“Nine Months,” “Cryptic Crossword LV,” “Her / Him / Our / Their / Us / Them / They Body,” and “Jaws Was on TV on a Saturday Morning”

“Nine Months,” “Cryptic Crossword LV,” “Her / Him / Our / Their / Us / Them / They Body,” and “Jaws Was on TV on a Saturday Morning”

Editors' Choice Picks

We are delighted to present this week’s selections from the Brain Mill Press Poetry Month Contest, Break Poetry Open, by talented poets Raymond Luczak, Holly Painter, henry 7. reneau, jr., and Mercury Marvin Sunderland.

We hope you’ll enjoy these editors’ picks as much as we did.

Nine Months

Raymond Luczak

mom still wonders how i lost my hearing
she mentions having a miscarriage in april 65

& being surprised to find herself pregnant

again in june 65 dr santini said id be born in january 66
instead i arrived in november 65 fully formed

not a preemie i go home two days later

not long after my sister carole takes
to reading out loud from a book
she is learning how to read to me
as i am trapped in my crib
i have apparently cocked my ears

to her voice laboriously decoding words

then mom changes her story

she remembers having the miscarriage in march 65
it fell out of her while she sat on the toilet

at 16 i constantly wondered

if that was indeed possible

a body expelling her own fetus

a heatwave in july 66

i turn pink & hot but everybody is hot anyway

mom wonders maybe somethings seriously wrong

at the hospital i am found to have double pneumonia

& a high fever i look close to dying so a priest is called in
i survive my last rites of death but my hearing doesnt

then mom changes details again

she says she had a d&c done in february 65
when she felt her fetus wasnt growing

it wasnt even two centimeters long
no idea whether it was a boy or girl
i no longer am sure what to believe

after i come back from the hospital

carole reads to me again

this time i bob my head around

she doesnt realize ive lost most of my hearing
no one has either
she gets frustrated with me & gives up

by the time i turn 2 & a half

mom asks her doctor why i havent begun talking

he says maybe hes deaf

she comes home & tells dad to stand me up & turn me

so i can face the wall up in the tub since he was washing me
i don’t respond to my name

research indicates a twin in the womb could miscarry
leaving behind its other half

in the 60s technology hadnt existed to detect

such a tiny baby
thats why moms pregnant test results in june 65
had so surprised everyone

up & down oak street where i once roamed
the trees are mostly gone

but the shadow of my other half

still runs a mean yellow stripe
right through the road of my life
the mystery of never knowing him

Jareen Imam author photo

Raymond Luczak is the author and editor of 22 books, including Flannelwood (Red Hen Press) and Lovejets: Queer Male Poets on 200 Years of Walt Whitman (Squares & Rebels). He lives in Minneapolis, Minnesota. His online presence includes: raymondluczak.com, facebook.com/raymondsbooks, and twitter.com/deafwoof.

Cryptic Crossword LV

Holly Painter

Jareen Imam author photo

Holly Painter lives with her wife and son in Vermont, where she teaches writing and literature at the University of Vermont. Her first full-length book of poetry, Excerpts from a Natural History, was published by Titus Books in Auckland, New Zealand, in 2015. Her poetry, fiction, and essays have also been published in literary journals and anthologies in the US, Canada, Australia, New Zealand, China, Singapore, and the UK.

Her/Him/Our/Their/Us/Them/They Body

henry 7. reneau, jr.

Jareen Imam author photo

henry 7. reneau, jr. writes words of conflagration to awaken the world ablaze, an inferno of free verse illuminated by his affinity for disobedience, like a chambered bullet that commits a felony every day, an immolation that blazes from his heart, phoenix-fluxed red & gold, exploding through change is gonna come to implement the fire next time. He is the author of the poetry collection, freedomland blues (Transcendent Zero Press) and the e-chapbook, physiography of the fittest (Kind of a Hurricane Press), now available from their respective publishers. Additionally, he has self-published a chapbook entitled 13hirteen Levels of Resistance, and his collection, The Book Of Blue(s) : Tryin’ To Make A Dollar Outta’ Fifteen Cents, was a finalist for the 2018 Digging Press Chapbook Series. His work has also been nominated for the Pushcart Prize.

Jaws Was on TV on a Saturday Morning

Mercury Marvin Sunderland

 

Mercury Marvin Sunderland is a gay Greek/Roman Wiccan autistic transgender man who uses he/him pronouns. He’s from Seattle. He currently attends The Evergreen State College, and his dream is to become the most banned author in human history.

