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I keep what I call an obituary list.
It’s where I send people who are no longer worth my time, my energy, or my peace. No drama. No theatrical exits. Just quiet removal. Please note: nobody ends up on that list by accident. I watch. I observe. I build a whole RICO case—patterns, inconsistencies, choices, and harm. Never mistake my silence as weakness. I’m usually taking mental notes. And when the evidence is clear that someone costs me more than they contribute to my well-bring or others, I’m done. That’s when they get added. The hardest names to write down are teachers, especially when they look like me. Far too often, we are our own worst enemies. I recently watched a teacher—working in one of the most segregated school systems in the country (not Pennsylvania)—make the sweeping claim that “most” teachers are mediocre. In the same breath, they blamed unions for “forcing” teachers to comply with administration. That’s not oppression. That’s a contract you signed to lead, to be better, to do better in service of others. You get to benefit from collective bargaining while publicly sneering at the very profession that protects your paycheck, your due process, and your classroom autonomy. You don’t get to generalize educators as mediocre while doing nothing to uplift, mentor, organize, protest, or defend them. Especially not now. Not during record teacher shortages. Not while the profession is under coordinated attack. Not while educators are being legislated, surveilled, silenced, and burned out. You do not build the profession by tearing it down from within. You do not protect students by demeaning their teachers—your co-workers. And you do not get access to my time if your platform is rooted in contempt instead of care, while hidden in the guise of “being human”. So yes—some names end up on the obituary list. Not out of spite. Out of self-preservation. Including friends. I often tell my kids, friends are like clothes…some you will always be able to wear. They are your refuge and comfort. Some you outgrow. Light a candle, mourn them, leave them at the curb, then move on. Never sacrifice your peace. Peace is non-negotiable. Protect your borders.
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There is a quiet skill that does not get enough attention in our public conversations: the emotional intelligence to know when you have overstepped—and the wisdom to step back without needing to win.
We talk a lot about calling people out. Less so about calling people in. The difference matters. Being called in assumes there is space for reflection, growth, and repair. It assumes the person has the emotional maturity to listen, self-assess, and recalibrate. Being called out, on the other hand, often happens when someone refuses to pause—when the need to be right overrides the responsibility to do no harm. Some years ago, I found myself in a space that illustrated this distinction painfully well. A white teacher shared a story about a squirrel nesting in her classroom window. She described it as a “livable lesson” for her students—an organic moment of curiosity, observation, and learning. In her telling, she referred to the squirrel as her spirit animal. An Indigenous woman in the group took offense and stated that spirit animals were part of her culture, and that the white teacher had no right to claim that language. Here’s where emotional intelligence—and discernment—should have entered the conversation. Spirit animals are not exclusive to one culture. Variations of animal symbolism, guides, and spiritual metaphors exist across many indigenous cultures globally, as well as in non-indigenous traditions. While specific practices are culturally rooted and deserve respect, the idea itself cannot be singularly claimed. And more critically—how did anyone in that space know the cultural identity of the woman telling the story? Appearance is not ancestry. Passing is real. Mixed identities are real. Adoption is real. Diaspora is real. Assuming someone’s cultural legitimacy—or illegitimacy—based on how they look is itself a form of harm. This was a moment ripe for a call in. A call in might have sounded like curiosity instead of accusation. It might have invited clarification instead of correction. It might have acknowledged discomfort without assigning malice. But that requires restraint. It requires recognizing that not every moment of discomfort is an act of violence—and that not every perceived misstep demands public discipline. Calling someone in means trusting that growth is possible. Calling someone out often happens when trust has already been abandoned. What derails so many of these moments is the refusal to pause. The insistence on being right. The doubling down that turns a potential learning moment into a power struggle. Overstepping doesn’t become the real problem until someone refuses to notice they’ve done it. As educators, writers, and people who claim to care about community, we have to ask ourselves: Am I protecting understanding—or am I protecting my ego? Emotional intelligence is not about silence. It’s about discernment. It’s about knowing when correction educates and when it simply performs. It’s about recognizing when the goal should be connection, not conquest. If we want spaces that are truly inclusive, we have to build them with humility. That means leaving room for nuance, resisting the urge to assume, and remembering that calling someone in is often the braver—and harder—choice. Because growth doesn’t come from being publicly right. It comes from being willing to listen, learn, and step back when needed. No one knows the love-hate relationship with their hair better than a Black woman. I spent the better part of my childhood and teens in pigtails and twists, endured perms and straightening, all in an effort to tame my tresses. I’ve gone through the Jheri curl phase and even submitted to the BIG chop. It was not until I went natural and committed to dreadlocks that I learned to love my hair (and myself). But some folks just don’t get it.
