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by Mikaela Brewer

A police officer in tactical gear walking through the front door of a building
A police officer in tactical gear walking through the front door of a building

The echinacea were still alive when the first bell of the school year rang. They’re also called coneflowers, and this is how my mother ensured we shared a name—that I carried her with me safely. Her name is Echina, mine is Connie. I didn’t understand, at first, why we didn’t have the same name. I both knew and didn’t in 2018, when the Toronto District School Board trustees voted to remove police officers stationed in their schools. But I see now, in September 2026, as I begin my senior year of high school. I was born in this country. My mother wasn’t. 


The last time we drove back from Mexico, during the summer of 2025, we’d talked about our fears surrounding the upcoming American and Canadian elections. Mid-topic, we passed a strip of coneflowers and mom, as always, adored an opportunity to talk about the flowers she so admired. She loved them so much that she gifted some to my high school, now rimmed in magenta, white, and yellow. 


“You know, echinacea are native to North America. They’re tough and sturdy and colourful. Resilient—surviving full sun, bad soil, and drought. They help the bees and butterflies, feed the birds, and boost our immunity. They even self-seed non-invasively. Do you know what I’m saying—”


“I know what you’re trying to say.”


“What does that mean?”


“It means you make them sound like a perfect flower. Maybe they are. But we’re not perfect. And flowers can be ripped from the soil by their roots, no matter how hearty they are. That’s what Trump’s going to do. And it can surely happen in Canada, too.” 


Mom’s bony, ringed fingers slid down the steering wheel to eight and four. She took a loud breath that slumped her shoulders. “You don’t know what I’m saying because you didn’t let me finish.”


I regret it now, but at that moment, I shook my head and put my headphones in. She was right—I didn’t know what she wanted to say.


And here I am, waiting in a long line of students entering the school. Doorways doubled by scanners, tripled by police officers, and quadrupled by cameras. I remember my mother’s words, but I don’t yet know how to enact them. I’m terrified.


When I was nine, police roamed my elementary school grounds. But more than the coldness of the cops, I remember Mandy. Mandy with freckles, dimples, warm brown skin slightly darker than mine, and polished copper eyes. One of the first English words I could spell was penny, because I’d met Mandy in kindergarten and been in love with him since. I fight to remember him this way: Mandy, who smelled of his grandfather’s tobacco pipe when he kissed my cheek inside a dead tree trunk during recess.


But he was a troublemaker, always making things when we were supposed to be quiet and listening. A delinquent. A thief. His every move was watched, surveilled, and reprimanded in the halls. Detention for backtalk became suspension, and soon, arrests. So many frightening phone calls with the Canada Border Services Agency. A model of the school-to-prison pipeline. And it all started, from what I can remember, when he borrowed Jenny Barton’s glue stick and scissors without asking her. “What are you going to do with those?” they’d asked, fearfully. I know it started before that. Start isn’t the right word. What was cut up and flimsy as construction paper, to begin with, was his trust in adults. And I wasn’t enough to glue something so hurt back together—at least not faster than it shredded. 


Mandy’s in prison now, so I hear. Just shy of nineteen. I haven’t spoken to him since he was fourteen and I was thirteen. He disappeared from my life. And out of manufactured fear, I let him. 


I know peers, parents, and teachers who protested police in schools. I have friends who stopped coming to school because their parents and guardians are afraid of being reported to immigration officials, even though mom said the Education Act guarantees them an education regardless of status. But Mandy needed support. Not the police.


About midway through the lineup to enter the school, this old heartbreak snapped into panic. As nonchalantly as I could manage, I slipped out of line behind a portable and again behind the echinacea bushes. How else could I protect my mom? I put my headphones in and played two poems by Celia Martínez with my arms hugging my knees. I couldn’t stop my tears and heaved the still-humid air silently. 


[A moment to pause with Connie & watch/listen to Celia’s brilliant poems, linked here & here].

