Trishula

Lal Qila

Red engenders everything.

When enraged, we see red.

It is the color of blood, of rage, heat.

Scarlet is marked as lustful, indicative of adultery, if we were to listen to Hawthorne.

JudeoChristian hegemony marks it as corporeal, sinful, lustful, degraded.

I reject that.

Red is the color of blood, pumping in our veins. It is the hue of love at first bloom, of hot pink cheeks, sweaty palms, lips swollen and chapped after hours of kissing.

It is the color of fresh neck contusions.

Blush, indeed, the portmanteau of blood + rush, the flushing of one’s cheeks after thinking of one’s lover.

It is the hue of my wedding dress, seven steps circled around a fire.

Those vows changed everything.

It is sindoor in my Thakurma’s hair part, on her beautiful forehad, on ma and jethi and kaki’s too, signifying their shaadi bonds.

It is my red wedding bangle, nestled between two reed ones.

It is the deep burnt hue of my shaadi ki mehndi, lacy adornments on my hands and feet.

They held secrets, you see, his name was on both hands.

It is the sign of life, flowing out of my body, shedding possibility of life, with the lunar cycle.

It is the color of menses, sad cephalopodesque clumps flushed away.

It is our eyes, sore and tired after comprehending rejection.

(I should have gotten that tenure track job. I wish we had been pregnant. I lost both.)

It is the color of my Kali Ma’s tongue, signifying victory in battle, ruby droplets on the edge of her trishule.

Jai Mata Di.

It is the deep ruby hue of the root chakra. Muladhara signifies safety, grounding, rootedness, survival.

And inflammation that needs healing.

It is the lucky hue of wedding dresses, globally.

These predate Victoria’s bossy, boring, basic British Becky taste.

Dirty, colonizing beast. Who was “unsivilized” again? At least we bathe, bitch. Lotas and bidets and amla and shikakai and nariyal 4ever.

Red lights signify “halt” or danger ahead. Coupled with blue and white, they signify nationalism and bacon.

FTP.

Reclaim the laal, crimson, rojo, maroon, scarlet, ruby, sanguine.

For the gore gwei lo gueras pakehas it means ruskies or gorbachev or yellow peril.

For us it signifies revolucion.

It is Fenty Stunna lip paint.

#Rihanna #BBHMM

It is M.A.C.’s Ruby Woo and Russian Red and Viva Glam IV and Urban Decay’s shame.

It is life, love, heat, breath.

Fright Night

Do you like being scared by books, films, and surprises? Describe the sensation of being scared, and why you love it — or don’t.

Fear is profitable. Fear operates on the assumption of power inequity. For some, fear is thrilling. To most, fear is undesirable. To walk into a movie theater, to watch a film about fear, without fear of being murdered, is a privilege. To make films or write about fictional narratives centering fear is a privilege. Since we have an orange, egomaniacal narcissist as our current POTUS, I am in a constant state of fear.

Fear is profitable. Fear operates on the assumption of power inequity.

We celebrate Stephen King’s oeuvre of fear. We revel in the discourses of Scream and I Know What You Did Last Summer. We hunger for the phantastic Dementors, revolted by Voldemort but also fascinated by the Death Eaters. Jordan Peele recently penned and debuted the brilliant Get Out, an astute commentary on the cultural hegemony of whiteness, of the traumas of colonization and infections that whiteness and conspicuous consumption and the quite literal “eating the Other” has on marginalized communities.

I hate being scared by real life, actual, worldly surprises. I know some people revel in the sensations of fear and relish spine tingling and gut wrenching, but I am not one of them. When I get scared, I go into shock. I retch. I shit enormous amounts of fecal matter, several healthy, runny bowls worth. I dry heave. And worst of all, I get cold. My body shuts down. No matter the time of day or temperature, I need to crawl into bed, covered by multiple blankets. Ideally, my husband is nearby to tuck me in. Ideally, my cats are nearby, burrowing under the duvets with me, purring on me for comfort. They know. Animals always know.

My latest brush with gut-wrenching fear took place on October 7, 2017. I received an email that was time stamped 7:55 AM, PST. It was supposedly from one Cheryl Merryfield. The email was poorly written. Cheryl claimed to be formerly known as Brian, formerly a cishet white dude bro working at a construction company. Cheryl supposedly had a cousin named Heidi who took a gender studies course at an unnamed University. Cheryl was writing to thank me for teaching about toxic masculinity and white male privilege, as they had seen the light and were changing from Brian to Cheryl and wearing wigs, fake eyelashes, taking hormones, and attending protests. Cheryl wanted to know my thoughts on all of this. The tone walked the fine line between mockery and contempt.

