In the Scene: Chris L.Terry Writer of Black Card: A Novel

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“Us Black girls are here, where the **** are you?!” Was our first screaming cry into the universe, and then #BLKGRLSWURLD
ZINE was born. Six years later we are still making zines, but we have also had the opportunity to meet and partner with other small press magazines, news organizations, punk festival organizers and creators in the scene. One such creator we would like to spotlight is Chris L. Terry, author of the freshly minted, Black Card: A Novel. Just recently released on August 13th, 2019, I recommend anyone who is interested in what it means to be a punk of color read this book. The main character of this novel ensnared me in a love hate relationship that reminded me of my own experiences growing up in a mostly Caucasian American midwestern town, right before we made that rallying cry. But identity isn’t just race. It’s geographical. It’s cultural, it’s gender. The book smacks you with how all of these attributes can play a part in not only shaping our own experiences, but our reactions to the worst circumstances.

I had the opportunity to interview Chris L. Terry about his newest novel and I am excited to have him participate in #BLKGRLSWURLD first ever Punks of Color Panel Talk this Friday September 27th, 2019 in Philadelphia, PA at the Institute of Contemporary Art. Don’t miss out on the chance to meet Chris L. Terry in person! On Thursday September 26th, 2019 from 7:00 PM to 8:30 PM Chris will be having a book talk and book signing at Uncle Bobbie’s Coffee and Books in Philadelphia too!

Chris graciously answered a TON of questions I had about the book. Below I have chosen my top 7 responses from our conversation.

How closely does the book follow your own personal experiences? Did you use any personal situations or memories in particular to guide your writing?

Black Card is fiction inspired by my experiences as a mixed-race black person in the early ‘00s Richmond, Virginia punk scene. The street names and emotions are real, but that’s about it. Before writing Black Card, I spent a few years writing essays about my black identity, and that gave me the perspective and tools to write this character in a way that felt honest. Also, I wanted to write about Richmond. It’s an unusual, inspiring and frustrating place and I spent my formative years there. Besides, there are enough books set in New York!

In the book we see that one of the main character’s goals is to attempt to regain his black card through a series of actions. How old were you when you first heard someone use the term, ‘black card?’ What was your relationship to the person who said it? Did your relationship with this person change at all after hearing them use this phrase?

I don’t remember when I first heard the term Black Card, but it’s always sounded like a tongue in cheek way of talking about something that’s dead serious: about if someone is being true to their community of oppressed people. It caught my attention because I didn’t feel secure enough in my black identity to joke about it, or to pull rank and talk about someone else’s Black Card.

My favorite Black Card memory happened maybe ten years ago when my boss/mentor joked that she was going to fire me and take away my Black Card if I didn’t get off my ass and watch Love Jones. In my head I was like, “Wait, I have a Black Card? Hell yeah!” 

I don’t love the idea of having to experience certain pop culture to be authentically black, but after devoting myself to punk as a teenager, I still feel like I’m playing catch-up on stuff I missed while bumping Fugazi. Now I know what someone means when they talk about that funk in their right thigh.

What made you decide to leave the main character unnamed? What an awesome writing style! What did you want to show the reader by doing this?

Thanks! I did it in tribute to Ralph Ellison’s Invisible Man, which also has an unnamed narrator. I’m simplifying here, but that book’s about how no one sees black people for who we are, they just project their own ideas about black people onto us, rendering us invisible as individuals. I was working in a similar space with Black Card, thinking about how being mixed-race can make you unusual-looking and how that gives people the need to categorize you. In Black Card, most of what happens to the narrator is because someone has made a decision about him based on their own prejudices. 

I loved the flashbacks to when the main character was growing up as a little boy. In the flashbacks we saw instances where the main character did not want to behave in a way that was predictable. Like when he cut class, or wanted to play his music louder than his father would have liked just because. I saw him going left instead of right just because he could, and making up his own mind. What is it about kids and not wanting to seem predictable? In some ways, almost striving to be different in the face of authority or even just their world. I could relate to that so much. Can you expand upon your own personal experiences with this growing up? 