I slowly calmed, listening to Celia’s words. As I fought to figure out what to do next, vehicle headlights lit up my hiding spot magenta. There was a catwalk to a subdivision next to me, but these lights were too bright and close to be coming from the road. I sank further into the bushes, so afraid that it was some form of authority figure looking for me. But nobody would’ve known I was missing yet. It was only 7:53 and classes didn’t start until 8:15. 


A loud engine growl startled me, but it was turning off. A kickstand scraped the fence, thick-heeled boots hit the pavement, and headlights clicked off. 


It took my eyes a moment to adjust, finding focus on a yellow floral dress hugged by a red leather jacket. My mom was crouching in front of me. She smelled like fruit. 


I smeared my glittery white eyeshadow across my face trying to wipe tears away. “How did you know I was here?” I murmured, nearly incoherently.


Echina smiled and almost laughed as she sat down cross-legged beside me, out of view. “Your brothers and sisters hid here too.”


“But how did you know I’d be here today?”


“Moms know a lot of things. I had a feeling.”


“So you know why I didn’t go in.”


“I do. And I understand.” She took my hands in hers.


I swallowed, clearing my throat. “I know what you meant last summer. About coneflowers. About us.”


“Tell me.”


“It’s not about perfection. It’s about believing in ourselves. In our love and hope and joy.”


“Yes, it is. And so much more.”


I nodded, but she could tell I was waiting for her to expand on the ‘much more.’”


“There’s a story that I used to tell your father before he died. I haven’t told it since, but you need it now.” She shifted to face me. “There was once an echinacea flower who—”


“Mom, do you have any stories not about echinacea?” My face cracked a wet smile. 


Echina smirked. “Yes, but they’re not as good. Don’t interrupt.” She paused to paint a fresh layer of red lipstick, put the tube in her bra, and clapped her hands together softly. “So, there was once an echinacea flower who thought she couldn’t support the roots of the flowers around her unless she was completely filled—brimming with nourishment (this tale is inspired by the wonderful work of Christabel Mintah-Galloway, RN, BSN). She thought that she couldn’t give unless she was full. Gradually, the flowers around her began to die. And then, so did she. What mistake do you think she made?”


“We’re never fully or perfectly nourished. So she never helped.”


“Precisely.” Mom squeezed my hands and kissed them. 


“But I don’t understand. I do help.”


“You do. You always help me. But I tell you this little tale to say: almost always, even when we feel most alone and hopeless, there’s something we can do—especially something we can give. And we must keep giving and gifting so that others can do the same for us. We can’t sever that connection. All relationships are tended most lovingly this way; it’s how we keep making in every sense of the word—change, progress, love, art, each other, and the list continues.”


“But I’m so afraid to walk into that school now, mom. With all the police and surveillance. Why is it always us who have to give. So many people only extract. Even my school friends.”


“I know. I know, my love.” Mom hugged me. As she stroked my hair, she asked, “Is there someone who gave to you, who you once shared roots with—made with, maybe—who you could give back to today?”


“Aside from you?”


“Mhm.” She smiled appreciatively. 


It only took a moment to figure out who she was trying to get me to remember. And it was with his memory that I eventually walked into the school for my last first day.


***


That afternoon, I sat inside what felt like a particle board booth for standardized test-taking. There was a grey landline phone on the wall beside me, its coil nearly reaching the floor. This room of the county jail smelled of sweat, cheap coffee, and old paper. I looked down, picking at my purple nail polish. I don’t know what prompted me to look up, but when I did, I didn’t startle. I didn’t know how long he’d been sitting across from me, watching from the other side of the glass, with those same eyes. 


I stared back, my brow creasing involuntarily to mirror his. It’d been long enough for both of us to notice change, but not long enough to not recognize each other. He was thin, but stronger, and with black facial hair that suited him. 


Mandy picked up the phone on his side but my hand went to the glass, as if my palm could push through it to reach his cheek. Keeping the phone to his ear, his head sunk, as if in shame. Afraid he’d leave I quickly picked up the phone. 


“Mandy. Don’t go.”


