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Chapter 4: Grace
Themes
Key
LitCharts assigns a color and icon to each theme in Girl, Woman, Other, which you can use to track the themes throughout the work.
Diaspora, Culture, and Identity
Love, Sexuality, and Race
Home and Community
Contradiction, Complexity, and Intersectionality
Radical vs. Reformist Social Movements
Summary
Analysis
Amma enters the after-party of The Last Amazon of Dahomey and is greeted with a champagne toast, ecstatic round of applause, and Roland, who kisses her on the cheeks. She looks beautiful in a wraparound dress that she’s paired incongruously with sneakers, an homage to her rebellious teenage self. Everyone agrees the play is a success. A “usually savage pit-bull of a critic” has already given it a five-star review. She’s finally achieved the large-scale success that Roland told her she could have had earlier if she’d produced some “multi-culti Shakespeares” early in her career rather than her “agit-prop rants.”
Roland narrates the beginning of chapter five, becoming the only male narrator in this chorus of voices. His narration highlights Amma’s entry into the mainstream where he’s existed for years at this point. The play’s resounding success marks her transition from radical to reformer and puts the play’s radical subject matter into question. Amma’s story, by and for Black women, is radical, but its place on a mainstream stage threatens to dilute that radicalness. Roland’s comment about “multi-culti Shakespeares” likewise questions the radical potential of the cultural mainstream. Racially non-traditional casting, the practice of having people of color play traditionally white roles in white-authored narratives, can be viewed both as a sign of progress or a lazy attempt at diversity and inclusion.
Themes
Roland spots “Chairman Mao Sylvester” who he’d hooked up with in his younger, partying years. Reminiscing on those days isn’t nostalgic, but a reminder of “El Diablo” who took so many of their peers. Sylvester reluctantly admits to Roland that the play is Amma’s best work, but he’s still resentful that she sold out to the “Boring Suits” who are scattered throughout the party. Sylvester rants against the corporate sell-outs. Roland is still upset that Sylvester has never acknowledged his success. He rehearses what he’s going to say about the play on the news the following day out loud to Sylvester.
Roland’s derisive nickname for Sylvester underscores the division between radicals and reformers. On the other hand, their queer identities, and their shared experience of loss during the AIDS epidemic, brought them together, pointing to the potential for radical and reformer to unite. Sylvester admits that this is Amma’s best play yet, but couches that compliment in a further criticism. Similarly, Sylvester is unwilling to acknowledge Roland’s success. Roland desperately wants his approval while at the same time he is unwilling to reciprocate and acknowledge Sylvester’s successes in life. Both Roland and Sylvester are uncompromising in their views, representing on a larger scale how both radicals and reformers struggle to acknowledge that each side contributes to overall social change.
Themes
Annoyed with Roland’s academic ramblings, Sylvester cuts him off and walks away. This deeply offends Roland, who thinks, “you can keep your social conscience, Comrade” because Roland has cultural capital, which he sees as a far more powerful currency. Roland is “too sophisticated” to shout at Sylvester, so he suppresses the urge. He spots Shirley, whose outfit he derides for being old-fashioned, and Dominique, who is still “sexy in a dykey-bikey way.” He sees his partner, Kenny, fawning over a Black security man. They’ve been together 24 years and are polyamorous. Roland ruminates on the simple fact that he “prefers white flesh” while Kenny prefers black.
Having cultural capital means having knowledge, skills, and behaviors considered valuable within a particular culture and community, often the dominant culture in a society. In Roland’s case he’s referring to the knowledge, skills, and behaviors he’s developed in order to gain access into the mainstream, white and patriarchal English society around him. To Roland, cultural capital and the material benefits that come with it are more important that social consciousness, which offers an internal, moral reward. Roland’s proximity to whiteness and white culture is also seen in his romantic life. Roland’s preference for white lovers can be read as a symptom of internalized racism. He elevates whiteness in his interpersonal life the same way he does in his professional life, where he strives to retain his position among the “educated classes,” teaching the white, male canon in his college courses and contributing to mainstream news media. Kenny’s race is never specified, but given Roland’s preference for white partners, it’s reasonable to infer that Kenny is likely white. A white person’s preference for a racial category outside their own always risks crossing the line into fetishization. Both Kenny and Roland highlight the way in which race and racism intersect with romantic desire and sexuality.
