Tag: feminist poetry

  • Author’s Note

    Her Story was born from frustration — not with women, but with the men who turn a woman’s past into a personal insult. This poem confronts the insecurity, entitlement, and emotional immaturity that drive so many men to treat a woman’s history like a threat instead of a testament to her strength.

    This piece isn’t about blame; it’s about perspective. A woman’s story is not a competition, not a purity test, not a battlefield for fragile egos. It is something to honor — not to resent.

    I wrote this to challenge that mindset, to hold a mirror to possessiveness disguised as devotion, and to remind anyone who needs to hear it that a woman owes no one an apology for having lived before you. She owes no one her silence. She owes no one her shame. She owes you nothing.

    Rowan Evans


    Illustration of a woman in profile with handwritten text layered inside her silhouette and a warm halo of light behind her, representing her past and resilience.
    A woman’s story is not a threat — it’s something to honor.

    Her Story
    Poetry by Rowan Evans

    Why do some guys
    get so hung up on the past?
    Why do you care so much,
    what happened before you?
    So what she’s lived a life before—
    oh no, someone wanted to make her their wife before.
    I’m so jealous, watch me act out, get hellish.
    Nah, I’m just playin’, just joking around—
    Because it’s not about the past for me,
    getting that hung up on her before…
    that’s blasphemy.

    So if you can, answer me this…
    why do so many guys get pissed?
    Yeah, she has experiences—
    that you can’t touch.
    They happened before you,
    why let them affect you so much?

    Why does her story
    feel like a threat
    instead of a lesson
    that she’s survived,
    lived, loved, lost—
    and still chose you
    in this moment?

    Why does her story
    make you small,
    when it should make you honored
    to be part of the chapter
    she won’t have to rewrite?

    Why do you police her scars
    as if she owes you
    purity, silence,
    a spotless record
    to soothe your ego?

    You want devotion
    but shudder at evidence
    that she lived
    before your shadow
    ever touched her skin.

    But here’s the truth:
    A woman with a past
    isn’t a warning label—
    she’s a masterpiece
    restoring herself.
    And if that scares you,
    it’s not her history
    you’re terrified of—
    it’s your own reflection.

    It’s because you don’t feel worth—
    the attention, or affection.
    You don’t feel like you
    can handle her truth.
    You can’t honor what she’s been through,
    so it weighs on you, and it weighs heavy.
    You do what you can to
    try and prove
    you’re ready.

    But you’re not.
    You’re just like every other guy,
    sitting back, asking why?
    Why not me?
    I’ve been,
    nice as can be.
    Sounding like she owes you something,
    but the truth is—
    She owes you nothing.


    If you enjoyed Her Story, you can feel free to explore The Library of Ashes

  • Author’s Note

    Every rebellion begins as a prayer whispered into darkness.

    Mary Cast a Little Hex is the solitary hymn — a woman standing before her altar of ruin, choosing power over apology. She is the patron saint of the unrepentant, the quiet spark that lights the rebellion.

    Ring Around the Rose Bush is her echo, multiplied — the chorus of daughters who rose from her ashes, the feral bloom of a world reborn through wrath and grace. It is a hymn for every heretic heart that refuses to kneel.

    Together, these poems are a Witch’s Gospel: a scripture of survival and sanctified rage.

    To burn and still bloom — that is the miracle.
    To be called “too much” and still rise — that is the magic.

    May every word be a spell,
    and every reader, a flame.

    Rowan Evans


    A gothic garden at midnight with black roses and candles, a lone female figure standing near a stone altar, mist and embers swirling around.
    From ashes bloom dark petals — the witch’s gospel in motion.

    Mary Cast a Little Hex
    Poetry by Rowan Evans
    (Written June 28th, 2025)

    Mary cast a little hex,
    The altar cold as stone—
    A whisper stitched from thorn and wax,
    A prayer she made alone.

    She didn’t weep. She didn’t kneel.
    She bit the moon instead—
    And carved her name in shadows deep,
    Where angels fear to tread.