Both as a kid and as a young adult, Black Card’s narrator is trying to carve out his own space in a hostile world. He’s trying to take control and, as he loses faith in the structures around him, he begins seeking alternatives. I think that part of maturing is finding a place where you can be yourself, so that you can spend time there getting to know yourself. That can be more complicated or layered for mixed-race people who might feel pulled in multiple directions.

In the book we saw that with everything happening, he never really sat down and took a moment to examine his feelings. He never took a moment to even just cry about what was happening to him, to release some of those emotions. That really moved me. Was this an important theme in the book?  

I wanted the narrator and his bandmates to all be closed-off, emotionally stunted men. And I wanted the narrator to start to understand that, as he starts checking his reactions to the serious things happening around him. It’s toxic masculinity that has guys telling jokes instead of sharing their feelings and it leaves them unable to deal with serious stuff. Chances are, a black person is going to be confronted with more serious shit sooner. White guys…they might be able to coast for longer.

I think that looking for emotional release is a big part of the book. The narrator’s trying to do it through music but it doesn’t quite work, then he winds up putting a burden on Mona by unloading during their first real conversation. 

When I think of punk, I think of a culture of rebellion, and often rejection of the mainstream. We see the main character taking solstice in this genre yet even still, somehow struggling to fully immerse himself in it as a minority. #blkgrlswurldzine has heard echoes of this experience in interviews with minorities running around NYC’s punk scene. I also saw in your bio, that just like the main character, you too have toured with different punk bands. In a genre that prides itself in accepting the underdog, how do you think they could improve their inclusivity?

I see punk as a subculture, not a counterculture, so I have the same suggestions for the punx that I have for society at large: listen more and believe others. For example, if someone who isn’t a straight/cis white man has a concern with the way things are going in the scene, hear them out, and remember that they’re bringing a new perspective to the conversation. You’ve probably got it easier than them, so take the time to empathize instead of minimizing their experiences. 

After reading your book, where does your audience go from here? What conversations are you hoping that they have or that this book will spark?

I hope that Black Card helps people to understand that racism is rarely as obvious as, like, someone wearing a KKK uniform and saying the n-word. It’s usually smaller stuff—microaggressions—that are harder to pinpoint, and that can feel minor and difficult to discuss on their own, but that create a toxic atmosphere that can feel like death by 1,000 cuts for people of color.    

Thank you Chris for the opportunity to interview you! Can’t wait to see you!

Upcoming Appearances:

Thursday September 26th, 2019Book Talk & Book Signing at Uncle Bobbies Coffee and Books from 7:00 PM to 8:30 PM. Address: 5445 Germantown Ave, Philadelphia, PA 19144

Friday September 27th, 2019 #BLKGRLSWURLD Punks of Color Panel Talk from 6:00 PM to 8:00 PM. Address: Tuttleman Auditorium, 118 S. 36th St, Philadelphia, PA 19104.

Black Card: A Novel

Want your own copy? Please find it here:

BlkGrl Book Tour Recap

I’ve been a zinester since 2014, toting my lil hand made books around to DIY events. We table and vend with fellow artists, often feeling like Lucy with her Psychiatric Help Stand, sharing with any who will listen the content of our books with passion and understanding. Some folks really don’t understand it, while some really do. It’s a great space to share what you truly love, because somebody out there, even if its only 2-3 people, cares just as much about talking avocados as you do.

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Events on the tour:
Paper Jazz Fest, Brooklyn NYC
Betty Zine Fest, Newark NJ
Boston Art Book Fair, Boston MA
Not Just A Boys Club Fest, Teaneck NJ
Punx of Color 4, Brooklyn NYC

The BlkGrl book tour was my first attempt at following a dedicated schedule of events in locations outside of Manhattan, to help spread the #Blkgrlswurld message as far outside of NYC as possible. Black girls love metal and punk rock too! It challenged me to create a traveling system to affordably leave the city and arrive at any venue with a pop up shop out of a single bag I could carry on my own. (This is NYC, I don’t have a car ok?) Traveling on buses, trains and taxis to these other places tested my dedication to the project. Was I willing to get up at 6am for my zines? Here are some things I learned about being on the road with our lil books.

Punx of Color are everywhere.