He looked up. His eyes were kind, but it almost looked uncomfortable for them to soften. As if softness was the only muscle he hadn’t trained since I last saw him, chiselled now in more ways than one. He started to speak but stopped and pressed chapped lips together. 


“It’s me. C—”


“Connie.”


I nodded, unsure why I thought he wouldn’t remember.


“Thought I’d never see you again.” His voice was like gravel. 


I smiled and nodded. 


“Why did you come?” There was a sternness now. 


I took a deep breath and looked down for a moment to gather myself. He thought I was patronizing him.


“If it takes that long to say I—”


“No, wait.” I snapped my head up. “My mom told me a story. And I wanted to tell you about it.” 


“You want to tell me a story?”


“It’s about us. About what we can make.”


“Us?” There was a slight momentum in Mandy’s voice that gripped my heart. The wit that once made much of what he said sound like a wink. I’d missed it so much. 


“Don’t you want to hear it?” 


“Well, what are we going to make?”


“I don’t know yet.”


“Then how are we going to make it?”


“Together.” 


He grinned, and I couldn’t help but beam back. 


We truly hadn’t said much of substance. I didn’t yet know why he was here, nor how we could make anything, let alone make anything happen or change in our corner of the world. He didn’t yet know what I’d been doing for five years. But a shared fight within the two of us found its reflection. 


Mandy kept smiling. It was a disarming, determined smile, with an undercurrent that I recognized. My cheeks warmed, realizing my hand was still on the glass. I was about to move it when he reached up and pressed his palm to mine. The sweat from our palms ran down the pane like tears.

By Karli Elizabeth, PHD(C) for The 44 North


Karli Elizabeth is a PhD student mom, health and wellbeing scientist and founder of The Well-Being Scientist, who believes that true well-being isn’t just an individual pursuit, but a collective one. 


This article was originally published on Substack as part of The Well-Being Scientist, and is reprinted here with the kind permission of the author. 

Dozens of brown penguins surrounding one grey and yellow penguin
Dozens of brown penguins surrounding one grey and yellow penguin
"Penguins don’t thrive alone.​ They live because they share the cold. ​​There’s no hierarchy in who deserves warmth. No one is left at the edge forever. There is a quiet, mutual understanding: everyone’s survival depends on shared discomfort."​

In the brutal winters of Antarctica, emperor penguins huddle in tight circles, taking turns at the outermost edge where the cold bites hardest. Every few minutes, they shuffle—rotating positions—so no penguin bears the burden of exposure for too long. 


Scientists call this “thermal cooperation.” 


I call it a lesson in collective care.

This practice isn’t symbolic. It’s survival.

Penguins don’t thrive alone.

They live because they share the cold.

​​

There’s no hierarchy in who deserves warmth. No one is left at the edge forever. There is a quiet, mutual understanding: everyone’s survival depends on shared discomfort.

 

Racialized, immigrant, and undocumented communities have long known how to survive harsh systems.

When formal support is withheld, we create our own warmth: 

  • Underground networks

  • Mutual aid and peer support systems

  • Late-night WhatsApp threads & reddit chats 

 

We’ve made sanctuaries out of what we had:

  • Families hiding others in their homes

  • A church, a mosque, a neighbour’s backyard turned into safety

  • One immigrant family guiding the next through forms, housing, and survival 


These acts of protection are rarely spotlighted. But they are everywhere

We’ve been huddling. Rotating who gets to rest. Sharing the cold.

 

And so here's the question I need to ask—gently but honestly: 


To those of you who haven’t yet shared the discomfort… 


What would it look like for you to take your turn at the edge? 

  1. Can you offer warmth without waiting to be asked?

  2. Can you make space for others, not just in moments of crisis, but every day?

 

Here’s where that might begin: 

  • Call your local representative about detention centers

  • Support sanctuary spaces and undocumented/newcomer-led organizations

  • Share your platform—without centering yourself

  • Take on risk—professionally, socially, financially—so others don’t always have to

 

Sharing the cold doesn’t always mean freezing.

