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Editorial

My hair falls out

Tegan Parrish

I am staring at seven large portraits on the wall. The frames are placed adjacently along three walls. The photographs distort my understanding of space. They push back against the idea of individuality and revel in solidarity. In sisterhood. They mirror the female Kurdish fighters preparing for battle. I feel a presence in this moment. A large, ominous, overarching shadow ready to consume me. The room is lonely, but the light from the frames echoes on the floor illuminating my way to this work. I am pulled towards it. The words fall out.

Hair

Black and white

Tangling, Pulling, Commanding

In turn we lose

Rebel

What does this mean? What are they trying to tell me?

HAIR

Tied up taut,

pattern kept,

tightly wrapped

Be neat, be good,

He says it once,

Plaited pride,

oiled submission

Down the back,     

He combs it flat.

Knot me again,           

A thought to defy,   

This woman’s will  

Don’t pull, don’t try,       

Stay pretty and pure     

No loose ends to   

With mouth so dry,       

Too thick to speak,     

Waiting here it   

The mirror exposes          

Held on together by   

A veil hides her     

Stiff again, 

beauty kneels to

One strand slips 

A question curls

folded clean,

a silence laid

up in routine.

endure the storm

twice, forever.       

carved into form.

hidden by poise.    

down rigid spine.

The brush destroys.

strand by strand,

twisted with doubt.

is subdued by hand.

don’t fray the braid.

no rage to show

reveal I’m unafraid.

and hair so thick.

too strong to snip.

makes me sick.

reflections thin,

precious touch.

rebel’s grin.

held again,

silent shame.

a secret strain.

beneath the pain.

Braided

Controlled

Confined beauty

She’s observed shrewdly

Controlled, Braided

Though in pain

She’s not

Vain

Hoda Afshar’s photographic collection, In Turn, may not solely appear as a representation of feminine beauty and expectations but remains a silent battleground for all women. A universal experience wrapped in cultural and political symbolism of hair that defies the legacy of control—cutting, covering, taming, binding. These photographed subjects are not just held by the lens of the camera, but age-old systems that determine womanhood in terms of composure, obedience, and concealment. The very act of braiding hair—wrapping, twisting, coiling—reveals echoes of the male-dominant structures intended on molding their self-expression and identities without consent.

In this space, hair is paradoxical. Yes, it is profoundly personal and ultimately biologically female in nature. So, why is it a social code enforced by society? Whether through law, societal demand, or domestic command, Afshar’s framing position holds this symbol of imprisonment as masked by adornment.

These plaits, while precise and controlled, uphold restriction. A traditional association with virtue and command ensures Afshar’s work to be grounds for subjugation. Whether it be Virginia’s locked door, or Afshar’s braided hair, they all hold secrets: creativity subdued, autonomy forgotten, and voices lost in the silence.

And so, the woman is unable to express herself. Is there the possibility to resist? Does it all end in despair?

The spark of rebellion is exposed even in the neatest of settings—the few strands out of place. Viewers are witnesses to the struggle, the quiet feelings. Their isolation is not overshadowed by their agency. Afshar invites us to observe the muted resistance in the stillness. I find myself pulled by the space—not just its aesthetics, but the emotional weight that it holds. The shadows hold history. It is the male dominated views carved into every expectation of what a woman should be. This hair is now the rope, but also perhaps the thread intended to unravel it.

not here

Hello,

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Black and white

I am sat on the floor of a white room.

There are no corners. No place to rest from the ceiling that bleeds into the floor.

Only the sound of my own soul. 

 

There’s a movement.

It echoes.

 

Out of place. The flap of white wings.

Brushing the air with intentional fear. 

No thought of escape. At least, not yet.  

 

It flutters by a crack in the wall.

I follow but the walls do not move.

I speak to it. I ask for help.

It doesn’t speak back.

 

In its eyes, too human-like eyes, 

too understanding—please—

it knows the wall is not the end. 

It understands that I am waiting for someone to find me.

 

But the air tastes like chalk. 

My fingertips are greying. 

I draw a door on the wall and imagine an opening. 

The dove watches. 

The room grows darker. It’s black.

 

But the speck of white remains. 

I know it carries the memories on its back. On its wings as it flies.

It says: “You were never the prisoner”.

 

And so, I stay.

 

I am released from the pain.

Redacted Footnotes

White sound

echoes

White fear

(At least not yet)

Crack

Help

Please find me
but an opening

It’s black

I know…

      'You were never the prisoner.'

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