Oct 23 2012

One on One with Kumaserati: We Talk Black Wall Street, Kat Stacks and ’99 Names of God’

If you are a serious aficionado of “conscious” hip hop music, you are no doubt familiar with the name Kumasi Simmons, a.k.a., Kumaserati, a gifted hood-born poet with a unique flow that has attracted souls from as close as Brooklyn and Compton to as far as Paris, Jakarta, Tunisia and Ghana.

Kumasi has collaborated with some of the most creative and prolific artists in popular music, including Kanye West, Adam Levine, Mos Def, Malik Yusef and The Game.

When The Game heard Kumasi’s soul-stirring flow, he welcomed him to the Black Wall Street label as “Kumaserati,” BWS’s sole “conscious” contributor. After recording curse-free, drug-free, woman-respecting songs under the Black Wall Street flag, in May, 2012, Kumasi independently released a 27-track hood gospel project entitled Soul Music.

Soul Music is a majestic offering of uplifting, inspiring and cautionary songs with titles like Same Soul (f. Tara Ellis), Change (f. Mos Def), Highway to Hades, Promised Land (f. Kanye West and Malik Yusef), Be Kind to Your Mother, and, my personal favorite, Amazing Grace.

As if Kumasi wasn’t busy enough in the studio making his Soul Music dream a reality, last year this Compton, Cali native was sponsored by the U. S. State Department to travel the world as a cultural attaché, visiting developing democracies in Indonesia and Africa, where young, mostly Muslim, citizens are both curious and dubious about American culture and freedom of expression.

Kumasi performed with fellow Muslim artists via the group Remarkable Current in an unprecedented cultural exchange program through which they delivered messages of peace and brotherhood across barriers of language and ideology. For more information about this project, visit remarkablecurrent.com .

The video below (f. Kumasi), paying homage to Tunisian revolutionary hero Mohamed Bouazizi, is an example of the incredible creativity and passion hip hop music lends to messages of freedom and calls for progress around the world. Is it just me, or is this track SICK? And by sick, I mean AMAZING.

I recently caught up with this self-described “servant of God,” to find out what motivates him musically, what’s keeping him busy now and where he is headed next.

KC: When you released your first album, Change Gon’ Come, you used your given name, Kumasi. Now you have adopted this new moniker, Kumaserati. What’s the story behind this name change?

Kumaserati is an alias that was created to help young people remember my name. Kumasi is the name of a city in Ghana, and until I can popularize that name as an artist, I want to help people find me and find my music. I want to leave a positive impression on impressionable young people who will respond to that name because it is associated with something they value.  A Maserati is a vehicle. Kumasi is a  servant. Kumaserati is a servant of God first and foremost. The way that I serve may require different strategies.

Speaking of strategies, I understand you’ve joined a music group called Kaj (www.thekaj.com). What is Kaj and how is it different from the music of Kumaserati?

The Kaj is another strategy for Kumasi to exist in service to God. The word Kaj is a combination of the names of its members, Kumasi, Anas and Joel. We came together to do a project that is soulful and that is inspired by people that inspire soul music–like Curtis Mayfield. Like The Ojays. The Kaj is using the language and diction and the integrity of those times with the sound of today.

It seems to me there’s this gap in music today where some of us feel we really have to look and listen hard to find contemporary music that is still soulful or soul-filled. It sounds like this group is the perfect fit for us.

We weren’t really trying to specifically fill any void. We were just trying to make music that we like and that people like. Our intention is to create music that is about love, and is  also correct towards women. Theres’ a song about domestic violence. There’s a song called  The Sounds of Making Love.

Is there a percentage of The Kaj’s sound or style that you would call hip hop, or is it a departure from your hip hop roots?

That’s an excellent question. The attempt here is to be intelligent and at the same time be cognizant of using simple yet meaningful words. You won’t hear us saying words like “swag.” You might hear words like “darling” and “delectable.” The word choices are deliberate. Our music is supposed to make you feel happy and make you feel like you want to make love to your woman and retain the respect due to women.

On your new album, Soul Music, you included a track called “99 names of God.” Tell me three of those names that are embodied in your music.

“Sublime. Gracious. Mighty.”

How did an artist so focused on heavenly goals, end up at Black Wall Street with The Game?