Here at #Blkgrlswurld we aren’t always a certain an event or venue we attend is appropriate for our project. When tabling events like the Boston Art Book Fair, this became a critical question. Our $3 coloring books standing next to $75 high quality art catalogs? Likely a sign that our intended audience wont be strolling through this event. But they did anyway. There was not much diversity at that fair, but when a few Black youth did stop by we had great conversations about music and a few sales. Never underestimate who will take interest in your work.

Some people will never understand us, and that’s ok.

We stepped into new spaces and venues – that means local audiences are new to our work and what we’re about. Metal is not a widely understood musical form, so that alone was confusing to some along with the layer of being femme and Black. *Shrugs* All of these adventures help me determine what events to do next year.

Taking a stand empowers those around you.

Our focus has always been on young folks between ages 17-25 with little pocket money, that are curious about new music. Especially if they identify as outsiders, geeks or weirdos. That will always be the community we represent and sharing with these kids a safe space to express themselves can save lives.

I encourage everyone to start a zine, a blog, a fan club. Every time an awkward Black girl who doesn’t feel like she belongs any damn where stumbles across an artwork or photograph of women who look just like her, I feel a little better. Let’s all strive to create content that represents who we are and make sure its accessible. As I sat at these events with my little table, I met a number of fans this way. Women who had been searching for something to relate to, and see themselves in. Some that found us had already collected our items at previous events or online – they continue to comeback because of community. We are out here, together at shows, festivals and record fairs.

I fucking love Metal.

From Boston to New Jersey we did our best to keep our schedule loose, giving us a chance to meet more people and explore the visited cities. But the true connection to all these stops became the metal music blasting out of my headphones. At one point I wondered, is this really what I’m about? Hells yeah! Leaping off a megabus in platform towering boots, chewing bubble gum in band tees and dark glasses while the music blasts on in my ears. My favorite albums energized me to keep going, to keep traveling and to keep celebrating this scene and the women who support it. We know we don blend it with the people around us and that’s ok. I know where to go to spend time with my peeps, hopefully our books help that happen too.

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Zine Event June 27th @ Schomburg Center for Research in Black Culture

Ahhh! Our fav Harlem spot to uncover Black history is hosting a zine event this week and we’ll have a table 😀 😀 😀 Tuesday, June 27, 2017, Zine Fair from 4-6pm followed by Panel Talk at 6:30 p.m.

We love every chance to expose young brown folks to alternative music and media that represents and validates our shared quirky, sometimes geeky interests. #PUNXSOFCOLOR

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Zines: Elaborate Disruption and Black Creativity

“The resurgence of zines—self-published limited-distribution works—is stemming the tide of erasure, disrupting publishing, and offering creative spaces for diverse voices within marginalized communities. Remembering zines like FIRE!!, created in 1926 and “devoted to the young negro artist,” author Steven G. Fullwood will join in conversation with contemporary zine creators Devin N. Morris (3 Dot Zine), Nontsikelelo Mutiti (Nontsi), Kevin Harry (KHzines), and Jermel Moody (maple:koyo) to elaborate on their zine-making practices and impact on publishing and creativity. The program will also feature a marketplace of zines selected in collaboration with Morris, Moody, and the Schomburg Shop.

FIRE!! contributors included Harlem Renaissance figures Langston Hughes, Zora Neale Hurston and Aaron Douglas.

@SchomburgCenter #SchomburgZineFair

First come, first seated

For free events, we generally overbook to ensure a full house. All registered seats are released 15 to 30 minutes before start time, so we recommend that you arrive early.”

Schomburg Center for Research in Black Culture | 515 Malcolm X Boulevard | New York, NY 10037

#heavygirlsloveheavymusic

 

Music, Zines & Riso Machines

Phew! We spent the 1st four months of this year printing and editing new work and now we’re ready to share it with you \m/ this is the 1st year my sibs and I have Really dug deeply into the purpose of the zine and what inspires us to keep it going. Up until this season, we’d usually only focus on the project 2-3 times a year for a few weeks, collecting drawings and writings from our sketchbooks and building something collaborative.  In January we heard about a Zine making/small press course at the School of Visual Arts and jumped in with both feet!

So What is a Risograph?