    They called her “witch” with tongues of ash,
    Their blessings laced with blame.
    But Mary burned like prophecy—
    Too holy for their shame.

    Her heart was made of comet dust,
    Her breath a velvet flame.
    She kissed the wind and it obeyed,
    Then vanished with no name.

    And now the stars recall her sigh,
    The dark hums with her spell.
    Each midnight bloom, each broken clock
    Still rings the chapel bell.

    She walks in dreams of restless girls
    Who ache, but do not bend—
    Their lashes lit with embers red,
    Their laughter sharp at end.

    Now every hex, each whispered spell,
    Still bears her rebel mark—
    A kiss of ink, a flame of hope,
    A torch lit in the dark.


    Ring Around the Rose Bush
    Poetry by Rowan Evans
    (Written June 29th, 2025)

    Ring around the rose bush,
    A pocket full of thorns—
    Ashes to ashes,
    Patriarchy drags us into scorn.

    Whispers crawl beneath cracked lips,
    Where shadows breed and plots conspire,
    They wear their crowns of rotten bone,
    And feed us poison from the pyre.

    We dance in ruins, blackened bells,
    Singing songs they tried to smother,
    Our bones break glass beneath their heels,
    Our fury is a mother.

    Ring around the rose bush,
    We spin through smoke and flame—
    Ashes choke the blackening sky,
    But from these ashes, we carve our name.

    They bury us beneath cold earth,
    Try to silence every scream,
    But roots of rage twist deep and dark,
    Bursting forth like a fevered dream.

    We are the thorn inside the rose,
    The wound that will not heal,
    A reckoning dressed in midnight,
    The truth they cannot steal.

    Ring around the rose bush,
    A pocket full of spite—
    Ashes to ashes,
    We rise again to fight.

    So let the gardens rot and fall,
    Let the halls grow cold and bare,
    From the cracks, new roses bloom—
    Dark petals soaked in dare.


    Step deeper into the shadows and discover the full breadth of my poetry in The Library of Ashes — an archive of ink-stained devotion, dark petals, and threshold poems that linger long after the last candle flickers. Visit The Library of Ashes →

  • Author’s Note

    I wrote this for her — the one whose name feels like both prayer and sin.
    Not to mock heaven, but to remind it what love looks like when it’s lived in human skin.

    Because sometimes, faith isn’t worship. It’s defiance in the name of tenderness.


    A celestial battlefield where a poet stands victorious in the name of love, light falling gently on the one she fought for.
    “Love made them fearless enough to brawl with heaven — and tender enough to lay it back to rest.”

    When I Fought God for Her
    Poetry by Rowan Evans

    You said—
    you had a migraine again,
    so I told you, I’d say a little prayer.
    But if that didn’t work,
    I’d go up there and make God
    make it go away.

    You laughed.
    But I meant it.
    I’d box deities
    to take your pain away.
    I’d throw hands with Gods
    and Goddesses.

    I’d walk right up,
    like — “listen here,
    you divine little prick.”
    Catch him off guard:
    “You might be God,
    but you clearly got a little dick.
    The way you wield little-dick energy.”

    Go ahead—
    smite me. (Coward.)
    Just know—
    you better be ready
    to fight me.

    “I said heal her, not test her—
    you omnipotent coward.
    Give her rest,
    or I’ll rewrite your scripture myself.”

    So I climb.
    Not on a ladder of prayer,
    but up a rope made of names I swear I’ll never say again—
    each knot a vow, each loop a promise.
    The sky cracks like an egg; thunder flinches.
    Clouds part to watch the mess I’m about to make.

    First I find the doorman to the heavens—
    the one with a clipboard and a halo too small for his head.
    He checks my grief like it’s a permit;
    I hand him a bruise and a name.
    He frowns, flips a page, tries to veto me.
    I step in close and whisper:
    “You work customer service for eternity? Poor you.”
    Then my fist meets marble and the bell rings,
    and the Pearly Gates swing off their hinges.