Mercury is a 2013, 2014, 2015 winner of ACT Theater’s Young Playwright’s Program, a 2015, 2016 selected playwright for ACT Theater’s 14:48 HS, a 2016 winner of the Jack Straw Young Writer’s Program, a 2016 selected participant for the Seattle Talent Show hosted by Rainier Beach High School, and was hired as a paid representative of Youth Speaks Seattle in 2016. In 2017 alone, he was selected for and won the 2017 Youth Speaks Seattle Grand Slam, and went off as one of the top five youth slam poets representing Seattle at Brave New Voices 2017, an international slam poetry tournament treated as America’s national tournament, and was selected to perform slam poetry alongside former Seattle mayor candidate Nikkita Oliver at the University of Washington. In 2018 his illustrations were selected for While Supplies Last, an art show hosted by Anthony White, a Cornish College of the Arts graduate. In 2019 he received his first literary journal acceptance from Fearsome Critters Literary Magazine Volume Two, his second from the February 2019 issue of Marathon Literary Review, his third and fourth from Across & Through Literary Magazine, and his fifth from The Dollhouse Literary Magazine.

National Poetry Month

BMP Celebrates National Poetry Month

For this year’s National Poetry Month, Brain Mill Press & Voices want to add to your #TBR pile, sing siren songs of unsung heroes, and signal boost living poets we should be reading more. By the end of the month, we hope you will have acquired 30+ new books of poetry and that they continue to multiply in the darkness of your library. Explore new voices & new forms — re-read some old favorites — play if you liked this poet, you’ll like… the old-fashioned way, algorithm-free — just poetry lovers talking to poetry lovers, as the Universe intended. Happy #NaPoMo2019 from Brain Mill Press.

 

Jessica Mehta, Iulia Militaru, and Levi Cain

Editors' Choice Poems

Jessica Mehta, Iulia Militaru, and Levi Cain

We are delighted to highlight this week’s selections from the Brain Mill Press Poetry Month Contest, Break Poetry Open, by talented poets Jessica Mehta, Iulia Militaru (translated by Claudia Serea), and Levi Cain.

Iulia Militaru’s poem “This Is Not a Poem,” translated by Claudia Serea, was included among the picks but is not reproduced below.

We hope you’ll enjoy these editors’ picks as much as we did.

Two Antipodes Poems

Jessica Mehta

Author’s Note: Antipodes are an experimental form of poetry with roots in both palindromes and reverse poetry. However, unlike reverse poems which can be read forward and backward line by line, the antipode can be read forward and backward word by word. Poems are intended to be read with the original version on the verso page and the reflected antipode on the recto page.

America de’Colonizer

De-colonizer: America—we’re coming. You are
too prideful, too vain. Your destruction bred
warriors. Overseas invaders brought ships
full and pulsing. For generations, lost children
remain reticent. To listen, says Creator, you need
ancestors. Homecoming, we’re nobility displaced.
Dethrone well-mistaken kings. You’re uncertain still;
that’s okay. Washing white, the stain’s disappearing
now. Missing women, murdered women, all we’re
saying is Creator understands. Who are we?
Strength of centuries—come. Be Natives.

***

Natives become centuries of strength.
We are who understands Creator is saying
we’re all women murdered, women missing. Now,
disappearing stains the whitewashing. (Okay, that’s
still uncertain). Your king’s mistaken, we’ll dethrone
displaced nobility. We’re coming home. Ancestors
need you, Creator says. Listen to reticent remains.
Children lost generations, for pulsing and full
ships brought invaders—overseas warriors
bred destruction. You’re vain, too, prideful, too.
Are you coming? We’re America, de’Colonizer.

Alone, He Pictures the Sea


See the pictures? He, alone, recalls it all. And memory
lingers here. Sick heads make regrets
huge and away swim mistakes like whales.
Sorry, he’s human. He’s sorry he’s scared—
he’s Jonah of full bellies. Our broken
system’s the offender, another
mishap, another bias. Here’s to oceans of dreams.
Lost, he’s landlocked. All we’re doing,
we are what hatred spawns. Suspicion
means this: forced solitude and life in prisons.
Everyone made deals—
all for views, water painted views.

***

Views, painted water views for all.
Deals made everyone
prisons in life and solitude forced. This means
suspicion spawns hatred. What are we
doing? We’re all landlocked. He’s lost
dreams of oceans, too. Here’s bias: another mishap,
another offender. The system’s
broken … our belly’s full of Jonah. He’s
scared, he’s sorry he’s human, he’s sorry.
Whales like mistakes swim away and huge
regrets make heads sick. Here lingers
memory and all it recalls. Alone, he pictures the sea.

