Mason J.

Poems

For the cunts that no cat-caller could colonize.
— Mason J.

villanelle for the violence trans people are supposed to accept

trans bodies huddled around a trough
filling up on rancid media representation
presented as something other than slop
artfully asked to take what we can get
injection, integration, ablation, and castration
trans bodies huddled around a trough
misgendering morsels served on both ally and bigots stale baguette
eating piled plate upon plate of political purgations
presented as something other than slop
patiently waiting for butchers who expect us not to inspect
swill and corn-fed assimilation
trans bodies huddled around a trough
are they ready to slaughter yet?
do they fear starvation?
presented as something other than slop
mass media manipulated mindsets
meaty medical and mental misrepresentations
trans bodies huddled around a trough
presented as something other than slop


The best time to seed queer fruits is late August to late September

last fall I tended to the orchards in their cunt for ninety days
became a cyclone spreader of intimacy, drop spreading tool of passion
and together we tugged at the roots of one another
leaning against young trees of connection we lapped up juices
both mango lassi and fermented guava

the fire in us could've scorched the whole crop
but the mists of romance kept us cool
their watermelon mouth and my clementine stem arms
dripping nectar from ashy plum elbow to grapefruit nail lunula

a type of liberation that only comes from two queer brown-sugar bodies
meeting in the middle row to harvest
despite dysphoria, distress, and diasporic disasters
in spite of the floods that would soon split us like pomegranates.


On walking with women of color who stare at their feet when they’re alone

Head — For coupled decades in two separate centuries, I stood with a slouch
my hunched spine so calcified no amount of therapy or assistive devices could uncoil the outside world’s attempts at social wiring.
It took 25 years til biohacking helped me stand upright.
Though the truth is my bad posturing wasn’t easily corrected as it wasn’t birthed from genetics, accident, or degeneration my frame was bent from the injury of impersonating a woman.

Shoulders — This is for the bent bodies of women of color from mi peliroja prima to my Pepsi skinned Senegalese play sistas
for the cunts that no cat-caller could colonize
mamis who sleep in silk headscarves
mijitas with glowing Jesus portraits swirling above their beds
This is an ode to your orbital hips coiled hair full eyebrows and sideburns your bellies and thighs stretch marks and acne scars
tough girls who smell of gummy cherries, Henny, pink lotion [baby & hair], palo santo and sage it is for you my other selves my former selves I stand the tallest today
eyes alert, head high, and birdlike chest out
fists balled to slug and any man who dares to get too close to either of us.

Knees — For years I tried to find the balance between the two spirits in me but as tender souls tend to be I was fool hearted and the gaze of men was intense enough to fold me like a table napkin.
From the time I was old enough to lose my baby teeth men felt compelled to aggressively pursue me (though these days the concrete they used to corner me on now divides our masculinity) women with compulsions to scratch, rip, choke, and bite what they didn’t like
now clutch their purses when I am within eyesight.
The round the way downtown girls who jumped me in playgrounds and at bus stops want me to be their token queer friend because I am no longer one of them.
A reverse eunuch, I am the self-exiled, dearly departed female secessionist; a chaotic gender neutral —- everyone you want to go to brunch with
but no one you want to see on the street alone at night.

Toes — Today I am following whom I believe to be the first man to ever try to put his hands on me without my consent
the only weapon I am armed with is a camera so I aim the barrel at him
pausing only to notice how he is slouching
in a cruel twist of fate, I am the one with power and no longer a hunched over
this time it is he who forced to smile and I will not let him go without a fight.


Mason J.

Mason J. is an Artist, Oral Historian, and Activist, inspired by life as a born raised and displaced AfroLatinx San Francisco Local, Sick/Disabled Queer, Intersex, and Trans advocate. Their photos, poetry, and social commentary on Sexuality, Gender, Ableism, Race, Sex Work, and Housing Rights have been published in many a zine, all around the internet, and in print. When they are not creating or lobbing sharp commentary on social media they can be found, waiting in line at a taqueria, coating a pained limb in salve, or hogging the pinball machine at a dive bar.

Firas Nasr
She Hate Me

by Kiesh

Because I love pussy, too.
— She Hate Me

“Because I love pussy, too.” The words still ring in my head as if they are new. From her lips. To his ears. Right down my spine. Shot through my fifteen year old piercing eyes. I watched, clinging onto every word she spoke after that. Clinging onto the way she held her woman’s waist. Clung to how she called her woman hers.

I felt seen. I felt seen. I felt seen.

While I hid my eyes from the room I was in. I felt excited. As I sat there motionless. Still. Static. I would shock my system. And laughed off the film. As we do.

Graphic inspired by the She Hate Me movie poster, by Kiesh.

Graphic inspired by the Spike Lee film She Hate Me, by Kiesh.