    Wings beat like shutters;
    angels tilt their heads like bored referees.
    I dodge the choir—
    their harmonies can be lethal—and I keep walking.
    A goddess in linen offers incense;
    I snatch the censer, skein it into a rope, and swing.
    Her perfume tastes like paperwork;
    I cough it up into the wind and keep going.

    Hallways mapped by myth—
    Olympus, Valhalla, the mailroom of miracles—
    I stride them all barefoot, dragging a trail of small rebellions.
    I pass Zeus in a robe, bored with thunder.
    I clap once and steal his lightning.
    “Borrowed,” I tell him. He blinks.
    Lightning in my palm feels heavy with apology.
    I throw it like a rope—no, like an apology turned projectile—
    toward the place where pain hides.

    Ministers of fate try to lecture me on consequence.
    I read their contracts aloud
    and rip the margins out like ticker tape.
    “Fine print,” I say.
    “Fine for you. Not tonight.”
    One deity mutters something about hubris;
    I hand them a mirror. They don’t like their reflection.

    The gods swell; the heavens tense,
    like neighborhoods preparing for a parade that never comes.
    I trade left hooks for liturgy—
    each punch rearranges a verse,
    each uppercut edits a line.
    Commandments rattle.
    Mythic laws become limericks under my knuckles.
    I bleed ink and the stars drink it and become quieter.

    They call reinforcements—
    avatars, avatars with perfect hair and terrible customer service.
    I meet each one the same: a joke, a jab, a promise.
    “Your omnipotence has been outsourced,” I tell them.
    A Valkyrie grins; I say, “Not tonight,”
    and she drops her spear like it’s tired of being serious.

    At the gate where they schedule tests,
    I find the migraine: a small, grey child with the world’s noise in its fists.
    It sits on a throne of buzzing radios,
    feeds on fluorescent hum.
    I kneel.
    Not a prayer this time—a plan.
    I cup the child’s head like a secret,
    whisper apologies I don’t deserve to say aloud.
    Then I punch a hole in the noise.
    It’s less dramatic than you think—
    a clean, surgical silence that smells like relief.

    The gods holler. “You cannot—” they begin.
    I finish for them: “Watch me.”
    I gather their stubbornness,
    twist it, braid it into lullaby.
    Rewrite scripture? I do—one line at a time.
    Where they wrote tests, I write rest.
    Where they insisted on trial, I ink in mercy.
    Where they wrote cosmic riddles, I carve simple sleep.

    A thunder god tries diplomacy—
    offers a crown if I’ll walk back.
    I toss it into the void;
    it clatters into oblivion like a coin with no value.
    “You keep the crown,” I tell him. “I’ll keep the quiet.”
    He sulks and the weather lightens.

    Blood and starlight, sweat and scripture:
    the bargain smells like incense and victory.
    I do not conquer with conquest’s cruelty;
    I conquer with the small, stubborn insistence of care.
    I return the migraine to its box—
    soft, bound with my exhale—
    and hand it back to the universe with a receipt:
    PAID IN FULL — one love, nonrefundable.

    When I climb down,
    the sky blinks as if it had only been napping.
    You sit in your quiet room with a blanket and a mug,
    blinking like an animal reintroduced to light.
    You laugh at me later—a small, breathy thing—
    because you always laugh when I swear and fight.
    I kiss the place behind your ear
    like I’m sealing the universe back in its proper frame.

    Gods grumble;
    some edit their resumes.
    Angels gossip like old women
    about the loud mortal who would not hush.
    I don’t care.
    I come down with sore knuckles
    and a new psalm in my back pocket.
    It reads: She shall sleep.
    He shall never tire of saving her.
    We will not test what we cannot bear.

    And if any deity asks,
    I say the same thing I said when I walked up:
    “listen here, you divine little prick—
    you might be God,
    but you got little-dick energy.
    Fight me if you want.
    Fight us if you have to.
    But know this: I love her.
    I will make the cosmos learn how to be gentle.”

