Showing posts with label women. Show all posts
Showing posts with label women. Show all posts

Saturday, August 11, 2012

Stepping Baldacious to Snagglepuss



As I descend my steps, I suspect that's Snagglepuss entering the bodega, but I choose to head there now anyway. Before my diagnosis, not only would I have waited him out, I would have done so in the house, afraid that he might spot me the front porch and start his bullshit. Today I start something in the hopes of finishing it.

Snagglepuss is my primary harasser. I presume all who present female have at least one. His street name is Pooh. I don’t know what his mother named him, but in this neighborhood, his government name just might be Pooh, too.

His MO is to tell me I look good, that he loves me, and that he would marry (at least he knows damn well better than to propose.) Relentlessly. He insists that we went to school together. Chemo brain or not, I know homeboy didn’t go to school. Snags doesn’t even know my name. It’s, “Miss, miss… yo, I’d marry you.”  Eventually, he will yell, “You don’t have to say hi to me, but I’m never gonna stop trying to talk to you.”

And that’s a frightening thing to hear from a man who knows where you live.

As I sit on my porch typing this minutes after our encounter, Snagglepuss is walking out of the bodega back towards the Laundromat. In his red fisherman’s cap, red and white striped button-down shirt and red t-shirt, he’s like Radio Raheim had been styled by Garanimals.




Even though I walked into the bodega knowing that he was there, I find myself hoping he won’t notice me. I consider slipping out and coming back.

But then the kid that works there – a young guy in his early twenties who has a crush on me but engages me with politeness and respect – finally comments on my hair. Or more accurately my lack thereof.

“You look different.” Thinking that the baldness couldn’t be new to him since it’s been three weeks since the Big Buzz, I give him a quizzical look. After all, I am one of those chicks who runs to the store in chancl’as and sleepwear. Then Youngblood gestures towards his own cornrows, and I realize that he’s referring to my shaved head.

Before I can say a word, Snagglepuss turns. His eyes widen as he takes in my baldness and recognizes me. “You still look good!”

I ignore him and say to Youngblood, “Oh, it’s been like this for a few weeks now.” Instantaneously knowing and no longer caring that this will probably make me fodder for neighborhood gossip – especially among those who presumed that I lobbed off eight inches of thick curly hair to get my Amber Rose on – I add, “It was going to fall out anyway because I’m being treated for cancer right now so I decided to shave it off first.”

Even though I say this with a huge and genuine smile on my face, homeboy cringes. “I’m sorry.”

I got to give him credit for consistency. This news doesn’t faze Snagglepuss one bit. “So you do talk,” he says, boring his eyes into my profile. “I’d still marry you though.” 

Operation Ignore continues unabated. “My dad did, too,” I tell Youngblood, trying to chip away at that unnecessary look of pity on his face. “He took me to his barbershop.” Now dude is really cringing, and I want to snap at him to knock it off. Instead I grin on. “It was fun!” At this point, I probably don’t sound so convincing even though that experience was one of the most affirming I ever had in a male-dominated space.



“Why you don’t talk to me?” says Snags. “I be nice to you.”

So now the man has to pay for Youngblood’s well-intended but unwanted pity and his own imposition. “No, you’re not nice to me. Telling me good morning and keepin’ it moving is nice. Chasing after me down the block hollering that you love me and want to marry me when I’ve told you that I don’t like it is disrespectful.”

“OK,” he says with eyes like a remorseful child. Something in me yields ever so slightly. “I’m sorry. You forgive me?”

But I remember that we’ve been here before, and nothing changed.  “You and I have had this conversation before, but you don’t listen to me,” I remind him. “That’s why I don’t talk to you.” The bodegüero looks at me as if to say Give me your order, nena, so I can get you outta here.Un cafecito regular, por favor.”  He hustles behind the counter to the coffeemaker.

 “I’m sorry,” Snagglepuss repeats. “You forgive me?”