Themes
Roland walks outside and looks out onto the Thames. He loves London and the city loves him back. But the current political trends threaten to disrupt this equilibrium. He remembers a recent appearance on BBC news with a “Brexiteer” who called him “a metropolitan elite” at odds with the “ordinary and hardworking” British outside of the city. Roland is angry because, as a son of working-class African immigrants, he worked hard to ascend the ranks of class and education to where he is now. He asks the commenter if he means to suggest that Black people should work only in service professions. Roland tells the Brexiteer that his family was chased out of the English countryside by racists mere months after they arrived from Gambia. He explains that this is why Black people made their homes in cities.
Roland contends with a political climate that is marked by a rising tide of conservative and far-right extremism of which Brexit and its advocates are but one branch. Roland highlights how Black people in white supremacist Britain are condemned no matter what they choose to do. When his family chose to live in the countryside they were chased out by racism. Now successful and living in the city, Roland is condemned for that, too. Roland’s predicament highlights how white-supremacist society will never accept people of color, even when they assimilate and work hard to achieve mainstream success. In fact, that success becomes fuel for increased division. Roland is more materially successful than many working-class white people living in rural areas and small towns, and this flies in the face of white supremacy.
Themes
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While responding to the critique, Roland thinks to himself that he’s loath to use the word black, which he thinks is “crude.” The audience cheers Roland on. The debate ends and he’s the clear winner, but rather than feel proud he’s angry that he had to discuss race and that he's viewed “as a spokesman for cultural diversity” when the debate goes viral. Roland is decidedly not an ambassador of cultural diversity.
For Roland, being Black is just one piece of his identity, but society often sees him through the lens of his racial identity alone. He resents that Black people working in academia and the public eye are often turned into a de facto spokesperson for the Black community. Roland wants to speak on the issues that he has knowledge of and that he’s dedicated his life’s work to. Roland doesn’t even like the word Black, highlighting how the language of identity means different things for different people.
Themes
An arm around his waist interrupts this memory. He’s happy Yazz is hugging him rather than yelling at him. Yazz tells him she’s so glad the play is a success and they both agree they’re proud of Amma. Roland credits Yazz with his success, dividing his life into “Before Yazz” and “After Yazz” eras. He was honored when Amma asked him to be her sperm donor and co-parent, and he wanted to be as successful as possible for his future child.
Roland was only more motivated to pursue mainstream success after he decided to become a father. He wanted to provide the best life possible for his future child, and saw assimilating into society’s mainstream elite as the best possible way to give Yazz opportunities he didn’t grow up with. Ironically, now that Yazz is a college student deeply invested in radical politics, the life and identity that Roland chose for Yazz now separates them. Yazz is overly critical of Roland for being too mainstream, not acknowledging that the economic privileges he was able to provide her growing up contributed to her ability to become who she is and pursue the life she wants.
Themes
While Amma’s career is intertwined with her identities, his has never been that way. Roland hates that Black intellectuals, like all Black people in Britain, are still so defined by their race. He sees his Blackness and gayness as “footnotes” in his life, genetic factors he was born into. He doesn’t feel like he can identify as Gambian since he immigrated when he was only two. Early in his career he decided to become a part of the establishment that wasn’t going to accept him. He decided against “carrying the burden of representation,” which would hold him back while white people, who aren’t expected to represent their entire race, would easily get ahead.
Roland’s life as a reformer versus Amma’s as a radical reflects their respective understandings of identity. For Amma her racial, sexual, and gender identities are the most important pieces of who she is, and they drive her work. Roland sees his work and intellectual interests as the most important pieces of his identity. Unlike Amma who is a second-generation child of immigrants, Roland himself is a first-generation immigrant; however, because he immigrated to the U.K. at such a young age, he feels he can’t claim a Gambian identity. Although he’s always known that he’ll never be fully accepted by the mainstream, he made the decision to work from within as a reformer regardless, thinking it was the best of his available options. He knows that, as a Black man, and especially one who is successful in the mainstream, public eye, society will often expect him to represent his entire race, as if that’s even possible. Roland resists this as much as possible, not only because it’s an unreasonable expectation, but because it’s a heavy weight to carry that white people, who are seen only as their own, individual selves, don’t have to carry.