Well, you could term it one of those things that’s so mundane, its cool again. Risograph is a brand of digital duplicators manufactured from Japan since the 1980s. Intended for high volume office printing like Xerox machine were, they have mainly been marketed to law firms and city offices where 1000s of text heavy pages are printed daily.

Printmakers and designers have warmed up to these machines due to their archival ink quality and soft textures that can occur from the rice paper master (A fine stencil the ink passes through) the machine creates to duplicate files. With soy based inks and rice paper stencils, its quite the toxic free endeavor in comparison to the intense chemicals, varnishes and alcohols many of us have been managing in traditional printmaking processes.

The average riso machine usually only holds 2 ink colors at a time, so 4 color printing requires registering your prints and switching out ink tanks. At times its hard to imagine business folk in suits actually get this manual in an office but thats still its main function. LOL!

During my season at the SVA Riso Lab, I printed on various weights of paper and sticker sheets. Overall I found the process of editioning with these machines really fast and efficient, but at the same time lacking the monotype flexibility I’m able to accomplish during a screenprinting session. I gotta admit I missed getting a little dirty in the shop, but that’s my printmaker side I guess. Working with these machines in a clean environment created a medicinal setting. Where’s the screen emulsion, litho stone sander and liquid screen filler?

In dedicating a good few months to developing the zine at the School of Visual Arts Riso Lab, projects were difficult at times, and we uncovered the best parts of zine making. The Music! Our zine will always be a way to share our excitement for heavy music, we live it and breathe it from the way we dress, to the things we read, write and of course stream on our stereos. We are proud punks of color who cant help but talk your ear off about the latest bands and albums and we hope our readers get as geeked about this stuff as we do. For as long we rock to this music and mosh out at shows, there will be  zine. *See you in the pit!*

Upcoming Events Featuring Our Books:

#SummoningtheArchive Print Fest @ NYU |  Saturday, May 13th from 2-5pm at 20 Cooper Square. Details

BABZ Fair ( Bushwick Art Book & Zine Fair) | Friday, June 2, 7–9PM: by invitation only
Saturday, June 3, 1–7PM: free & open to the public
Sunday, June 4, 1–7PM: free & open to the public

Where:
Knockdown Center
52-19 Flushing Ave
Queens, New York 11378

 

Zine Fair at MoMA PS1 Music Fest, March 26th

MoMA PS1 and Other Music Present
Come Together: Music Festival and Label Market

Sunday, March 26th, 2017
12PM-6PM

Coming up next week, #Blkgrlswurld Zine will join the Zine tables lead by Suffragette City art collective at the record label fair taking place during the music fest. Both labels and zinesters will be selling underground wares full of indie funk and style. We’ll have the latest Riso prints of our Zine and special variant editions.

*Access to the label/zine fair is free with museum admission. Events and screenings in the VW Dome are ticketed, $13-$15

Collaborative performances in the VW Dome celebrate the intersecting communities that make for a vibrant music scene. With Black Quantum Futurism (Moor Mother & Rasheedah Phillips), Matana Roberts, GENG, Hisham Akira Bharoocha, Brian Chase, Ryan Sawyer, Robert AA Lowe, Greta Kline, a.k.a. Frankie Cosmos, and more.

Panel discussions feature some of the most innovative individuals in music, including Ric Leichtung, Matt Conboy, Douglas Sherman, Esneider Arevalo, Delphine Blue, Brian Turner, and Francois Vaxelaire.

The New York City premiere of the film A Life in Waves, follows the life and innovations of composer and electronic music pioneer Suzanne Ciani, directed by Brett Whitcomb and written and edited by Bradford Thomason.

NYC Women’s March & Other Nearby Events

I cannot wait to march this Saturday, Jan. 21st in NYC to stand up against the most dangerous political leadership of my generation.