About Jessica Mehta

Jessica Mehta is a multi-award-winning poet and author of over one dozen books. She’s currently a poetry editor at Bending Genres Literary Review, Airlie Press, and the peer-reviewed Exclamat!on journal. During 2018-19, she was a fellow at Halcyon Arts Lab in Washington DC where she curated an anthology of poetry by incarcerated indigenous women and created “Red/Act,” a pop-up virtual reality poetry experience using proprietary software. As a citizen of the Cherokee Nation and native Oregonian, place and personal ancestry inform much of Jessica’s creative work.

Jessica is also the owner of a multi-award-winning writing company and founder of the Jessica Tyner Scholarship Fund, the only scholarship exclusively for Native Americans pursuing an advanced degree in writing. She has undertaken poetry residencies around the globe including at Hosking Houses Trust with an appointment at the Shakespeare Birthplace Trust in Stratford-Upon-Avon, England and the Acequia Madre House in Santa Fe, New Mexico. Her doctoral research focuses on the intersection of poetry and eating disorders.

Jessica’s novel The Wrong Kind of Indian won gold at the 2019 Independent Publisher Book Awards (IPPYs). Jessica has also received numerous visiting fellowships in recent years, including the Everett Helm Visiting Fellowship at the Lilly Library at Indiana University at Bloomington and the Eccles Centre Visiting Fellowship at The British Library. Visual representations of her work have been featured at galleries and exhibitions around the world including IA&A Hillyer in Washington DC and The Emergency Gallery in Sweden. Jessica is a popular speaker and panelist, featured recently at events like the US State Department’s National Poetry Month event, “Poets as Cultural Emissaries: A Conversation with Women Writers,” as well as the “Women’s Transatlantic Prison Activism Since 1960” symposium at Oxford University. Learn more about Jessica’s creative work at www.jessicamehta.com. Twitter: @ndns4vage.

 

National Poetry Month

FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE TWIST OUT WAS NOT ENUFF

Short-List Selection

Levi Cain

swear on my mama
no–swear on something more
simple and sacred.
swear on my brother’s future mixtape,
swear on pig fat in collard greens and
freshly whipped shea butter,
arroz con what the fuck ever–
that the cracked cushion chair of
my hairdresser’s closet is
in fact a cathedral,
packets of yaki and remy dotted
with the same angels,
skin the color of good brandy.
the nollywood movies blaring
on the thrifted television is
the preacher.
there is one constant truth–
the half-room in waltham is
a tabernacle for second generation girls
who never learned how to cornrow.

a blackgurl’s bond with a hairdresser
is tighter than the binding of isaac,
requires more faith than you
ever know how to give
after years of lye being applied
to your scalp,
after years of being teased by
whitegirls who crow that
your hair looks like brillo pads
that they wouldn’t let their housekeepers
scour the sink with.
the same whitegirls who now quiz you
on coconut oil
and ask you to anoint them
with the wisdom of
deep conditioning.

i and every other blackgurl
who grew up in the suburbs
are haunted by visions of hot combs
and strangers putting their hands in our hair,
pulling so sharply we swear
we hear the echo of a whip crack.

but those ghosts have no place here,
in this space that has only space enough
for you,
your hairdresser,
and maybe her friend from haiti
who you do not know the name of
but who twists braids so gently it is
as if she wants to be your mother.

this is an act of love,
but all gods are not filled with goodness
and so neither is the woman
who stands with jojoba in her right hand,
84 inches of kankelon in her left,
who asks why you never
seem to have a boyfriend,
who told you she would rather die
than break bread with faggots
but passes you plantains as communion,
presses your forehead
to her chest as madonna,
calls you daughter,
welcomes you with open arms
to a rented room
in a part of a town that would make
a principal’s lip curl
–this blackgurl bethlehem,
this satin covered resting place,
this plane of being where
you are you
are blackgurl,
are celebration,
are miracle,
are nothing but holiest of holies.

About Levi Cain

Levi Cain is a queer writer from the Greater Boston Area who was born in California and raised in Connecticut. Further examples of their work can be found in Lunch Ticket, Red Queen Literary Magazine, and other publications.

National Poetry Month

BMP Celebrates National Poetry Month — Break Poetry Open

For this year’s National Poetry Month, Brain Mill Press & Voices want to add to your #TBR pile, sing siren songs of unsung heroes, and signal boost living poets we should be reading more. By the end of the month, we hope you will have acquired 30+ new books of poetry and that they continue to multiply in the darkness of your library. Explore new voices & new forms — re-read some old favorites — play if you liked this poet, you’ll like... the old-fashioned way, algorithm-free — just poetry lovers talking to poetry lovers, as the Universe intended. Happy #NaPoMo2019 from Brain Mill Press.

