deep, mature, moving and inventive’ by Bernardine Evaristo, A Portable Paradise represents the culmination of the aesthetic which Robinson developed over the preceding three decades: his verse utilises a diverse range of forms, sourced from all over the world, while prioritising orality, after the manner of Spoken Word.

Structurally, Robinson divides his two full-length collections into several parts, interlinked through a unifying image. In A Portable Paradise, all five sections culminate in a poem addressing the titular theme, while, in The Butterfly Hotel, a monarch butterfly recurs throughout, its journey emblematic of the volume’s migratory theme.

In terms of content, throughout his career, Robinson has shown an unerring willingness to shine a light on even the darkest of contemporary issues. In his view, the vocation of a poet involves “translating trauma into something people can face”. For this reason, in recent years, he has written on a wide range of subjects generally considered difficult and even taboo, from the Windrush scandal to the premature birth of his son.

—Gavin Herbertson, 2021

Cite this: Herbertson, Gavin. “Roger Robinson.” Postcolonial Writers Make Worlds, 2021, https://writersmakeworlds.com/roger-robinson/. Accessed 14 February 2026.

The post Roger Robinson appeared first on writers make worlds.

Biography

Writing

Benjamin Zephaniah, Waterstones, Piccadilly, London, 6 December 2018, Edwardx (CC BY-SA 4.0) via Wikimedia Commons

Christian Habekost describes dub poetry – Zephaniah’s chief genre – as an ‘artful fusion’ of ‘oral and text media, singing and talking, music and literature’, with patterned ‘riddim’ its ‘central formative aspect.’ Zephaniah’s first EP, Dub Ranting (1982), reflects this fusion, integrating the ‘ranting’ of predominantly white British punk performers with black Caribbean-influenced dub music, which itself merges reggae and spoken word. Pen Rhythm (1979), his first collection of poetry, was published by the London left-wing cooperative bookstore, activist space and vegetarian food shop Whole Thing. While describing himself as ‘a mixture of England and Jamaica, but mostly England,’ Zephaniah is often critical of English society, situating his work in opposition to racial and ethnic discrimination. Heavily involved in the Brixton Riots of the mid-1980s, his poetry collections including the Dread Affair (1986), City Psalms (1992), and Too Black, Too Strong (2001) are prominently concerned with black identity and activism. He has written several poems in remembrance of those killed as a consequence of racism and xenophobia, including Joy Gardner, Stephen Lawrence and Steve Biko.

Zephaniah’s poetry is centrally and sometimes searingly concerned with personal struggles, including his own divorce and infertility. His fourth collection, Propa Propaganda (1996), ends with the chilling lines:

There must be a baby
In there
Somewhere,
There must be
A baby
In here.

His most celebrated work for children, Talking Turkeys, brings together short rhyming poems that humorously muse on the plight of fearful animals and mistreated children. Bob Mole describes the wit in Zephaniah’s work as a ‘strong flail’ which ‘even if it doesn’t bring change, makes the laugher feel better for a while’. Marketed at teenagers, Zephaniah’s novels are modelled on young outcasts and immigrants. The satirical film Dread Poets Society (1992) – starring Alan Cumming, Emma Fielding and Timothy Spall alongside Zephaniah – is a self-conscious reflection on Zephaniah’s place in the academy. He has also appeared in multiple radio programmes and television documentaries. In the 1920s period drama Peaky Blinders he plays Jeremiah Jesus, an ex-military preacher and gangster.

Zephaniah continues to travel widely for performances (once performing on five continents in twenty days), and has maintained a sustained interest in global politics. City Psalms alone contains reference to political struggles in Australia, El Salvador, Ethiopia, Kurdistan, Mali, Palestine, the United States and the imagined communities of ‘Utopia’ and ‘McDonalds’. As a frequent and willing collaborator, one of his most genre-bending productions, Naked (2005), contains authorised prints of Banksy artworks in the poetic liner-notes accompanying a musical record. Zephaniah’s later writing has turned to teaching and reflecting on his own life and work. He dedicates his autobiography, The Life and Rhymes of Benjamin Zephaniah, to himself:

And why not?
There was a time I thought I wouldn’t live to thirty.
I doubled that and now I’m sixty.
Well done, Rastaman, you’re a survivor.
A black survivor.

—Robert Freeman, 2020

Cite this: Freeman, Robert. “[scf-post-title].” Postcolonial Writers Make Worlds, 2020, [scf-post-permalink]. Accessed 14 February 2026.

The post Benjamin Zephaniah appeared first on writers make worlds.

The works are inspired by what D-Empress describes as a ten-year initiation into teachings and practice of the ancient West African Mandinka badjenne tradition. This tradition is an intergenerational practice where elder women, the badjenne sages, are revered and honoured as the keepers of specifically female traditions who help to shape female identity through rites of passage of the girl child into womanhood. Though vibrantly alive today in different forms amongst Mandinka regions of West Africa and beyond, these traditions are increasingly becoming contested ideological and practice spaces. This becomes particularly pertinent as African women grapple to find belonging and liberation within often contradictory global narratives of femininity, feminism and the idealism of liberation in a globalised world.

D-Empress invites us to look again at the badjenne through a series of unfinished sculptures that create a space to unfold the complex, alchemic crucible of communion, culture and co-creation with the audiences. Believing that no act of creation is ever complete, D-Empress offers the unfinished works as an invocation to those sharing in the performance to move beyond merely receiving to sharing and co-creating.

The immersive installation, she suggests, may be an African-anchored pathway to a re-enchantment of romance, of seduction, of living, leading us away from a world bent on equality of the sexes into a space where we may ask different questions of ourselves. In such a space, the possibility arises of crafting futures that move beyond the binary bastions in which we so often become entrenched.

D-Empress Dianne Regisford

D-Empress Dianne Regisford is a multi-sensory, contemporary artiste invested in artistic enquiry, which creates spaces for cultural and poetic acts of encounter. Her artistic practice includes the visual arts (painting, sculpture), poetry and performance, and pivots around ideas of voice, participation and representation of women in the African-Caribbean diaspora.

Inspired by cultural and spiritual systems of Africa and her diaspora, D’Empress’s creations ‘churn the soul soil of identity, heritage, mythology and humanity, excavating narratives as pathways to social renewal’. She works with the socio-cultural fabric of diaspora voice, (re)constructed identity and sense of place in urban spaces, and is also particularly interested in the experiences of African feminist perspectives of gender, sexuality and sensuality.

D-Empress’s works weave sensory narratives that evoke, tie and sometimes knot threads of the cultured, the indigenous and the contemporary in the social fabric of urban spaces across the African-Caribbean diaspora.

Cite this: “[scf-post-title].” Postcolonial Writers Make Worlds, 2017, [scf-post-permalink]. Accessed 14 February 2026.

The post D-Empress Dianne Regisford: ‘Hersto-rhetoric? Na so today!!!’ appeared first on writers make worlds.