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Rakaya Fetuga tells stories through prose, poetry, and performance. From the age of 17, Rakaya landed upon London’s poetry scene, and since then, her words have taken her across the country and the world, performing on stages from Qatar to Cuba. Rakaya’s writing has spearheaded an array of campaigns for the UN, L’Occitane and Cartier amongst others. Receiving writing awards from the New York TV & Film Festival (2024) and Royal Holloway University of London (2015 & 2016), as well as winning poetry competitions such as the Roundhouse Poetry Slam (2018), Rakaya’s words spark joy, challenge, and inspire meaningful reflection in her listeners. With a Master's in Literature & Creative Writing, Rakaya has been published in anthologies by HarperCollins, Pan Macmillan, and Penguin Random House. An advocate for self-expression, Rakaya finds joy in creating spaces of inspiration, connection, and community. Imitation is the Highest Flattery Iqra wasn’t allowed to go to parties. So, she savoured times like these when her parents were away, and she was left under the lax rulership of her oldest brother. Iqra pulled each outfit choice out from the back of her wardrobe and lay them carefully on the bed: a blue, puff-sleeve mini dress (which she usually wore as a top), bootcut jeans paired with a cherry t-shirt (self-customised as a crop top using scissors from the kitchen drawer), and the choice she already knew she would make in the end, her brand new LBD. Iqra had hidden it in the depths of their overburdened wardrobe straight after buying. Not even Umm Salama had spotted it - her sister would surely have picked a fight with her if she had.    Umm Salama was the prison guard Iqra needed to get around on most occasions. She was only three years older than Iqra, but was such a naggy agent of sensibleness, adamant that Iqra would have none of the fun she denied herself.  Iqra got invited to a lot of parties. They were the way for the girls at her private, single-sex boarding school in Kent to construct their own playground of flirtation with the boys from the other schools in the area, and simply to have fun away from the gaze of their housemistresses.  This Easter holiday, Gaia was hosting. It was perfect timing for Iqra because her parents had already left for Abuja a week earlier, catching the cheaper flights before everyone else bound by the academic calendar clogged the airports. Gaia’s own parents were ‘cool’ and were satisfied to order the kids pizzas and step out for the evening, as long as Gaia promised to clean up at the end of the night. Her mum and step-dad both worked in film production and would sometimes leave Gaia with a childminder, which Iqra envied, supposing one of those would be far less annoying than three older siblings and three younger, perpetually elbowing into Iqra’s personal space and eating the last of the dambu nama straight from the packet.    Fancy dress was sometimes an element of their play at the house parties, and a welcome excuse to wear something hot. Gaia told Iqra there was no theme this time, and just to come ‘looking spicy’, an assignment she was sure to excel at. Her new, black, spaghetti-strap mini dress was bought in the Boxing Day sales and had been hiding away the whole term. Iqra tried it on with a t-shirt underneath, and then without, unsure whether she should fill her bra out a bit more so the dress wouldn’t look so saggy at the top.  Puberty tripped up even the most confident of girls. She wasn’t short on self-assurance usually. Iqra believed in a unique middle child theory: being at the centre of the family meant she sucked in all of its beauty with nucleus-intensity. If not that, she had simply been chosen by Allah to be the pretty one. Full lips with an attractive dark outline like a Bratz doll, high-tilting eyes and naturally fair skin, yellow like an Igbo. But she was slow on producing in the chest region. She pushed some hijab undercaps into her bra and went to the bathroom down the corridor from her room to look in its full-length mirror.  She posed with her new bust, one hand on her hip and one at the meeting of her bare thighs. It could work – but she’d wear the t-shirt as well. Iqra imagined how embarrassing it would be for someone to hook a finger into the cotton and pull the hijab cap out. She would have to laugh it off or call the culprit ‘dirty’ for noticing in the first place. All the girls did it. Last week, Gaia was showing off her bum pads in dorm – proper ones, sewn into her cycle shorts.  “I need the toilet!” The voice of Iqra’s youngest sister, Hamdalah, interrupted the outfit preparations. Iqra cracked the door open and Hamdalah rushed into the bathroom immediately. With six brothers and sisters, you were never ever alone for long, even in the toilet or the corridor. Umm Salama was there too now, sitting on the stairs, picking shed hair out of her combs and afro pics.  “You lot are grim! You have to clean these after you use them,” Umm Salama complained.  Hamdalah started to pee without even closing the door, so Iqra pulled it shut behind her, and was noticed by Umm Salama. Her whiney tone flipped instantly to one of self-important, stern authority. “Where are you wearing that to?”  Iqra rolled her eyes, “My room.” She marched back into the bedroom, swinging the door, but Umm Salama sped in to catch it before the slam. Unfortunately, the sisters shared a bedroom and there was no way to lock her out. Iqra continued getting ready, ignoring the judging eyes that followed her from wardrobe to vanity to the shoebox under the bed where her jewellery was kept. “I knew Mum and Dad shouldn’t have sent you to that school. Are you even Muslim anymore?”  Iqra scoffed, pulling her braids into a high ponytail, “You’re so 2D. Being Muslim isn’t about clothes.” “Do all your white friends even know you’re Muslim?”  “Duh,” Iqra retorted. Although when she thought about it, perhaps not everyone did. She didn’t pray at school, and she doubted anyone at Kent Hill Girls had enough Islamic knowledge to know her name was Arabic, a quote from the first chapter revealed of the Quran. The only reason her faith ever came up was at Ramadan when she’d skip lunches and spend extra time sleeping. But for those who didn’t ask, they could quite easily assume she was another of the several aspiring anorexics at school. There was no need to offer up extra information about her homelife and multitude of embarrassing siblings. People were always going to assume something, so she let them.  “And why do you assume ,” Iqra quipped, accusingly, “that none of my friends are Muslim themselves?” She mentally conjured the image of Amira Khan, a girl two years above her, who had once led a peer support session for the girls in her Dormitory House. Hardly a friend but not a nemesis either. Unconvinced, Umm Salama kissed her teeth, “Put some tights on. Noone needs to see your arse.”  