Grow your fingernails a cane, walk your feet into ’gators, gather the garden’s gravel. Read 13:55 Today 16:56 (1/2) Blame fame, Glad, or our mother, or someone else who never loved us. Did Ebony take you (2/2) *your pen? Make you swallow The Miracle, a lavender marriage dead like those hydrangeas. I was never a woman so how can you return us to one? marriage is nothing but another form of tucking. Tell me, has he smelt you fry domestic? Does he ask you to tie his tie? Doesn’t he know you are a top hat talent fat with buffet flats? Read 01:10 Jalynn Harris 113 Today 13:55 (1/2) I get tight at the stuck *title. I saw the headlines tangled in your wedding dress, those silk hydrangeas dead in your veil. Read 23:59 Yesterday 01:10 I can’t sleep. Our life is a grand piano played to get the job, but why in the hell are you burning my cummerbund? call me back. In1952,duringtheMcCarthyera,Bentley published an article in Ebony Magazine called “I Am a Woman Again,” in which he details his maternally neglectful childhood, denounces his trans-mansculine identity, and announces that a combination of hormone therapy and marriage has made him “a woman again.” This poem imagines Bentley using he/him pronouns as an act of reclaiming and reaffirming Bentley’s gender queerness and masculinity. Gladys Bentley Leaves Gladys Bentley on Read Jalynn Harris Author’s note: Gladys “Bobbie” Bentley was the top hat talent of the Harlem Renaissance’s “Jungle Alley.” Jungle Alley was the party-poppin’ block where Bentley notoriously brought down the queer speakeasy Clam House with covers of popularsongs. In lieu of an abstract, here is a brief excerpt of the content:ġ12 Feminist Studies 47, no.
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