And I do want to forgive him. A major strategy in my journey back to wellness from breast cancer has been practicing forgiveness. One indicator of my healing has been the way men have responded to my baldness.  At Junco’s barbershop under my father’s protective and loving eye, my barber Richie and most of the other male employees and patrons held the space while I gave up one of society’s most cherished symbols of femininity. Now as I walk down the street, men compliment me with nothing but appreciation and respect. No sleazy undertone beneath their remarks, no dissecting the rest of my body with their tongues, no invasion of my personal space.  They say, “I like that look” for no other reason than to gift me that affirmation.

Oh, some men still harass me, proving the biggest lesson of this chapter of my life: cancer both changes everything and nothing. The power dynamics of the pavement remain the same. The men who articulate their awareness of me in a way that makes me feel safe make the choice to do so, and that is why to some degree I feel compelled to call it a gift. They decide to not harass me.

By the same token, I have found – no… recovered - and seized whatever agency I do possess on that unlevel playing field that is the street, and that more often than not has altered the potential scenario.  By choosing to walk these blocks literally stepping unapologetically into my proactive baldness, I say I’m more beautiful and stronger than ever. I dare you to talk sideways to me. I’m kicking cancer’s ass, and yours can be next.  Therefore, I’m radiating something that the men who compliment me merely choose to mirror back to me. To that extent, they aren’t giving me anything as much as they're reflecting what I have given myself. 



Please know that I have not lost sight that there are people out there who make other choices at the sight of a bald woman. Hurtful even violent choices. I do not mean to say that those they violate are somehow responsible for those transgressions and crimes. I do mean to acknowledge that I am not the first, the most vulnerable or even the bravest in the risk to be this authentic.  Empowerment – especially of one’s self – always entails risk.  As long as we live in a world where domination is normalized be it personal or political, authenticity will always necessitate risk. If anything, stepping baldacious is a choice that I can make, in part, because others have blazed a trail for me so that I can follow a road that is less treacherous. The only credit I can take is the choice to take that road.

“You accept my apology?” presses Snagglespuss.

And because cancer changes everything and nothing, I lay down the rules of engagement. I may be bald and have only one natural breast, but I neither want nor need Snags' validation. “You want me to forgive you? Don’t just tell me your sorry,” I say as I slide my change across the counter and take my coffee. “Show me by the way you talk to me. If you see me and tell me good morning, I’ll be nice back and say good morning, too. I’ve got no problem being neighborly witchu. But if you start with the BS about how much you love me and want to marry and are never going to stop harassing me, it’s gonna be a wrap.”

I punctuate that by slashing my hand across my throat. I don’t know what that means myself. I can’t stop Snagglepuss from saying things to me on the street, and now he knows that I’m being treated for breast cancer. That information in his hands can either shield or backfire on me. But in a way, how he handles my truth isn’t really my business.  I have a new truth now: I’m no longer going to be dipping behind cars and waiting on my gated porch to do me because he’s ambling down the avenue.

“OK. I’m sorry. Have a nice day.”

“You, too.”

In the past, I have willed myself to feel compassion towards Pooh with rare success. Now that I have set boundaries with him, it comes easy. It even feels a little like love. My more compassionate suspicions about him move from the back of my mind to the front of my heart. He’s probably struggling with some kind of mental illness. You don’t see him for stretches at a time because he’s in and out of institutions of some kind. Pooh really doesn’t mean any harm.   

Does this mean that I don’t expect him to completely forget or ignore our conversation and act the same way the next time we run into each other? Not at all. But I pray that the power I feel now is still with me whether I’m bald or not. Even more so, I hope that should I need to reinforce my boundary, I can do so with the newfound compassion I have now as well. It is so human to desire visibility without becoming a target.   





Saturday, July 28, 2012

The Universe’s Response to My Resentment: A Meditation on the Realization Mosquita y Mari


Many believe that communities who are mis- and/or underrepresented across media should support financially any and all content by our kin even if they consist the same problematic depictions peddled by those outside of our communities.