Was that it? No more lecturing?  Iqra teetered between wondering what was wrong with her sister and seizing this rare occasion of leaving without a big fight. She took the blessing and let the disagreement end there.   Iqra got to Gaia’s house with the giddiness of the forbidden in her stomach. Even though her parents wouldn’t approve and Umm Salama was cursing her from her bitter little corner of the bedroom, Iqra wasn’t doing anything wrong. When the other girls got hold of neon drinks in glass bottles, she never drank any. She didn’t smoke when they did, and she never let the boys near her. It was just fun, just dancing and just making sure they knew she was in charge of her life as much as they were.  At the front door, Iqra could hear the voices and laughter inside and waited for someone to come let her in. A boy opened the door and screamed “Dayyum,” at her before spluttering with laughter. It was a strange welcome, but not as strange as his appearance. Iqra eyed the boy in the doorway cautiously, his tacky fake-gold neck chain and clip-on earring, the baggy t-shirt and jeans swamping him, his bony white forearms sticking out of the fabric, and most concerning of all, the dirt smeared across his face.  “Who is it?” it was Gaia’s voice calling from inside.  “Your mate,” the boy said, skipping down the tiled corridor, where Gaia passed him with a gradual strut, concentrating on not falling over in her massive stilettos. Iqra stepped inside but left the door open, wanting the light from the afternoon sun to confirm what she was seeing. Gaia too had painted her face – not in the carelessly slathered way of the boy, but she had evenly brushed foundation over her skin that was several shades too dark. She didn’t quite make it to the edges of her eyes, giving her a reverse-panda look.  “Iqra! Hey babe, you made it! Take off your coat – I wanna see your fit,” Gaia pulled down the shoulders of Iqra’s open jacket as far as she could, stopped mid-way by Iqra’s fist clenching the sides together.  “What’s on your face?” Iqra asked in a small, shocked voice.  Gaia giggled, pulling Iqra through the corridor towards the living room, “Oh, we did a theme last minute. Destiny’s Children!” She was smiling wide from her stupid brown face, balancing an expression of innocence and defiance. Music was pumping from the CD player and speaker, which stood beside the TV. No one was dancing, but everyone was standing, and they turned to look at Iqra, along with Gaia, waiting for her to react.  Iqra thought about slapping Gaia’s cheek, transferring the make-up mess to her own white palm. It suddenly occurred to her that she was the only Black person there, the only true brown face at the party apart from one Asian girl that Iqra had no classes with, who stood at the back of the room sipping her juice through a straw. Iqra felt loneliness push through her throat like a swallowed stone. Everyone was looking, but the loud music covered her words enough to have this moment with her friend before addressing the room.  Iqra shook free of Gaia’s grip and instead grabbed the girl by both of her arms. “What is on your face?” she demanded.  “It’s just–” Gaia stammered, going wide-eyed like a guppy. “The shade is Espresso.” “It’s butters,” Iqra said, scrunching her face. She learned from dealing with her younger siblings that her disapproval was more lethal than her rage.  “What?” Iqra scanned the room before she answered. They were still the spectacle. She couldn’t break her front. “You look fucking stupid, Gaia.”  The girl drooped her lips, reddening behind the makeup, the rumble before a tantrum-cry. She heard someone hiss, “ Told  you it was a bad idea.” Quickly, Iqra grabbed her friend Rebecca, who, thank God, had kept to her original shade, and gave her an energised hug.  ‘Don’t Cha’ by The Pussycat Dolls was playing, so Iqra started to sing along, nodding for Rebecca to do the same. Iqra shimmied out of her coat and started to dance, jumping up and down so her braids bounced and hoop earrings flipped from neck to cheek. The room was split – half watching her and Rebecca, who obediently followed Iqra’s dancing lead, and half looking towards Gaia, who had probably run back out of the room to cry.  Iqra wanted to cry. It was she who deserved to cry. The embarrassment was making her nauseous, but she kept bouncing, smiling, singing. Don’t cha wish your girlfriend was hot, like me? Is this how she looked to them? A Black, espresso-coloured girl. So foreign they could wear her as costume. Don’t cha wish your girlfriend was a freak, like me? She was their freak – and not the sexy kind.   Whatever fog of obscurity she thought may have hidden her religion, there was no mistaking everyone knew she was Black.  So what?  She screamed in her brain. Didn’t they all wish to be her anyway? She was the desirable, unattainable beauty that Gaia could never reach. They were stupidly jealous, Iqra told herself. She was a naturally occurring phenomenon, already perfectly formed for Destiny’s Child. A pearl needing no more refinement than good mascara and a generously filled bra.   After taking mental note of everyone there, every complicit face, and forming a vengeance list in her cranium, she left the party early, wrapped in her coat and a wry smile. Iqra didn’t want to show them an ounce of sadness, and once she was out in the early evening air, she dropped the façade and cradled her fury. Her fury carried her home. Her fury lit fire under the 314 bus wheels and smoked her to her front door in record time.  Umm Salama was in the kitchen scraping the burnt oily bottom of the jollof pot, and laughed that her sister had quit the party so early, her mouth open and red as a dragon’s tongue. Iqra, feeling safe enough to spit fire back, released all her fury on her unsuspecting big sister, shooting a tirade of flaming insults, ending with, “That’s why no one likes you.”  Umm Salama erupted. Not in the way Iqra thought she would, or hoped she would, matching Iqra’s cathartic burn, turning all her pain to ashes. Umm Salama cried instead. A gasping, snotty, hiccupping cry. And Iqra caught the sadness in her throat. That stone of loneliness rising back up her trachea.  Iqra didn’t say sorry, willing Umm Salama to turn this around, to find the fury again, to berate and redeem her. But she didn’t. The sisters both stood crying in the kitchen, unable to stop, hardly able to breathe, all their wet pain pooling on the floor. ### Torch Literary Arts  is a 501(c)3 nonprofit established to publish and promote creative writing by Black women. We publish contemporary writing by experienced and emerging writers alike. Programs include the Wildfire Reading Series, writing workshops, and retreats. Donate to help Torch amplify Black women writers.