A less astute person or intellectual might read it as complimentary, an invitation to self-congratulate. Alarm bells rang for me, though. There was nothing specific about the email or my courses, which do address white privilege, toxic masculinity, and gender politics. I surmised, correctly as it turned out, that this kind of email is usually part of a wider phishing or scam net. I suspected it was the kind of drivel produced by the scum-sucking rodents at 4chan and Reddit, perpetuated by the far right, the alt-right, Men’s Rights’ Activists, and Pick Up Artists. My husband, a straight cishet white computer scientist, looked at the headers and told me the message was from a Russian (!!!) server.

I do not have the privilege of safety. I did what any vulnerable nontenured person would have done… I made sure to tell them I was scared for my safety and well-being.

My work email address may have been scraped at random from the web. I do not speak to newspapers about my political opinions; I am not safe. I do not have the privilege of safety. I did what any vulnerable nontenured person would have done: I sent it to my department chair. She then sent it up the chain. I could not wait for their responses. I sent the message to two deans, the associate VP of academic affairs, and re CC’d my chair. I made sure to tell them I was scared for my safety and well-being.

One must be careful when sending out emails like this, if one occupies a precarious position in the academic industrial complex’s unsteady food chain. One needs to tone police oneself. Be humble but deferential. Be firm but polite. And always, always make oneself invaluable to the space. I have been a lowly adjunct for over half a decade, my teaching labor overlapping with finishing my dissertation. My one attempt at a tenure-track position was self-sabotaged by my lack of a curated publishing archive. How can one publish when one is teaching ten classes a year simply to survive? Publish or perish, indeed. For a die-hard tenure advocate, I’ve died, lost in the mise en abyme of the academic industrial complex.

One needs to tone police oneself. Be humble but deferential. Be firm but polite. And always, always make oneself invaluable to the space.

For the teaching purist, I have thrived, earning countless devotees who enroll in everything I teach, hundreds of accolades and glowing reviews, and winning every campus grant I’ve applied for with the hopes of increasing my department’s visibility. But I digress. After I sent the scary email up the chain, I got notification of a Facebook login attempt. I was on the phone with my husband while this happened. The fear elicited nasty physical reactions. The dry heaving, chills, rumbling bowels, liquid excrement. My poor bidet got a lot of action that day.

My dear husband stayed on the phone with me while I screenshot the login attempt, locked down social media accounts, changed passwords, set up two-step authentications, sent another panicked message up the food chain. He stayed on the phone with me while I crawled into bed and shut down. He stayed on the phone while I dozed in and out of consciousness. He booked a ticket from Maryland to California, coming in the next day. He has always claimed to find my snoring to be soothing, as he reads snoring as a sign of deep and full sleep. The last time I was in shock with him was when I destroyed my ankle. This was long before we were engaged or married. He took care of me for three days. (Take note: marry the person who loves it when you snore, who tucks you in bed when you are in shock, who helps you bathe and dress when you can’t walk, who cleans up your vomit, who takes on care work without comment.)

Campus police and IT determined the email was “not a threat” and came from a Russian email server, similar to Google. They advised us to not reply. I thought, no shit. There would never be any reason for me to respond to any sort of email like that. My fears were disturbingly assuaged when I was told that a colleague received the very same email. I phoned her when I found out. It was comforting to know we were not alone, but we were still uneasy. When news of the email spread to others in our department, one person replied that they get goading, inflammatory messages like that all the time, inviting response. That person keeps them in a file.

I read their response to the incident as contemptuous. I don’t know if they were minimizing my fear. It doesn’t matter anyway. The net result has been shutting down for several days. It is now October 10. I have not slept well since the incidents. I don’t know how I managed to lecture on Monday morning; the topic was Elaine Brown’s leadership in the Black Panther Party and narratives on internalized misogyny and patriarchy within social justice spaces. We were connecting Brown’s depictions of violence to what transpired with Angela Davis and the prison industrial complex, the American Indian Movement and the words of Wilma Mankiller, the life and death of Annie Mae Acquash, and the work of Asian American students at UCLA.

Patriarchy is rooted in violence. Internalized misogyny within communities of color is the worst of all.

