[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-148327-105":59,"doc-detail-148327-en":131},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":124,"head_meta":126,"extra_data":128,"updated_unix":130},105,"en","borderclash-volume-7-april-2026","Border/Clash - Volume 7 - April 2026","","Border/Clash presents a one-character play in poetic vignettes by Staceyann Chin, organized as Act 1: Innocence and Home with scenes including Little Girls, Skirt Tails, and The Lie. Through a single speaker, the script traces family origin stories, the impacts of poverty and public judgment, and the emotional mechanics of survival. It blends childhood memory, naming and identity, religious community discipline, and fictional storytelling into a lyrical account of how longing and fear shape one life.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":10,"@type":76,"position":81},"https://docshare.wps.com/document/story-novel/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/borderclash-volume-7-april-2026/148327/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/borderclash-volume-7-april-2026/148327.png","ImageObject",300,407,{"name":92,"@type":93},"Cipher","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-18","2026-08-26",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",14,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"Border/Clash is presented in what theatrical format, and how does that affect the script?","Question",{"text":113,"@type":114},"It is structured as a one-character play in poetic vignettes. The script uses only one speaker while retaining the playwright’s poetic line breaks.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"What themes emerge in Scene 1: Little Girls?",{"text":118,"@type":114},"Scene 1 centers on birth, community surveillance, and the pressures of naming and survival. It also frames performance and identity as something that begins despite hardship.",{"name":120,"@type":111,"acceptedAnswer":121},"How does Scene 3: The Lie treat childhood fiction and adult religious discipline?",{"text":122,"@type":114},"The speaker creates a story about having a mother in Canada, then faces consequences as it conflicts with others’ expectations. Religious language and punishment escalate the stakes, turning storytelling into a moral accusation.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},148327,1787779007,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":8,"category_name":10,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":130,"read_time":145},687208528416,"https://ap-avatar.wpscdn.com/davatar_9964176cb1d06d4a9deccf72a44ae3dc","Border/Clash a litany of desires  \nStaceyann Chin  \nManchineel + Seagrape Volume 7 • April 2026  \nAuthor Bio: Poet, actor, and performing artist Staceyann Chin is the author of the poetry collection Crossfire: A Litany For Survival, the critically acclaimed memoir The Other Side of Paradise, cowriter and original performer in the Tony Award–winning Russell Simmons Def Poetry Jam on Broadway, and author of the one-woman shows Hands Afire, Unspeakable Things, Border/Clash, and MotherStruck. She has appeared on the Oprah Winfrey Show and 60 Minutes, and her poetry been featured in the New York Times and the Washington Post. She proudly identifies as Caribbean, Black, Asian, lesbian, a woman, and a resident of New York City, as well as a Jamaican national.  \nCharacters  \nThis play was originally written and performed by Staceyann Chin as a “one-character play in poetic vignettes.” As such, the script is presented with only one speaker and Manchineel + Seagrape has retained the poetic line breaks as provided by the playwright.  \nAct 1: Innocence and Home  \nScene 1: Little Girls  \nOnce upon a time on an island not so far away there was a pretty brown girl giving birth to a tiny half-Chinese baby  \nChristmas morning and she didn’t have to push hard my grandmother say the whole district come out to see the miracle two and a half months early  \nI came quick/faster than I should have some said  \nthe two of us landed screaming Madonna and daughter tangled together  \nthe child underweight/the mother under fire from a future tumbling towards her never ever happening  \nArms akimbo my grandmother want to know “Is what kinda high faluttin name you intend to give this one?”  \nMy mother has chosen Staceyann: derived from the Russian–Anastasia Anti-stasis–I like to think my mother wanted this child to move …  \nThe neighbors keep a running commentary.  \nLawd, the baby small, eh? You sure she alright?  \nShe look like a piece of chicken. Put her down on this plate.  \nSee, she no bigger than a plate of food!  \npoverty makes necessary humor of smaller tragedies the cold enamel gives me goose bumps  \nmy mother smiles  \nmy two-year-old brother giggles I sneeze  \nthe audience roarsand abracadabra! a performer is born  \nwhat can you do Ponchinella little fellow?  \nwhat can you do Ponchinella little fellow? we can do it too Ponchinella little fellow  \nwe can do it too Ponchinella little fellow who is coming next Ponchinella little fellow?  \nwho is coming next Ponchinella little fellow?  \nScene 2: Skirt Tails  \nI have never seen my mother and father together. Only heard reports of what she said and what he did. The story gets more confusing every time I hear it. My mother was beautiful. My father was rich. He wanted flesh. She needed gold. She tricked him. He raped her. He never touched her. He raped her. He never touched her. He raped her. He never touched her and then I was born.  \nI spent my first years under the folds of my grandmother’s skirt-tail. Her apron anchored me. Gave me a place to belong. Back then I was this much hair and this much child – everytime Grandma reach for the comb, I swear to God, I going dead now! All through the weeping and moaning, Grandma never said a word – she would just bite her lip and weave the unruly strands into one neat plait after the other.  \nWhen she was done, she would turn me around and wipe the sticky grease all over me face –tears and snot and hair-oil smoothed into an unpleasant potion.  \n“When you was born, the people from round the district say you couldn’t make it through the night. You was so small, everybody think you was going kick over and dead same time. But you live. Bright and boast you grow and grow and come to this. Now tell me, Stacey, what you have to cry bout? After the Good Lord bless you and keep you an make him face shine upon you – how you go cry over a little hair combing? Cho man, nuh mind, go put down the comb and come get a piece of potato pudding.”  \nAfter that story I really didn’t min","cbCaili2BkQ6yoa1","https://ap.wps.com/l/cbCaili2BkQ6yoa1","pdf",373360,46,"English","# Act 1: Innocence and Home\n## Scene 1: Little Girls\n## Scene 2: Skirt Tails\n## Scene 3: The Lie","[{\"question\":\"Border/Clash is presented in what theatrical format, and how does that affect the script?\",\"answer\":\"It is structured as a one-character play in poetic vignettes. The script uses only one speaker while retaining the playwright’s poetic line breaks.\"},{\"question\":\"What themes emerge in Scene 1: Little Girls?\",\"answer\":\"Scene 1 centers on birth, community surveillance, and the pressures of naming and survival. It also frames performance and identity as something that begins despite hardship.\"},{\"question\":\"How does Scene 3: The Lie treat childhood fiction and adult religious discipline?\",\"answer\":\"The speaker creates a story about having a mother in Canada, then faces consequences as it conflicts with others’ expectations. Religious language and punishment escalate the stakes, turning storytelling into a moral accusation.\"}]","Border/Clash - Volume 7 - April 2026 | PDF",71]