Samantha Lamont Adams is a Black Milwaukeean, freshwater enthusiast, and Doctoral Candidate in English and Women’s & Gender Studies at the University of Michigan, currently completing a dissertation about literary and historical relationships between Black Americans and bodies of water beyond the Atlantic Ocean in the early 20th century. She previously studied Creative Writing and Gender & Women’s Studies at the University of Wisconsin-Madison. She is ever interested in the material and figurative qualities of water and the generative collisions between the sacred and profane.  candy’s cameo [new york, 1975] Let’s face it. I am a marked woman, but not everybody knows my name. “Peaches” and “Brown Sugar,” “Sapphire” and “Earth Mother,” “Aunty,” “Granny,” God’s “Holy Fool,” a “Miss Ebony First,” or “Black Woman at the Podium”: I describe a locus of confounded identities, a meeting ground of investments and privations in the national treasury of rhetorical wealth. My country needs me, and if I were not here I would have to be invented [...] In order for me to speak a truer word concerning myself, I must strip down through layers of attenuated meanings, made an excess in time, over time, assigned by a particular historical order, and there await whatever marvels of my own inventiveness. —Hortense J. Spillers, “Mama’s Baby, Papa’s Maybe: An American Grammar Book” (1987).  You are fantastical. —Candy Love (an actress of the Golden Age of Pornography), as Leona in The Erotic Dr. Jekyll  (1975) Yes,       yes,  every photograph of you was already taken before you stepped on set. despite this leaden american grammar in all its suffocating layers, you are coming. or so I hope. i cannot be vain and call this a project of recovery, for you have always been here, making love and rent  and kissing the beautiful face of your husband and laughing in a fake french accent, committing to the bit and crooning oh monsieur, fuck me please you have always been here on flickering film, frosted aquamarine eyeshadow, offwhite lace of the maid’s bonnet sliding down jetblack hair  your throat a tower gleaming in front of the gaffer your hand tugging at his hair guiding his tongue the stunning gap    between your teeth your hips rolling like water over his face you have always been here or perhaps you just arrived, walking onto set writhing atop low-pile pools of crimson and beige spilling just out of frame inventing yourself anew ### Torch Literary Arts  is a 501(c)3 nonprofit established to publish and promote creative writing by Black women. We publish contemporary writing by experienced and emerging writers alike. Programs include the Wildfire Reading Series, writing workshops, and retreats. Donate to help Torch amplify Black women writers.

Unoma Azuah is a Nigerian writer and activist whose research and activism focus on LGBT rights and stories in Nigerian literature. She is the international-award-winning author of three books. photo by Jose Osorio Unoma Azuah teaches English at Wiregrass Georgia Tech. Valdosta, GA, USA. In 2011, she was listed as one of the top professors at small private colleges in the United States in Affordable/Private Colleges and Universities in the United States . Additionally, she is recognized by The Journal of Blacks in Higher Education under the topic, "Honors for Four Black Educators." Some of her collaborative works with organizations like the International Gay, Lesbian, and Human Rights Commission (IGLHRC) and PEN America led to reports and book projects like “Nowhere to Turn: Blackmail and Extortion of LGBT People in Sub-Saharan Africa” and “Silenced Voices, Threatened Lives: The Impact of Nigeria’s Anti-LGBTI Law on Freedom of Expression.” Her latest work is entitled, Wedged Between Man and God: Queer West African Women’s stories . Some of her awards include the Aidoo-Snyder award, Urban Spectrum award, Flora Nwapa/ Association of Nigerian Authors award, Leonard Trawick award and the Hellman/Hammett Human Rights award. Her undergraduate degree in English is from the University of Nigeria, Nsukka.  She has an MA in English from Cleveland State University, Cleveland, Ohio, and an MFA from Virginia Commonwealth University, Richmond, VA. Postcards Western Sahara A parliament of vultures  surround the carcass of a camel. Wind-blown men on horses Cast a side glance at me The sandstorms on their heels tint the air  Dakar three faces the side with buzzing bees the side where balboa trees dwell and the side where splashes of sea waves taunt I was robbed at a place where zinc roofs touched the sun  Cape Town White height  sparkle Addicts, black, lingered around trash cans A woman with bird nests in her eyes smashed her metal bag on my face Figuring out why  took the length of the street: long Abuja for three months I lived in a hotel with my lover and her band To help her mount her music monument  The installation came crashing down on us. London She held the crown I wanted  She let me touch it I couldn’t take it I found love in this town, but lost. Beijing She was straight  But I showed her how to bend to Buddha Our tongues crashed through a worship song She spoke Mandarin I spoke Igbo We swallowed our tongues They couldn’t save us. Chicago The cold drains life Ice blocks are what I grind with my teeth I spend a lifetime seeking the sun I left life in a defrosting gadget Now, withered wings are far flung From these heights I have mounted new wings against the greying sky.  