The Turf Chick

Poetry Month Spotlight

The Turf Chick

Some said I was the female Pac, Some said I was the female Biggie, some said I was the female Rick, and some said rappers can’t mess with me

–The Turf Chick, Untitled

I get up every day with a new goal on my mind, the same frown and the same broken spirit from doors opening and shutting right before my eyes. It feels like I’m working overtime. Overtime with no pay.

Some days I just want to give up and live a regular life, you know? Go to work, pay rent, and enjoy the rest of my funds doing the things that excite me.

But no. I was given the gift of song, and no matter how much I try to be normal, my soul releases words that move the world!

Music is the only reason I am still alive. You get me? Being a homosexual and a woman and, I may sound cocky, but extremely talented — better than some who are very well established — it’s hard! It’s hard to prove a point. It’s easy to make you listen, but when men see me they realize I’m good for nothing because they can’t get anything out of me in exchange for a deal.

Sometimes I hate being a woman. You can tell, right? Sometimes I wish I wasn’t used as a sex symbol, used to get the things I work so hard for in life. Coming up in the music industry is tough, because you have to have the mind of shark and the heart of a beast! But the soul of pure woman. Give yourself away or work harder with the same amount a faith after every door has been slammed in your face for being a woman in the music industry.

Honestly at this point I don’t wonder when I’m going to make it or when I’m going to finally get through that door… All I want to know is, when are people actually going to listen. Before they look.

On 2229

When everything was all alright, and momma held my head when I cried on 2229, I watched my brother come in and out of jail thinking how he get that phone in his cell.

On 2229

–The Turf Chick, “2229“

The realest people crossed me and now they’re fake as ever so I’m ready for whatever

–The Turf Chick, “Whateva”

I never knew my day ones, wasn’t really there for me, they wanted my dream and everything that came with it, all us eating living life was the plan for me.

–The Turf Chick, “FearFull”

About The Turf Chick

Local rising star Gabrielle Gilbert, who goes by the stage name of “The Turf Chick,” was born in East Palo Alto and raised in Sacramento since age eleven. In the beginning, Gabrielle Gilbert, with the childhood nickname “Gi-Gi” performed for her brothers, sisters, and cousins. When she was only thirteen years old, she made her first recording at a friend’s studio in South Sacramento, rapping “I GO.” From then, Gi-Gi became “The Turf Chick,” writing and rapping messages of hope, street life, and personal struggles. Inspired by music icons Lil Kim, Messy Marv, MC Lyte, Queen Latifah, and Eve, Gabriel says her fans best describe her music as “urban and underground hip-hop with a mix of hard-core bursting lyrics.” The Turf Chick was the only solo hip hop performer at the 2007 Hub Choice Awards in Sacramento, performing in front of nearly 1,200 people.

Twitter | Instagram | Soundcloud | YouTube

National Poetry Month

BMP Celebrates National Poetry Month 2016

If “love calls us to the things of this world,” then poetry too can call us to think about challenging questions, difficult situations, and social justice, implicating and engaging the reader with the world we live in, in the hope that this engagement is a step toward wrestling with our better selves.

A Poet’s Place

A Poet's Place

Abayomi Animashaun

At the close of AWP a few years ago, I took a bus ride to the airport with several writers and had the luck of sitting beside a poet I admire and with whom, over the years, I had formed some acquaintance. By that I mean, when we see each other, there’s an acknowledgement of sorts. And, for me, it’s a thing of detail that he can never remember or even pronounce my name.

On the bus ride, we engaged in the kind of trivial banter people have in elevators with one- or two-word answers. “How are you?” “Fine.” “Fine weather we’re having.” “Great weather.”

But somehow in that twenty-minute bus ride, we pushed past niceties. And, for a minute or so, talked honestly about work. He made the transition by asking about my studies.

“Where are you now?”

At the time, I was trying to take my PhD at the University of Kansas. So I said, “Kansas.”

“And, what are you working on now?”

“Oh, I don’t know! I have a manuscript that feels ready. But, I don’t know. When it comes to these things, I’m never sure. I felt good about it a year or so ago. And here I am still…”

“This is your second collection, right?”

“Yes.”

“What’s it called again?”

“I’m not sure, I’m torn between Sailing for Ithaca and Leaving…”

He didn’t even let me finish. He burst into a long laugh. Teared. Wiped his face. Begged apologies. Tried containing himself. Swelled. And broke open laughing again.