    You close your eyes and breathe.
    The migraine loosens its grip like a tired animal.
    You murmur a name
    and sleep folds you into it like a clean sheet.
    I stay awake for a while,
    fingers laced with that holy,
    ridiculous, furious calm—
    the kind that only comes
    after you’ve brawled
    with the architecture of the world
    for someone you love.


    If you are interested in checking out more of my poetry, you can find it here[The Library of Ashes]

  • Author’s Note

    This one’s for the ones who think their ego gives them a crown. A little feminist sermon in C minor, sharp, funny, and unflinchingly honest. Consider it a poetic mic-drop for all the Fuckboys out there—because sometimes silence really is golden… especially when it’s his.


    "Fierce woman standing confidently with abstract musical notes and shattered crowns, symbolizing poetic defiance and empowerment."
    A visual representation of ‘Shuddup, Fuckboy’—a feminist mic-drop in poetry form.

    Shuddup, Fuckboy
    (A Feminist Sermon in C Minor)
    Poetry by Rowan Evans

    “Because silence is golden — especially when it’s his.”


    Oh, you talked to a woman once
    and now you think you know it all?
    Shuddup, Fuckboy.

    Every picture you send is a dick pic,
    because you’re a dick, bitch.
    Foreplay?
    You think that’s texting “u up?”
    at 2am
    like a horny raccoon in the DMs.

    You quote Jordan Peterson,
    have a podcast no one listens to,
    and think “emotional labor”
    is a kink.
    It’s not.
    Grow up.

    Shuddup, Fuckboy.
    You say you’re “sapiosexual”
    but can’t spell it.
    You call yourself a feminist
    just long enough
    to get her clothes off.
    Then it’s
    “Well, not all men…”
    Cue the sirens.
    We found the problem.

    You’re the human version
    of an unsolicited voice memo—
    loud, unnecessary,
    and somehow
    still managing to mansplain
    her own trauma back to her.

    You think “being nice”
    entitles you to a throne.
    But baby,
    you’re not a king—
    you’re a court jester
    in H&M joggers,
    still waiting on that SoundCloud career
    to take off.

    Shuddup, Fuckboy.
    You call her crazy
    after gaslighting her for months,
    then cry when she leaves
    like you didn’t hand her the matches
    and beg her to dance
    while everything burned.

    You ghost, then breadcrumb,
    then ghost again—
    a Scooby-Doo villain
    of romantic incompetence.

    “Sorry, I’ve just been really busy.”
    Right.
    Busy re-downloading Tinder
    because one woman
    had standards.

    Shuddup, Fuckboy.
    Even your mirror rolls its eyes.
    Even your shadow
    doesn’t follow you anymore.

    And me?
    I don’t need revenge.
    I’ve got receipts,
    growth,
    and a front-row seat
    to your slow-motion
    emotional bankruptcy.

    Enjoy your echo chamber
    of “not all men.”
    And those crusty gym selfies.
    You’re not misunderstood—
    you’re just mid.

    Shuddup, Fuckboy.
    And maybe
    for once in your life—
    just listen.

    Shh—
    Shuddup, Fuckboy.


    If you liked this, you might like some of my other pieces. You can find the archives [here].

  • Author’s Note

    These two pieces, Hell’s Protégé and Caged Birds Don’t Bow, are written in the spirit of rebellion, devotion, and unapologetic truth. One explores the infernal thrill of claiming your power and identity in a world that misunderstands darkness; the other is a diss-track poem, a call-out to toxic control, and a celebration of freedom.

    I write for those unafraid of shadows, for those who embrace the fire within, and for the ones who refuse to bow to cages—be they imposed by others or by fear itself. Here, you will find blades sharpened with wit, hearts that bleed for the ones they love, and voices that roar even when silenced.

    These poems are a reflection of my own devotion, my own fire, and a reminder: I was born in the dark, I did not stumble into it—and neither should you.