Themes
From the moment Yazz was born, Roland has loved Yazz more than he loves anyone else, even Kenny. Like Amma, she refuses to play by the rules, and he’s worried what will happen to her in a world that punishes rebels. He wants her to become “proficient in the discourse of diplomacy.” Yazz comments how the skyline looks so beautiful at night, which launches Roland into a lecture about the ancient predecessors of skyscrapers. Yazz drifts off to talk to an androgynous, tattooed person. Roland is overcome with an emptiness as she leaves. He misses how she loved him so unconditionally when she was young. So many people are stunned by his success. All he wants Yazz to say is a simple “you done good, Dad.”
Roland worries about Yazz’s decision to be a radical like her mother because he knows how the world already punishes Black people in general. It’s not so much that he disagrees with her radicalness, but he worries and wants the best for her in a society that he knows will try and hinder her success at every turn. Just as Roland wishes that Sylvester would acknowledge his success, he wants Yazz to acknowledge his successes too, especially because they provided her with so many opportunities in life. Everything he’s done has been for her.
Themes
Carole stands alone in a corner, self-conscious about the fact that she and the other bankers in their business attire look out of place at this after-party. Her husband, Freddy, works his way around the room charming everyone with his “upper-class confidence.” Carole envies his natural social skills. Carole was intrigued by the play, but didn’t know much about Benin, the neighbor of her parents’ homeland, Nigeria, which she also knows little about. Her lack of knowledge about her heritage isn’t her fault. Her mother couldn’t return to Nigeria after her parents’ deaths. Carole understands that her mother will “never be one of those West African matrons one sees at airports with a trolley-full of excess baggage.” Carole would like to visit Nigeria one day with her mother, Freddy, and Kofi, who she loves because he’s perfect for her mom.
The narration suddenly shifts to Carole’s perspective. Carole and the other mainstream professionals at the after-party stand out among the crowd that is predominantly made up of radical hippie-types like Amma and her friends. The National has brought these two different groups, the reformers and the radicals, together, but there’s still a clear divide between the two groups despite the fact that each has assisted the other in achieving social change. Even though Bummi once felt Carole was rejecting her Nigerian heritage, Carole still yearns to connect with that part of herself. Whereas Bummi blames England and Carole’s choice to assimilate into white, English culture for her distance from her Nigerian heritage, Carole blames Bummi for never taking her back to visit. Carole understands that her mother’s trauma is what prevents her from visiting, but still seems to wish that her mother was one of those immigrant women traveling between their home countries and native countries with overflowing bags full of gifts for family back home, and, on the return, specialties from their homelands unavailable in their adopted countries. This conflict highlights how first-generation parents, and their second-generation children, often struggle to understand one another and have different perspectives on the same issues. Carole wants to take Freddy to Nigeria to share and experience that culture with him, too, especially given that he has always shown interest in her Nigerian heritage.
Themes
Carole felt embarrassed when confronted with a stage full of Black women “as dark or darker” than her. She may have felt validated if the play was about a black woman achieving “legitimate success,” rather than a bunch of lesbian warriors. During the intermission she noticed white audience-members looking at her with more friendliness and approval. She noticed that there were more Black women in the audience than she’d ever seen at the National. They’re decked out in “extravagant head ties,” “voodoo-type necklaces,” and “leather pouches containing spells (probably).” They give Carole the “black sisterhood nod, as if the play somehow connected them together.” She panics at the thought that the nod might be the “black lesbian sisterhood nod,” which prompts her to grab onto Freddy.
Amma’s play was a major cultural achievement for the Black community, and especially Black women. However, Carole’s discomfort with the play highlights the limits of shared racial identity. Although the women on stage look like Carole, she didn’t feel represented by or reflected in it as a woman whose life and career have been devoted to achieving mainstream, professional success. Despite the fact that Carole doesn’t feel represented by the play, both the white people and Black women in the audience assume that she does. The white audience members are hyper-aware of Carole at the intermission, regarding her with a new kindness and approval after seeing Black women on the stage of a theater as esteemed as The National. Their kind intentions are undermined by their assumption that Carole relates to the play, in effect reducing all Black women to one collective entity. On the other hand, the Black women likewise assume that Carole feels represented by the play. Carole’s description of their outfits highlights how she sees herself as totally different from these women who share her racial identity. Carole’s homophobia is another factor that separates her from these women.