I’m reminded of a time when a Black woman’s hair humbled a man who should have known better. I was a high school teacher, working at a predominately Black school in the heart of the city. While on the-much-dreaded lunch duty roster, I was talking with a group of girls in the cafeteria. An assistant principal, an African-American man, came over to the table and casually reprimanded me. One of the girls was wearing a colorful head scarf, and he wanted her to remove it. I knew why she was wearing it. I had done my due diligence, asked her about it, and decided (in the best interest of the child) that it was not my place. For the last few months, she had been wearing her hair in a protective style—micro braids—and then spent the better part of the previous night taking them out in preparation for getting the style redone. It literally takes hours. Her hair was…out of sorts. I was not about to ask her to remove the scarf. When the administrator directed me to make the request, I refused. So, he directed her to remove it. The child obediently complied and revealed an unruly mane that was uneven, flaking, knotted togther, and in need of care. My heart dropped, and so did the administrator’s. But the girl smiled proudly, looking us both in the eyes. He promptly told her to tie her headwrap back in place, patted me on the back, and left us. Marcus Garvey once said, “Take the kinks out of your mind, not your hair.” He is right. The next day, I was commended for my disobedience, and the rule was promptly amended. Love me, love my hair. This poem is dedicated to the students of the Panther Anti-Racist Union (PARU) of Central York High School (especially Edha, Christina, Olivia, and Renee) for their justified fight against the Central York School Board's horrific ban on materials written by and about BIPOC, LGBTQIA+, and other marginalized people. Stand firm and remain undaunted! If you want to follow their struggle or donate to their cause, click HERE. I Am Crying
I am crying. And I am not a crier. I am crying as I write this because I have been strong for too long. That’s what tears are, a sign that you have been strong and carried a burden for too long. But they are also an affirmation to my soul that I intend to keep carrying that load as long as it takes. I feel like I am suffocating under a weight, but I am fire and I dare anyone to snuff me out. I am crying If you mistake this for weakness Proceed at your own risk I can’t run because I am too fierce, and I don’t walk well infirmities have taken my knees, but I can scream… loudly I scream I will make the universe hear my voice and see me, maybe even judge me, but I fear no judgment for as I stand before the Eye of that which is greater than myself, I know that I have been A good and faithful servant My voice has been heard in the wind. My sacrifice witnessed by the stars. My heart has trembled to the chords of angels who came to console me in my hour of need. As I reach for my sword and shield I am crying I know the stakes and the sacrifice But I also know It is the difficulty of a stance that makes it matter I am crying but...I will not deviate from my course! My mare’s nickname is Double Stuffffff. The extra letters are not a typo. Maya’s gotten so fat, it’s now a medical concern. She is one of those thrifty types (like her mother). A good deep breath results in gaining 3-5 additional pounds. (Yes, social justice warriors, she is now wearing a muzzle. But she has chafed her face so badly, she’s now in solitary confinement in a dirt lot for an hour a day. And yes, the vet is involved. Back off. Unsolicited advice will be ignored.)
I got my beloved mare a size 60 girth from the plus-size store for horses, but it still took two people to get it on her. So I broke down and bought a girth extender. Having never used one, I didn’t think to use a smaller girth...I’m a science fiction/fantasy writer (emphasis on fantasy), I do words not numbers. I didn’t have the slightest worry that maybe the girth just wasn’t tight enough as I walked down to the ring to ride. 🙄 When I went to get on her from the grace of the mounting block, the goddamn saddle slid and I’m hanging off of her side like a decrepit Spider-Man. I’m 52 years old. Not at all fit or agile. My knees are shit, and if I were a horse, someone would have put me down for health reasons. And here I am hanging off my mare’s side like a trick rider. The first and last time this happened to me, I was getting on a fit and mischievous, off-the-track Thoroughbred. I got planted hard enough to earn a 5.2 on the Richter Scale. I still have the bruise on my leg, and that was six years! A tattoo the doctor called it. I’d rather get the real thing. Far less painful! Anyway! My magnificent mare is a sensible sort. Her favorite speeds are stop and slow. A stick-and-kick ride in every sense of the phrase. This is in the interest of preserving precious calories. She took one step away from the mounting block, and I thought, “Let the rodeo begin. This is one way to avoid going back to work.” Again, my mare took ONE step, stopped, and turned to look at me with an expression of “WTF are you doing? Is this the new protocol? This is too many calories.” Bracing my old, cranky knees, I slid off and promptly gave Maya every cookie and peppermint in my pocket. Rules dictate that if you fall off, you have to get back on. Holding my breath, I tightened the girth, best I could, and climbed back on. Saddle still not quite tight enough, I walked and trotted a circle in both directions and went back to the barn—my bravery meter shattered. “All hail Queen Maya, may your tiara gleam for all eternity!” What’s it feel like to have a book coming out?