Ontario Blue blood,  blue hue,  the feel of cotton clouds: they know neither the sizzle of pain fried, nor the burn of bones broken.... Hurricane hallucinations:  Silence crashes through my glass door drops a seagull at my feet  where broken glasses lay sea waves gather   the gash on the door streams in sun beams  slants of light strangulating me. traps. me. the sea rises birds shrieking this water laps my face a dog and a tongue a gallon gulps the sea rises there are birds flapping their wings  Flailing arms I drop, deeper my prayers rise like  floating feathers  yet  Hens hum in the distance. THE INTERVIEW This interview was conducted between Unoma Azuah and Jae Nichelle on December 10, 2025. Thank you for sharing these incredible poems! “Postcards” includes so many different cities. As a frequent traveler, how do you find that your physical location shapes your writing style? Of course, new locations are new experiences. At such places, my senses are usually heightened, so I try to absorb everything about that location, from sounds to sights, food, temperature, and energies. Like a meal, it’s often fresh and sizzling. There are some instances, though, where the situation can feel sour or strange. For instance, a few years ago, I was at a local market in Qinghai Province, China, and the lady I was buying shawls from was so curious about my skin. I was taken aback. She asked to touch my arm. I guess she wanted to know if the black of my skin was like a soot that could rub off.  At first, I was offended. However, her eyes lit up with genuine curiosity. Encounters like this make me keep a record of my experiences, the people, and the places. It’s like taking photographs on trips. In this case, instead of a camera for pictures, I come away with poems or stories. So, yes, my physical location shapes my writing style because new places offer me new occasions to absorb the vigor of people and their idiosyncrasies. Traveling is enriching; it’s a fodder for creativity.  “Hurricane Hallucinations” ends with such an interesting turn. What is your philosophy for writing your endings, whether it’s poetry or fiction? Endings are very important to me when I write both Fiction or Poetry. Just like in relationships, the way it ends makes it easier for one to either heal or stay traumatized. Good closures in writing are vital. It’s like that lingering reverberation at the end of a great musical score. It leads you home. It completes the pleasure. It’s a climax. Everything else falls into place. It’s also a way for me to connect with my audience- for them to step into my shoes-to feel what I feel- and to know exactly why I feel the way I feel. Therefore, endings make the micro the macro: it’s about focusing on the small scale and then spanning out to the macro, the large scale. Hence, my philosophy of endings is that it’s imperative for my audience see the larger picture when they are done reading that piece of literature.  In a 2017 interview , you said you enjoy poetry the most out of all the genres. Is that still the case? And what are your rituals, if any, for sitting down to write a poem? That is still the case. Ironically, I write more of fiction and nonfiction these days. Poetry is still that mistress I see sporadically, and I am still discreet about the “affair.” Consequently, for me, poetry is like worshipping at an altar. It’s intense and intermittent. I actually have to wait for the muse to knock me off my butt to write it. As for rituals, I don’t think I have any. I don’t sit down and decide to write poems. It has to hit me like a bolt. A case in point is this: there was a time I was running late for a class I had to teach, but as I drove through rural Georgia at near dusk, I couldn’t resist pulling over to the shoulder of the road just to stare at how the rays of the sun glistened at the tips of leaves on a corn field. I had to get a pen and paper. Incidentally, the energy I soaked in before writing the poem had nothing to do with neither the sun nor the leaves.  This approach to writing poems very much goes against the saying, “Writing is 99 percent perspiration and 1 percent inspiration.” Therefore, the opposite is the case for me when it comes to writing poems. With fiction, though, I do have some rituals which start with my carrying the story around my head for weeks before I sit down and jot down major plots. I would usually sit in the evenings or at night, I am a night owl of sorts, creating and hashing out characters for a couple of hours, and returning to it every day or couple of days until the work is done.    Your work, from your acclaimed memoir Embracing My Shadow to your curated anthologies, has platformed lesbian stories, sometimes at great risk to your safety or the safety of others. How do you navigate having both vulnerability and protection when writing from such intimate places? I navigate both vulnerability and protection by being private about my locations, and I share very little to no information about my projects until they are done. I also find ways to disguise projects that may attract hostility, just like I did with the recent book tour of the Queer West African Women’s stories, Wedged Between Man and God . The unfortunate thing about that very significant event was that we couldn’t share the news in the media as the events were happening. That was heartbreaking because it could have attracted more people to come for “conversations” if I advertised it in the media. Nevertheless, we stayed on the side of caution by inviting only friends and allies, and then shared the news about the events after we completed them and were all safely home. Per antagonism, there have been a couple of instances where people spat at me in public and called me a disgrace. On those occasions, I was lucky have people with me who could serve as security assistants in case hostile situations spiral out of control. Still, it’s not all gloom and doom. A number of queer women, too, have recognized me in public and offered me hugs and handshakes and expressed their gratitude for what I do to make them feel “seen.”   