Patriarchy is rooted in violence. Internalized misogyny within communities of color is the worst of all. It is a death drive. I am well-aware of the times we live in. Since 9/11, those of us who live in the intersections of Islamophobia, anti-Blackness, xenophobia, anti-immigrant sentiment, we have to walk every day under surveillance. We are policed in a myriad of ways. We have to be mindful of everything we say. We do not have the luxury of boredom, relaxation, or free self-expression. If you are a woman of color, the surveillance is amplified time and time again. If you are an academic, it is unbearable. The temptation of celebrity feminism, the thirst for public recognition as the means to success within a capitalist narrative, is destructive. I do not tweet publicly. My Twitter account has always been private. I use it to practice brevity.

I do not feel safe being a public figure. My Instagram is a curated archive of food photos, sunsets, cat and dog pictures, and celebrations of friends’ joy. Mine is remarkably devoid of selfies, because I fear being in front of cameras, even my own. Privately, I take selfies to remind myself that I am not a monster, even though white beauty standards would have me believe otherwise.

Me? Let me be. Let me write. Let me do my work. Let me teach my classes. Let me be with my family and friends.

It is the fear of the external gaze that I loathe most. Michel Foucault wrote of “le regard,” the penetrative lingering ocular moment of visuality, reserved for medical purposes and scientific, surveillance performed by guards and captains, nurses and jailers. bell hooks wrote of the “oppositional gaze” taken up by Black women spectators claiming their agency, those consumers of public and visual culture whose ancestors were denied the right to look back at their masters, in the context of the colonial slave plantation, of hegemonic whitewashed popular culture. Some get off on being watched, the narrative or fetish of voyeurism and exhibitionism that are so valued in what we deem as raunch culture.

Me? Let me be. Let me write. Let me do my work. Let me teach my classes. Let me be with my family and friends. Let me be free from unimportant and superficial interactions. Let me process my rage and pain and let me speak to it through the classroom. Let me survive in my cocoon of literacy and sleep and love.

Le Mepris (on contempt)

I find myself riddled with contempt.

I feel it seeping into my bones, soaking into all of my cells, and then leaking out into the world, through the snarky things I say or think or feel.

I am deeply contemptuous of things I deem inferior, or not worthy of my time. I am deeply contemptuous of white people who do not understand colonization.

I wonder, how could they, meaning the eurotrash mayonnaise populace of the globe, deem me and my ilk, as less than, simply because of our gorgeous black and brown skin?

I have contempt for the snaggletoothed fools who benefit from those legacies. I look at their pasty, dough-colored bloated bags of skin and bones and think, their mouths look like 17th century graveyards.

I feel contempt for X, a city rife with murder and violence, 3000 miles away from our beautiful Los Angeles, that has taken my beloved husband away from our bed and home and cats for 24 months.

I feel my lips curled in sneers around my own teeth, perfected after years of Amreeky orthodontia, and my body is flooded with heat and blood and rage.

Feeling contempt rush in is not always bad.

The worst is coming across people who attempt to tap into empathy, who want so desperately to help, who perform friendship or advocacy or allyship, but then who actually feel nothing, and then who feel guilt.

Your guilt is not my problem.

I am contemptuous of hyper-religious zealots, so encapsulated by their own myopia that they choose not to acknowledge the sheer, utter disbelief on my face when they tell me of their volontourism, of their journeys to the global South, to “sivilize” the “savages.”

I am contemptuous of entitled dude bro nontraditional undergrads who equate chattel slavery with indentured servitude. Not. The. Same. Thing. Bro.

Your history is taught as a requirement. Mine is taught as an elective. That is the height of hegemonic privilege.

Contempt is heady and addictive.

It is expressed asymmetrically, through the lifting of an eyebrow or the curl of a lip into a sneer. It makes my hands sweaty and my heart beat fast.

I have to reserve the full expression of my contempt for only one person, my best friend, who understands and does not judge, or if she does she doesn’t express it.

I cannot fully express my contempt to my husband, for he will be upset.

He, who is sweet and calm and so kind and loving, does not find value in expressing contempt.

But he is the beneficiary of white male science professor privilege.

He can be contemptuous and be rewarded.

I have to ask, why are we taught to disregard contempt? Why is the expression of it only reserved for those who hold hegemonic power?

In a capitalist system, the distribution of wealth is not equitable.

The owners of means of production are not given fair shares. The profits are always maximized.

I have earned the right to be contemptuous.

I have earned the right to bristle at injustice.

Generations of epigenetic trauma remain encoded inside me.

The expression of contempt must be cautious.

It must be kept under wraps, away from the prying eyes of panopticon guards.

Bentham and Foucault’s predictive models extend into the world of social media.

I fear the wrath and consequences of fully expressed contempt.

I fear the internalization of it, as it affects my health and well-being.

I am contemptuous of those who do not or cannot feel.