I’ve been writing since I was eight years-old. My first professional credits came from a galaxy far, far away when I was twenty-three. But I’ve been working my whole life towards one specific moment: a novel. My debut, an urban fantasy titled Forging a Nightmare, is a story about an unruly infernal warhorse and the Rider who loves her. If you happen to be horsey, like me, you see things in terms of how they relate to the horse world. So the answer to this question - how does it feel to have a book coming out - is simple, practical, and horsey. It feels like a horse show! While standing at the in-gate on your horse, there’s a moment of exhilaration and terror when the announcer calls your number and name. Your heart rate goes up, your blood pressure rises, and you ride into the ring. That threshold is a crossroads—where hours of training, practice, and more than a few tears all come together. As November 23, 2021 approaches, I am thrilled by the same exhilaration I get while standing at the in-gate before a class. “All things are one,” the old man tells Santiago, the protagonist in Paulo Coelho’s The Alchemist. Training a show horse and writing are similar in process and consequence, product and result. “You only get one debut,” my friend and author R.W.W. Greene once told me. The same can be said in the show ring. I have spent countless hours working with my manuscript. I have sent it to contests to see how well it stood against the competition. It placed well, but the big win was the representation of an agent, Sara Megibow of KT Literary, a legend. However, there was much more work to do. Beta readers and industry professionals had to put it through its paces, sending it back to the ring over and over again to polish the rough edges. Am I nervous? Hell yeah! Am I worried? Hell no! (Okay, maybe a little!) There’s really no time to think about what could go wrong. Fear of failure is a paralysis - a living death. Channeling Aramas, Alexandre Dumas writes in The Three Musketeers, “…the merit in all things consists in the difficulty.” It is a sentiment understood by all those standing at the in-gate, waiting for our turn to show what we have accomplished. So, live for what you believe, friends, and believe in what you love. I hope you will join me on November 23, 2021 for a ride on the Vestibule Road in Hell. Bring a flask and a sandwich case, and I’ll bring you a trusty Nightmare. I do believe in unicorns. I’ve been chasing them all my life. Every once and a while, I catch one—and get the chance to ride.
Dear Editor:
I recently read Hannah Giorgis’ article (https://www.theatlantic.com/culture/archive/2020/08/lovecraft-country/615259/) on What Lovecraft Country Gets Wrong About Racial Horror. The sub-title goes along the lines that the show “...fails to make its Black heroes compelling”. Ms. Giorgis is quite mistaken. While her article was extremely well written and entertaining, she clearly missed something in her search for lofty ideals of what it means to be a hero. It’s like saying that Alighieri failed to make the character of Dante (himself) compelling because of his flaws. In this instance, she failed to see the forest for the trees, literally. We have come to a place in time where the ideal hero, to be properly identified, must have an enormous ‘S’ printed across their chest, wield a magical hammer that only the worthy can pick up, or display superhuman powers. What a sad time! Real heroes do not need these things because they exemplify qualities that seem to be in low demand: integrity, natural intelligence, authenticity. Lovecraft Country’s magic is subtle, subtle enough that Ms. Giorgis missed it in the depiction of Black heroes owning respectable businesses. Black heroes keeping their chins up in the face of systemically sanctioned cruelty. Black heroes even caring about (Heaven forbid!) literature and the distinctions between what is pulp and what is respectable reading, and making a subtle, but poignant distinction between the white racist H.P. Lovecraft’s poem: On The Creation of Niggers and The Count of Monte Cristo by Alexandre Dumas, a timeless classic written by a Black man. There were heroes of all sizes, not just a size 0. Heroes with natural, lovely nappy hair. Perhaps, Ms. Giorgis should go back to the beginning of the first episode and listen with the intent to hear the message imparted to young Atticus when he excused the flaws of a protagonist, who was an ex-Confederate soldier. He is reprimanded and reminded that this officer “...fought for slavery. You don’t get to put an ex in front of that.” Yes, Ms. Giorgis would benefit from a redefinition of what it means to be a hero, a definition that should not come from a Marvel lunchbox. Again, splendid article, but misses the mark. B- In the current charged atmosphere, I feel it is important that we all get LAED! LAED is an acronym for Listen—Acknowledge—Empathize—Determine. Whether our engagement level is in real social time or through social media, how we interact with each other has become more important than ever. The pendulum of political correctness is just as damaging too far left as it is to the extreme right. While we search for the balance, these four specific aspects can help us maintain a healthy respect for the perspective of other people and their experiences.
