“Women often face stringent beauty standards, and this has commonly been heightened amongst women of colour. Asian women are frequently sexualized as ‘exotic’, but yet have to maintain the fantasy of being demure and pure. One of the main intricate links between beauty standards, identity, and colonialism is colourism…colourism not only is harmful in the construction of self-worth, confidence, and economic opportunities to women of colour, but also poses public health risks, as we shall discuss in this article.”

This is chapter two of creative writing major Jasmine Taylor’s poetry collection “Maybe the Beginning of Me.” This collection consists of eight original poems surrounding love, identity, relationships, and family through the lens of a young Black woman.

A sincere poem about heartbreak and self-love.

“This poem is about a moment I shared with my lola (grandma) that changed the meaning of ‘morena’ for me. She didn’t remember this conversation when I asked her about it years later, but this specific interaction was the start of self-acceptance for me.”

This is chapter one of creative writing major Jasmine Taylor’s poetry collection “Maybe the Beginning of Me.” This collection consists of eight original poems surrounding love, identity, relationships, and family through the lens of a young Black woman.

“‘Intersectional’ presents a complex picture of intersectional difference and inequality that now characterizes the lives of many individuals in the twenty-first century. This poem seeks to question why social differences are constantly labeled but never truly addressed beyond piecemeal campaigns and often lacking legislation and widespread representation.”

“‘Commercial Idolatry’ presents a world that always appeared rather dystopian to me whilst growing up. Despite being half-Kuwaiti, I did not experience many of the societal norms that permeated the ultra-rich lifestyle of many I knew. From an early age, I knew that my middle-class roots left me at a disadvantage in terms of social and cultural capital that transcended any intellect or meritocratic ability.”

“…I’ve always related my emotions to different colours, and these poems were meant to showcase that without our emotions (including both good and bad) we would be living in such a dull, black and white world as well as robbed of the duality each colour holds.”

“Growing up in a conservative country that is Philippines, there are certain challenges that come with being a Catholic Filipina. No matter how much I yearn to read poems and articles that cover sensitive or “taboo” topics, I can never seem to find any that leave an impact.”

“This prose is called ‘Interlude’, and it is a self-loving piece. I wrote this with the purpose to connect with myself on a deeper level, in order for me to release unwanted energy given by others for the sake of my own sanity.”

“Imposter’s syndrome is something I’ve battled a lot through my life. There’s this existential fear that weighs on you every day, that everyone will experience this a-ha moment and realize that you’re not as great as they think you are. You watch other people at your job doing the work and you think to yourself that it’s only a matter of time before they discover your secret and kick you out to the street.”

“White takeout styrofoam containers were the bowls of my childhood. They came when the sky smeared with charcoal and the playground rumble of daycare softened to faint whispers. On those weekday evenings, I would tilt my 10-year old head to listen: for the trill of keys and clink of pen in pockets, the thump of pointed work shoes and the ratting, dry coughs of my father; sounds and sights that told me - that even in this strange, lonely place full of faceless kids - I was home.”

“I recognize the weight my words carry, especially the ones I’ve carelessly said towards my loved ones. It shocks me when they mention something I’ve said years ago and express how much it still hurts them to this day. As selfish as it sounds, I don’t even remember saying it or the damage I caused. I know in my heart of hearts that I never intended for it that way. But you can still hurt someone without intentionally realizing it. I carried on with my life not taking in the cause and effect of my words.”

“A massive part of misogyny has always relied on identifying women only through reference to another person, most likely a man. It really can come to a point that this practice makes it highly probable for the individual name to be forgotten. The poem makes mention of male characters in Jose Rizal’s Noli me Tangere: all who play significant roles in the story, or rather, lack of story, to the female lead, Maria Clara.”

“Like a lot of other womxn, I’ve always felt the need to apologize for things I shouldn’t be sorry for, or to be smaller so someone else can have their space. I’d quietly succeed in subjects while someone else took the credit.”

“My parents moved to Canada as teenagers fleeing the Vietnam war in the 70s for a better life without a single dollar in hand. I grew up in a predominantly white suburban town in Ontario, which shaped a lot of my complex relationship about being Asian.”

“The inspiration of this poem came from the idea that in order for the butterfly to emerge; it must first go through cycles of growth; before it can spread its wings and roam free. The cocoon represents the confinement one can feel when trying to break free. A slight hold yet it is as light as silk, much like the makings of a cocoon.”