 

Sometimes it simply means risking discomfort so someone else can feel safe.

Helpful Resources for Undocumented Folks in Canada


Immigrant Stories & Know your Rights with ICE

by Mikaela Brewer ​for The 44 North

A photo of Erika sitting on a beige couch next to a large, white-curtained window & gold-framed mirror. Her legs are crossed & she’s resting her chin on her hand, smiling. She’s wearing a black top, black sandals, and a patterned skirt in shades of brown. She has dark brown curly hair & eyes, and light brown skin. 
A photo of Erika sitting on a beige couch next to a large, white-curtained window & gold-framed mirror. Her legs are crossed & she’s resting her chin on her hand, smiling. She’s wearing a black top, black sandals, and a patterned skirt in shades of brown. She has dark brown curly hair & eyes, and light brown skin. 

Illustrator, Poet, Multimedia Artist


Erika Flores (she/her) is a self-taught Toronto illustrator, poet, and multimedia artist. She is best known for using diverse mediums such as digital illustration, acrylic paintings, and engravings. Notable clients include: Nike, NBA, WNBA, Microsoft, AFC Toronto, PWHL Toronto Sceptres.


As the proud daughter of Filipino immigrants, Erika’s work reflects her values and passion in creative storytelling through heritage and culture, empowering marginalized communities, and the art behind athleticism and sports. This can be seen through her work with various sports leagues, notably designing the inaugural away jersey for AFC Toronto, designing court murals and backboards for WNBA and Maybelline New York, illustrations for Nike x WNBA for Canada’s first ever WNBA game in 2023, and her various illustration projects with NBA Canada x Microsoft.

Website: INKSCRPT | Toronto Illustrator & Calligrapher, Erika Flores 

Instagram: ​​ERIKA - Illustrator Artist (@inkscrpt) • Instagram photos and videos 

“As someone who has always been a big advocate of grassroots initiatives, seeing the worlds of art, sport, community, advocacy, and infrastructure all in one impactful project has always been something I’ve actively sought. To be the artist to work on a project that means so much to an historically underserved community is a privilege I don’t take lightly.”

When I first came across Erika’s work, while attending Canada’s first ever WNBA game in 2023, I was on the cusp of dipping my fingertips into basketball again after years away. I couldn’t name this at the time, but I was craving ways to re-ground my love of the sport—to heal my tattered relationship with it after retiring so abruptly in 2020. It felt akin to grief—to severing full-body connections with a home, culture, language, and art practice. I filled the cavity in my heartspace not only by picking up a basketball again, but by reorienting to it artistically. 


Erika’s work was a portal—a gate that opened when I needed it most. And I’m not the only one.


It feels strange thinking of sport as art; I was taught to see it scientifically, mathematically—calculating—where the gym is ‘the lab.’ I don’t believe these elements/metaphors are baseless, by any means, but they’re incomplete alone. 


Erika (she/her) is a self-taught Toronto illustrator, poet, and multimedia artist. She’s best known for using diverse mediums such as digital illustration, acrylic glass paintings, and engravings. When I first reached out to ask her about this piece, we further connected through her poetry (two of my favourites are: Shapes & Forms of Resistance and By A Child of Immigrants). 


As the proud daughter of Filipino immigrants—who are huge basketball fans—Erika’s passionate and creative storytelling work beautifully braids together her values, heritage, and culture. Her art breathes life into patterns and palettes of colours—families of colours—to empower youth, queer communities, and all who’ve been marginalized or displaced from home and family. I’m reminded of Rupi Kaur’s words, “It is a blessing / to be the color of earth / do you know how often / flowers confuse me for home?” Her artwork extends the hand of home—both a reflection and an invitation. 


Witnessing athleticism and sport as art, as Erika does, amplifies how they’re appreciated by fans and crafted by athletes. Sport reaches a new wavelength of light when captured by a parallel artform, such as painting. Perhaps this practice truly is the synergistic poetry of our world: when two art forms come together to show us something we wouldn’t have been able to see without the portal of an artist’s hand. 