Looking around the bus, I could see a young woman in glasses looking out the window and wearing headphones. Of the other two people from the conference in the bus, one—an older man—kept his gaze straight, but looked tired. Only the last person looked on in interest at the drama of the unfolding conversation.

By this time, my poet friend had contained himself, but was still smiling a knowing smile. The kind that says, been there done that. Or, if only you’d listen to me.

I tried guessing at what was so funny, and before I could ask, he said through more measured laughs, “Okay Odysseus. Okay Odysseus.”

Then, it occurred to me that he felt my reference to Ithaca was my attempt, as a young poet, to puff up my work and make myself sound important.

“I understand that the use of classical references, especially in a young writer’s work, is at best dangerous,” I said. “He risks being sophomoric by making noise…”

“Yes, you can’t do that, Odysseus.”

At this point, the bus pulled into his terminal, and he got down.

I thanked him for his suggestions, and I said I hoped he had a fine time at AWP. As the bus moved slowly from the curb, he yelled loud enough for me to hear, “Bye Odysseus! Bye Odysseus!”

By the time I got to my terminal and boarded my plane, I was deflated. And I couldn’t stop thinking that I should have kept my big mouth shut.

I nursed my wound for days. I watched bad television. And drank cheap wine.

My wife, used to my mood swings over poetry, let it play out.

In “Uncertain in the Wild Frontier,” I talked about my approach to poetry during my MFA years and the long road it took for me to arrive at unknowing as a chief mechanism of my imagination.

I look back on those years now and realize that one of the ways I displayed certainty was in classrooms, during workshops, where I would try my darndest not to laugh at poems that were abstract, inaccessible, or non-representational.

At the time, I felt those poems were the height of pretentiousness.

And, during classes or at the bar with friends, I wasn’t shy about making clear that the sooner the poets in question got their heads out of their high-falutin’ asses the sooner they could begin the true work of poetry.

I expressed this sentiment openly and often without regard for how the poets in question might feel, without asking what they were trying to do, who their influences were, with whom they were trying to have conversations, and how they were trying to have those conversations.

That was years ago!

I have since completed MFA and PhD programs. And, I am a lecturer at the University of Wisconsin, Oshkosh, where I teach both graduate students and undergrads.

And, as a teacher, I have come to realize that it is not my place to trample upon anyone’s poems, attempts at poetry, or choice of movement within it.

Moreover, it is my job to show students, who are impatient and overly sure of themselves, the necessary compassion I was shown, when I was a student and held strong beliefs on subjects of which I knew little, often confusing passion with knowledge on the issues.

Which brings me back to my second collection.

I knew after I had compiled Sailing for Ithaca that I would get it in some quarters. I knew some would grumble or dismiss the book—”Oh big shot he thinks he is, he is drawing from Homer!”

In the end, I had to decide if I was writing to please or writing to partake of a conversation larger than myself, in order to better understand myself. The decision was easy.

Those Sore of Soul

Deal gently
With those
Sore of Soul

For whom
Each invitation

Or word spoken
Is wound to sea-salt

Or boil
Cut open.

Forgive
Their furrowed brows
And punch of air

Their voice
A treble loud

And their swell
Of chest

Whose welts –

Thick and reddened
For years –

Must be softly licked
And pressed

Till they thaw
Give off pus
And slowly clear

And the sea-horses
Long buried within

Overtime
Begin to reveal
Themselves.

National Poetry Month

BMP Celebrates National Poetry Month 2017

The theme of teaching and learning poetry, and our emphasis on student poets, speaks directly to the action of poetry in our country and global community. Never has the education of our students been so threatened, and never has truth been more challenged than in the current political climate. The truth emerges through education and the resistance and questions of our youngest generation, and it is their lead we absolutely must follow if they are to live in a society that fosters their achievements, liberation, and justice. Truth emerges through poetry as well — poetry bears witness to what truths seem impossible to speak any other way. Its constraints limit the temptation to misconstrue, obscure, and bury.

When One’s Anger Is Justified But Silenced

It all began with an article I posted on my Filipino Student Association’s Facebook page.

Entitled “My ‘Get Out’ Moment as an Overseas Student,” my essay is about how my first landlady in New Zealand, a white woman, gradually unmasked her racism to me while I was living in her house, beginning slowly but surely with a series of microaggressions that turned into racial slurs and, eventually, into blatantly hostile behavior. A leading news network in Australia ran this short piece, giving me the chance to finally call my landlady out for the way she had treated me during my first month as a new PhD student in the country. By doing this, I sought to render her and other people who have behaved similarly toward new immigrants accountable for their actions. Finally, my voice had been recognized for its value, and though I expected backlash, I was sure that I was helping those who had once been in my position to feel seen and heard.