He really wanted a conscious artist on his label. My affiliation with Black Wall Street provides an opportunity to broaden my reach as an artist. I will always have love for The Game for opening that door for me.

What is one quality of The Game that would surprise people?

People might be surprised that he has a great sense of humor. People may be surprised that he’s a family man. People may be surprised that he’s a man who is striving to be a better man and a better person. You might be surprised to know that he is in tune with his Creator.

You have collaborated with some heavyweights in the industry. Who would you like to work with that you haven’t yet?

I love Jamie Foxx as a person and Pharrell as well. After meeting and vibing with them, I would love to work with them. Also Will.i.am. I admire his creativity. Cee-lo is really gifted and down to earth–really for the people. I would love to work with him. Of course, Tupac, when he comes back.

Thank you for that awesome segue to my next question. If you died and God sent you back here as a woman. What would your mission be?

To be an example of class. An example of motherhood. We need more examples of strong women who are powerful generals who have command. A powerful woman doesn’t want a man with a nice vehicle with nice rims. She cares for her people. She cares to improve lifestyles besides her own. Some women believe that sex is their power. Their body is their power. But that is not the extent of a woman’s power by any means. If more women could set powerful examples, young women in our culture would create better humans.

Speaking of women and how we are perceived, in hip hop culture certain women are afforded a measure of respect and others are not. You were involved in a controversy in which you came to the defense of Kat Stacks, a self-described “hoe.” What made you think Kat Stacks deserved to be defended when she attracted so much drama and negative attention through her own actions?

When you meet a man in the hospital or grocery store that man is your brother. If that man is white or that man is black that man is your brother. If that man is Chinese that’s your Chinese brother. Whatever mind state a woman is in and whatever decisions she’s making that may be wrong, whether its to use drugs or to sell her body, that woman was born a princess. On earth we are all family members. Once you have that outlook, you can act accordingly. When it comes to a person like Kat Stacks you wish better for her. You don’t have rancor in your heart, you realize that that is a woman who was created by God and you have to respect that. He gave her lungs and eyes and she was not a mistake. She is a creation of God. How does God feel about that which God creates? If we ask ourselves that question we may find ourselves being careful to not dishonor that which God created, even if that creation has not begun to honor themselves.

You recently traveled on behalf of the United States as a cultural ambassador where you addressed thousands of young men and women whose impressions of of this country were deeply and positively impacted. Is this a new direction for Kumasi? How does civil service fit in to your goals?

This was another opportunity to serve God. I’m not into politics. I’m into people. I’m into peace. I was able to be peaceful with the people of Indonesia. I was also able to go to northern Africa. I did a song with El General (Hamada Ben Amor), the young rap artist who got locked up for speaking out against the president of Tunisia.  Last year, Time magazine named this young rapper one of the one hundred most influential people in the world.

It’s important to create alliances everywhere you go. In Paris I was able to do this. In Africa. Eventually if your voice becomes big enough you can invite people to hold hands. I’m very grateful for the opportunity.

What can we look forward to next from Kumaserati?

I am currently in the conception stage of a project that will ultimately bear magnificent fruit. I am collaborating with two women whom I deeply respect and admire, not only for their amazing talents, but for their pure intentions to help heal people’s pain and to serve the human family.

 Myself, Hope Shorter and  Tilly Key, along with producer Christian Shorter, are putting together a project that, in spirit, will be like having Lauryn Hill, Sade and Bob Marley collaborating to serve. I”m not trying to equate us talent-wise, though the talent here is crazy, but spirit-wise the intention is that huge.

The project is called “Child of The World,” and it will be geared toward educating young people about nutrition, healthy lifestyles and philanthropy via a series of non-profit concerts in major urban areas like downtown L.A., Chicago and NYC. We will bring music, message, and meals to the streets with the sole purpose of connecting to and serving our fellow man. 

Follow @Kumaserati

Soul Music is available at http://hoodgospel.bandcamp.com/album/soul-music $1 per track downloaded, or download ALL 27 TRACKS for just $3 !



Jul 8 2012

According to ‘Abraham Lincoln’ Harriet Tubman Shouldn’t Be So Black

There are two things the American masses can’t seem to get enough of, revisionist history and vampires, so, hey, why not mash up the two and make a quick box office buck?

