ALL THE FEMINIST POETS: Geraldine Kim

ALL THE FEMINIST POETS features a single poem and an interview from a feminist poet that we love.

***

Geraldine Kim Geraldine Kim is the author of Povel (Fence, 2005) which was featured in The Believer and Village Voice‘s top 25 books of the year. She has contributed to Starting Today, a collection of 100 poems for Obama’s first 100 days (University of Iowa, 2010), to Gurlesque (Saturnalia, 2010) and to the e-version of Gurlesque (forthcoming, Saturnalia). She also wrote the play Donning Cheadle, which was performed in venues in San Francisco and Oakland.

Continue reading

Leave a Comment

Filed under All The Feminist Poets, Books + Literature

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.

Continue reading

2 Comments

Filed under Everything Else

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

2 Comments

Filed under Everything Else, Movies + TV

Rah! Rah! Roundup

rahrahroundupPart Two of the Female Aesthetic(s) Symposium, moderated by Metta Sáma, went up this week on The Conversant. It features Racquel Goodison, Monica A. Hand, Patricia Spears Jones, Tracy Chiles McGhee, and Arisa White.

“Avant-garde poetry’s attitudes towards race have been no different than that of mainstream institutions.” – Cathy Park Hong in her essay, “Delusions of Whiteness in the Avant-Garde.”

Delirious Hem’s forum on Rape Culture and the Poetics of Alt Lit continues during November.

Sarah Seltzer’s interesting take on the Lena Dunham controversy explores the distinctions between triggering art and abuse.

Various cartoonists give their perspectives on writing characters of different races than your own.

Read an interview with Tatyana Fazlalizadeh, the artist behind the “Stop Telling Women To Smile” anti-street harassment campaign.

Women, Action and the Media (WAM) has partnered with Twitter to support women experiencing gender-based harassment on the social media platform. You can report any instances of harassment through this online form.

Poets in NYC met this week to talk about sexism and accountability in local poetry circles. Read the meeting handout here.

What did we miss? Share your links in the comments.

Leave a Comment

Filed under Rah! Rah! Roundup

WE WERE THERE: Alette in Oakland in the Crystal City

Alette in Oakland: A Symposium on the Work of Alice Notley
The Bay Area Public School
Omni Commons, 4799 Shattuck Avenue, Oakland, CA
October 24-26, 2014

Omni outer

 

Most of the Omni Commons building in Oakland is a big auditorium painted black, with skylights and chandeliers and a stage. I try all weekend to think what it reminds me of. I learn that it used to be an Italian social club, a rock club, and a private home. To me it feels like a barn or a gymnasium or a church. I’m here for Alette in Oakland, the first conference devoted to the work of Alice Notley (organized by Brandon Brown, David Brazil, Frances Richard, Alana Siegel and Laura Woltag) who instantly became one of my favorite poets when I read Waltzing Matilda (1981) in David Trinidad’s New York School Poetry class at Columbia College Chicago in 2006. I loved Notley’s early work for its vernacular wit and quotidian detail, and soon loved her later work—The Descent of Alette (1992) is often thought of as the dividing line—for its fierce feminist dissidence. That one poet could be capable of all these modes in a lifetime, could dig so deep into the everyday and then later so far toward the elsewhere, manifesting new cityscapes and desertscapes and other realms, still strikes me as astonishing.

In Oakland, there’s a kind of reverence in the air all weekend, not only for Notley and her poetry, but also for the agreement to sit in a big room as if in one of the feminist alternative worlds that Notley has conjured in her books for the last couple of decades. When phrases like “a poem could be considered an idea-city” (Marcella Durand) fill the air continuously, you can trick yourself into thinking you live in that city. The title of the symposium is perfect, then. “Alette in Oakland.” It’s as if we’re agreeing to treat Oakland as the setting of Notley’s feminist epic The Descent of Alette. With its black walls and ceiling, maybe the Omni is a cave, like the ones in Alette but larger, where we can all gather…

 

panorama

 

This roundup gives some sense of the topics discussed at the symposium panels. (There’s also word of a plan for a published volume of all of the papers.) I’ll leave out notes on Notley’s reading on Friday night (it was powerful, the room was packed like a rock club, and it ended with a standing ovation), Eileen Myles’s keynote (because there’s video of the whole thing), and the performance of Notley’s play Anne’s White Glove, directed by Alana Siegel, on Saturday night (because I missed it like a fool).