Yeah, I’m not feeling that, but that’s not what this blog really is about.

I have spoken to this time and again and probably will continue to reiterate why I don’t believe that a rising tide lifts all boats and that it’s actually harmful to not challenge stereotypical and other simplistic representations simply because they are made by one of “us” rather than one of “them.” At one point, I certainly would like to elaborate on how we should handle these conversations so that they’re constructive. That first entails, however, that I push myself further on how to critique with compassion.

And that’s what this blog is partly about.

It’s in part about the spiritual downside of having the necessary gift of a critical mind. Necessary meaning that every one can and should cultivate the ability to question reflexively and liberally use it. Gift ‘cause your girl here is a natural.

Today’s confession is about my resentment toward people in my industries who prosper, I believe, without accountability for the images they produce, their intentions for producing them or their unwillingness to use their success regardless of intentions to create opportunities for others. You know, expecting your people to show up for you when you’ve got something to sell but missing them when you have a chance to pay it forward. I grapple with this *Eddie Murphy-as-Dexter St. Jock’s voice* cohn-stahnt-lee.

On the one hand, I do harbor a sense of righteousness that shit‘s awry when so many people committed to both creating the transformative images our communities need to see en masse and radically altering the way they do it so that the creative process shifts away from the reinforcing hierarchy, scarcity, competition and other facets of oppressive individualism and toward a praxis recognizing abundance, community and other liberatory principles struggle to produce and distribute their content. You know, priding myself on being one of ‘em and all. I very much cling to this righteousness and, yes, entitlement because dammit, I know I’m on the side of justice here.  Full awareness that my ego is the culprit behind these thoughts and feelings and that attempting to reframe my perception might make them dissipate rarely eradicates them. Honestly, I don’t want to be completely free of them because they fuel me in very good ways even with the troubling side effects.

[Sidebar: this isn’t about knocking anyone else’s hustle. This is about unapologetically knocking someone’s privilege as well as the willful blindness to it. Let’s settle this now: hustle and privilege can co-exist so perfectly – especially in the worlds of media - that the latter often shadows the other in an alignment so precise it can remain undetected by even the most discerning.]

One the other hand, I don’t like this propensity to judge people I don’t know and content I have yet to see.  People are complex, and I damn well wouldn’t like assumptions about my intentions even if I do expect it and actually welcome gut-checks based on my track record, especially in those instances where I might have failed to walk my talk. I know that as I’m pointing one finger at someone else, there are four pointing right back at me, and that even if my suspicions and critiques are one hunnid, the fact that I need to make them says some things about me that are not so endearing that I could stand to spend more time examining and addressing.

The latest trigger occurred this past Friday when I discovered that a team of male filmmakers was launching a project to tell women’s stories yet did not feel any obligation to hire women to write or direct any of them. Yes, I’m being purposefully vague, and it’s not so much about not giving the project attention as much as tempering my very tendency to criticize since ironically that is partially what this post is about. It certainly was more that the mere concept that got me bent, but to delve into that would be more of the same that I’m trying to release and doesn’t contribute to my ultimate point.

After some offline commiseration with a few sisters who shared my thoughts and feelings, I knew that it did not matter if I believed I was right (and * Oprah-as-Sophia-voice * God knows I do.) Being right offered limited service. I scoured my email to a link to a video by Marie Forleo that I return to time and again when I find myself in this space.


Even though I know instinctually that resentment more accurately captures what I feel than jealousy, Marie’s advice was spot on (as it consistently is.) I took a moment to actually follow it before retiring Friday night, and that’s why I’m able to be so transparent and accepting of my vices this morning. 

But the real magic – the one that inspired me to right this blog – occurred this morning.