Enter film maker Tim Burton (yes, thee Tim Burton) and his just released bright idea, “Abraham Lincoln: Vampire Hunter,” a re-imagined version of our 16th President as a hatchet-wielding, freedom fighting abolitionist on a quest for vengeance against the blood-sucking, slave-eating Confederate vampires who murdered his mother.

I’m guessing the film is as over the top as it sounds, which is probably why critics have mostly panned it; but, I can’t actually speak on whether this flick has any redeeming qualities, because, out of respect for Harriet Tubman, I will never see it.

(Yes, thee Harriet Tubman)

If you know even a little bit about Araminta Harriet Ross Tubman, you know that she stands as one of the greatest human beings who has ever inhaled oxygen on this blue marble we all call home.

No, that is not an exaggeration.

Harriet Tubman is a super hero’s super hero.

If you don’t know much about her, we’ll just place the blame for that squarely on the educators who cheated you. If you don’t learn more about her after today, there will be no one to blame but you. Google is, after all, the great equalizer. Or, you could read “Harriet Tubman: The Moses of Her People,” which is (at the time of this posting) absolutely free on Amazon.com

It is really difficult for me talk or write about Harriet Tubman without being overcome with emotion, because, even though I know many, many details of her life story (a story that is beyond amazing), I am painfully aware that the details I DO know are but a tiny fraction of all that this woman was, all that she saw, and all that she suffered so that others might live in freedom. Gazing at her picture both inspires and shames me; I am reminded of how much I have not done in comparison to this woman’s breathtaking life of service.

Born into slavery c. 1820, Araminta “Minty” Ross was forced to perform hard field labor from the time she was a small child. She witnessed several of her siblings being sold off to other owners (never to be seen again) and she once heard her mother, Harriet Greene Ross, threaten to split open the head of anyone who tried to sell her remaining children. That threat (which worked) was Minty’s first exposure to the idea of “resistance,” but it would not be her last.

Minty was permanently disabled at age 13 when she refused to help an overseer catch an escaping slave. The overseer threw a heavy metal weight at the fleeing slave and it missed and struck Minty in the head. Her owner allowed her two days to recover from the trauma, after which she was forced to work the fields with blood from the wound dripping down her face. She suffered with epileptic and narcoleptic spells for the rest of her life as a result of the injury.

Minty eventually married a free black man named John Tubman and adopted her mother’s name, Harriet, as her own. Never contented to be a slave, Harriet Tubman soon began plotting her solo journey North to freedom. Though her husband threatened to turn her in if she tried to run, Harriet escaped to Philadelphia where she established a base of operations and dared to return to the South twenty times to lead hundreds of souls to freedom via the Underground Railroad. Tubman famously never lost a passenger–a feat she attributed to a pistol at her side and direct communication from God.

Never captured, Tubman eventually served as a spy and nurse during the Civil War, became a suffragette after slavery was abolished, established a home for the aged, lived to be 93 years old, was buried with full military honors and has this inscription on her headstone:

“Servant of God, Well Done.”

So, when filmmakers start messing around with this woman’s legacy, those who love and revere her are definitely going to sit up and take notice.

What we notice about this Burton film is that somebody (Casting agent? Executive Producer? Director?) decided it wasn’t important to portray Harriet Tubman as the dark-skinned daughter of Africa that she most definitely was.

Harriet Tubman (left) & the actress cast to play her 

Tubman’s direct ancestors are believed to have been of the Ashanti tribe from what is now Ghana, West Africa. She was not “mulatto” and she received none of the advantages during her life (literacy, freedom, income, protection) that might have come from being mixed with the slave master’s blood.

Harriet Tubman’s dark skin is central to her story as a black American woman, and anyone who knows and respects the history of Africans in America would know that.

Which raises the question…

Why was Jaqueline Fleming even in the running for this part? (I get why she took the role, but it is lost on me how she could be cast here.)

Casting a movie is never haphazard. Casting agents are like character chemists who are responsible for connecting the audience to the actors and the actors to one another. Their expertise is generously compensated, and their track records are what get them gigs. A quite prolific casting agent, Mindy Marin, cast this movie, though she may not have had the final say in how Harriet should be portrayed.

But someone did. And someone decided she shouldn’t be so black. Someone decided Harriet Tubman should look less like herself and more like Jaqueline Fleming, and that someone had a reason which is left open to speculation.

So, let’s speculate:

Perhaps the closer a woman of African descent is to looking like a white woman, the more palatable she becomes to the audience.