We are encouraged to not pay attention to our bodies, to heartbeats or sweat beads, or tears.

top photo by Jeremy Wermeille on Unsplash

“Lal Qila” photo by ian dooley on Unsplash

“Fright Night” photo by Ian Espinosa on Unsplash

“Le Mepris (on contempt)“ photo by Steve Johnson on Unsplash


“What if we took all this anger born of righteous love and aimed it?”

—Ijeoma Olou, “We women can be anything. But can we be angry?” Medium.com

ANGER showcases essays and poetry featuring well-aimed anger from femme writers, writers of color, LGBTQIA+ writers, First Nations writers, and disabled writers.

Anger

Open October 5-19, 2018

“We are constantly being told not to be angry. As a black woman especially, I hear it from all corners. To be angry is to give in to stereotypes of the shrill feminist, the mad black woman. To be angry is to trade intellect for emotion. To be angry is to be irrational and violent. To be angry is to be like them. To be angry is to lose. But none of that is true. I am angry because I love. I am angry because what I love is being harmed. I know why my people matter, why the environment matters, why human rights matter, why justice matters. And I know that this all deserves love. I know that it deserves protection. And I know who is fighting to deny it what it deserves. I know that when that which we love is being harmed — to not be angry would be unconscionable. […]

What if we took that anger beyond the internet? What if we took it into the streets more than once every two years? Into our boycotts? Into our strikes? Into the voting booth? What if we took that anger to our city council meetings? What if we took it to their campaign events and press conferences? What if we took it to our school boards and our workplaces? What if we took all this anger born of righteous love and aimed it?”

—Ijeoma Olou, “We women can be anything. But can we be angry?” Medium.com

We are seeking essays and poetry on the theme of ANGER for Voices, Brain Mill Press’s digital magazine platform.

Don’t pull punches.

Essay pitches will be reviewed and responded to within 24 hours by Brain Mill Press staff.

This call is for femme writers, writers of color, LGBTQIA+ writers, First Nations writers, and disabled writers.

If your pitch is selected, you will be given a mutually-agreed period of time to write your essay. You will receive editorial feedback on your submitted piece, a negotiable contract granting Brain Mill Press the limited right to reproduce your piece on Voices, and payment at industry-standard rates upon publication. You will retain all other rights to your work.

Contact Brain Mill Press at inquiries@brainmillpress.com with questions.

top photo by Gabriel Matula on Unsplash

Seventeen Is a Glimpse of Who We’ll Be

In a radio interview on September 18, Iowa senator Chuck Grassley said of the Brett Kavanaugh hearings: “You understand we’re talking about thirty-five years ago. I’d hate to ask, have somebody ask me what I did thirty-five years ago. And I think I look at it this way.”

As many commentators have pointed out, disturbed, Senator Grassley was a senator thirty-five years ago in 1983. He had entered the chamber two years before, elected by Iowa farmers like my father, who hoped Grassley would represent them as agriculture prices plummeted. Thirty-five years ago, Senator Grassley was fifty years old, an elected official who had served the public since he entered the Iowa House of Representatives in 1959. It is absolutely our right to know what he was doing thirty-five years ago.

But what about Brett Kavanaugh, Trump’s Supreme Court nominee? Do we have the right to know—or even to ask—what he was doing thirty-five years ago? Thirty-five years ago, Brett Kavanaugh was seventeen, attending the exclusive and expensive Georgetown Preparatory School, an all-boys Catholic school. He was captain of the basketball team, he was cornerback for the football team, and he might have sexually assaulted a classmate, Christine Blasey Ford, while his friend Mark Judge watched.

Thirty-five years ago, Brett Kavanaugh was seventeen, attending the exclusive and expensive Georgetown Preparatory School, an all-boys Catholic school. He was captain of the basketball team, he was cornerback for the football team, and he might have sexually assaulted a classmate, Christine Blasey Ford, while his friend Mark Judge watched. 

In hours of testimony from both Ford and Kavanaugh on September 27, senators in the judiciary committee attempted to determine what exactly happened in those moments when Kavanaugh was seventeen. Who was lying? Whose memory was flawed? And the shadow lurking behind the questions, echoed in that radio interview with Grassley: did anything someone did thirty-five years ago even matter?

Or, to phrase the question more baldly: if a man commits violence at the age of seventeen, should it harm his chances of meting out justice in the highest court in the land at the age of fifty-two?