Themes
She’s ready to leave the party when she spots Mrs. Shirley King walking towards her. Carole and Shirley are mutually shocked to find each other at this most unlikely of places after all these years. Shirley notices Carole looks elegant and refined, which she takes as a sign that she’s been successful and makes her feel frumpy in comparison. She’s suddenly overcome with anger and old feelings that Carole failed to keep in touch after all she’d done for her. Carole greets Shirley with an unrecognizable accent and reveals that she’s a banker. They agree that they aren’t very into the play, though Shirley feels ashamed for betraying Amma. She wishes she could boast about her friend in the teacher’s lounge but can’t, given that it’s about lesbians.
Shirley is the one who guided Carole towards her success, and encouraged her to assimilate into white, English society. Now both she and Carole have devoted their lives to reforming systems from within and are too mainstream to like Amma’s play. Shirley’s resentment that Carole never thanked her or stayed in touch is compounded by her realization that Carole—in her elegant clothes and with her elite job—has surpassed Shirley. The power dynamic in the relationship has shifted. Although Shirley doesn’t like the play, she is still proud of Amma, but her homophobia prevents her from fully expressing that pride.
Themes
Carole assumes Shirley must be retired, but Shirley tells her she’s still working at the “insane asylum” that continues to churn out the next generation of “prostitutes, drug dealers, and crackheads.” Shirley laughs at her own comment, expecting Carole to do the same, but instead Carole looks astounded. Shirley tries to backtrack, explaining that she still “rescues” the exceptional students. Shirley flushes with embarrassment, while Carole wishes Freddy would deliver her from this awkward interaction with this old, sweating woman. She’s shocked that Shirley is so nervous when, the last time they’d seen each other, Shirley held an abusive power over her.
Shirley is comfortable expressing her true opinions of her students to Carole because Carole has climbed the social ladder and achieved mainstream success. Carole, however, is horrified, and Shirley positions herself as the “rescuer” or “savior” of her exceptional students like Carole. This condescending approach undermines Carole’s agency as an individual whose success was ultimately earned through her own hard work. Shirley is mirroring the white savior trope that is common in under-resourced public schools. Carole remembers the immense power that Shirley once held over her, and that power is rooted in Shirley’s savior complex. Now, however, Carole also realizes that the power dynamic has shifted. Shirley is noticeably flustered, revealing that she’s intimidated and embarrassed in front of her student who has now far surpassed her.
Themes
They sit in an awkward silence until Shirley says goodbye. Carole sees a sad glint in her eyes, surprised to see she seems capable of having feelings. Carole suddenly sees Shirley through adult eyes, not the eyes of an angry teenager, and realizes that she was doing her best even if she went about it in the wrong way. Worried she’s upset the old woman, she tells Shirley that she owes her an overdue thank you for all she’d done to help her. Shirley insists that she was only doing her duty as a teacher, and that Carole’s success was thanks enough. Shirley starts crying, and it’s only in this moment that Carole realizes that Mrs. King helped her when no one else could.
Carole is surprised to see a glimmer of vulnerability underneath Shirley’s brash comments and actions. That one glimmer of sadness in Shirley’s eyes allows Carole to see through to her complexities. She realizes that Shirley has good intentions, but executed and communicated them poorly. In other words, Carole suddenly gets a glimpse of the teacher Shirley was when she first started teaching, years before Carole was her student. When Carole finally gives Shirley the thanks she wants, Shirley downplays it as if she doesn’t want to claim any credit, despite how she’d claimed credit all those years ago at Carole’s graduation. When she breaks down in tears, baring her vulnerability completely, Carole understands that despite her many imperfections, Shirley was an invaluable mentor to her. While she wasn’t Carole’s savior, she was a key piece of her young life and later success.
Themes
Embarrassed by her uncontrollable emotions, Shirley rushes off feeling lighter and excited to tell Lennox about this encounter. She’s eager to leave the party, which she finds grating. She’d rather be at a party where everyone is like them and where there’s “rice, peas, curry goat simmering […] in the kitchen.” Searching for Lennox, she spies Roland who she got to know after she became Yazz’s godmother, and who she used to dislike because he made her feel inferior. Now his air of superiority makes her laugh.