And when a woman of African descent is darker-skinned it seems we are more comfortable if she stays in her place.

Removing Harriet Tubman’s pigment for the purpose of making her more “palatable” to an audience is called E R A S U R E. Distorting Harriet’s image so that it can no longer serve as an example of heroism to the successive generations of brown girls who resemble her is called E R A S U R E.

Erasure must be socially sanctioned if it is to be effective.

So, don’t sanction it. In honor of a great black American woman who devoted her life to freeing slaves and being of service to her fellow humankind, please do not support this film.

“I freed a thousand slaves; I could have freed a thousand more if only they knew they were slaves.” -Harriet Tubman

And, if it’s not too much trouble…

:-/

…contact the film’s producers to let them know why:

@20thcenturyfox @bekmambetov @SimplyBurton

Bekmambetov Projects, Ltd.
11600 Dona Alicia Place
Studio City, CA 91604
Ph:(818)755-0640
Email: kathy@bazelevs.com

20th Century Fox Film Corporation
Attn: Scott Rudin
10201 W. Pico Blvd.
Los Angeles, CA 90035
Ph: (310)369-1000


Jun 30 2012

Here’s Why I Love Kola Boof

“I wish, so much, that I hadn’t stayed with the bodies over night. Because that is how I received my imagination…I could hear their blood going into the earth…And I know TOO MUCH.” -Kola Boof

Naima Bint Harith (a.k.a. Kola Boof)

Whenever I think of Kola Boof, I see an image of Naima Bint Harith, a little girl with gorgeous deep brown skin, a sweet smile and shining eyes, who, at age six, witnessed the murder of her parents.

Naima’s father, Harith Bin Farouk (a light-skinned Arab/Egyptian) and her mother, Jiddi (a blue-black Gisi-Waaq Oromo from Somalia) were both slaughtered in retaliation for Harith’s “crime” of speaking out against the enslavement of the charcoal-skinned Sudanese by the lighter-skinned Arab ruling class.

During the first night of her new life as an orphan, Naima’s innocence was dyed blood red as she spent the dark hours before dawn lying alone and traumatized with her parents’ lifeless bodies.

Within days of the murder, Naima’s Egyptian grandmother informed her orphaned grandchild—the only living child of Harith and Jiddi—that her skin was too dark for her to be welcomed into their light-skinned family. Little Naima was put up for adoption.

When I think of Kola Boof, I think of that little girl who should have been happily skipping along the banks of the Nile with her parents, but, who was instead violently and callously flung into a war against white supremacy that no human being should have to (but every human being should be willing to) fight.

It is not lost on me that had Naima’s father been unconcerned and complacent in the face of the injustice he saw, he would still be alive. Her abandonment and suffering are born of his sacrifice. Our complacency is a twisting knife.

If you don’t know who Kola Boof is, I’m going to have to let you Google her, because trying to sum up this writer/activist’s life and work in a few paragraphs is an impossible task.

Suffice it to say that the Sudan-born, D.C.-raised author of “Diary of a Lost Girl,” “Long Train to the Redeeming Sin,” and “The Sexy Part of the Bible,” writes edgy, thought-provoking, paradigm-shifting literary prose (and, at times, vicious, profane, irreverent twitter rants) that have led journalists, fans and haters to variously label her “genius,” “disturbed,” “talented,” “polarizing,” “brave,” “racist,” and, increasingly, among her hundreds of blocked haters on Twitter, “crazy black bitch.”
Though Boof can at times be found at the center of distracting social media hurricanes (like the recent drama in which she boasted about regularly sexing Djimon Honsou during his marriage to Kimora Lee Simmons), her impassioned and important message is that the earth’s dark-skinned black woman is systematically disrespected, hated, insulted and erased by those who, influenced by white supremacy, cannot or will not recognize her black beauty and her intrinsic perfection as a creation of God.

It astounds me that anyone disagrees with that message, as it is quite apparent that in every country or culture on this planet that is heavily influenced by European values, dark-skinned women with black-African hair and features are rarely held up (for its sons and daughters to look to) as models of what is beautiful, marriageable, or worthy of admiration.

Don’t even get me started on the American entertainment industry and its proliferation of images that relegate dark-skinned women to the roles of maid, mammy, slave or sex worker. But it’s not just the media that is guilty. Too many young dark-skinned girls are tormented by their family members and bullied from toddlerhood, with the terms “African,” “dark” and “nappy” being viciously hurled at them like profane weapons.