Recently, a black man posted a video of another black man being pulled over by the police for driving 65mph in a 70mph zone. While I acknowledge that this has happened to white people, it is a story all too common in the experience of people of color. Rather than acknowledging the man’s experience, a white woman posted her story of how her husband was pulled over by the police for crossing the traffic lines. Turns out he needed cataract surgery. What the fuck? How does crossing traffic lines, a clear violation of the law, equate with being pulled over for doing five miles under the speed limit? The poster clearly failed to listen to the message. She then failed to acknowledge the experience, which led to her inability to empathize with the situation, and caused her to poorly determine that her story was appropriate to share. She needs LAED. A successful equestrian is being investigated for potential animal cruelty. He is suspected of using electrified spurs on his horses. The conversation on the post led to other acts of cruelty in the world of horse shows, such as tying horses heads up high over night, refusing to give water before classes, using electrical currents to punish bad behavior. A female poster declared that she had never seen these methods used; therefore, such methods could not exist. By not listening, she clearly missed the message. You cannot determine what does or does not exist for another human being based on the very limited, very narrow scope of your own experiences. And worse, you have no right to deny that such an experience even exists just because you have not experienced it. This is how a culture of blame-the-victim has come into vogue. In writing, a reader brings a suspension of belief to the story in order to be entertained by cyborg terminators, chivalrous dragons, and lovesick zombies. People need to bring a suspension of cultural perspective when encountering the experiences of people whose perspective might be very different from their own. This is not to say subvert or convert any belief systems, but simply to be open to the fact that your experiences are not the same. The theory of apples and oranges. An excellent analogy is that history is a car accident. Where you were standing will effect your perspective on the incident. Input any historical event into that crash simulation and then try to see it from the perspective of ALL the people involved. If they all saw it the same way—your perspective may well be lacking. Recently, a writer and friend lamented that they struggle with sharing their work with their parents who will not accept their preferred pronouns. I had a similar tale to tell to comfort them. Thankfully, my brain stomped the brakes! This was not the time for inadvertent one-up-man-ship. This was not the time to diminish their experience with one of my own ... so I got LAED. I listened, understanding the experience from my limited purview as a straight, CIS woman. I acknowledged my friend’s plight with a bit of truthful humor about the short circuits that develop between members of a family unit. I empathized by offering comfort to my friend to support them in a moment of pain. And then, I determined, that my own tale of my mother’s acerbic criticism of my work was not appropriate. The tale could be told another time. It was a powerful lesson for a prolific storyteller (translation: I talk too much) who has an eclectic library of anecdotes and no reservations about sharing. Listening is a muscle, and like any other muscle it needs to be worked to enhance its strength. Acknowledgement comes with courage because often we are faced with looking at ourselves in someone else’s mirror and seeing our flaws. Empathy comes with trust, trusting ourselves to be open enough, strong enough to carry the burden of another soul, if only for a moment, and determining what we will say because those words could mean the difference between salvation or damnation. Think of your favorite teacher. Now think of the one who left just as indelible a mark on your soul for the wrong reasons. Determination is just another term for deduction. By taking away the tales we want to tell, we recognize that such stories may laminate over someone else’s experience, diminishing them. There is a proper time to share, but not necessarily in that moment. With proper determination, we will take away far more and be better for it by rising up to support a fellow human being in a time of distress. Here endeth the lesson, my friends. Go get LAED. |
AuthorPatricia A. Jackson is a writer, rider, educator, mentor, and hopeless romantic, who lives by the motto: "Live for what you believe; believe in what you love." Archives
January 2026
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