biblical hot topics


They say
Lilith refused to bow down
to kiss Adam’s ashy feet. Adam acte
all insulted, like he forgot
where he came from, but Lilith knew
he was from the same block
she was.  She knew the naysayers
would make her look like a bitch,
but she figured it could be worse---
they could call her a sniveling slave.  
She didn’t want to be
in that garden anyway,
it wasn’t worth the prick
in the thorns.

They say
Adam should have known
there’d be trouble when Eve
wouldn’t hang on his ribs, 
but the boy was not too bright; 
after all, knowledge was forbidden.
Eve was bored. She thought
the asp in the nearby tree
was way more exciting
than Adam, all he did was sit
around and stroke his patriarch.
And really, she was just trying
to put some food
on the table.  Adam didn’t
have to eat it.

Mary Stone Hanley, PhD is a playwright, poet, educator, scholar, and researcher. She has a B.A in Children’s Drama, a M.Ed. in Educational Communications and Technology (emphasis in television and film), and a PhD in Curriculum and Instruction in multicultural education and drama from the University of Washington in Seattle, WA. She has spent a lifetime as an artist and 40 years as an educator and arts activist. Her scholarship and research has centered on the arts and students of color in terms of the effects of creativity in learning, drama for K–12 students, Hip Hop culture, and the arts for adult learners. A peak of those years of scholarly study and writing was the publication of a co-edited the book, Culturally Relevant Arts Education:  A Way Out of No Way, published by Routledge in 2013. As a playwright she has written nine plays and two screenplays for youth, Just Us and Terminal 187, both were produced as films.  She wrote and produced The Name Game recently in the 2013 DC Black Theater Festival and produced a revision of it in the 2014 Capital Fringe Festival facilitated by grants from the DC Arts and Humanities Commission. Her plays, Street Life and Sunshine and Rain, have been chosen for readings by The African Continuum Theatre, Inkwell Theater, and Spooky Action Theater.  She has also been a member of the Black Women Playwright’s Group since 2008 and continues to write, read, and critique as a part of the group. Her poetry can be found in educational journals like International Journal of Education and the Arts and Journal of Curriculum & Pedagogy and she was featured in the Fall, 2015 Beltway Poetry Quarterly.