Insult is added to this injury when darker-skinned black women are uninvited or invisible in situations where light-skinned or biracial black women (whose physical features are closer to the “white ideal” of beauty) are welcomed to show off their “black” beauty. If you need an example of this blatant disregard for the plentifully pigmented sisters among us, click here, or here, or here, or here, or here.

It also astounds me that so many lighter-skinned people who profess to be about “erasing racism,” “honoring diversity” and “building unity” are so resistant to understanding Kola’s life experiences or at least listening with an open mind to her observations about the annihilation-by-rejection and psychic injury dark-skinned women are being subjected to around the world.

I get that folks are turned off by Boof’s caustic delivery and her irreverence-bordering-on-hatred for some of the world’s most revered institutions (such as Christianity and Islam). I get that people are offended by the sweeping negative generalizations she makes about the inhabitants of entire countries (especially since she so deeply and righteously resents the negative generalizations made about black women). I get that people are shocked and repulsed by Kola’s disregard for what she sees as repressive and oppressive Western moral codes.

What I don’t get is how there is this loooooong line of individuals ready to invest their energy in attacking Kola for her lifestyle, her opinions and her temper, yet there are so few champions who are willing to speak up about the HUMAN RIGHT so many black girls have been denied—the right to be seen, to be admired, to be protected and to be cherished.

I admit I am frequently appalled at the words Kola Boof uses to voice her rage against her detractors—especially the vitriol she reserves for black American men (whose psychic injury she acknowledges, but cannot forgive); but even when she is at her angriest, my gut feeling about this sister is that she created “Kola Boof” to be the warrior she needed but didn’t have on the day her parents died–a ferocious defender who should have been there to protect little Naima—the generous, intelligent, soft-hearted, world-embracing spirit that lives inside Kola.

Given the mountainous struggles that little girl faced (severe trauma, several abandonments by parental figures, adapting to American culture, learning English, rejecting colorism…) it makes perfect sense to me that her alter-ego Kola would (on the surface, at least) be so FIERCE.

Anyone who knows even a little bit about the Post Traumatic Stress Disorder a severe childhood trauma creates, knows that one of its key components is an easily triggered and exaggerated fight or flight response. It is an extremely difficult to control SURVIVAL response that has nothing to with intelligence or morals or wisdom.

Among the many symptoms PTSD sufferers deal with are:

Physical ailments with no apparent physical cause
Sleeplessness
Fear for their safety; always feeling on guard
Feelings of shame, despair, or hopelessness.
Difficulty controlling emotions.
Impulsive or self-destructive behavior.
Changed beliefs or changed personality traits.

I don’t know Kola personally and I don’t know the degree to which any or all of these symptoms affect her life, but her writings, her online presence and her tweets seem to indicate that there is much residual injury that she lives with daily. If she is suffering from PTSD, I see no reason why her life’s work to restore THE ORIGINAL AFRICAN WOMAN to her rightful pedestal of dignity and respect should be diminished by it.

“I am a very SAD, broken, damaged human being…And I live, literally, by the grace of GOD. The pain in my vagina I have spoken of…but rarely the pain in my brain and my heart.

My teeth and my bones hurt me like headaches, because I am so broken and damaged EMOTIONALLY.

People read my books and ask, “How can you write like that?” It’s because I live in constant emotional “psychotic” pain.

Don’t they understand that I saw my parents killed in front of me? Do they think a child can EVER grow up and get over that?

And now I wish, so much, that I hadn’t stayed with the bodies over night. Because that is how I received my imagination. From that night, when I could hear their blood going into the earth. I suddenly had an “imagination”. And it’s very…

And I know TOO MUCH.

Much of the vicious attacking you see me do…is mainly to make people AWARE of the rage and bitterness that they create in the world…simply by accepting the world the way it is.

That’s why I tell people…don’t accept it…REBEL.

Because although it’s too late for Naima…it’s not too late for the daughters of the future.

When YOU SEE me hurt someone, strike at someone…I’m just trying to set a new example for the MULES of the world….that we mustn’t go down without loud screaming and fighting.

…I don’t see myself living that long, and I just want to give…as an artist….what the people NEED.