Finally, my voice had been recognized for its value, and though I expected backlash, I was sure that I was helping those who had once been in my position.

Having lived in America and New Zealand, I have grown used to being disbelieved and dismissed by white people whenever I speak openly about my experiences of racism. You are making a mountain out of a molehill, I’m often told in so many words. Maid, illegal immigrant, terrorist, mail-order bride. Why is your country so poor and your English so good? I am expected to invalidate my feelings of hurt and to remind myself, repeatedly, that I’m wrong to feel disrespected. I learn to tell myself that these people who offend me mean no harm. I am told that I must give the benefit of the doubt to those who flatten my humanity by reducing me to a stereotype. They are human, even when they casually disregard my humanity. Like many people of color, I learn to give all sorts of excuses to white people when their failure to acknowledge my feelings becomes too overwhelming, and too difficult to fight.

But while I have learned to expect my experiences of racism to be dismissed and belittled in white-dominated communities, I normally don’t expect the same from fellow people of color, who normally go through these same experiences—almost as though these are necessary rituals of initiation into a world where our existence is erased. This is why I was in shock when my article, which described instances of racism that I felt were pretty obvious to those who have unavoidably experienced it, was mocked and misunderstood in my university’s Filipino student association.

I am expected to invalidate my feelings of hurt and to remind myself, repeatedly, that I’m wrong to feel disrespected.

The first instance of microaggression that I cited in my essay was when my landlady, on my second day at her house, said to me, “I do not know how it is in your country, but here we open the windows to let in fresh air.” One doesn’t have to be a genius to sense the statement’s racist implications: that the Philippines is a dirty place, that our air is filthy, and that I have likely grown used to keeping my windows closed. A member of the group immediately replied to my post by saying that I had misinterpreted my landlady’s statement: that indeed, in New Zealand, people open the windows to let in fresh air. He also went on to say that if I hadn’t read malice into her statement, I would have avoided all the other “misunderstandings” that followed my misinterpretation. Never mind that I hadn’t complained, or called her “racist” to her face, when she told me this: all her other actions that followed, like checking on my cooking to make sure I wasn’t preparing something that “smelled,” locking my bathroom door so that I couldn’t use the toilet, hiding my food containers from me, blaming me for making her stove make “weird” noises, forcing me to hose down, squeegee, and towel dry my shower stall after every wash before scolding me for “spending too much time in the shower,” or telling me that I was “so domestic” before asking me if I could walk her dog, were the results of this initial misunderstanding on my part, which unleashed her abusive behavior. But I had been offended by what she said, and because of this, according to him, I had somehow brought on the abuse I received, even if I had kept my feelings to myself.

In response, I pointed out to him that I hadn’t misunderstood my landlady’s statement at all. I had clearly understood the message it was meant to convey: it was meant to remind me of my inferiority and to put me in my “proper” place in her household. I added that his remark indicating my hurt feelings had set the tone of her future behavior toward me was a clear case of victim blaming.

I had clearly understood the message it was meant to convey: it was meant to remind me of my inferiority and to put me in my “proper” place in her household.

No one in the group came to my defense.

A few hours later, another member responded to my comment with a laughing emoji before proceeding to call my essay “a so-called article.” He said that none of the behaviors I had described in my essay were racist or demeaning: to him, my landlady was just enforcing house rules, and that if she hadn’t done and said these things I mentioned in my piece, I would have failed to keep her house tidy and bright. I don’t know how walking her dog, staying silent when my bathroom door was locked or when my food containers were hidden in a coat closet, or “smiling more” for her whenever I cleaned her kitchen had anything to do with keeping her house tidy and bright. His comment made absolutely no sense: it was clearly meant to belittle my hurt and to cast me as hysterical and unjust in my anger.

I am still trying to understand why these young people were so eager to justify my landlady’s behavior, even going as far as saying that she had behaved fairly toward me. It made me wonder about the kind of abuse they were willing to put up with as new immigrants to New Zealand (since many of the group’s members came to the country as teenagers or young adults), if indeed they found her behavior acceptable.

It didn’t help that a female member expressed sympathy at first in response to my essay, before going on to say, “I know Filipinos who experienced the same with fellow Filipinos too, which just goes to show that this kind of behavior isn’t isolated to any particular group. This doesn’t change that New Zealand is a very welcoming place.” She was condoning my landlady’s racism, implying that because I pointed out how racially charged my landlady’s bullying was, I was singling out white people as abusers while disregarding the nonracist abuse taking place within other ethnic groups. (In other words, if others are doing it toward their own kind, then why call it racist?)