Every day of the week, I spend hours in a classroom with seventeen- and eighteen-year-olds. Every day of the week, I pose questions to them, I listen to their observations and arguments, I read their written ideas. They are not children, though they clap their hands when I occasionally bring them treats, and they cheer on the rare day I give them a break from homework. They would surprise most of the men and women in the Senate Judiciary Committee with their adultness, with their sense of right and wrong. They are fully formed people at seventeen and eighteen: their emotions are complex, their awareness of the world deepening, their ability to express themselves strengthening.

They are fully formed people at seventeen and eighteen: their emotions are complex, their awareness of the world deepening, their ability to express themselves strengthening. 

A seventeen-year-old who forces a girl onto a bed and thrusts himself upon her, laughing, does so recognizing the violence. Maybe the next morning, he will regret it, maybe he will hate himself, maybe he will even apologize, but he is as responsible for it at seventeen as he will be at fifty-two. What it reveals about his nature is the same at either age.

However, what that seventeen-year-old does not have is a fully developed frontal lobe. That last part of the brain to develop—which does not finish developing until a person is twenty-five—is the part that governs judgment, emotional expression, and sexual behavior. It’s the part that stems our impulses. In a classroom of high school seniors, this means a boy will sometimes lob a ball of paper across the room, or a girl will blurt out an insult to someone else, or someone will throw a punch. Later, in response to that adult question “Why?” the answer is often, “I have no idea.” It’s true. Their filters aren’t fully operational yet. Give them eight more years.

Like most other seventeen-year-olds, then, seventeen-year-old Brett Kavanaugh had not yet developed an ability to control his impulses: his drinking, his anger, his sexual hunger. The future judge lacked judgment.

But maybe the person who exists before the filter is fully formed reveals exactly what we need to know. There is a purity in my seventeen- and eighteen-year-old students. They shimmer with the raw truth of who they are. A girl who will, in ten years, discover how to smile a certain way and dress with power and walk with assertiveness, now hides between the dark curtain of her hair and talks only to a few trusted classmates. A boy who will, in ten years, learn to defer to colleagues in meetings and to allude to pop culture at office parties, now unapologetically divulges his expansive vocabulary and poses complex philosophical questions in discussion. They straddle a divide, these seventeen- and eighteen-year-olds, between the children they were and the adults they are not yet. They will learn to adjust, to adapt, to control—to judge. But not yet.

But maybe the person who exists before the filter is fully formed reveals exactly what we need to know.

This makes some of them terrifying. A boy who barges forward with his impulse to hurt a girl reveals a true self. Yes, he will learn to control those impulses later. But there is still the truth revealed.

Lately, my colleagues and I have had many conversations that begin, If I was held accountable for what I did at seventeen… We murmur about illicit drug use, lies we told our parents, pranks we played, risks we took. Sarah at seventeen, her own frontal lobe underdeveloped, stayed out too late, drove too fast on dark Iowa country roads, and trusted a boy too much. But. Sarah at seventeen—the core truth of her—was also a glimpse of me now, at forty-one. At seventeen, as now, I was often uncertain and awkward around other people; alone, I was self-assured and strong. At seventeen, as now, my strength and my flaw was my passion for everything to mean something, my sense that I was responsible for it all.

And Brett Kavanaugh at seventeen? Accounts emerge that point to an aggressive drinker, a fraternizer who joked freely about sexual exploits, a boy driven to succeed academically who cared little for gentleness.

The question before the FBI is what, exactly, he did at seventeen. But at the Supreme Court hearings on September 27, Kavanaugh revealed that, regardless of crimes he may have committed then, who he was at seventeen was a glimpse of who he is now, at fifty-two. At fifty-two, he is belligerent, rude to those who question him, simmering with an anger barely controlled.

But at the Supreme Court hearings on September 27, Kavanaugh revealed that, regardless of crimes he may have committed then, who he was at seventeen was a glimpse of who he is now, at fifty-two. At fifty-two, he is belligerent, rude to those who question him, simmering with an anger barely controlled.

Senator Grassley hints that actions committed thirty-five years ago matter little to him when he considers a person’s qualifications now. Then let him see the man before him, who, at fifty-two, in front of the Senate Judiciary Committee, looked far less like a Supreme Court judge and far more like a wounded and offended teenage boy. Regardless of what the FBI investigation discovers about him at seventeen, Brett Kavanaugh at fifty-two has revealed himself as utterly unfit to act as a balanced, impartial justice for this grown-up nation.

top photo by Scott Webb on Unsplash

Subversions illustration by Brian Dixon for BMP Voices. All rights reserved.
Subversions illustration by Brian Dixon for BMP Voices. All rights reserved.

Subversions presents a perspective on life, culture, and politics from a lesbian woman who lives and works in everyday America.