Next week is the New York City premiere of Mosquita y Mari, the feature debut of writer/director Aurora Guerrero.  Aurora is a friend so I know that she is at once gifted and a gift. I have and continue to bare witness to the ways in which she is devoted to not only creating transformative images of Latinas in film but also transforming the ways that film is made away from top-down to all-together. A prime example was her successful Kickstarer campaign where in multiple ways the MyM team took crowd-funding to the next level: community-building. 

Rather than attempt to elaborate on this, I urge all of you to read Aurora’s own words in interviews or, even better, experience her speaking in person. (If you’re in New York City on Thursday, August 2nd, she will talk about her campaign at La Casa Azul Bookstore in East Harlem. (Don’t worry if you’re nowhere near the Big Apple. I will be live tweeting Aurora’s talk using the hashtag #MyM.) Then go see Mosquita y Mari that same weekend and spread the word rest assured that you’re not just supporting a Latina filmmaker only because she’s Latina. You would also be supporting a quality project that deserves the price of your movie ticket and Milk Duds and signaling to the gatekeepers, “Fuck a insert the name of the Latino film that makes you cringe most rah 
here, I wanna see more of this kind of visual storytelling.”




Then a divine thing happened as I set about to complete my day’s tasks, one of which was to spread the word about Mosquita y Mari. I inadvertently came across the New York Time’s preview of the film, and to the right saw that it was playing at my neighborhood theater. My heart filled with so much joy that I began to cry. One of my dreams is to see quality films both by and about people of color – the Mosquita y Maris, the Girlfights, the Raising Victor Vargases, the Love and Basketballs, the Saving Graces, etc. – play in independently owned theaters located in the communities that most need to see them instead of being confined to the expensive, downtown art houses for elite audiences.  I don’t know if this is a dream that I was destined to manifest (surely I would need to do it in collaboration with others), but to see it realized in this small way felt like the universe hugged me and whispered in my ear, “You take small, consistent steps towards your dreams like Aurora did, and I’ve got your back.” How odd to think now as I write this that even though my childlike anticipation of the release of Mosquita y Mari has put Aurora and her accomplishment at the front of my mind, neither occurred to me at all when I was fuming over this male-dominated “women’s” project. Hell, I was having such a hard time refocusing on my own game, I never glanced at her lane.

This experience also reminded me that, no, there’s no unrepentantly mean-spirited hater lurking beneath my critical faculties for I’m reveling in and being inspired by not only what Aurora has achieved but also the way she stayed true to herself and her multiple tribes in achieving it.  Si, se puede. She did. I can do it, too, regardless of what anybody else is or is not doing that I might support or suspect.

Now here’s the kicker and where I fully put myself on blast. It turns out that what I saw was not what I thought I saw. When I rushed to inform Aurora that Mosquita y Mari was playing in my ‘hood, she had to break to me that it had to be some mistake because she only knew it was screening at Cinema Village. Sure enough, when I investigated it, I had made the mistake of assuming that “playing near you” was associated with the preview I found. In reality, no matter what film-associated article I’m viewing at newyorktimes.com, that window will display the titles, locations and showtimes of any and all movies playing near the zip code listed under my account.

Alas, I still have to travel downtown (happily) to see Mosquita y Mari next weekend, but the message and elation of that misperception persist. In fact, the sensation is so resounding, it may be incorrect to label it a misperception. I saw what I needed to see – the possibility of a dream come true – when I was having serious doubts that the universe supports people with visions like mine. Even if the industry is populated with people whose motivations and actions I question, the universe is a friendly place. All it takes to see it is to revert my attention from their actions back to my own mission.



Wednesday, February 09, 2011

Better Than Shoes: A New "Chica Lit" Writing Workshop




Love novels like Dirty Girls Social Club, Bridget Jones’ Diary, The Devil Wears Prada and Waiting to Exhale? Have an idea for a novel of your own? Want a supportive writing community led by an author who has actually written and published “chica lit” with major publishing houses?

