A writing Contest HOSTED IN PARTNERSHIP WITH Sweet July
Deliberately Feathered
By Kayla Misa
WInner
From the sweet july judge’s panel:
The build-up on this piece is masterful, as is the quality of storytelling. We love how the writer uses a physical heirloom—the rosary—as a symbol for their journey with identity. Bravo!
I was four when my parents presented our first rosaries to my twin brother and I. Before us dangled, two child-sized wooden necklaces; hazel beads separated by the Five Decades, and a silver crucifix with a stick-figure Jesus embedded on the metal. I remember my grubby hands feeling ruggedly cut spheres against wrinkles in my palm, my childish fingertips grazing over the contours of the crucified figure. This necklace symbolized more than a religious artifact; it was a conduit to my Filipino heritage, a bridge to the sacred ritual of prayer echoing through generations.
And how I cherished it. With rope and twine draped around my neck, I felt a sense of kinship with my parents, eager to emulate their dedication to Catholicism. I was unfiltered in my desire for their approval, yearning to bask in the warmth of their affection. This rosary was my gateway to gain their adoration, and to show the utmost deference to my parents. Two rules in the house reigned supreme:
One—Worship God through your blind devotion of prayer.
Two—Filial piety above everything.
The rest of the commandments on the stone tablet naturally followed after.
My twin and I took turns threading the rosary through death anniversaries and holiday dinners- a constant companion always pressed to my chest, its presence bringing me solace. The heaviness of the cross was my pleasure to carry. It was a tangible reminder of my unwavering faith- the blistering statue of His flesh against me upholding the virtues of being a humble Filipino child, and above all, allowing me to serve as an enlightened disciple of God.
I never questioned my beliefs, and I never questioned my parents. It was a pair that was inseparable—the same perpetual prayers that spilled from my mouth, and the unchanged bent necks accompanied by hanging heads in onerous obeisance—wound willingly through the rosary.
Yet, beneath the facade of piety and obedience, my queerness was threatening to upend our perfectly curated familial harmony…
Watch the Instagram Live with Ayesha Curry and Kayla Misa
In celebration of Women’s History Month in March, and the impact of strong female role models, we partnered with Ayesha Curry’s Sweet July for a writing contest to elevate the voices of girls and gender expansive young adults.
Girls Write Now participants answered a prompt from On the Art of the Craft, our 25th anniversary guidebook coming soon from HarperOne: Tell the story behind a family heirloom or tradition. How has it shaped who you are?
About the Artist
Mentee Asma Al-Masyabi designed illustrations for the winning piece, “Deliberately Feathered” by Kayla Misa, and the runner-up, “Here We Are Again” by Chanelle Ferguson. The illustrations include flowers inspired by the themes and cultures represented in each piece.
Kayla Misa
Kayla Misa (she/they) is a Filipino author from Los Angeles, California. She is a Senior Accountant for Warner Brothers Discovery by day, but an avid artist by night. Their freeing love for art is juxtaposed by analyzing variances and creating forecasts. When not writing or crunching numbers, Kayla can be found strumming the guitar, bowing on the violin, or sketching. They have been previously published in The Palouse Review, The Peahce Project, and featured in Power Poetry’s 2020 annual anthology for upcoming writers. Kayla is also a current collaborator of the non-profit organization, Girls Write Now.
Gwendolyn Hewlett
Gwendolyn Hewlett is a queer Asian author, accountant in the entertainment industry by day, but an artist by evening. Their love for art is voracious, unbound, and freeing, juxtaposed by analyzing variances, creating budgets, and reviewing numbers in their mornings. When not writing or crunching numbers, they can be found strumming on the guitar or bowing on the violin. They have been previously published in The Palouse Review and The Peache Project. They are also featured in Power Poetry’s 2020 annual anthology for upcoming writers.
