Darling Girl

Everything begins with a kiss at the plantation and then a disrobingNiroshinis poems live at the intersection of beauty history and violence. They embody the stillness within the maelstrom required to reclaim oneself from unlawful ownership from colonial and gender-based trauma. We find ourselves on a rooftop in Colombo in Nerudas latrine submerged in the waters of the Indian Ocean and on the battlefield with Kali imagined as a mother in conversation with her daughter. The voices contained within each tableau are tenderly devastating entreating girls like the gods to call out their one thousand and eight names.