“The Dark Fantastic” Fills an Imagination Gap in Youth Media

"The Dark Fantastic" Fills an Imagination Gap in Youth Media

As someone who came of age with the Harry Potter series, it is astounding I barely noticed how few Black characters were in the books.

After all, the focus of the books was on the main characters Harry Potter, Hermione Granger, and Ron Weasley. Although Hermione Granger was a particular favorite, the default white protagonists I had become used to seeing in teen fiction and fantasy caused me to see her as white until a few years ago. In Professor Ebony Elizabeth Thomas’ book The Dark Fantastic, she puts a name to my experience: the imagination gap. Published by NYU Press, the book will be released in May 2019. Explained in the introduction, the imagination gap is a lack of development in the imagination of youth caused by seeing the same stories and the same default white characters. Thomas further explains that this is the result of the titular dark fantastic cycle, a cycle that is influenced by the role race plays in stories. The dark fantastic cycle involves a Black character embodying spectacle, hesitation, violence, and haunting, often on behalf of a white protagonist. By examining certain instances of the dark fantastic cycle in sci-fi fantasy books and shows aimed at teens, Thomas illustrates how the stories told in mainstream sci-fi fantasy media tend to erase the presence of Black characters, AKA The Dark Other.
The imagination gap is a lack of development in the imagination of youth caused by seeing the same stories and the same default white characters.
In The Dark Fantastic, Thomas chooses to discuss the dark fantastic cycle in four different media and four different Black female characters that have been discussed at large through digital media culture and communities (fandoms). These media consists of Rue from the young adult series The Hunger Games, Gwen from the BBC fantasy television series Merlin, Bonnie from the American teen vampire drama The Vampire Diaries, and Hermione Granger from the Harry Potter book series. While the critiques of all the media in this book are worth looking into, the ones for young adult literature are especially notable. Starting with Rue from The Hunger Games, Thomas explores how the dark fantastic cycle causes Rue’s innocence as a young Black girl to be transferred to Katniss, the series’s white female heroine. As a book series that initially focuses on children forced to battle each other to the death in a dystopian world, it was chilling to see how Rue is treated due to the dark fantastic cycle.
The dark fantastic cycle involves a Black character embodying spectacle, hesitation, violence, and haunting, often on behalf of a white protagonist.
Through the lens of the dark fantastic cycle, we see how Rue goes from being seen as innocent girl to not being seen at all. By the time Rue’s story enters the haunting phase of the cycle, she is a ghost who is only remembered as a resource for Katniss’s skills and a martyr for District 11. Rue’s dark fantastic cycle is reminiscent of other fictional Black deaths like Nurse Betty from Resident Evil: Extinction and Bill Potts from Doctor Who. Therefore, the chapter on Rue serves as a comprehensive explanation about Black fictional characters whose deaths motivate white protagonists. In addition to discussing Rue as a character, Thomas also tackles readers and viewers reaction to Rue in her book and movie form, relating the reactions her imagination gap theory and the dark fantastic cycle. By smoothly connecting these concepts to consumers, Thomas expertly demonstrates how an inability to visualize Black characters in sci-fi fantasy settings results in astonishment and outrage, especially from white readers and viewers in fandom. Thomas also does something similar in the chapter discussing Gwen from Merlin, showing how pervasive the imagination gap in a variety of media.
Thomas expertly demonstrates how an inability to visualize Black characters in sci-fi fantasy settings results in astonishment and outrage, especially from white readers and viewers in fandom.
In contrast to the chapter about Rue and The Hunger Games, the chapter on Hermione Granger and Harry Potter is more optimistic. This is due to Thomas’ personal anecdotes about her involvement in the Harry Potter fandom and how her fan fiction about the minor Black character Angelina Johnson relates to interpretations of Hermione Granger as a Black girl. In addition, Thomas explains how racebent interpretations of Hermione Granger are a part of several methods of restorying, i.e., retelling stories. With restorying, Thomas states that there is an infinite potential for stories due to the different methods involved in creating them. These include changing the location, changing the perspective, changing the mode, collaboration, and changing identity. Changing location moves the setting to another time and place, while changing the perspective lets another character tell their side of the story. Meanwhile, changing the mode consists of going from one medium to another (i.e. from fiction book to comic book), and collaboration involves people working together using digital media. Finally, changing identity can involve making a character perceived white to be Black or a cisgender character genderfluid. By bridging pop culture, personal experience, and academic study, The Dark Fantastic provides a crucial examination of race and storytelling in sci-fi fantasy media aimed at teens and young adults. Not only does Thomas discuss how Black characters are erased in an inescapable cycle, but she also provides a guide to breaking it. Many have already broken the dark fantastic cycle with new stories, and this book is a good starting point for more.