Nigeria’s sociopolitical climate around sexuality has shaped much of your work. How do you see the landscape changing, and what impact has that had on queer storytelling since you began writing? There has been quite a bit of progress. There are more queer people who are “out” and vocal in their creative and advocacy work, especially the younger generations: millennials and Gen Z. This is very much unlike the 80’s and 90’s when I was an adolescent trying to navigate the rugged terrain of queerness. I felt so alone. There were no role models in that sense, and nothing in Nigerian literature that I could identify with, except for Wole Soyinka’s character, Joe Golder, in his novel, The Interpreters . But then, Joe is not just a “foreigner,” he is also not bestowed with the best fate. In fact, it felt as if Soyinka had a level of disdain for the character. And there was absolutely nothing about lesbians like me. I still remember the outrage that followed my first newspaper article in the 90’s about queer literature. Now, though, things are a bit better, especially when some of us can hide behind the screens of social media, share our stories, push for queer rights, and spread awareness about our lives. Consequently, the storytelling landscape in Nigeria is expanding. We have not gotten where I’d like us to be, though. Nonetheless, we’re building and pushing, one brick at a time.  When you came to the U.S. from Nigeria, what spaces or people did you find solace and support in? When I arrived in the US over two decades ago, I didn’t have a lot of options for spaces and people I could share a community with apart from my mentor, Leslye Huff, and her spouse, Amina; they gave me a great transition nest. Otherwise, I was mostly on my own. Then again, I was so overwhelmed with trying to settle into a graduate program at Cleveland State University, Ohio, that I barely had time to breathe, let alone seek or find friends. For example, I had to learn how to type, how to use a computer, and how to speak well enough to be understood. I also had to train my ears to understand what my professors and classmates were saying. When I did try to make friends, it was just obvious that most folks I met already had their clique of friends, so trying to be a part of those circles felt like crashing a party.  With time though, I made great friends, and we have maintained/sustained that friendship till date.                What’s a small joy that instantly uplifts you during hard times? The small joys that instantly uplift me during hard times and good times would include reading books, listening to disco and soul music from the 80’s and 90’s, engaging in stimulating conversations, sitting by the sea/ocean watching and listening to waves rise, crash and recede, taking long walks as birds chirp in the distance, laughter and still being able to enjoy delicious Nigerian meals. I also love being present in the moment and enjoying it with a heart of gratitude.                How can people support you right now? I would appreciate more literary engagements and spaces to share my works. I would also appreciate support for my works, particularly for people who are able to buy my books. Additionally, donations and grant opportunities for the Nigerian LGBTQ+ organizations I work with will go a long way. Name another Black writer people should know.  A couple of them come to mind: there is Itiola Jones, the author of Blood Mercy , and this book reimagines Cain and Abel as sisters who are in a traumatic relationship. The second writer is Safia Elhillo. Her work is noteworthy for its representation of black Muslim women and the black diaspora in America.   ### Torch Literary Arts  is a 501(c)3 nonprofit established to publish and promote creative writing by Black women. We publish contemporary writing by experienced and emerging writers alike. Programs include the Wildfire Reading Series, writing workshops, and retreats. Click here to support Torch Literary Arts.

< Back Austin Film Society Joins Torch Literary Arts as New Community Partners Feb 5, 2026 The two organizations will amplify a series of film screenings showcasing Black women screenwriters, directors, and films that reflect Black culture. Austin Film Society (AFS) and Torch Literary Arts (Torch) are partnering to amplify diversity in film at AFS Cinema. These film screenings will be mission-aligned with both organizations and start this month with screenings of Daughters of the Dust and Compensation . Daughters of the Dust (1991), written and directed by Julie Dash, is an intergenerational film about three Gullah women and their lives in the South Carolina islands in 1902. The film won Best Cinematography at Sundance in 1991, Grand Jury Prize Nominee at Sundance in 1991, and was featured at many film festivals, including Mill Valley, BFI London, New Orleans, and Chicago. The first screening is on February 17th. You can purchase tickets for a screening here . Compensation (1999), directed by Zeinabu irene Davis, is a film highlighting the lives of two deaf women living almost a century apart from each other, one living in 1900 and the other in 1990. The film will have ASL interpretation. The film won the Gordon Parks Directing Award from the Independent Feature Project. The first screening is on February 24th. You can purchase tickets for a screening here . “This partnership highlights screenwriters and filmmakers we love to support,” said Amanda Johnston, founder and executive director of Torch Literary Arts. “Producing events that amplify voices of Black women while also enjoying their work on screen is the type of intentional community building we strive for.” AFS and Torch are just steps away from each other at The LINC in the historic St. Johns area, allowing a collaborative partnership that is accessible and convenient for attendees. The partnership highlights the need for representation of Black women writers in cinema and an in-depth look at powerful stories that resonate with any audience. If you are a Torch Feature, Fellow, or CIM Member, please email us for a discount code for these two screenings before you purchase your ticket. You can learn more