    — Rowan Evans


    “Dark gothic figure with horns on a throne, surrounded by flames and a rising flock of black birds, representing power, rebellion, and freedom.”
    “Hell’s Protégé meets Caged Birds Don’t Bow — a twin exploration of power, rebellion, and the beauty of unapologetic truth.”

    Hell’s Protégé
    (written December 6th, 2024)
    Poetry by Rowan Evans

    They call me the evil one—horns on my dome,
    Devils on my shoulders, calling Hell my home.
    Chasing dreams he promised in infernal schemes,
    Under the Morningstar’s light, unraveling at the seams.

    The noose hangs loose for her, Lucifer’s muse,
    Pen in my fist, spitting truth like molten fuse.
    Aspiring to be your poetic satanic leader,
    Words sharp as blades, cutting deeper and deeper.

    Kool-Aid in red Solo cups, toasts raised to sin,
    Pages pinned to the corkboard—where do I begin?
    It’s a crime scene in rhyme scheme, a fevered conspiracy,
    Lines so wicked, even Hell envies me.

    I’m Satan’s next of kin, heir to his throne,
    Sitting beside him, a kingdom of fire my own.
    Next in line, when his time is done,
    Hell’s mini-me, wielding the infernal tongue.

    Feel the brimstone burn with every word I spit,
    A pyroclastic flow of raw, unholy grit.
    You smell the sulfur, you hear the chains rattle,
    Every verse a battlefield, every line a battle.

    The taste of ashes lingers, bitter and raw,
    The ink on my skin reads “Hell’s Final Law.”
    The roar of the damned is my symphony of screams,
    I’m the nightmare invading your holy dreams.

    But don’t confuse the darkness for lack of art,
    Every rhyme a blade, cutting straight to the heart.
    You feel the heat, see the flames dance and twirl,
    I’m not here to save, just to own this world.

    So call me what you want—devil, poet, deceiver,
    But bow when you hear me, your cult leader.
    The crown is mine, infernal and divine,
    Hell’s next ruler, writing my diabolic design.


    Caged Birds Don’t Bow
    (Written December 7th, 2024)
    Poetry by Rowan Evans

    Man, listen up, you insecure little prince,
    Crown crooked, ego bloated, ever since
    You figured control is how you earn love,
    But all you’re doing is clipping wings of a dove.

    “You can’t wear that,” says the self-proclaimed king,
    But real royalty? They let their queen’s voice sing.
    Dictating her diet like you’re running a show,
    But her worth ain’t a number, you shallow John Doe.

    You’re the puppet master pulling her strings,
    But your hands? Dirty from the lies that you bring.
    Gaslight ignited, making her doubt her truth,
    While you bask in the glow of your toxic roots.

    “You’re mine,” you declare, but you’re just a fraud,
    Trying to play God with her life as your facade.
    Your confidence is counterfeit, stitched from fear,
    You ain’t strong, bro, you’re just loud and unclear.

    She’s not your trophy, not your possession,
    Not a canvas for your insecurities’ confession.
    Her wardrobe’s not a leash, her smile ain’t your prize,
    And her spirit? You’ll never own what’s divine.

    So take your rules, your claws, your chains,
    And shove them back into your hollow brain.
    Her love ain’t a cage, it’s a free flight,
    But you’d rather dim her than let her light ignite.

    She deserves better, someone who sees,
    Her value unmeasured, like the oceans and seas.
    But you? You’re just a storm cloud trying to rain,
    On a rainbow she’s painted, escaping your pain.

    So step back, dude, watch her rise,
    You’ll never own the fire burning in her eyes.
    Your world crumbles as her strength takes wing,
    Because caged birds don’t bow—they sing.


    If these pieces resonated with you and you’d like to explore more of my work, you can find it in The Library of Ashes — thank you, salamat po.

  • Author’s Note

    I have lived my life with ghosts in the room. Some of them were mine. Some belonged to women who died before I was born. This poem is my conversation with Sylvia Plath—not as an idol, but as a mother of language, a keeper of the raw and the unbearable. She never wrote for me, and yet her words built a room I have lived in for decades. This is my answer back, from the daughter she never met.