This 8-week course is for you! Join me and other aspiring Latina writers and begin your journey toward getting that novel out of your head and onto the page. By doing fun writing exercises, reading excerpts from some of the genre’s best and getting supportive feedback, you will learn how to develop interesting characters and entertaining plot lines, all without having to leave your latinadad at the door. And isn't that far more important than a fabulous yet expensive pair of shoes?

By the end of this workshop, you will have major character sketches, a complete outline for your story, and both inspiration and strategies to keep you writing that first draft to the last page.

What: Better Than Shoes: A Chica Lit Writing Workshop with
Who: Sofia Quintero, author of Divas Don't Yield and more
When: Thursdays, 6:30 to 8:30 pm from April 14 - June 2, 2011 (8 weeks)
Where: Latino Experimental Fantastic Theater at the Clemente Soto Velez Center, 107 Suffolk Street, Lower East Side, New York City, 10002
Cost: $250

If you want more details you can email thefelttheater at yahoo dot com or therealblackartemis at yahoo dot com. You can also call LEFT at 212-288-3705.

Tuesday, January 04, 2011

Seshat Writing Intensive February 2011




Are you a woman who has resolved to finish a manuscript in 2011? Then this is the workshop for you. As an author who has published five novels and over a dozen novellas and short stories with practically every major house in the industry, I want to help women find their voices and tell their stories. On this all-day event, I will lead you through exercises where you will:

1. Set realistic goals for moving forward your project.
2. Identify potential blocks and strategies to overcome them.
3. Create a specialized action plan for the rest of the year.

Most of all, we will WRITE. This intensive is open to all genres and crafts e.g. memoir, fiction, screenplays, poetry, etc. At this time, it is only open to women and that includes our trans sisters.

The workshop takes place on Saturday, February 19, 2011 from 10 AM - 6 PM. Because I want to be able to devote time to each participant, space is limited to only TEN women and slots are filling quickly. The registration fee is $250.00 which must be paid in full by February 11th. Installment plans are available so do inquire. Those who are registered will receive a coaching questionnaire, the address of our meeting place and other details. Because of the intensive and personalized nature of this workshop, there will be no drop-in or on-site registration available. In order to serve you best, I require time to assess your needs and design a program that speaks to them.

Please share this invitation with others who may find it of interest. More details to follow. If you have any other questions, do not hesitate to email me at therealblackartemis_at_yahoodotcom.

Oh, and who is in that gorgeous photo? That is Seshat after whom I named this event. She is the Egyptian goddess of writing. After this intensive, you, too, will be on your way to being one, too.

Wednesday, May 07, 2008

WAM! Using Hip Hop Fiction to Incite Social Change


Watch activists and novelists E-Fierce, Jlove and myself as well as social justice educator Marcella Runell Hall as we present our groudbreaking curriculum Conscious Women Rock the Page: Using Hip Hop Fiction to Incite Social Change which is the bridge between the world of Hip Hop fiction and education for social change.

During our session at the Women, Action & Media Conference this March, we introduced attendees to the upsurge of feminist popular fiction utilizing hip hop subculture to raise substantive issues including race, class, gender, sexual orientation and culture. We read brief excerpts of our works, co-facilitate a sample activity from the curriculum and discussed how participants can exploit popular fiction to raise consciousness and promote activism, especially among young women who may not identify as either feminists or activists.
This is the first of two videos. Want to see Part 2? Visit the Conscious Women Rock the Page Myspace blog at www.myspace.com/rockthepage. :)


Friday, June 15, 2007

Iridescence: Sensuous Shades of Lesbian Erotica - The Blog Tour


Five Questions from Jolie du Pre, editor of Iridescence: Sensuous Shades of Lesbian Erotica, for Sofia Quintero, author of On Her Terms.