The narration shifts again, this time to Shirley’s perspective. Shirley feels out of place at the after-party not just because it’s filled with free-spirited progressives like Amma, but because it has an air of pretention and elitism that feels alienating to her. While that superiority from people like Roland used to make her feel badly about herself, now it seems absurd to her and makes her laugh. Shirley contradicts herself, however, because she projects a similar superiority over her students and their families. Like Carole, although she’s at an after-party for a groundbreaking play by a Black woman playwright and featuring a Black women cast, Shirley doesn’t feel like she is surrounded by her people. People “like them” are people who attend informal gatherings in each other’s kitchens, eating the foods of the Caribbean diaspora.
Themes
Shirley wants to find Amma so she can say goodbye, but spots Dominique making her way over to her first. Earlier in the night when Dominique asked Shirley about her life, she felt Dominique looking down on her “pathetic little life.” Shirley was never jealous of Amma and Dominique’s friendship because she and Amma had already drifted apart ideologically at that point. They maintained a friendship based on loyalty and history. She wanted to say goodbye to Amma, who she’d hardly had a chance to speak to at the party, but instead lets her walk off with Dominique. She and Lennox finally leave the party, passing Yazz on the way out who, earlier, hadn’t introduced Shirley to her edgy-looking friends, a slight she assumes means Yazz thinks she’s boring. Shirley’s happy to be heading home where she and Lennox will drink hot chocolate and watch The Great British Bake Off.
Although Shirley tells herself that Roland’s superiority complex no longer bothers her, it’s clear she still feels inadequate compared to Amma and the people in her life, including both Yazz and Dominique. While Amma and Shirley’s friendship has survived all these years thanks to the loyalty that comes with a shared history, Shirley has existed in that friendship knowing that Amma’s friends look down on her, and that even Amma herself looks down on people like Shirley. Shirley is the one exception to her strict expectation that everyone in her life be as progressive as she is. She lets Amma walk away at the party, symbolic of how they continue to drift from one another. Instead, Shirley is content to retreat back into her life and the simple pleasures that she enjoys with her husband.
Themes
Tucked away in the bathroom, Amma waits while Dominique cuts lines of coke just like it’s the old days. No amount of distance or time can dilute their friendship. They get high, Dominique remembering that this used to be their opening night ritual. Amma asks Dominique if she truly liked her play, and Dominique reassures her like she has been doing all night. Dominique took an overnight flight to surprise Amma at her premiere. She flies out in the morning. She rarely visits to see her friend’s plays because she wants to avoid all these people from her past, like Roland and Sylvester, who she’d caught up with briefly earlier.
The narration shifts to Dominique’s perspective. Dominique and Amma have the ability to jump back into their friendship as if no time has passed at all while they’ve been oceans apart. When they get back together they revert to the selves they once were as young twenty-something radicals living in London. Amma, still feeling insecure about her decision to premier a play at The National, looks to Dominique for reassurance that this doesn’t detract from her progressive identity. While Dominique is happy to see Amma, she avoids London because it reminds her of the past self and the trauma she went through with Nzinga.
Themes
She’d unfortunately run into Shirley earlier, too, Amma’s most boring friend, a closet homophobe who Amma nonetheless defends fiercely. Dominique thinks all these old acquaintances have gotten worse with time, and that their worst traits are more prominent than ever. Dominique loved the chance to see Yazz, who is feisty as ever flanked by her cool university friends, including an especially “funky” girl in a hijab. Yazz tells her she’s her “Number One godmother,” and asks her to pay for a trip out to Los Angeles.
As Shirley suspected earlier, Dominique was looking down on her, as she always has. Dominique sees through Shirley’s attempts to hide her homophobia. Like Amma, Dominique is hyper-critical of their old friends and elevates herself above them. Dominique singles out Waris the same way that Yazz does, further highlighting how people make assumptions about her identity based on her appearance alone.
Themes
Dominique takes a black and white photo out of her bag and hands it to Amma. It’s a photo of them with their middle fingers up, triumphantly standing on an exterior balcony of the National. Amma marvels at how young they look and how much time has passed since those days. Dominique sees the photo as a relic of a bygone era. Now Amma is an unstoppable powerhouse blowing up the National Theatre. This is the praise Amma was seeking out all night, and in that moment everything is perfect.
While Dominique and Amma temporarily relive their younger, wilder days in the bathroom, when she looks at the old black and white photo Dominique knows those days are over and that they’ve both left those old identities behind. They’re no longer standing outside the National making a bold statement against it. Instead, they’re on the inside and celebrating the success and acceptance they’d wanted all those years ago. They’ve come full circle, which is what lends the moment its air of perfection.