    Neo-gothic watercolor of an ash cathedral under a ghostly moon, with pages of poetry drifting upward and a faint female silhouette in the clouds.
    A cathedral built from ash, a prayer written in ink.

    Invocation

    Sylvia, I call you forth not to mourn, but to witness—
    to stand beside me as I open the ribcage,
    spill the ink,
    and show the world what it means to write as if the page were the last breath left in your lungs.


    The Daughter of Plath
    Poetry by Rowan Evans

    I was born with a beehive in my chest,
    buzzing with grief I never earned—
    a secondhand sorrow, wrapped in red silk,
    left at the altar of my ribs.

    Sylvia,
    you baptized me in bell jars,
    taught me how to scream without sound,
    how to find God
    in the burn of a typewriter ribbon.

    Your ache became heirloom—
    stitched into the marrow of my metaphors,
    your ghost weeps beside me as I write,
    fingertips trailing flame
    across the spine of each stanza.

    Where you were the furnace,
    I am the cathedral built from your ash—
    my altar bears the relics of your ruin:
    a curl of smoke,
    a sliver of moon-bitten mirror,
    a lullaby made of broken clocks.

    I do not flinch from the blood on the page.
    I have inked it into scripture.
    This is how I pray—
    with a pen between my teeth
    and my pulse pressed
    against the confessional.

    You gave me your hunger for beauty
    and your curse of seeing too much—
    the world peeled back to its nerve endings,
    the holiness inside horror.

    I walk your tightrope—
    between divine tenderness and obliteration,
    a daughter of fire
    learning to breathe the blaze
    instead of be consumed.

    I do not write to be saved.
    I write because you weren’t.
    Because I am.

    And because the ache still speaks.
    And I,
    your heir in ink,
    refuse to silence it.


    Benediction

    May every woman who writes in the dark know that she is not alone.
    May the ache be carried, not as a wound, but as a torch.
    And may we—your daughters, your sisters, your shadows—
    write not to be saved,
    but because we are still here,
    and the ink is still warm.


    Read Next: A Journey Through Ink & Flame

    If The Daughter of Plath stirred your soul, consider stepping softly into these sacred spaces:

    Love Over Apathy — Fierce devotion born from the ashes of indifference.

    13 Riddles for the Starborn Child — Whispers of whimsy and wonder from Roo the Poet’s dreamscape.

    Hymn & Heresy — A confessional hymn that dares to worship the shadows.

    Or dive deep into the full archive at The Library of Ashes.

    Feeling inspired? Support my craft with 25% off commissions on Ko-fi — your patronage keeps these flames burning bright.

    NGCR25 at checkout for 25% off…

  • Before I wrote “A-Woman,”
    I was wrapped in silence—the hush that says:
    don’t speak, don’t burden, don’t be too much.

    I almost obeyed.
    Almost.

    But instead, I chose to write toward something softer:
    a living Goddess who welcomes trembling devotion.

    This piece is both confession and quiet rebellion—
    a vow that even in the ache,
    I will not fall silent.

    Rowan Evans 🕯️🌹


    Person kneeling at a gothic altar before a marble slab with the goddess' silhouette, surrounded by candlelight and roses.
    At the altar of Her: a devotion inked in marrow.

    A-Woman
    (Confession at the Altar of Her)
    Poetry by Rowan Evans


    I don’t know how to say this,
    You’re always on my mind—it’s
    kind of like I can’t shake this feeling,
    but I don’t want to shake this feeling.
    You’ve burrowed under the skin,
    so I hold you deep within—
    you live down in the marrow,
    so even if you disappear tomorrow,
    just know you’ve become
    part of the makeup.

    You’ve got me on my knees,

    Wait.
    Repeat.

    You’ve got me on my knees—
    like I’m deep in prayer,
    but not to God (he’s not there),
    so I bow my head to the Goddess.

    Dear Goddess,
    I come to you today
    to offer my life—
    you could take it away.
    Just say the word,
    I’ll give you
    everything
    on earth.