1. Why do you write erotica?
Essentially, writing erotica is a liberating act for me on many levels. It so happens that I write in many genres, and yet I feel erotica is the one that I truly write for myself. The overwhelmingly majority of what I write I intend to publish in some format, and if for some reason I cannot publish something I've written, I feel terribly disappointed especially if the piece is fiction. The exception to this self-imposed pressure to publish, however, happens to be my own journal entries and my erotic short stories. I journal because it's healthy to have something that is all yours and that is not to be shared with anyone else.

I write erotica, however, because it's liberating to share things that we're socialized to keep to oneself or only intimates, especially sex since it's paradoxically ubiquitous and taboo. Creative writing allows me to explore places I haven't been and may not ever go in real life, and so writing erotic fiction is the ultimate freedom in creative expression. Finally, I'm an unapologetic feminist, and writing erotica satisfies my activist impulses to use storytelling to raise significant issues with respect to gender liberation.

2. What do you like best about lesbian erotica?
This is the first lesbian erotic story I've written although I do read lesbian erotica from time to time. There seems to be a unique sensuality that comes from two women giving each other pleasure that borders on revolutionary. That may seem like a romantic overstatement, but the argument can be made when we look at cases like the murder of Sakia Gunn. Two women who openly love each other in every way are a serious threat to the patriarchal status quo that seeks to oppress anyone who is not white, straight and male. That daring, that authenticity, that passion of lesbian sex is immensely beautiful and a powerful inspiration to anyone regardless of sexual orientation who has ever had their sexuality repressed or policed.

3. What is the theme of your story On Her Terms. in Iridescence:Sensuous Shades of Lesbian Erotica?
The theme of my story is authenticity. Using ..:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Hollywood as the backdrop, it explores the risks and rewards of being true to oneself. I work in the entertainment industry, and the paradox that persists with regards to lesbianism boggles my mind. On the one hand, what I call "thesbians" abound in the industry – fundamentally straight women who will have sexual interactions with other women for the entertainment of straight men. They know they're straight, they ultimately want men, and they know rare is the straight guy that is not turned on by watching two women getting it on.

On the other hand, in the same industry that rewards "thesbians," you have gay women who are afraid to come out. My colleagues and I often discuss the "open secret" phenomenon, where the men and women whom everyone in the industry knows are gay won't come out to the public at large out of fear that the revelation will bring their careers to an abrupt halt.

When writing On Her Terms. I imagined what would happen if an established yet closeted actress once known for her fearlessness but now sliding back into obscurity were to fall for a rising starlet who reminds her of how authentic she used to be. It's a romantic story with a bittersweet ending. It also speaks to the "isms" that abound in an industry that is perceived to be so liberal.

4. Name some other books where we can find your work.
Under the pen name Black Artemis, I wrote the hip hop novels Explicit Content, Picture Me Rollin' and Burn. For more short erotica, check out the anthology Juicy Mangos. Fans of chick lit should pick up my novel Divas Don't Yield and the anthologies Friday Night Chicas and Names I Call My Sister.

5. Just for fun! Gym Shoes or Stilettos?
Why choose when I can rock these:



This blog is part of the Iridescence Blog Tour. For the entire month of June, you can read the answer to these questions from other contributing authors of this amazing collection of erotic short stories including Jolie du Pre, Fionna Zedde and Rachel Kramer Bussel. To read an excerpt of my short story, click On Her Terms.

Thursday, May 17, 2007

Are You An African American Woman with a Latina Best Friend?

My production companhy Sister Outsider Entertainment is seeking best friends who fit the following criteria for a special video project:

* One of you is African American, Afro-Caribbean, etc. and the other is Latina.
* You're both activists.
* You're both feminists and not afraid to claim it!
* You're both hip hop headz. :)
* You're both available to be on location in New York City on Sunday, June 3rd (specific location and time TBD.)

Do you and your homegirl fit the bill? Then send us an email to info@sisteroutsider.biz telling us why you should be included in this project. Include your names, ages, and telephone #s and write HOMEGIRLS in the subject line. We're looking for women of all ages, sexual orientations, abilities, etc.
Thank you for spreading the word.