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There are dozens of events going down around NYC to come together in resistance and to at least let these powers know that the people will be watching them very closely, and pushing back on the things that directly hurt our communities. Below are a few events we’ve heard about:

  • Women’s March NYC, Jan. 21st Saturday. People will be meeting at staggered times throughout the day so as not to exceed capacity.
    • From 11am-4pm we will march from Dag Hammarskjold Plaza to Trump Tower on 5th Ave. More info
  • Thursday, Jan. 19th. A protest outside Trump International Hotel in Columbus Circle planned by Michael Moore, Mark Ruffalo, and Alec Baldwin is scheduled for 6 p.m. the night before the inauguration. More info
  • Also on Thursday, Jan. 19th will be an anti-fascism concert at Symphony Space on the upper west side, 96th and Broadway. Tix $30
    • An extraordinary evening of artistic passion, urgent commitment, hosted by five time Grammy winner Arturo O’Farrill, this live streamed concert takes place the night before the scheduled inauguration.
  • On Friday, Jan. 20 a march will take place at Foley Square at 5pm. NYC Stand Against Trump Rally and March. More Info
  • Other artists and cultural institutions are also coming together for a Jan. 20 Art Strike. They feature an online schedule of anti-inauguration activities in NYC taking place at institutions like the New School, Whitney Museum of American Art and CUNY.

Let’s join together and work together to create opportunities for everyone to have a voice and improve their lives.

penny-proud

 

#Blkgrlswurld @ Brown Paper Zine Fair Jan. 28-29, 2017

#Blkgrlswurld ZINE will be selling our latest editions and coloring books Jan, 28-29th, 2017 at the Brown Paper Zine and Small Press Fair for Black and PoC Artists. The free event takes place at the Museum of Contemporary African Diasporan Arts (MoCADA). Details below.

MoCADA (80 Hanson Place, Brooklyn, NY) – 1st and 4th Floors Free RSVP

We are also thrilled to participate in a panel discussion on Sunday during the zine fair, moderated by Kimberly Drew. Social Sunday: Black Ink Zine Panel Sunday, January 29, 2:30-4pm Free RSVP

3 Dot Zine presents its first installment of the Brown Paper Zine and Small Press Fair for Black and PoC Artists as a part of programming for Diagram of the Heart, by Glenna Gordon, currently on view at the Museum of Contemporary African Diasporan Arts (MoCADA).

3 Dot Zine is a collaborative submission based zine founded by artist Devin N Morris in 2014 as a way to extend the reach of important dialogues Morris was having with his peers.Throughout his time participating in zine fairs and festivals in New York, Baltimore, and Philadelphia, he noticed a lack of Black and People of Color (PoC) representation within these environments, which stood in stark contrast to the diverse independent publishing communities Morris found himself apart of.

As such, the Brown Paper Zine and Small Press Fair was created to provide a space where the creative efforts of Black and PoC artists working in print mediums could be exposed and proliferated. Bringing together established zine makers, small presses, and artists working in print mediums to MoCADA, the fair asks each participant to seek out new and young artists to showcase their zines, or facilitate the production of their print-based work. In addition to encouraging young artists to use zines as a viable, independent avenue for sharing their work, this effort also acquaints young makers with the communities that fairs create.

The Brown Paper Zine and Small Press Fair will occupy multiple locations within the MoCADA building as the weekend boasts inclusive programming in the way of; the Women’s Healing Space, a writing workshop and a space for women to check in, be seen, heard and affirmed while in community with each other; a screening of #BlackGirlLit: Between Literature, Performance & Memory, a documentary exploring “black woman-ness” and the literary traditions that inform it, featuring artists Ayana Evans, Kal Gezahegn, Dell M. Hamilton, Tsedaye Makonnen, Helina Metaferia and Marceline Mandeng; Social Sunday: Black Ink, a panel discussion interrogating the world of self-publishing and the instance where inspiration leads to action; and more to be announced.


PARTICIPANTS:

3 Dot Zine
Blk Grls Wurld Zine
Brown & Proud Press
Brown Recluse Zine Distro
Codify Art
Collectiva Cosmica
DATE NIGHT
Endless Editions
La Chamba Press
La Liga Zine
Lambey Press
L’ENCHANTEUR
Maroon World
MoCADA Shop
Mohammed Fayez
No Shame Distro
Nontsikelelo Mutiti
Oxford Plain
PJ Gubatina Policarpio
RAFiA SANTANA
Red Hook Editions
True Laurels Magazine
Yellow Jackets Collective

Bringing In The Asexual New Year

Dec. 31, 2016

I’m outside the Harlem Target store loading up my new kitchen appliances when suddenly a little old lady approaches me. With a smile across her face she exclaims,  “Ah! Bringing in the new year with a fresh start eh?”