Covered by Yahoo News, Global News, CBC, MSN, and AInvest, one of the most rejuvenating examples of this is Erika’s collaboration with the WNBA, Maybelline New York, and Buckets & Borders. In the Jane and Finch neighbourhood, Oakdale Community Centre was refurbished with Erika’s brilliant artwork alongside new nets, equipment, a youth basketball clinic, and a mental health training session developed with Kids Help Phone. A central part of feeling safe to grow—learn, play, explore, and develop self confidence—is feeling valued and seen. Erika’s artwork—thoughtfully reflective of the community and radiant expansion of women’s basketball—catalyzes this alongside the facility’s upgrades, together amplifying the power of carefully designed and managed third spaces that bolster community mental health and collective care. Now, Oakdale Community Centre is not only a lab for learning skills, but a studio for creative expression. In combination, these enable the vulnerability of courage and bravery, and a space that fosters them is life changing—and often saving. 


Erika’s work truly embodies what it means to say art is fundamental, necessary, and resistance to the status quo. It’s embedded in the fabric of our world—the energy that threads change and the sun that reaches across the landscapes of our lives. In this case: Canada’s first WNBA team, sport, community, mental health support, safe infrastructure, and the non-linear feedback loop that these coexist in together. 


Please take a look through three of Erika’s recent projects, below, including images and captions from her that offer a wonderful window into each one!


WNBA x Maybelline New York x Buckets & Borders Court Design


Erika was asked to illustrate 3 large murals & backboards as part of a court refurbishment project in collaboration with WNBA, Maybelline New York, and Buckets & Borders. 


1) Accessibility text: A basketball court with grey brick walls & wooden rafters. On the wall is Erika’s mural, with a beige background & images of women playing basketball, painted in overlapping shades & shapes of vibrant orange, red, blue, and yellow. The overhead lights are on in the gym, and the sun is shining through the windows. The logos for the WNBA, Maybelline New York, Buckets & Borders, and Erika’s signature & Instagram handle are printed in white in the bottom corners, alongside the words “BRAVE TOGETHER” in hand-written capital letters. 2) Accessibility text: A zoomed-out view of photo 4, featuring two basketball hoops. Beneath them are two black racks of WNBA orange & white basketballs. A mural is on the wall between them, with an orange background and the words “oakdale BE BOLD BE BRAVE” in yellow text, a mix of cursive & hand-printed capital letters, on the left of the mural. On the right side is a yellow hand with orange, blue, and red drawings of people playing basketball inside it. 3) Accessibility text: A basketball court with grey brick walls & wooden rafters. On the wall is Erika’s mural, with a beige background and images of women playing basketball, painted in overlapping shades & shapes of vibrant orange, red, blue, and yellow. The overhead lights are on in the gym and the sun is shining through the windows. The logos for the WNBA, Maybelline New York, Buckets & Borders, and Erika’s signature & Instagram are printed in white in the bottom corners, alongside the words “be bold” in cursive print. 4) Accessibility text: Against the grey brick wall of the court & above a string of pink basketballs on the floor, a hoop’s backboard features Erika’s artwork. It has a yellow background with curved designs in shades of red, orange, and blue. The logos for the WNBA & Maybelline New York are printed in white in the bottom corners.

“As someone who has always been a big advocate of grassroots initiatives, seeing the worlds of art, sport, community, advocacy, and infrastructure all in one impactful project has always been something I’ve actively sought. To be the artist to work on a project that means so much to a historically underserved community is a privilege I don’t take lightly.


Research shows that young people, especially young girls, experience better outcomes when participating in sports: from mental and physical health to learning crucial social skills and reducing the likelihood of being involved in violence. Yet we see girls under 14 drop out of sport due to a lack of access, safe spaces, and representation.


Refurbishing a basketball court into a beautiful, functional, safe, welcoming space with designs that young girls & women can see themselves in is just ONE STEP towards addressing these needs.


