Category Archives: Everything Else

ALL THE FEMINIST BOOKS: The Cutmouth Lady by Romy Ashby

This month. we asked our regular contributors to write about the feminist books that they love—books that struck a chord, for one reason or another, books they couldn’t put down, that they’ll never donate, that are underlined and dog-eared and bookmarked eternally, that you can maybe borrow, but you most definitely have to give back. First up is Hanna on The Cutmouth Lady:

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imageUrban legends, awkward crushes, high school, sneaking out to the wrong side of town…. Sounds like the makings of a typical coming-of-age story. But add a basically-orphaned Seattle girl sent to Japan to attend a strict Catholic school while living with a distant family friend above a bar, and you’ve got The Cutmouth Lady. A friend gifted this book to me when I was 24, and upon reading it, I immediately felt so much longing and a deep regret that my teenage self hadn’t had this to read on train ride escapes into NYC on the weekends.

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I’m Moving Out of Shondaland

Shondaland

It used to be a kind of utopia. A weekly meeting of all my favorite Blackgirls, indulging and over-indulging on wine and takeout, listening to records, talking about life and love, and hollering at the TV as Kerry Washington stunted in a flawless white coat and stomped delicately on the heads of every white man in the White House.

Of course, she didn’t look like us, with her airbrushed skin and bone-straight perm. Of course, she was in love with one white man, or two, depending on the season. Of course she wasn’t an artist, or an activist, or a progressive. But she was a Black woman on prime time television, she was sexy as hell, and she was smarter than you. We were so damn hungry we forgave her. We forgave the overdone love scenes and the corny banter. We forgave the patriotism, the predictability, the strange treatment of Black men. We are so damn hungry. Continue reading

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**THE FEMINIST SELFIE** on 12/18!

FeministSelfieFrida

 

Join us later this month for a series of live and virtual readings, performances and talks exploring selfies and feminism!

Featuring:

Veronica Arreola
Marisa Crawford
Kate Durbin
Morgan Parker
Jennifer L. Pozner

“The selfie suggests something in picture form—I think I look [beautiful] [happy] [funny] [sexy]. Do you?—that a girl could never get away with saying. It puts the gaze of the camera squarely in a girl’s hands, and along with it, the power to influence the photo’s interpretation.” – Rachel Simmons, Slate

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Veronica I. Arreola is a professional feminist, writer, and mom. She took her degree in biological sciences with a minor in women’s studies and turned it into a career working on diversity issues in science, technology, engineering and mathematics (STEM). Veronica is the assistant director of the UIC Center for Research on Women and Gender and directs their Women in Science and Engineering program. Her blog, Viva la Feminista, has been named a top political blog by Blogher, Women’s Media Center and LATISM. Veronica’s work on behalf of women and girls has been recognized by her coworkers with a UIC Woman of the Year award, the community with a Chicago Foundation for Women Impact Award and the White House with an organizational Presidential Award for Excellence in Science, Mathematics and Engineering Mentoring. Her current project, #365FeministSelfie, aims to have people take a close look at themselves every day and see the beauty everyone else sees.
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Teaching Ferguson and Failing

I didn’t do a good job teaching my poetry students about Ferguson.

I know a lot of people are doing a good job. You should listen to them and follow their example. But I’m going to tell you about how I did a mediocre job, because I think (I’m not sure) that it’s better to do a mediocre job than not to address it at all; because I think we should be talking about what we tried to do, even if we didn’t do it right.

Last Monday night, the night the grand jury’s verdict was announced, I realized I was teaching the next afternoon:  an introductory undergrad course on reading and writing about poetry. I posted on Facebook that I was looking for poems and/or lesson plans that might help me and my students talk about what was happening in Ferguson, and my friends had great ideas. They posted links to the Atlantic’s version of the Ferguson Syllabus; Jennée Desmond-Harris’s list of Do’s and Don’ts for teaching about Ferguson; the NAACP petition urging the Department of Justice to complete its investigation of Michael Brown’s shooting; qz.com’s advice for white antiracist allies. They posted poems by Claude McKay, Amiri Baraka, Gwendolyn Brooks, Audre Lorde, and Danez Smith (see a full list of poems at the bottom of this post.) Continue reading

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Ghost at the Feast: The Gendered Experience of Fear & Better Living Through Horror Movies

You're Next (2011)

You’re Next (2011)

 

I’ve been watching a lot of horror movies after my assault.

This surprises people, women in particular — horror as a genre is so overrun with male fears and fantasies that it’s almost impossible to separate the human desire to feel fear in a safe, contained environment from allyship with the male fear narrative. They are conflated. Empirically, depending on how broad the range of movies you watch, they can be identical. Because in the same way that a nearly all-male literary canon shapes our personal narratives, male identity also shapes our fears and our perceptions of what should be feared.

I’ve been watching a lot of horror movies after my assault. Not immediately after; immediately after I lied in bed (I always forget the correct verb. Chickens lay. Chickens lay. If I’m scared, then, what do I do?) through the entirety of the L Word and drank too much and went out too much and walked around with my fists clenched and experienced the internet with my internet-fists clenched — everything made me jumpy and defensive and my base anxiety level was basically terrible. I yelled at a lot of men on Facebook and then hid in my room. Continue reading

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1999

1999

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FUNNY FEMINISM #1: Somewhere Between Skepticism and Enchantment – The Comedy of Babe Parker

A new monthly column, Funny Feminism features conversations with feminist-identifying artists who use humor in their creative work.