    A-woman.

    I say A-woman,
    because A-man
    is never enough.

    So tell me what to sacrifice:
    my voice, my pride, my fear of wanting too much.
    Name the part of me I must break
    to be worthy of kneeling here.
    I have nothing holy to offer—
    only scars that still sting,
    and a heart that keeps writing Your name
    even when it shouldn’t.

    Forgive the shaking hands,
    the unsteady faith,
    the nights I almost prayed to be emptied of You—
    but could never bear to.
    Because I don’t know how to let go.
    They say let go and let God
    but I say hold on and let Goddess.
    I’d give Her everything.

    Amen, A-woman—
    and let this trembling
    be enough.


    We write even when the ache tells us to be silent.
    We confess, we kneel, we question—and still, we love.
    Thank you for reading A-Woman (Confession at the Altar of Her).
    If this piece spoke to something quiet inside you, feel free to share it, leave a comment, or explore more of my work in Neo-Gothic Confessional Romanticism.
    Your presence here matters more than you know. 🖤🕯️🌹

    🔗 You may also like…

    Hex & Flame: A Mirror of Shadows
    Even Still, You Are (My Muse)
    A Letter I’ll Never Send (Prayer of the Heartbroken Heretic)
    Litany & Tongue: A Devotional Duet
    Even If the Sky Falls Black
    Don’t Need to Be First, I Just Want to Be The Last

    Or visit [About NGCR] to learn more about this movement—and if you feel called, [submit your own writing] to be featured.

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    Ko-fi — Poetry by Rowan Evans

  • ☽ Poetry by Rowan Evans ☾
    Neo-Gothic Confessional Romanticism


    A woman, a witch, a siren. The Luminous Heretic with the moon shining behind her, candles, flames. Myth, moonlight and stardust. "Creed of the Luminous Heretic" by trans poet Rowan Evans overlayed.
    I was born in the dark, forged jn the fire—

    You are not too much.
    You are the exact amount of holy
    this world was never ready for.

    A Poem for All Women Who’ve Been Told They’re “Too Much”


    This poem is for every woman—trans, cis, and beyond—who has ever been told she was too much. Too loud. Too soft. Too angry. Too gentle. Too queer. Too bold. Too broken. It’s a reclamation of sacred femininity across the binary and beyond it.

    Born from shadows and fire, this piece is a poetic anthem of softness, rage, survival, and sovereignty.
    If you’ve ever bled and bloomed at the same time—
    This is for you.


    ❖ We Were the Fire Before the Flame
    A Poem for All Women Who’ve Been Told They’re “Too Much”
    ☽ Poetry by Rowan Evans ☾

    We were born in the dark—
    not broken, but blooming,
    not soft, but sacred.

    In the marrow of midnight,
    we carved altars out of silence
    and lit them with our names.
    We bled into the soil
    and it grew wildflowers with teeth.

    They called us witch
    when we spoke with clarity,
    whore when we craved without shame,
    sirens when we sang the truth
    too loudly for their liking.

    But we remember—
    how we burned,
    how we danced,
    how we stitched our souls
    from ribbons and ruin.

    Every scar is a scripture.
    Every bruise is a baptism.
    Every ache is a cathedral
    that houses our fury,
    our softness,
    our will to rise again
    with the elegance of thunder.

    We are not porcelain.
    We are obsidian:
    kissed by shadow,
    cut from starfall,
    eternal and unyielding.

    Our femininity is not a cage,
    it’s a crown
    woven from thorns, yes,
    but also from moonlight and myth.

    To the daughters of storm
    and the sisters of silence
    You are seen.
    You are sovereign.
    You are the poem,
    not the apology.

    You are not too much.
    You are the exact amount of holy
    this world was never ready for.


    If this poem resonated with you, share it with a sister, a daughter, a mother, a friend, a lover, or your younger self. Let her know:
    She is sacred. She is sovereign. She is not alone.