Every moment we show up - on the court, through artwork, through community, through taking meaningful action - is one brave step to breaking barriers for girls & women.

As an artist in the sports industry, this continues to be a lifelong goal of mine: to keep creating representation and empowering diverse communities through my artwork and participating in impactful projects that elevate that platform.”


—Erika's Instagram


 Inaugural Away Jersey Design for AFC Toronto


Erika had the honour to be part of Canadian soccer history by being the artist to design the first-ever away jersey for AFC Toronto’s inaugural secondary kit! This was the Northern Super League’s first ever season, where the jerseys were worn by both players and fans alike.


1) Accessibility text: The AFC Toronto jersey. It has a black accenting, including the logos of Desjardins, Hummel, and the team. The jersey has a white background and light blue designs—several small illustrations reflecting the city of Toronto: a woman wearing a hijab, the CN Tower, a squirrel, the TTC, a Canada goose, and much more. 2) Accessibility text: A photo of Erika wearing the AFC Toronto jersey & black pants. She is holding a white & gold soccer ball, and is looking up at the camera.

“As both a sports fan and an artist, designing a jersey for your city is the epitome of a dream project. When I designed it, I wanted to create a jersey that people could wear for years to come, that people can look at and be like This is OUR city. This is OUR team. And I hope everyone feels that pride when they look at them. 


A year ago, when I designed this jersey, I did a call-out on social media asking people to share what they think of when they think of Toronto. I’ve incorporated almost every single feedback I received—down to the “long lines” and “raccoon” sentiments—to try to capture what this city means to those who are from here. 


But what makes this even more special is that this jersey, this game, is part of a historical moment in Canada—we have a professional women’s soccer league for the first time in Canadian history. This is a huge moment, and to be a part of that is such a privilege. 

My favourite feature of the jersey is the CN Tower with the roots growing out of it. It was the very first thing I illustrated and the first thing that came to mind when I think “What does Toronto mean to me”. That part of the design is dedicated to my immigrant parents, who came here from the Philippines to plant new “roots” and give me a better life. And it’s ultimately dedicated to many families like mine who consider Toronto their home—their “roots”.”


—Inaugural game interview quotes


Nike x WNBA Collaboration for Canada’s First Ever WNBA Game


Together with Nike and the WNBA, Erika designed 32+ illustrations celebrating Canada’s first-ever WNBA game. These designs were part of a brand activation by Nike at Foot Locker Canada, where people customized their Nike apparel by heat-pressing her designs onto their merch in-store. The theme around the designs was to celebrate the growth of the women’s game in Canada with a special ode to her city, Toronto.


1) Accessibility text: A white page featuring many of Erika’s designs in shades of orange, red, green, yellow, and dark blue. There are numbers, many different women playing basketball, Nike swooshes & logos, maple leaves, trophies, the subway, WNBA & team logos, and fun phrases. 2) Accessibility text: A photo of Erika wearing black pants & a black t-shirt that features her designs. She is holding an i-Pad with her art pulled up on the screen, and is sitting on a wicker stool next to a large plant.

“Fun fact: the six women line art designs that were part of this project were originally part of a personal project on women’s basketball that I was already working on during that time. But when I heard Nike wanted to celebrate women in basketball for this historical event, I knew I had to use these. I knew this was the chance to use this platform to bring in representation, to create a series of diverse baller women that people can look at and think, “I could be them, too”.

Art is storytelling. One of the biggest prides an artist could have is the opportunity to share these stories but most especially have people resonate with them. It was my biggest honour to have people thanking me for putting the Philippines sun on the swoosh; for adding a girl baller in a Hijab. How could I not?


One moment with this project that will stay with me forever is when a woman, who is also of colour but not of Filipino heritage, asked me what the sun symbolized. After I explained it to her (i.e. it’s the sun from the Philippines, where I was born), she said, “I’m definitely putting it on my shirt then”. Surprised, I asked, “Really? But it’s such a specific symbol,” and to that she replied, “If one of us makes it, we all make it”. 


So yeah, WE made it. We really made it.”


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