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“Horror movies make me glad
I’m a non-homeowner
I got rid of my dolls
I left my Prom early.”
                                                                                    –Babe Parker via Twitter

Babe Parker

Babe Parker met me on a street corner in New York City on a fall Friday night. She met me outside because she didn’t think I would be able to find her place amongst her neighborhood’s hyphenated addresses and besides, she’s “squatting in a Verizon store anyway,” the 29-year-old Texan native joked. Babe, like myself, grew up in a conservative town in Texas before moving to Los Angeles, where she was working as an actress before relocating to the East Coast. Continue reading

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On “Man Spreaders”

Last night, I was on the C train on my way to a meeting of feminist poets, standing facing an MTA poster that first went up a couple years ago, announcing the return of the Poetry in Motion program. “Many of you felt parting was not such sweet sorrow,” reads the poster, but whenever I see it, I wonder, Did people really write or call the MTA clamoring for poetry? I then thought about how easy it is to run into a poet on the subway or on the streets of Brooklyn, and figured that it was possible that I lived in a city where people were hungry for more poems to read on their commutes. Still, I was skeptical.

Poetryinmotion

After the meeting, I came home, scrolled my feed, and saw an article reporting that the MTA’s new courtesy campaign announcements would target “man spreaders.” Man spreaders! I thought to myself. “Man spreaders!!” I said aloud and then posted on Facebook along with the article, delighted by the elegant ridiculousness of the term. I felt a wave of relief go through my body, a cultural-linguistic tingle similar to what I’d felt the first time I’d heard the term “mansplaining.” Oh, there’s a word for that. And then suddenly many separate incidents, many men, rushed forth from memory to cluster around the term. Man purse (or murse), Man sandals (or mandals), and man nanny (or manny) had only ever made me laugh or roll my eyes, but a term like “man spreaders” does something different.

Besides sounding vaguely like a personal assistant who will spread Nutella on toast for you when you ring a little bell, “man spreaders” more importantly offers a succinct, clever, easily-rolled-off-the tongue way to name those guys on trains who spread their legs over three seats while those around them stand hunched over by the weight of three bags. #NotAllMen are spreaders, and not all spreaders are men, but on an average day on the train, the person sitting with his legs splayed is usually a man, and the person standing holding three bags is usually a woman. (The reasons for those three bags are for another post, but from one bag lady to some others, it’s true.)

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MATRIGAY PART I: That Time I Told Everyone (Including My Evangelical Colombian Family) I Was Getting Lesbianmarried

Just MarriedI’m on the phone with my mom and she’s crying. I hear her sucking in her nose, then blowing it, then proceeding with a, Por qué me haces esto, por qué me haces esto. POR. QUE. Outside my window a homeless man is yelling, But I love you Joanne! Then the clink clink clink of bottles being dug from the garbage bin. I scratch my belly and look at my hands imagining the wedding band that I will showcase forever in a few weeks, then roll my eyes as my mamá continues her plea in a prime-time telenovela voice—which I imagine also includes hair flips and too many Kleenex. It is Tuesday, I have my period, and I’m getting married in a month.

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On Bending the Gaze As Resistance: From Cosby Show to How to Get Away With Murder

When I was five, my father told me that I was Rudy from The Cosby Show. He probably said this as a joke but I took it literally. And since I believed that my father knew absolutely everything, I watched the series in deep connection to this shell of myself. Despite the absence of any memory of being Rudy and the chronological impossibility of me being a child actor on the show (Keshia Knight Pulliam, the actress who plays her, is four years older than me), I was Rudy and Rudy was me. It wasn’t difficult to take on this identity (especially as a child) because I didn’t understand the spurious line between acting and reality. I didn’t quite get television as a constructed space that may or may not represent the lived experiences of actual people. When I saw something scary on television, I was scared because I couldn’t create a division between these worlds—whatever happened on television could potentially happen to me in real life. In my mind I could seamlessly move from my small upstate New York home into a Brooklyn brownstone and family of six. Rudy’s lessons were my lessons, her triumphs and falls were mine too. I remember watching the episode where Rudy gets her period and how I positively inserted myself into the storyline. I saw the possibility of black girlhood (this was one of few places where I saw black children on television at the time) and I saw my period a link in the chain of womanhood. When Rudy got her period, all women got their periods. The shame of this biological happening was erased from my consciousness. I saw that menstruation wasn’t something I had to be silent about or ashamed of.

This interpolation wasn’t just unique to me; my father did this as well. The two of us were watching television one day when he matter-of-factly stated that the news reporter was Haitian. I remember laughing and turning to him to ask, “How do you know?” My father was having his very own Rudy moment. He was inserting his Haitianess into a space that claimed non-race, class or nationality. I still smile when I remember this moment that seems more like a fantastic act of agency than the passive subconscious at work. We were making television productive for us through our gaze. This ocular practicality was a sort of bending of the gaze that served us as two individuals of color watching mainstream television. Continue reading

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