The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.

Latonya Pennington is a poet and freelance pop culture critic. Their freelance work can also be found at PRIDE, Wear Your Voice magazine, and Black Sci-fi. As a poet, they have been published in Fiyah Lit magazine, Scribes of Nyota, and Argot magazine among others.

“The Poet X” Is a Testament to Self-Expression

“The Poet X” Is a Testament to Self-Expression

As a teenager and budding poet, the very first verse novel I can recall reading is Bronx Masquerade by Nikki Grimes.

Told from the point of view of many diverse high school students in a slam poetry style, it wasn’t hard for me to enjoy. However, the brief glimpses into the characters’ personal lives weren’t enough for me to completely love the book. After finishing Elizabeth Acevedo’s The Poet X, I feel like it filled the gaps that Bronx Masquerade had.

The Poet X tells the story of Xiomara, an Afro-Latina teen who feels suffocated by her mother’s strict religious parenting and frustrated by the way the world perceives her as a brown girl with burgeoning sexuality. For a while, she writes down her truest thoughts in secret, convinced that no one will want to hear them. After being severely punished for daring to explore her sexuality and attraction to her male classmate Aman, she decides to join her school’s slam poetry club and finds the courage to express herself.

For a while, she writes down her truest thoughts in secret, convinced that no one will want to hear them.

One of the first things about the book I noticed was Xiomara’s poetic voice. Even prior to joining the poetry club, it is very distinctive, powerful, and vivid. In the early pages of the book, there is a page called “Names” in which Xiomara explains the origins of her name and the impact of it, evoking the image of a defiant warrior. Her personality is summed up in the following lines: “My parents probably wanted a girl who would sit / in the pews / wearing pretty floral and a soft smile. / They got combat boots and a mouth silent / until it’s sharp as an island machete.”

Although Xiomara initially keeps her thoughts secret, her struggle and desire to speak and act on them is always apparent. This is especially telling in the homework assignments that she turns in for her English class. While the first drafts of those assignments are honest, the final drafts are toned down to convey what Xiomara thinks her teacher, Ms. Galiano, wants to hear. Later, the fact that Ms. Galiano truly cares for Xiomara’s deepest thoughts becomes a key factor in Xiomara’s decision to join the poetry club.

Although Xiomara initially keeps her thoughts secret, her struggle and desire to speak and act on them is always apparent.

Ms. Galiano’s support of Xiomara is one of the most touching aspects of the book. She is patient enough to let Xiomara join the poetry club when she is ready and a caring enough teacher to gently nudge Xiomara toward slam poetry by introducing it in one of her classes. Later, she even becomes one of Xiomara’s shoulders to cry on after a tumultuous confrontation with her mother. Ms. Galiano reminds me of a Black high school literature teacher I had who encouraged my writing and helped me during a difficult time.

Others in Xiomara’s life include Aman, a young man with good intentions that almost always come through. There is Xavier, Xiomara’s genius twin, who tries his best to support Xiomara despite experiencing a very different sexual awakening from hers. But of the entire cast of characters, the character who most resonated with me after Ms. Galiano and Xiomara was Xiomara’s mother.

Xiomara’s mother is both problematic and sympathetic. She wants the best for her daughter but lacks the ability to listen to her daughter without using religion to criticize her. Her religion is a source of strength, because it helped her through the difficult birth of the twins, so she tries to impose it on them to help them be strong too.

Feeling stifled by her mother, her religion, and her peers, Xiomara uses the written word to say what she can’t say aloud.

Feeling stifled by her mother, her religion, and her peers, Xiomara uses the written word to say what she can’t say aloud. Most notably, she uses her words to express her sexual awakening and how women are held to different standards than men in religion and real life. The most surprising poem in the book involves her masturbating, something I rarely read about in YA books involving women of color. The ecstasy and stigma surrounding masturbation is examined, and it is refreshingly realistic to see in a book for teens.

Xiomara discovers slam poetry and starts to become braver and more honest about her feelings.

Ultimately, I believe Xiomara and her story resonated with me so much because she reflects a part of the teen poet I was and the adult poet I am becoming now. My personal favorite pages are when Xiomara discovers slam poetry and starts to become braver and more honest about her feelings. I understand the joy and struggle Xiomara experiences as a poet because I’ve experienced them many times myself. The Poet X is a testament to finding and expressing your personal voice.

