The Storytellers’ Hub

August Wilson’s Jitney is already a masterwork of rhythm, memory, and the everyday poetry of Black life. Still, the Black Theatre Troupe’s production elevates it into something intimate, immediate, and deeply human. What unfolded on that stage wasn’t just a performance; it was a gathering, a reckoning, and a celebration of voices that refuse to be forgotten.

Set entirely within the walls of the worn yet spirited Barker Car Service, the production leaned into the power of a single location. Instead of limiting the story, the confined space intensified it. Every entrance felt like a shift in weather. Every silence carried weight. Every argument, joke, and confession echoed with the history of men trying to carve out dignity in a world determined to overlook them.

The ensemble delivered performances that were emotional, comical, and thought-provoking; often all at once. Each actor brought a distinct energy that fed the room and…

Three miles off the coast of North Carolina lay an uncharted island—one hundred and fifty miles long, fifteen miles across, and shaped by forces older than memory. No surveyor had ever mapped it, no cartographer had ever claimed it. For centuries, only the ocean had touched it, sculpting its edges with the relentless patience of tide and time. Without human interference, the land bent into the unmistakable arc of a crescent moon, as if the sea itself had carved a signature into the Atlantic.

The ocean never faltered here. Between the two distant tips of the crescent, the coastline delivered a rhythm so precise it bordered on supernatural: a predictable break, glass‑smooth faces, and a consistency that defied storms, seasons, and logic. Sailors who drifted too close spoke of the waves in reverent tones, as though describing a living thing. Surfers who heard the rumors treated them like myth—stories too…

Speculative fiction is a mirror, not a getaway. It’s often mislabeled as an “escape.” But instinctively believing in half-truths is far more of an escape. Speculative fiction doesn’t pull us away from reality. It pulls us through it. My writing style bends the rules of conventional reality, allowing us to see the world through greater imagination. It’s not about running from reality. It’s about revealing the aspects of reality we usually overlook, avoid, or struggle to articulate directly. I believe that when reality fractures—through a time slip, a shadow self, or a world tilted just off‑axis. It compels readers to confront truths they might overlook in a strictly realistic setting.”

Bending reality isn’t about escaping the world. It’s about creating the conditions to confront it with more honesty. When you tilt the rules of the universe, emotions that are hard to face directly suddenly become visible, nameable, and safe to…

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