What is our responsibility as artists to reinvent or reimagine our world, our selves, our work in order to dismantle current systems and conventions and tastes that are at best, dated and stifling, and at worst a threat to real, lived lives? What role does re-imagination play in freedom?
Nothing I write can make a white, womyn-born-womyn accept a trans lesbian of color, nor force a bigoted family to offer a decent Christmas to their queer child. Nothing I write will stop the rage of a bully who thinks trans women like me should die. Nothing I write will block the bullets flying in an Orlando nightclub. My best writing can’t even stop a Texas school from keeping a child out of the bathroom.
At this point, I am so tempted to protest, “until it does.”
the times cut their tails & will you recognize the sky when your eyes are closed
all of our ancestor’s/memories have already/been tattooed in our DNA/like the want for water,/the desire for a future/we are afraid to experience
Parallel Stress by Karrie Higgins & Alan Murdock, director of photography & audio engineering assistant CW: ableism, sexual abuse My Parallel Stress series began as a response to Dennis Oppenheim’s iconic 1970 performance by the same title. He stretched his body in plank position between two unfinished concrete walls, held it for ten minutes, and documented the position of …
i never knew /who i could be til i died for the thousandth time. /til i erased every word i wrote and killed the pen.
This is not cool but I’ll confess it: Sometimes, staring down these blank pages in my black skin, I’ve struggled to get loose, to get free. Because not only is my inner critic hovering from the first word, but so is an entire audience.
But representation is the crux of the problem. When a hearing person plays or writes a deaf story, chances are a deaf person isn’t represented at all—the hearing person’s conception of deafness is.