about Austin Film Society by visiting their website at austinfilmsociety.org . ### About Torch Literary Arts Torch Literary Arts is a 501(c)3 nonprofit established with love and intention in 2006 to publish and promote creative writing by Black women. We publish contemporary writing by experienced and emerging writers alike. Torch Magazine has featured work by Toi Derricotte, Tayari Jones, Sharon Bridgforth, Crystal Wilkinson, Patricia Smith, Natasha Trethewey, and others. Programs include the Wildfire Reading Series, writing workshops, and retreats. About Austin Film Society Founded in 1985 by filmmaker Richard Linklater, AFS creates life-changing opportunities for filmmakers, catalyzes Austin and Texas as a creative hub, and brings the community together around great film. AFS supports filmmakers towards career leaps, encouraging exceptional artistic projects with grants and support services. AFS operates Austin Studios, a 20-acre production facility, to attract and grow the creative media ecosystem. Austin Public, a space for our city’s diverse mediamakers to train and collaborate, provides many points of access to filmmaking and film careers. The AFS Cinema is an ambitiously programmed repertory and first run arthouse with broad community engagement. By hosting premieres, local and international industry events, and the Texas Film Awards, AFS shines the national spotlight on Texas filmmakers while connecting Austin and Texas to the wider film community. AFS is a registered 501(c)(3) non-profit organization. Media Contact Information: Brittany Heckard Communications Associate bheckard@torchliteraryarts.org (512) 641-9251 Previous Next

Latest News Feb 5, 2026 Austin Film Society Joins Torch Literary Arts as New Community Partners The two organizations will amplify a series of film screenings showcasing Black women screenwriters, directors, and films that reflect Black culture. Read More Feb 1, 2026 Celebrating the Milestones of Community and History through Literary Greatness and Storytelling this Black History Month This year’s Black History Month theme, “A Century of Black History Commemorations,” urges us to acknowledge the historical impact of Black narratives. Read More Jan 29, 2026 Kicking Off 20 Years with the Spring 2026 Season Torch’s Spring 2026 Season builds on the history we've made in our 20 years of strengthening the literary community of Black women writers. Read More Jan 29, 2026 Important Transitions to Torch's Board of Directors This board transition includes the retirement of former board treasurer, Candace Lopez, election of new board treasurer, Dana Weekes, and the election of new board secretary, Rachel Winston. Read More Jan 28, 2026 Torch to Raise $10,000 during one of Austin’s Largest Giving Days Torch joins over 700 nonprofits during Amplify Austin to raise funds for Black women writers. Read More Jan 2, 2026 Celebrating a New Year with a Growing Community Taking the time to thank you all for your support in 2025 and share exciting news for 2026. Read More Dec 29, 2025 Ending the Year Strong with Community Impact and Growth Taking time to thank you all for your support in 2025 and share plans to end the year strong. Read More Dec 9, 2025 A Big Thank You to Our Major Funders In 2025, seven major funders supported Torch’s mission to amplify Black women writers. Read More Dec 5, 2025 Torch Raises $5,593 for 2025 GivingTuesday Campaign Joining one of the largest international giving days, Torch raised $5,593. Read More Dec 1, 2025 Torch Announces the 2025 Nominations for the Pushcart Prize Six Torch Features, Jordan E. Franklin, Joi' C Weathers, Imani Nikelle, Yolanda Kwadey, Jennifer Maritza McCauley, and Marchaé Grair are nominated for their respective works. Read More Nov 19, 2025 Torch Literary Arts Celebrates GivingTuesday with a Board Match, Supporter Toolkit, Giveaway, and More. Torch is joining millions around the world participating in the global generosity movement on December 2, 2025. Read More Nov 5, 2025 Torch Literary Arts Returns as a Partnering Organization for the 2025 Texas Book Festival Over two days, Torch will host poets Tiana Clark and Donika Kelly in Austin for a series of inspiring readings and conversations. Read More Oct 22, 2025 Torch Literary Arts Announces Transitions to 2025 Board of Directors This board transition includes the retirement of former board secretary, Stephanie Lang, and the election of new board member, Rachel Winston Read More Oct 15, 2025 Torch Announces the 2025 Nominations for the O. Henry Prize Two Torch Features, Jennifer Coley and Jessica Araújo, are nominated for their respective short fiction stories. Read More Oct 9, 2025 Celebrating the Second Annual Donor-Advised Funds Day Torch Literary Arts encourages families and individuals with donor-advised funds to consider supporting Black women writers and the programs we offer. Read More Sep 16, 2025 Torch Announces the Nominations for the Best of the Net Eleven Torch Features were nominated for their works in creative nonfiction, fiction, poetry, and visual art in Torch Magazine. Read More Sep 2, 2025 Torch Literary Arts Announces the Torch Center Coming Fall 2025 The local Austin nonprofit organization dedicated to building community for Black women writers will now have a physical location at the LINC of Austin. Read More Aug 28, 2025 Torch Literary Arts Releases Fall 2025 Season Torch’s Fall 2025 Season includes dynamic readings, a screenwriting conversation, book festivals, workshops, and more! Read More Aug 20, 2025 Torch Announces 2026 Dates for 20th Anniversary Celebration “A Gathering of Flames” will take place in Austin, Texas, from September 25 to 27, 2026, celebrating Black women writers and 20 years of Torch’s growing community. Read More Aug 1, 2025 Celebrating Torch and Black Philanthropy Month All August Long Torch is celebrating 19 years of community and impact with CIM goals, new