Disclaimer: Many of the quotations below were scribbled very quickly and likely contain inaccuracies. If any presenters want to send me corrected versions, please feel free.

Continue reading

Leave a Comment

Filed under Books + Literature, We Were There

GOODBYE SELFIE

cry2[1]

For me, performance has always been about troubling the subject-object relationship, explicitly and directly. When done well, it explodes the relationships so that these positional categories are shattered, fragmented, and turned shrapnel. A good performance locates and dislocates the ‘you-ness’ and ‘I-ness’ from a centered and well-balanced place. and self/itness, whatever that might be for each of those positions, is momentarily dissolved. Yes—the performer acts, acts out or doesn’t act at all—observes—but the audience does too act—the audience responds, reacts, rewards. Sometimes the audience leaves—this is acting too. The performer instigates the you into a position of action. In my projects—see some here—the linchpin of each performance relies on my ability to submit to a fully selfish and selfless trance where the you/audience is doing the most acting, the most “work.”

“LOOK AT ALL THESE FEMALES IN THEIR PANTIES TAKING SELFIES”

On the weekend of October 10th, I performed as part of writer and performance artist Kate Durbin‘s Hello Selfie project. Performance instructions outlined cryptic guidelines like “You are a cat but you are also a girl” and “You have no mouth so you do not speak.” Our rehearsals included trying on the bob-style platinum blonde wigs, looking sad, acting like cats and—despite not really needing it—practicing taking selfies in various poses that read teen girl. This we did easily. We talked briefly of what to do in case of harassment and what to do if a police officer approached. We also talked about what to do in case of rain.

Finger1[1]

 

“WHY YOU ALL DRESSING LIKE THAT”

I spent the month leading up to Hello Selfie having bad-feminist thoughts. I made plans for rigorous workouts and dieting that never took place. Half of the time I spent considering my body’s flaws and the other half I spent hating myself for having these thoughts. I managed to negotiate my thoughts down to their scariest, barest bone: the possibility of NOT being considered a fuck-object, in the way many of us women are conditioned to understand our own value, feels like a kind of death via exclusion. The loneliest part: the acknowledgement that my fellow kitties in this performance were probably having these same concerns and the realization that solidarity in these thoughts didn’t make a difference to me. At all. We want to be revolutionaries, but desirable, pretty revolutionaries. So, I had my thoughts, the bad ones, and the good ones too, like, if you want to be a feminist, not obsessing over your appearance is how you enact feminism for yourself. The work of my feminism, at least some of it, starts with me and my thoughts.

Continue reading

Leave a Comment

Filed under Everything Else

Twin Freaks: Being Both Victim and Protector

[Spoiler alert: This post contains spoilers for the original Twin Peaks series]

My husband and I just finished watching Twin Peaks, and now my sleep’s gone to shit/the Black Lodge. About a decade ago, I unknowingly watched the final episode, and so I knew that (spoiler alert even though this happened in circa 1991) Agent Cooper would become BOB, and I had no interest in going back to the beginning to watch the unfolding of this tragic trick. Two months ago, frustrated with our dwindling Netflix queue, we decided to check out the first episode. Admittedly, the opening credits sequence is pure sawmill mechanistic glory. But the first ten minutes of Episode One had me severely bummed. It opens with a shot of a wispy-voiced Asian woman applying makeup in the mirror with a look of seductive devastation. Five minutes later, we find the washed-up corpse of a homecoming queen, naked and presumably raped before her murder. These tired tropes again. So tired again.