And I pray for my sons to be OK. I know I’ve taught them how to make generations and where inside themselves to find answers and to find me.” -Kola

Although I have never met Ms. Boof, I interacted with her online many years ago and did speak to her once on the telephone after she wrote an amazing poem for me entitled “Angels and Insects” which she posted at the African American Literary Book Club (AALBC) discussion board where she and I crossed paths.

An inter racially married white woman on that discussion board who called herself, “Moon,” had become the target of Kola’s rage when (among other things) she refused to acknowledge that white and light-skinned privilege exists at the expense of black women. Kola was trying to get Moon to realize that privilege and injustice are inseparable and that her white privilege had a cost that she simply chose not to acknowledge (which is another privilege).

Moon was the source of much conflict on that board because she was a white visitor to a black online forum who was always in “teach” mode, and she did not seem to respect the opinions of the black women whose life experiences differed so greatly from hers. Moon was convinced that simply by mothering her mixed children and teaching them that love sees no color she was actively promoting the unity of the human family. “I don’t walk in brown skin,” she wrote, “I can sure teach children about love.”

Being the product of an interracial union myself, I joined the debate. (Forgive the use of CAPS; it was an intense conversation):

“Your children deserve more than your LOVE. They deserve to LEARN what it means to live in a society that will try to convince them they are BETTER because they came from YOU. Who is going to WORK DAILY and DILIGENTLY to undermine that lie in your household?

I am not a hater, Moon. I KNOW in my SOUL that all human beings are ONE CREATION, and these designations of racial categories are not REAL. But that does not mean human beings are not behaving as though they [the labels] are real. WE are all affected by our socializations regarding race, skin color, hair texture, innate intelligence, morality, etc. etc. etc.

You cannot toss me indescriminately onto the heap of black women who you consider jealous of you and your husband, or simply hate your whiteness. My mother is white and my father is black and I can speak on the subject of white privelege personally, because having white skin and blue eyes I am treated with UNEARNED deference just about everywhere I go.

One of the few places my physical appearance is not automatically “respected” is in the company of black women I don’t know. That is when I humbly SHUT MY MOUTH AND LISTEN so that I can LEARN more about what it means to be a black woman in America — and thereby understand more clearly what it means to be a member of the human family.

I don’t agree with everything Kola says, but I don’t take what she says personally either. I know she is “FIGHTING for her life…” Her fight to lift up black women does not diminish me….WHAT are YOU fighting for MOON? The rights of all humans, regardless of skin color, to love and intermarry? That right already EXISTS. As you said earlier, your life is proof of that.

Show me proof that Kola’s BLACK SONS are held in HIGH REGARD by this supremacist society. She is fighting for THEM, MOON. And for EVERY BLACK BABY who will be shown and told (maybe by YOUR children) that they are NOT PERFECT EXACTLY AS THEY WERE CREATED. They will be told that if their father had lain with a Scandinavian or an Asian or a Mexican or ANYTHING but their AFRICAN MOTHER they would be more beautiful or smarter or healthier or… (you know the list you’ve heard it many times).”

Kola’s response to my post was immediate, and, I believe, sincere.

…I have never denied that I have many prejudices against Bi-racial people and white people—despite that fact that I am, technically, Bi-racial and that my White Arab birth father was a great, great man who dedicated his life to the dismantling of “White Supremacy”. He called it “the world’s only true religion”.

But my “prejudice” against Bi-racials and Whites is not what I…..REALLY…..feel when I’m alone, topless in the mountain streams praying. I feel LOVE for those people—only I keep it a secret, because I fear they are against me and my sons.

It seems there are two realities co-existing within this daughter of a slain freedom fighter. There is Kola Boof, the consummate REBEL whose words and actions are symbols of her RESISTANCE to being controlled, ignored or annihilated by the spirit of white supremacy that destroyed her family and threatens her progeny.

And then, there is Naima Bint Harith whose broken heart did not lose its capacity to love us all.

I wrote and posted this short poem on the AALBC discussion boards eight years ago. It still reflects why I love her:

Naima peels back her own skin
with life-sharpened nails
and we peer inside

inside her

and exclaim,

see, a huge heart
oh, and innards
soft, open, vulnerable

and in her exposure
we are exposed
safe, selfish, cowardly

and still
she names us
sister

Click here to read “Angels & Insects” by Kola Boof.