updates, and more! Read More Jun 5, 2025 Celebrating the Intersectionalities of Black Women Writers June is a month full of pride for queer, Caribbean, and song-filled Black women writers and the readers who love them. Read More May 28, 2025 Torch Announces New Community Impact Member Donation Initiative The Community Impact Membership (CIM) program provides Torch’s monthly donors of at least $10 and annual donors of at least $100 with exclusive items and updates. Read More Apr 24, 2025 Torch Announces the 2025 Retreat Fellows Torch returns for a third consecutive year to host eight fellows at their annual retreat for Black women writers at the Colton House in Austin, Texas, from July 20-27, 2025. Read More Apr 1, 2025 Celebrating Black Women's Contributions to Poetry All Month Long Continuing on months of celebrating Black History Month and Women’s History Month, we’re keeping the acknowledgments alive with National Poetry Month Read More Mar 27, 2025 Torch Literary Arts Awarded AWP Writing Organization Award This is the first-ever Writing Organization Award by the Association of Writers & Writing Programs, which is awarded to literary organizations based on the legacy of writing organization advocate Kurt Brown. Read More Mar 17, 2025 Torch Literary Arts Recognized at the Ireland House During SXSW with Prime Minister of Ireland Micheál Martin Torch’s “Writers Across the Diaspora” program in partnership with the Irish Consulate, Culture Ireland, and Texas State University was highlighted. Read More Mar 11, 2025 Celebrating Women’s History Month and International Women’s Day This year’s themes of moving forward together and accelerating change reinforce Torch’s mission to ALWAYS support Black women writers and the stories they share. Read More Mar 7, 2025 Torch Raises over $6,000 during Amplify Austin Campaign Joining over 700 nonprofits for one of the largest giving days in Central Texas, Torch raised over $6,000 to amplify Black women writers worldwide. Read More Feb 10, 2025 Help Torch Raise $10,000 during Amplify Austin’s 2025 Giving Campaign! For the third year in a row, Torch is participating in Austin’s metro-wide giving day to merge the Black women literary community with the wider Austin giving community. Read More Feb 10, 2025 Wintergreen Women Writers Collective and Torch Literary Arts Partner to Host Welcome Table Talks Series featuring Black Women Writers The two literary organizations dedicated to creating community for Black women writers will host a series of talks over the next three years thanks to funding from the Mellon Foundation. Read More Jan 31, 2025 Celebrating Black History Month by Acknowledging Black Women Writers and Their Contributions to Literature Torch is using this year’s Black History Month theme “African Americans and Labor” to highlight the literary work we do to share our voices. Read More Jan 24, 2025 Torch Literary Arts Announces 2025 Spring Season Torch’s 2025 Spring Season is full of community collaborations, readings, writing workshops, and more to empower and encourage Black women to continue telling their stories. Read More Jan 10, 2025 Torch Literary Arts to Open Applications for the 2025 Torch Retreat on February 3rd The Torch Retreat will host its third annual writing retreat for Black women writers at the Colton House in Austin, Texas from July 20-27, 2025. Read More Jan 3, 2025 City of Austin Cultural Arts Division Awards Torch Literary Arts the Thrive Grant along with Other Cultural Arts Organizations in Austin The Cultural Arts Division awarded $13 million in funds to local arts and cultural organizations for a second year with Thrive and Elevate grants. Read More Jan 3, 2025 Torch Literary Arts Announces Retirement of Board Member Dr. Omi Osun Joni L. Jones Dr. Omi Osun Joni L. Jones joined the board in 2023 bringing her expertise as an artist, performer, author, and scholar to help support Black women writers. Read More Jan 3, 2025 Welcoming the New Year with Love and Community Taking the time to thank you all for your support in 2024 and share exciting news for 2025 Read More Dec 12, 2024 'Tis the Season for Gifts & Giving Find out how to support Torch and our community sponsors and supporters this holiday season! Read More Dec 4, 2024 Torch Surpasses Fundraising Goal for 2024 GivingTuesday Campaign Joining one of the largest international giving days, Torch surpassed its fundraising goal of $5,000. Read More Nov 22, 2024 Torch Literary Arts Celebrates GivingTuesday with Community and Board Matches, Ignite the Night, and More. Torch is joining millions around the world participating in the global generosity movement on December 3, 2024. Read More Nov 22, 2024 Torch Announces the Nominations for the Pushcart Prize Six Torch Features, Erica Frederick, A. E. Wynter, Sydney Mayes, Chidima Anekwe, Chyann Hector, and Mon Misir, are nominated for their respective works. Read More Nov 15, 2024 Torch Executive Director and Features Named as Brooks Living Legacy Honorees 20 Torch community members were named Living Legacy Honorees Read More Nov 1, 2024 Torch Literary Arts to Celebrate and Amplify Black Women Writers During the 2024 Texas Book Festival Over two days, Torch will host poet, essayist, and novelist Morgan Parker and Los Angeles Poet Laureate Lynne Thompson, and embark on a literary book crawl showcasing the works of the organization’s previous features. Read More Oct 18, 2024 Torch Literary Arts Welcomes New Team Members Thanks to capacity-building funding, Torch adds a Creative Content Associate and Administrative Fellow to the Team. Read More Oct 7, 2024 Celebrating National Book Month with Torch Literary Arts This October, Torch is celebrating National Book Month with Torch Day, an inaugural international program, and much more! Read More Sep 6, 2024 Torch Announces the Nominations for the Best of the Net Nine Torch Features were nominated for their works in creative