Kiesh

Kiesh is a conceptual artist, currently based in the music industry. Her work centers around black and queer experiences, highlighting the nuances of queer black lives and culture. Kiesh is a visual artist, focusing on graphic work and drawing, with a career as a content producer at Columbia Records working across their roster from John Legend to Rosalía.

Website: http://kiesh.work
Instagram: @kiesh.work

Dear Queer Dancer

By Sarah Taborga

Taborga’s latest work, Dear Queer Dancer, is best described as the Anthony Bourdain of queer dance. The documentary series journeys with Sarah as she learns from renowned queer dancers around the world to learn how to move toward liberation.


Sarah Taborga

Sarah Taborga is an expansive, gay filmmaker who makes art to be of service. As a Boliviana from the Bay, Taborga centers her storytelling on Latinx culture and queer possibility.

Film/VideoFiras Nasr
Westchester Drag
 

By Sofie Vasquez

Westchester Drag is a documentary black and white photo series about the drag renaissance happening in the cities of Yonkers and Mount Vernon in Westchester County, New York.

The town of Westchester is traditionally characterized as a conservative, upper-class county and this erases the prominent queer POC presence, especially in the cities of Yonkers and Mount Vernon where the Mexican-Cuban restaurant Guapos and Brazilian-Venezuelan restaurant The Alamo hosts weekly/bi-weekly drag shows - a first for Westchester as visibility for the queer community continues to emerge from the shadows.


Sofie Vasquez

Sofie Vasquez (b. 1998) is an Ecuadorian-American documentary photographer born and raised in The Bronx, New York. Her artwork explores the mediums of photography, filmmaking, and journalism with a focus on expressing narratives about identity, community, and culture. Her work has been featured in The New York Times and exhibited at the Bronx Museum of the Arts, the Bronx Documentary Center, and the Ecuadorian-American Cultural Center in Queens, New York. She is currently a fellow at the International Center of Photography.

 
PhotographyFiras Nasr
and i tell them how, when watered by blood, flowers will grow facing two things: the moon & a soft rebellion

By Quinn Edlin

you see yourself against her eyes, glazed and sleepless
the first mirror you’ve looked in
since the sun fell from your sky & the ground turned parched beneath
the contorted souls of your feet

it is ninety seven degrees outside,
she wipes sweat balloons clean from off your upper lip

kisses the pad of her thumb like your perspiration
resting between the prints of her finger
read the lines
to
her new favorite poem, or
the lyrics to a gospel song.

and you have never been reaped from the land of your own making
unearthed & carried home like this

how does she consider you something worth praying to?

she tells you that you are what sings beneath
unruffled soil
& what nestles in the arms of a bright moon

that
there is something to be said for a
body torn by its
own war
stitching itself back together with barbed wire

for hair
finally growing between brows
again
like bean sprouts among pummeled land

that
what you call
a lonely desert of too much quiet
carried by rageful wind

can sing
& you were a pool of melted, melted, melted
for ages

until you let


lightning grapple with your pupils
and win; thunder hiss in your ear, a hiss drenched in syrup
asks if you remember what it shook into you
everything true and
earlier, mighty hard to hold onto; said:

your tongue is a veined clay pathway at midnight,
watch as stars and dead hummingbirds
dance upon your tired
teeth

turn your waistline a bent tree branch
& sink into
yourself
frightening and earnest

rattlesnake fangs may seek comfort among your
barked torso
let them sink
into
you
carry heavy venom with a shy wickedness
and feel pretty with it

tie antelope intestines around tattered curls
& when malevolent mouths yearn for a halo of raw meat,
call intestines
just
pink silk ribbons

be blood cozy at the edge of a dull knife,
be the blood, honey and salted and stained

kiss the blade
leave your pools of melted metal sword
amid shaken dust
and dance to the orchestra of
grinding molars and wild, unbeaten skin.

and in the frenzy of this thing she calls
a ceremony
she reminds you

that there is something to be said for desolate land
quenched by a gentle carnage

how unexpected, that she be the lighting and the thunder,
& i be the desert and blooming again

Quinn Edlin

Quinn Edlin is a poet from Berkeley, California. At the age of fifteen, Quinn began writing with Youth Speaks, an organization that supports her in cultivating her essence as a writer and performer. She is a finalist of the Youth Speaks Teen Poetry Slam. She has performed in the Sydney Goldstein theatre for Youth Speaks’ 'Bring the Noise for Martin Luther King' show, along with other performances at venues including the Masonic. Quinn teaches weekly workshops in her High school's Spoken Word Club. Quinn roots her work in the revolution of the Queer and Black/Brown body, and the world surrounding it. She cherishes the impact of art that serves to create community, whilst simultaneously allowing for introspection.