Themes
Back at Amma’s place, the two friend stay up chatting long after the rest of Amma’s friends have gone to sleep. Amma tells Dominique that The Last Amazons of Dahomey is likely the peak of her career. She’s worried that she still has a lot left to give, but her ability to make social change through theater will be limited in England from here on out. Dominique agrees and tells her to join her in the U.S. where there’s more potential, despite the country’s own political problems. Amma says she doesn’t want to leave Yazz, and that she likes England even though it frustrates her endlessly.
Amma fears that the peak of her career will also be its end. She’s broken the impenetrable glass ceiling of the National and feels there aren’t many other avenues for making social change in theater for her left in the U.K. Dominique sees the U.S. as a place with more potential, a place that despite its deep rooted, abhorrent injustices, also has a rich history of activism that lives on in the present. Amma loves her country even though it frustrates her because that frustration is what fuels her work and passion. She maintains an insatiable drive to make it better through social justice.
Themes
Dominique says that she loves England, too, but that it’s a “living memory,” stuck in the past while she’s living in the present. Amma jokes that it sounds like she’s been talking to her therapist, and Dominique suggests that Amma should try seeing one herself. Amma insists she doesn’t have any “disturbing psychological” issues to work out. Dominique explains that she views therapy as a type of consciousness-raising, which Amma critiques as an outdated word.
It's not just that Dominique feels the U.S. is a “younger” country literally, but that England triggers her own memories and makes her feel stuck in a past she needs to leave behind. Dominique suggests Amma should talk to a therapist, hearkening back to their younger years when Amma’s friends thought she needed to see a therapist to understand her sexual promiscuity that was hurting the people she was with. Amma sees therapy as unnecessary, while Dominique sees it as something as powerful as consciousness raising, a form of political education and activism popular during the second wave feminist movement, once was. Amma tells Dominique the term is outdated, perhaps because she’s been influenced by Yazz, who is forever telling her that she is an outdated feminist herself.
Themes
Dominique asserts that feminism is making a comeback these days. It’s on trend and Dominique hates that. Amma doesn’t understand why this is a bad thing, and Dominique explains that it’s because feminism is being commodified by the mainstream. Amma argues the media has always elevated beautiful women within the feminist movement, like Gloria, Germaine, and Angela. Dominique says that the “trans troublemakers” these days also bother her. She was called out for being transphobic when she advertised her festival as being for “women-born-women.” The protest was started by a relentless Twitter activist, Morgan Malenga.
Dominique hates that feminism is on trend because it loses some of its progressive edge when it’s co-opted and diluted by mainstream society, similar to how Amma’s play loses some of its radicalness when it’s onstage at the National. Dominique hates that feminism and feminists are being glamorized in the media like celebrities, undermining their power by objectifying them, but Amma insists this has always been true. Dominique’s transphobia reveals that her feminism is, in fact, outdated. She and her festival were called out by the trans community, but rather than learn from the experience, she regards the community with derision.
Themes
Amma points out Dominique’s hypocrisy, reminding her that she used to be the troublemaking protestor. Amma warns her that she’ll become irrelevant if she doesn’t stay open-minded. Amma explains that Yazz is helping her stay “woke” by confronting her outdated thinking. Amma tells Dominique she’s sure she has her own devoted following of “heroine” worshippers back in the States, but Dominique says the young people see her as an old person who is part of the problem. Amma says that Dominique needs to talk to these young people and focus on celebrating this new evolution and reawakening of feminism. “How can we argue with that?” she asks.
Amma points out Dominique’s obvious hypocrisy. She calls the activists “troublemakers,” showing just how far she’s come from her younger years when she was the one proudly stirring up trouble. Both Amma and Dominique struggle to contend with the fact that they aren’t the world’s young radicals anymore. There’s a clear divide between their generation and the younger generations like Yazz’s. As much as Amma tries to keep her activism up to date through Yazz, their age will forever make them irrelevant and problematic in the eyes of younger activists. Rather than shut down and dismiss these new activists, Amma wants to celebrate the evolution and progress that these young people are making. After all, older activists like she and Dominique are the ones who helped pave the path that Yazz, Morgan, and other young activists are blazing down now.
Themes