nonfiction, fiction, poetry, and visual art in Torch Magazine. Read More Sep 5, 2024 Torch Literary Arts Receives National Book Foundation Grant The National Book Foundation awarded Torch funding from the Capacity-Building Grant Program. Read More Aug 30, 2024 Torch Announces the Nominations for the O. Henry Prize Two Torch Features, Felicia A. Rivers and Lydia Mathis, are nominated for their respective short fiction stories. Read More Aug 29, 2024 Torch Literary Arts Releases 2024 Fall Season Torch’s 2024 Fall Season includes international poets, a screenwriting panel, workshops on character building and memoirs, the Wildfire Reading Series, and more! Read More Aug 2, 2024 Celebrate Torch’s 18th Birthday & Our Mission to Amplify Black Women Writers Our wish this August is to gain 18 new monthly recurring Torch supporters & more! Find out how to celebrate our birthday with events, well wishes, and donations. Read More Jul 19, 2024 Torch Literary Arts Welcomes Erin Waelder to the Board of Directors Erin was welcomed to the board in June, bringing her extensive background in development communications. Read More Jul 12, 2024 Torch Literary Arts Receives Poetry Foundation Grant Torch Literary Arts (Torch), a nonprofit organization dedicated to amplifying Black women writers, will receive funding from the Poetry Foundation. This is the nonprofit’s second year receiving funding from the foundation. Read More Jun 28, 2024 Torch Literary Arts Receives Burdine Johnson Foundation Grant This is Torch's third year receiving the grant that serves Central Texas arts, education, historical preservation, and environmental sustainability causes. Read More Jun 5, 2024 Celebrate Pride Month by Amplifying Queer Black Voices At Torch, we recognize the many impactful contributions that queer Black women writers have given us and wish a Happy Pride to all those celebrating! Read More May 31, 2024 Torch Feature Yael Valencia Aldana Receives Pushcart Prize For the second year in a row, a Torch Feature has received a Pushcart Prize for their amazing work published in Torch Magazine. Read More May 24, 2024 Torch Literary Arts to Receive Grants for Arts Allocation from the National Endowment for the Arts This is Torch's second year receiving funding from National Endowment for the Arts. Funding will go towards artist honorariums for retreats, workshops, panels, and readings. Read More Apr 12, 2024 Torch Announces the 2024 Retreat Fellows Eight fellows were selected to attend the second annual retreat for Black women writers at the Colton House in Austin, Texas from July 21-28, 2024. Read More Apr 11, 2024 Torch Literary Arts Welcomes Dana Weekes to Board of Directors Dana Weekes was welcomed to the board in March, bringing her extensive background in law and policy, and commitment to creation as self-care. Read More Apr 5, 2024 Celebrating National Poetry Month with an Ode to Poets Every April, Torch is elated to celebrate the Black women who put words to feelings by celebrating National Poetry Month Read More Mar 22, 2024 Website Updates: New Transparency Documents, Including Three-Year Strategic Plan Torch Literary Arts updates website to include transparency documents including IRS Form 990s, Annual Reports, and the 2024-2026 Strategic Plan. Read More Mar 8, 2024 Celebrating Women’s History Month and International Women’s Day Torch Literary Arts acknowledges and celebrates the many literary contributions of women to history and the wonderful Black women writers across the diaspora. Read More Feb 16, 2024 Torch Literary Arts Opens Applications for the 2024 Torch Retreat The Torch Retreat will host its second annual writing retreat for Black women writers at the Colton House in Austin, Texas from July 21-28, 2024. Read More Feb 9, 2024 Celebrating Black History & Futures 24/7, 366 days This Black History Month, Torch acknowledges the importance of amplifying Black women writers year-round. Read More Jan 30, 2024 Austin Community Foundation Announces Torch Literary Arts as one of The Black Fund Grant Partners The Black Fund’s recognition of Torch Literary Arts as a grant partner allows Torch to continue hosting special events for Black women writers in the Austin community. Read More Jan 26, 2024 Torch Literary Arts Unveils 2024 Spring Season Torch’s 2024 Spring Season is full of workshops, panels, an interactive literary cooking event, and much more to help Black women writers share their unique stories. Read More Jan 16, 2024 Torch Literary Arts Announces Transitions to 2024 Board of Directors This year’s board transition includes the retirement of former board chair, Florinda Bryant, and elections of new board chair, Dr. Sequoia Maner, new secretary, Stephanie Lang, and new board member, Shannon Johnson Read More Jan 9, 2024 Culture Ireland Awards Torch Literary Arts Funding to Host Irish Poets Torch will use the Culture Ireland funding to host Irish poets Nithy Kasa and FELISPEAKS for interactive writing workshops from October 1-7, 2024. Read More

< Back Amanda Johnston Founder / Executive Director Amanda Johnston is a writer, visual artist, and the 61st Poet Laureate of Texas. She earned an MFA in Creative Writing from the University of Southern Maine. She is the author of two chapbooks, GUAP and Lock & Key , as well as the full-length collection Another Way to Say Enter. She is also the editor of the anthology Praisesong for the People: Poems from the Heart and Soul of Texas . Her work has appeared in numerous online and print publications, among them Callaloo , Poetry Magazine , The Moth Radio Hour, Bill Moyers, The Rumpus , and elsewhere. She has received fellowships, grants, and awards from Cave Canem, Hedgebrook, Tasajillo, the Kentucky Foundation for Women, The Watermill Center, American Short Fiction, and the Academy of American Poets. She is a former Board President of the Cave Canem Foundation and the founder of Torch Literary Arts.