The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.

Latonya Pennington is a poet and freelance pop culture critic. Their freelance work can also be found at PRIDE, Wear Your Voice magazine, and Black Sci-fi. As a poet, they have been published in Fiyah Lit magazine, Scribes of Nyota, and Argot magazine among others.

Top photo by Diego Rosa on Unsplash

 

“A Blade So Black” Is a Fantastic Take on “Alice in Wonderland”

“A Blade So Black” Is a Fantastic Take on “Alice in Wonderland”

Alice in Wonderland always struck me as a really dreamy metaphor for coming of age.

The versions of Alice in Wonderland I know best are from the video game Kingdom Hearts and the 2010 live-action Disney film. Both media have their protagonists growing as heroes and as people as they journey through Wonderland. In L. L. McKinney’s A Blade So Black, the heroine comes of age beautifully through trials based in reality as well as fantasy.

Alice Kingston, the book’s protagonist, is a Black teenager living in Atlanta, Georgia, and a warrior known as a Dreamwalker. Together with her mentor, Addison Hatta, she fights Nightmares, creatures that serve as the embodiment of human fear. When Hatta ends up poisoned, Alice must journey deep into Wonderland to search for a cure and face a darkness that threatens Wonderland and the real world.

One of the first things that appealed to me about the book is its striking cover. Designed to look like an ace of spades, it features a dark-skinned Black girl literally poised for battle with her daggers. This cover told me that the heroine was going to kick butt and do some growing, and I had to know what her story was.

Once I started reading the book, Alice won me over as the lead character. Her grief at losing her father, her nervousness and excitement about venturing into Wonderland, and her casual display of her inner fangirl were so relatable. Not to mention that the way she speaks sounds true to life. One of my favorite lines of dialogue goes, “You play too much. Talkin’ ’bout some ‘you’ll have to be specific’. Specific deeze.”

The majority of the secondary cast of characters was enjoyable, too. Addison Hatta struck me as a British, loveable rogue. Alice’s mom will resonate with anyone who has loved and gotten in trouble with a Black parent or family member. Lady Xellon is a noble knight with a soft, protective side, while Odabeth is a princess who humbles graciously. The only characters I didn’t like were Courtney and Chess, who didn’t seem as interesting as the Wonderland characters.

In addition to the characters, the real and fictional settings of Atlanta, Georgia, and Wonderland were memorable. Given that I live in Georgia and have some experience with metro Atlanta, I could easily imagine Alice living around that area and experiencing some supernatural shenanigans. The book’s prologue was especially notable in this regard, as Alice experiences her first supernatural encounter a little ways from Grady Memorial Hospital.

Meanwhile, Wonderland is just as vivid and dangerous as I imagined it would be. McKinney’s world-building and physical descriptions of Wonderland let you see it in your mind’s eye as the story unfolds. Wonderland is particularly stunning when Alice visits it for the first time, and her sense of joy and wonder is sure to be reflected in the reader.

Although Wonderland and ATL are interesting settings on their own, they are even more interesting when they overlap and affect each other. At one point, it is explained that Dreamwalkers are immune to the physical and emotional effects of Nightmares unless the fear is personal. One of Alice’s personal nightmares is becoming a victim of police brutality.

In a couple of paragraphs, the author makes police brutality a literal and metaphorical nightmare. When a black girl named Brionne Matthews is shot and killed by police, the fear that results from her death causes two Nightmare creatures to appear and show Alice the cold reality of having special abilities even as her life is at risk in the real world. Alice wonders, “She’d protected this world, but would anyone protect her?”

Despite her fears of losing her life and losing those she loves, Alice manages to take the first steps to becoming the hero she can be. By focusing her Muchness, the part of her that believes in herself the most, she wields her daggers and a sword to slay Nightmares in a way that is empowering. In a creative nod to Lewis Caroll’s poem “Jabberwocky,” Alice’s heroic journey reaches its climax with the lines, “She left it dead, and with its head, she went galumphing back.”

All in all, A Blade So Black is a fantastic, grounded twist on Alice in Wonderland. With a compelling heroine, a quirky cast of characters, and thought-provoking world-building, A Blade So Black brings adventure, heart, and Black Girl Magic. Whether or not a sequel is in the works, this book alone breaks new ground for retellings and urban fantasy.

The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.

Latonya Pennington is a poet and freelance pop culture critic. Their freelance work can also be found at PRIDE, Wear Your Voice magazine, and Black Sci-fi. As a poet, they have been published in Fiyah Lit magazine, Scribes of Nyota, and Argot magazine among others.