The summer after her junior year of college, the author lived alone in a house of five, or she thought she did. This essay tells the story of discovering that somebody who did not belong in her house was there without her knowledge, and the lasting effect it has had on her sense of safety in her home. […]
“My Dead Darlings” is a creative nonfiction essay that focuses on the author’s personal connection to Ophelia from Shakespeare’s Hamlet and the Lisbon sisters from Jeffrey Eugenides’ The Virgin Suicides. The characters are used as conduit through which to explore the experiences of teenage girls. […]
This piece is about the author’s ongoing struggle with her decision to not press charges against her rapists. It also includes struggles she had with how her family and friends reacted to her victimhood and coping mechanisms. The author makes a subtle defense for her decision to cope. […]
The author recalls: “An older male friend told me once that if a woman was over 18, “she was up for grabs”. I thought he was just being facetious: most men have a sense of decorum. An eye-opening incident, may have proved my friend’s point.” […]
Deborah Taffa, a citizen of the Quechan (Yuma Indian) Nation, shares two personal essays. In Act 1, she tells the story of a Native woman who leaves her ancestral land and lands in Missouri, where a disappearing lake and the confusion of a binational marriage force her to examine the relationship between motherhood and community. In Act 2, she speaks of a daughter’s familial connections to the land. As she leaves her mother’s hospital bed, Taffa reflects on healing and prayer, her tribal myths, and the injustice of tourism in her homeland. […]
Teatro Luna is an ensemble of Latina/x femmes and Women of Color creating empowering theatre, media, and training for social impact. On the 18th of June, 2020, Julián Esteban Torres López spoke with three of these radical culture makers and got a glimpse into Teatro Luna’s history, evolution, values, and sisterhood: Christina Igaraividez, Alexandra Meda, and Liza Ann Acosta. Here’s the conversation. […]
Ra Avis joins Julián Esteban Torres López again, this time to discuss how people do not rehabilitate via isolation alone, her experience dealing with grief and trauma while incarcerated, and the shocking aspect of realizing that one of the only women-run societies in the world is a women’s prison, which was one aspect of incarceration that she found herself missing after she was out. […]
Lisa D. Gray, founder of Our Voices Our Stories SF, joins Julián Esteban Torres López to interrogate the white gaze of the publishing industry. They challenge its myths about Black and brown communities; call out its performative allyship; expose its diversity, equity, and inclusion problem; and hold it accountable. They also center, elevate, and amplify Black and other People of Color writers, especially women. […]
As we find ways to impact diversity and equity in publishing and writing and disrupt its “old boy” culture, one critical thing we can all do is buy and read books written by Black and other people of color. This list provides a starting point. It’s for readers searching for themselves on the page and ones who never encountered or meaningfully engaged with someone who doesn’t look like them or share their ethnic/cultural norms and values. These tomes, written by women of color, are ones that you need to read like yesterday. These books and the women who wrote them dare to push for space and give voice to the lives of Black and brown women on the page. Buy one today. […]
In a child’s game, roles and blame flip with little more than the pointing of a finger. Terminology emerges for experiences that couldn’t be acknowledged without words to label them; new legislation and culture changes follow. #MeToo. But even the most positive changes can be weaponized against those they were meant to protect. Beware the smiling woman. […]
A ride home from the nice guy at the bar transforms into being dragged into a bedroom, and the narrator struggles with her second experience of sexual assault. […]
“All My Safe Spaces Are Dead” is a look at the upheaval and restructuring of my sense of self. My sense of safety is a horizon I never seem to reach; a mirage that morphs into something new once I tear my gaze away from its lies. Yet I wake up every morning looking for it, craving it, being unable to live without it. This is my hunt for a place to call home. […]
While love seems to be the most common quality of a happy life, our first exposure to love starts in the home. These poems exemplify the influence parent-child relationships have on one’s experience of self-love and even romantic love. […]
“Tell Me If This Hurts” portrays the gruesome aftermath of a sexual assault. From being insulted by the police, re-living trauma during the rape kit, to finding out the offender was on the force: this story depicts the challenges and pains of being a rape survivor. […]
“All Woman” chronicles the impact of sexual harassment in adolescence through adulthood, and the altered perspective of the world it cultivates. The harassment, however, is portrayed as a reclaimed point of connection, however unfortunate, from which women can bond, heal, and become stronger from sharing experiences and supporting one another. […]
This piece clings to the life cycle of a flea to process a sexual assault. In comparing the five stages of a flea’s life to the events that occurred, this author attempts to find closure while addressing her nameless yet personally known perpetrator directly. […]
Two decades after a newlywed suggests divorce, she writes a letter to her ex-husband, both an apology and an explanation for what she couldn’t understand at the time. Their son is now the age she was on that fateful night, in a sweltering bedroom in her mother’s apartment, waiting for her husband to come home. […]
During a poetry open mic, Angelia Saplan explores the relentlessness of trauma and the elusiveness of the act of remembering. As she revisits her childhood sexual assault at the hands of a family member, she confronts its harrowing repercussions on her relationship with her mother — and herself. […]
When Brooke Randel wrote her grandma’s story, she never thought she’d have to read it to her too. Randel explores how writing about her grandma—a Holocaust survivor who never learned to read—helped patch the distance between them and bring a well-kept family secret out in the open. […]
Drawing on her experience of intimate partner abuse at 15, Zoë Brigley considers the possibility of sex after rape. Anne Carson’s assertion that Eros is “the biggest risk of your life” takes on a new meaning within legacies of trauma, and on a quest to rediscover desire and healing. […]
Filmmaker Colette Ghunim on her first feature-length documentary: “Traces of Home tells the story of what happens when we as first-generation Americans go back to our roots to find out how where we come from shapes our identity. Through Traces of Home, I am telling my own personal story. I’m half Mexican and half Palestinian and both my parents were forced to leave their homes as children, and they both never returned since then. So through my film, we’re going back to Mexico and Palestine to try to find the original houses and to talk about why people are leaving and immigrating and why refugees are leaving as well, during a time when we need to hear it the most.” […]
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