This, of course, ignores the fact that racism isn’t merely a direct attack against another race but a set of institutionalized privileges that are given to one or several ethnic groups to dominate and oppress others. To understand how racism operates in white settler societies such as New Zealand, we must recognize the privileges that white people possess as a consequence of European colonialism and the subjugation of non-Europeans. Though many claim colonialism is a thing of the past, its legacy persists: my landlady possessed immense power in our relationship as a result of her white privilege, and because I was new in the country, and a person of color, she exploited her power over me to belittle me, often with racial slurs, and to bully me. This I tried to explain to the girl, who seemed to have no notion of what white privilege was, and whose understanding of racism was flimsy at best. She did not respond, leaving her boyfriend to defend her honor, and her ignorance, on her behalf.

When I reached out to the association’s president, bringing to his attention the abuse I was beginning to receive, he curtly told me that “he’d deal with it later” before falling silent. This baffled me, considering how he often positioned himself—quite aggressively, too—as an “activist” leader in his posts and in meetings. Due to his claims of being enlightened and woke, I assumed he would see the bullying and tone policing for what it was. But a few weeks later, I received an email from the group’s leadership ordering me to unblock the two young men (which I did to protect myself) so that they could comment on my piece again. If we were to take out the phrase “so-called” from one of their comments, the officers of the group said, the comments of these two men were “well thought-out, reasonable, and objective.” In the interest of allowing a free exchange of ideas, according to them, it was not right for me to block these members from airing contrary opinions to mine. Thus, in the interest of free speech, I had to permit those who had told me that my story was illegitimate, and who had resorted to illogicalities and victim-blaming to justify my landlady’s abuse, to exercise their free speech—even as it delegitimized, and therefore took away, my voice. They ended the email by saying, “None of you are completely at fault,” as though to absolve us of a crime we all shared.

When I reached out to the association’s president, bringing to his attention the abuse I was beginning to receive, he curtly told me that “he’d deal with it later” before falling silent.

I am still at a loss as to how our leaders came to the conclusion that these comments were “well thought-out, reasonable, and objective.” These two young men had obviously not given much thought to their comments, or to the prejudices inherent in them. Is it thoughtful, reasonable, or objective to call my landlady’s request for me to walk her dog “necessary to keep her house clean and bright”? Is one being objective when one consents to or defends what is clearly abuse? Or does “objectivity” mean a refusal to see the power structures inherent in racial abuse in order to humanize the abuser and “balance out one’s judgment” of the situation?

Perhaps these Filipino student leaders truly believe that allowing racism to persist, even when it is leveled against us, is to take an objective view of the situation by ignoring our feelings of hurt—by becoming “unfeeling,” in other words—even when we experience it first-hand. Perhaps these young Filipino leaders see nothing inherently wrong in these unequal relationships, having accepted them as the natural order of things. The comments our leaders called “well-thought out, reasonable, and objective” were accepting, and even protective, of our inferior place in New Zealand society. If I understood them right, what these commenters hoped to say was that we deserve to be treated poorly by white people. If the leaders of our group had no strong objections to what these two young men told me, it appears to me that they, too, have internalized the kind of racism leveled at me by my landlady, to the point that they have accepted her abuse as a fair and reasonable occurrence, enabling it by consenting to the silencing of my voice.

To survive, we have learned to disregard our anger, to accept our lower place in colonial society, and to make ourselves small and unthreatening to our white masters.

Denying one’s experiences of racism, and tone policing one’s compatriots who choose to speak against it, is a habit Filipinos have developed from over three hundred years of colonization. To survive, we have learned to disregard our anger, to accept our lower place in colonial society, and to make ourselves small and unthreatening to our white masters. It’s a habit that we carry with us when we move to Western countries. We deny our own experiences of discrimination and gaslight ourselves into disbelieving the facts of our oppression in our efforts to be respectable, uncomplaining, and grateful in the eyes of white people. We think that this will help us survive, when it only results in our erasure, in our disempowerment.

But I will not allow myself to be silenced by my own countrymen. I choose to give voice to my anger, to resist erasure.

Top photo by Helena Lopes on Pexels

“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.

Utilizing Anger in the #SelfCare Communities

The first time I remember seeing Audre Lorde’s proclamation that caring for herself was an act of political warfare widely circulate on social media was during the Women’s March of 2017.

That January, millions of women lined city streets in protest of the inauguration of Donald Trump. I imagine that their chants were the same I heard standing outside of Trump Towers after the presidential election of 2016, such as the declaration Trump was not my president and the proclamation that love trumps hate.