    The Gospel of Softness II – The Fire That Softened Me
    The Gospel of Softness III – Thirteen Psalms for the Tender-Hearted

  • A gothic cathedral interior bathed in cold blue light. In the foreground, a defiant woman in black reaches forward, while behind her looms a shadowy silhouette pierced by arrows. Her long hair and dress ripple like smoke, embodying both vulnerability and strength.
    “They said I was a prophecy, a creature carved in smoke and sin…”
    A visual echo of the hunted girl turned heretic, the shadow we carry and survive.

    This isn’t just a poem. It’s the ache of being seen too little—or too much. Of being told you’re ‘too much’ when you’re just trying to exist honestly.

    The Scourge They Named in Whispered Psalms is a manifesto from the margins – a declaration of identity, resilience, and sisterhood in the face of erasure. It belongs to all who have been misnamed, misunderstood, or made to feel monstrous for simply being.

    I invite you to stand with me – not behind or ahead – but here. Together.


    “The Scourge They Named in Whispered Psalms”
    Poetry by Rowan Evans
    (A Neo-Gothic Confessional Romanticism Manifesto)

    They said I was a prophecy,
    a creature carved in smoke and sin,
    the girl who slipped through cracks in sermons—
    a heretic with velvet skin.

    I walk in heels upon their myths,
    each step a hymn they tried to burn,
    a flame that dared to name itself
    before their rigid tongues could turn.

    How monstrous, that I raise my voice
    to praise the worth of every woman—
    how dare I speak of sisterhood
    with scars they say I wasn’t born in.

    I am the shame beneath their altars,
    the blush they curse but cannot name,
    a sacrament in satin bones
    who bleeds, yet isn’t held the same.

    I was never him. I was silence.
    A chrysalis misnamed by fate.
    But even wrapped in borrowed tones,
    I trembled like a bride in wait.

    They say I steal what isn’t mine—
    as though divinity is rationed.
    As if my ribs were not first broken
    to give my soul a rightful fashion.

    Do you think it makes me stronger?
    That I carry this war in my marrow?
    No—
    It only means I’ve learned to sing
    while pulling arrows from my shadow.

    I’m not here to replace you,
    or to climb atop your grief-wrought throne.
    I only ever wanted space
    to write a name that felt like home.

    So yes, be scared. I’m dangerous.
    I love too hard. I dream too loud.
    I dare to say I’m beautiful
    without the world’s reluctant bow.

    Let them say I have advantage—
    let them spit it like a curse.
    But if I write the stars in anguish,
    it’s not to claim that I hurt worse.

    It’s just—I know what it’s to be
    the hunted girl in holy war.
    And still I’d reach for every hand
    who ever felt they could be more.

    You don’t need to kneel beside me.
    But sister, won’t you stand?
    Not behind—nor far ahead—
    just here. Together. Hand in hand.


    [About Poem]

    This piece is rooted in a genre I created: Neo-Gothic Confessional Romanticism—a fusion of gothic imagery, personal truth, sacred longing, and emotional rebellion. Inspired by the legacy of Sylvia Plath, Anne Sexton, Sappho, and modern poetic voices, this poem speaks to those of us made to feel like heretics simply for existing as ourselves.

    It is my poetic prayer for trans women, queer femmes, sacred misfits, and anyone who has ever been othered in the name of tradition. It holds both fire and softness—a torch lit from the ache of being erased, and the quiet hope of being seen.

    A woman in a black gown sits behind a stained-glass altar, wearing a crown of thorns and halo of iron. Candles glow around her as blood-red drapes pool like velvet fire. The glass behind her bears the silhouette of a shattering figure, suggesting both violence and divinity.
    A sacrament in satin bones.
    The girl they named a scourge now sits in sanctuary—unburned, unbroken, and holy in her own name.

    How does this poem resonate with your own experiences of identity and visibility?

    What lines stood out to you most, and why?

    Have you ever felt like the “hunted girl in holy war”? What helped you keep going?

    Share your thoughts in the comments or your own creative work. Your voice is welcome here.