A welcome by guest editors Yvette Lisa Ndlovu and Shingai Njeri Kagunda

Obee Carter. The man who ends the world, and the man who saves it. He wears the name on his uniform, though no one reads it. There’s a badge on his uniform, at the place that once held his heart.

The first time Theo saw the Henrietta up close—dead of night, moon hanging low like ripe fruit behind the foremast, shrouded in fog—well, he felt something. Something fear-shaped but with a finer point.

The taxidermy head scared her last night when she checked into her presidential suite at the Ritz-Carlton in Johannesburg. Mai Alfred makes a mental note to tell the staff to take it out tomorrow.

our girl hits da hydraulics & blasts away from da bullets with a cigarette tap dancing between her lips

why white hands / draw a blank / ‘bout us / keep forgetting / the filaments

I mean, Fortune, what world is this again?

When Afrosurrealists intentionally sit in the wake, and evoke the plurality of experiences that connect the diaspora, they ensure that other Black creators are initiated into our collective histories.

In the third episode of Writing While Disabled, Kristy Anne Cox and Kate Johnston sit down with author Donyae Coles for a frank and candid discussion around adjusting one's life and writing processes around one's disability, finding support to help with the tasks that become difficult, and how genre can lend itself to telling disabled stories authentically.