Sahunyĩra

In Swahili Sheng, Safari boots are referred to as Saharas. I wonder if this is in reference to the sand coloured colourway that is the most common one produced by Bata Kenya, or if it is somehow connected to the desert related history of the shoe.

Editorial: The Fertile Ground Writing Competition—A Testament to the Power of Storytelling in Turbulent Times

Norval Edwards, Jamaica
Together, these entries reflect the extraordinary talent and vision of their creators. They remind us that storytelling is not merely self-expression but a vital tool for understanding and navigating the world. In a time of uncertainty, the Fertile Ground Writing Competition has given us stories that challenge, inspire, and unite, celebrating the enduring power of art to illuminate the human experience.

Eternal Unrest

MILLAN TARUS, Kenya
FIRST PLACE WINNER
At the house, he told me to boil some tea, then placed my hand over the pot, curious to know the texture of the steam on my skin. I became a bird, breaking down each meal into words and descriptions for him to feed.

Line and Beyond

Ömer Tevfik Erten, Turkiye
SECOND PLACE WINNER
Every border is a wound, and in that wound lies the beginning of both pain and healing. This year has allowed me to look into these wounds and explore their healing power through my art.

bite the bitter!

Shoty Ndjoli, Democratic Republic of Congo
THIRD PLACE WINNER
how do we learn to live with our new faces
carrying the scars of thousands
how do we learn to live with our new faces
which are transformed by injuries
how do we learn to live with our new faces
in this new crisis of human identity

PREE goes global!

20 young writers from 18 different countries in the Global South share their views on the state of the world.

Censoring Caribbean Artists at the OAS’s Museum: An Interview with Andil Gosine

Nature’s Wild grew out of the book of the same name and addressed the same tensions: human-animal relations and histories of animalization and race in the Caribbean — how colonists, then postcolonial elites, put the onus on marginalized people to prove themselves human and “not-animal,” for example through dress codes, laws about sexuality, and definitions of citizenship.

On the Cancellation of Nature’s Wild with Andil Gosine

Even if partially imagined, the cancellation of the exhibition was still shocking, a kind of summary execution with no warning, and no recourse. My disappointment was overlaid by anger and disbelief — and yes, fear. What was happening in the US had come into my house, into my home here in Canada, in a deeply personal way.

The God with The Very Long Arm

“Gawd hates de sin, not de sinnah,” Genie reminded. She could almost see the angst in her husband’s eyes, she knew him thoroughly. He was a good man. Had married her in a community where women had to make miserable choices, often deciding whom to cohabit with based on gang colors or who could offer them protection.

A Meditation on Rudie Culture

In this meditation Garth White’s framing of rudie has been edited, revised and expanded in order to apply it to different eras of the music over time and location. His approach remains the initial touchstone for how we can understand rudie culture.
In this re-imagining rudie can only be multi-dimensional and multi-gender.

Sovereign

You see it then: the violence of tropical light,
all living things now reduced to chalk outlines against a bruised sky, knuckled
daylong into perfect blue performance. And you too, you realize,
are knuckled, sore with the weight of expectation, pummeled by the script
of nationhood, its exhaustive choreography.

Excavating the Bones of New Deities in Margaret Chen’s Work

Interior’s most striking feature is the taxidermized bird embedded within it. Possibly a direct reference to the Ziz, the bird can also be seen as a poignant symbol for the act of sacrifice. The root meaning of sacrifice is to ‘make something holy’. The way this creature which has forever departed its mortal shell is remade into something, commanding such awe is a means of transmuting it into something holy. Its encasement in clear glass is also meaningful — a material which like water is reflective and often considered a portal. Here it serves as a container, trapping a thing that was once free and unbound even from the laws of gravity. The creature is given a second life in a way, but a life it cannot make use of.

About PREE

PREE is a unique online magazine for new contemporary writing from and about the Caribbean. We publish original works of fiction, non-fiction, poetry, essays, interviews and experimental writing, giving our authors international visibility far beyond the islands.

We aim to engage each other as well as transmit Caribbean writing to critics, editors, publishers and agents seeking emerging talent and unheard voices.

Alongside new talent, we will showcase the works of more established and celebrated writers. In short, we aim to be the foremost platform for writing about, from, and on the region.

All contributors to PREE retain the copyright to their work. Apart from editorial messages from the Editor-in-Chief, the opinions, statements and views expressed in the material published in PREE do not necessarily reflect the views of the Publisher or any member of the Editorial Committee.

If you want to flex your writing muscle on subjects ranging from literature, art and politics, to gender, technology, race and popular culture, PREE provides the space for it. If you want to pop verbal style, flip the script or boldly invent new metaphors whether in prose, drama or poetry this is where you do it.

Let’s stay in touch

Kingston, jamaica
email

preeliteditors@gmail.com