Twin-Peaks-Mirror Continue reading

1 Comment

Filed under Movies + TV

Welcome to WEIRD SISTER

My mom and my Aunt Laura on Halloween (they’re BFFs; not actual sisters.)

A bunch of us have been talking for a long time about wanting to start a blog—one that fuses and fuels our interests in and obsessions with feminism and literature and pop culture, and the places where all of those things intertwine. When we finally landed on the name WEIRD SISTER—partly in reference to the Macbeth witches, but also to the weird sisterhoods of our various and intersecting feminist communities—it felt just right. It captured the importance of feminist solidarity with a nod toward the literary, and an acknowledgment of the glittery, complicated and strange forms of poetry and culture that we find most compelling.

Shakespeare’s “Weird Sisters” are witches, of course, and the name points to a specifically female-coded brand of black magic. It reminds us of the 90s goth girls and hippie chicks that we were or could have been. Of placing spells and chanting The Craft-style and reading tarot cards and devouring astrology books and staring into our mood rings and choosing to trust in something beyond logic, something dark and bright and otherworldly as central and important and of great value. Continue reading

4 Comments

Filed under Everything Else

EAT MEN LIKE AIR: Feminist Literary Halloween Costumes (Part 3)

(Part 1 and Part 2 of this series appeared last week.)

woman_in_stress

Yikes, you guys! Halloween is almost here! Do you have a costume yet? Never fear—if your sexy bunch of grapes costume got lost in the mail, here are 10 last-minute feminist costume ideas that you can put together in less than an hour, using materials from around the house (or maybe the drugstore.)

But first: a quick refresher course in feminist Halloween etiquette.

FEMINIST HALLOWEEN DOs AND DON’Ts

5f5afa6ecc65684b51c67eb630338e53-king-joffrey

DO freak out the patriarchy.  When you’re trying to figure out an “edgy” Halloween costume, a good trick is to ask yourself “WHOM might this costume make uncomfortable?” If the answer is “white-supremacist capitalist patriarchy,” YES, GO AHEAD with your bloody tampon Halloween costume. If the answer is “my mom,” that’s a personal family decision you’ll need to make on your own. If the answer is “PC social-justice warriors,” hang up that war bonnet, my darling girl, and figure something else out.

DON’T alter your appearance, especially your skin or your hair, to make it look like you have a different race or ethnic background. This includes wigs, hair color, makeup, and masks.

DON’T appropriate the sacred regalia or symbols of a religion that isn’t your own. I think it’s totally within Madonna’s rights to gleefully blaspheme the Catholic Church in which she was raised. I think it would be weird for her to do that with another religion.

DO consider your own identity affiliations and privilege when choosing a costume. The same costume might be edgy and transgressive on one person and creepy or downright inappropriate on another.

DON’T make light of the death or suffering of real people; this includes references to genocide, slavery, and other institutional raced or gendered violence.

DO draw bloody tears down your face with lipliner whenever possible.

And now: on to the costumes! Continue reading

1 Comment

Filed under Everything Else

YASSS and NAWW: bell hooks and Laverne Cox at The New School

bell hooks and Laverne Cox talk at The New School

bell hooks is not a fan of Orange Is the New Black. But she, like everyone else, loves her some Laverne Cox. The two sat down for a conversation as part of hooks’ recent residency at The New School, poised on either side of a coffee table like a Black feminist yin and yang: Laverne’s long blonde weave and red-bottoms, bell’s uniquely braided short hair and flat sandals. They agreed and didn’t agree. They acknowledged their varied histories and perspectives. They talked identity and love. They talked labels and risk. They did and didn’t cater to the patriarchal gaze.

Here are some moments when I shouted YASSS and NAWW during their talk. Continue reading

2 Comments

Filed under Everything Else