I say “imagine” because I did not attend that Women’s March (or its sequel in 2018). Instead I watched in awestruck rage as pictures and video clips appeared on social media of white women wearing pink, laden with signs expressing their fury. This is what solidarity looks like, I saw captioned beneath one image, and I resisted the urge to comment with the correction: No. This is what it looks like when white women feel their power threatened.

Many of these women had been silent in the wake of the state-sanctioned murders of Black folks and even critical of Black liberation protests. The centering of vaginas as an indicator of womanhood by march attendees showed a continued lack of interest in the lives of trans people. Nonetheless, solidarity was demanded and expected from those of us with aspects of our identities that were being minimalized, erased, and silenced.

Solidarity was demanded and expected from those of us with aspects of our identities that were being minimalized, erased, and silenced.

On Twitter, I watched as Lorde’s words reverberated among Black women reminding each other not to feel guilty for not participating in the Women’s March. These were affirmations of the disappointment I felt that while 53 percent of white women voted a white supremacist into the presidency, a decent portion of the other half revealed that they would only show up in defense of their own interests. That day, I learned caring for myself meant embracing my anger.

***

Since the election of 2016, the market for self-care has grown rapidly. Beneath its hashtag one can find lifestyle brands, witches proposing group hexes on the likes of Trump and Brett Kavanaugh, pictures of matcha lattes, herbal tonics, crystals, tarot cards, and astrology charts (the latter two being my most-used mediums).

That day, I learned caring for myself meant embracing my anger.

As writers Jordan Kisner and Anna North have pointed out, the ideology that investing in one’s wellbeing is political is rooted in Lorde’s A Burst of Light: Living with Cancer. Through diary entries Lorde examines survival within a racist, homophobic, and sexist healthcare system, as well as the importance of finding joy and her commitment to connecting with Black women and people of color around the world.

Much of the growing wellness industry (worth billions) markets products to upper-middle-class white women who stripped Lorde’s quote of its true context and ignored her emphasis on community in favor of prioritizing individual comfort. Following this logic, women are encouraged to focus on what makes them feel good and cut out what and who makes them feel bad—meaning anything that causes discomfort. This offers justification for not confronting the racism, misogyny, and homophobia Lorde was interrogating.

Women are encouraged to… cut out what and who makes them feel bad—meaning anything that causes discomfort. This offers justification for not confronting racism, misogyny, and homophobia.

In this binary, emotional experiences can be defined as negative and positive (with anger often falling on the negative end of the spectrum). It is up to the individual person to take accountability for their undesirable feelings, which can be conquered if that person invests enough money in the right tools and practices. However, one does not have to acknowledge the benefits many reap from structural oppressions, because one of the great tricks of capitalism is spotlighting personal responsibility.

***

Beyond the dominating images of carefree people of privilege associated with #selfcare, I was able to discover communities of people of who, like me, hold an interest in magic and wellness practices yet also recognize the reality of the world we inhabit. Within these circles there is the acceptance that an exclusively positive perspective is unrealistic when honoring the full range of emotions one’s body endures, especially when challenging outdated frameworks. There is discussion around accessibility to self-care products for low-income people. There is no secret to success for marginalized people whose existences are inherently in opposition to systems built on whiteness and cishet normativity.

What if anger were thought of not as a challenge to care, or even as a byproduct of unfortunate circumstances, but as necessary for growth and change?

Yet even in the most progressive spaces, where anger is perceived to be natural and inescapable, it is also understood as a sentiment that one must ultimately move past in healing in order to achieve the ever-elusive inner peace. But what if anger were thought of not as a challenge to care, or even as a byproduct of unfortunate circumstances, but as necessary for growth and change? And what if the tools we purchased to foster feeling good could also hold space for our anger, highlighting the ways in which we could aim it constructively?

Accepting the aggravation I felt over the Women’s March was critical to the welfare of my being, because it allowed me to look more critically at the relationship of power between white women and Black and Brown women. Unpacking the whitewashing of Audre Lorde’s work assisted with diminishing the final remnants still seeded in my mind that I just needed to think more positively to dispel the negative energy that was blocking me from success.

Anger is not born just out of fear and sadness. It is aligned with joy and love. I am angry in defense of what I care for, and that includes myself.

I do not want to evolve past anger. I want to keep it close, as it reminds me of the work that needs to be done. I step into it fully, because anger is not born just out of fear and sadness. It is aligned with joy and love.

I am angry in defense of what I care for, and that includes myself.

Top photo by nappy on Pexels

“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.