Princess O'Nika Auguste is a Saint Lucian writer, feminist, body protester, biblical scholar, and historian. Passionate about uncovering history's hidden voices, she explores the intersections of gender, mythology, the Bible, autonomy, violence, and the sacred across cultures.
Her writing spans multiple platforms, including PopCulture and Theology, Equality Fund, Intersect Antigua, Christian Feminism Today, The Painted Leaf, and The Shiloh Project. She is keenly interested in reclaiming narratives and challenging dominant perspectives, as seen in her micro-essay Reclaiming the Sacred: The Bible, Critical Theory, and Caribbean Identity (published in The Bible and Critical Theory Journal). She also contributed an exploration of Tethys for The Periodic Table of Greek Mythology and examines the feminist legacies of Sam Raimi and Robert Tapert's universes in Women in the Sam Raimi and Robert Tapert Universe: Reflections on/of Feminism in History and Mythology—a chapter featured in Televisual Shared Universes: Expanded and Converged Storyworlds on the Small Screen.
Through her work, Auguste amplifies the voices of the overlooked, weaving together history, theology, and pop culture to challenge and inspire.
Princess O'Nika Auguste is a Saint Lucian writer, feminist, body protester, biblical scholar, and historian. Passionate about uncovering history's hidden voices, she explores the intersections of gender, mythology, the Bible, autonomy, violence, and the sacred across cultures.
Her writing spans multiple platforms, including PopCulture and Theology, Equality Fund, Intersect Antigua, Christian Feminism Today, The Painted Leaf, and The Shiloh...
Most people recall Jezebel as the notorious queen from 1 & 2 Kings—but what if we shift our gaze from moralising to historical nuance?
A Phoenician Princess at Israel’s Court
Jezebel was the daughter of Ethbaal (also spelt Ithobaal I), king of Tyre and Sidon, a connection that made her a valuable political match for King Ahab of Israel (National Geographic, 2017). Her marriage likely served as a strategic alliance, aimed at securing commercial and cultural ties between Israel and Phoenicia...
Names are more than labels in the Book of Esther; they are artefacts of empire, memory, ethnicity, religion, and resistance. The woman at the centre of this story carries not one name but two: Hadassah and Esther. Both names hold a world of meanings, each reflecting the competing identities she navigates. Esther and Hadassah form a powerful artefact that encodes survival strategies, imperial pressure, and the enduring legacy of agency under patriarchy. Esther's Hebrew name, Hadassah, is...
Before patriarchy erased her, people envisioned the Wisdom of God, Sophia, as female. She danced through creation, cried out in the streets, and stood beside God at the dawn of the world.
In reclaiming Sophia’s story, we recover an ancient affirmation of the divine feminine—a voice of insight, comfort, and revolutionary presence.
Sophia at the Beginning
In Proverbs 8, Sophia speaks of herself as preexistent:
“When [God] marked out the foundations of the earth, then I was beside him, like a master...