I shrug bashfully, “Sure, sure.”

She nods knowingly, “I gave up new year resolutions ages ago, but a friend of mine, she’s a bit older than me, she told me a good one to try is having less sex. Hehehe.”

I nod and smile, “Indeed.”

Sometimes it’s bewildering even to me that I’m in my late twenties and still identifying as the same asexual I’ve always been since age 5. Back when I first learned of frogs that could reproduce without mating with an opposite sex. “That’s me,” I’d tell my parents, “I stand on my own. I’m asexual.” I’ve always struggled to understand why people strive to pair up or find each other sexually attractive. Why would anyone need to be so…close?

Of course they passed it off as silliness but by the time I was in the 5th grade the pressure was real to claim at least one boy attractive; to recognize the innate game of cat and mouse between the genders. My parents didn’t care if it was someone I knew, a celebrity or a damn cartoon character, I could feel them searching for “normal development” behavior and that there would be social consequences for not fitting in. Was I mentally falling behind my peers? Gay? Emotionally immature?  I caught on quickly that I needed to start acting ‘normal’ and began lying about boys on TV I thought were “Cute” or “Crush-worthy.” The look of approval from them when I did this made my stomach churn.

Stereotypes of Black women in the United States are hyper-sexualized to a caricature level. As a brainy femme teenager the expectation that I would fail in life was everywhere, from the Black community in my home to my white peers at our rural suburban high school. There are countless moments where my brown skin felt like a magnet for sexual advances. “Black girls are fast, Black girls are trouble, Black girls are easy and their bodies develop too early. They’re boy crazy and obsessed with babies.” –Total bullshit I still hear from my elders today.

I understood some of the discrimination I was getting at school surrounded by whites who’d only ever seen black people on the BET cable network booty popping (a channel they were proud to sneak a peek at when their parents weren’t home). But what hurt my feelings more was how often my relatives spoke of good clean girls vs. nasty fast girls – lecturing my parents on how to keep my sister and I in check of our hormones.

But quite the opposite was happening in our home. Our hormones were quite fine. I was a tomboy that didn’t talk about crushes, never asked about dating, and knew my helicopter parents were worried I was gay. (To this day they don’t believe asexuality exists. Everyone loves sex!)

Up until grad school it would bother me sometimes that my lack of interest in connecting with others in a romantic way hadn’t changed. I’d never so much as kissed another person but also didn’t want to do those things and had a hard time relating why anyone would want to. My fun was music, writing, art-making, conversation.  I saw the sexual currency people exchanged and consistently felt isolated from that market.(i.e. flirting through a job interview, the benefit of combined household income, professional approval…)

But the simple truth for many asexuals is, we’re solid in who we are. There isn’t a feeling of something missing, if sex never came up in our lives we’d never notice. It’s why I’m so surprised when people discuss their fear of being alone. Is it that scary taking care of yourself? Fighting your own battles?

I have friends, family and community just like you. I stand on my own and I’m cool with that, I’m building a life around that and enjoy what I do. I try to keep my mind open to having a platonic partner one day but honestly…I’m indifferent.

So you may be wondering why asexuals are coming out more and more, with some flowing into LGBTQA activism.

  1. We are “other” and therefore subject to many of the same discriminations and violence. Especially young people of color. When a homophobic family member suspects your sexuality is anything other than hetero, they rarely wait around to hear you explain asexuality. And because our society is that sex obsessed it’s not likely they would believe you. To them it’s just another gay person trying to hide in plain sight.
  2. People grow. Some of us reach asexuality later in life or fall somewhere else on the Spectrum. Maybe we already have children or have identified as gay most of our lives and now feel differently about our attraction to others. That doesn’t necessarily mean we stop having romantic relationships or stop identifying as queer.
  3. It’s only one part of ourselves. Queer, trans and non-binary folk can also be asexual. Some peoples feelings around attraction shift over time and it’s all about learning and understanding yourself better.
  4. We are not against sexuality in any way and support everyone’s journey. Granted I don’t like media propagating sex as a life or death need, but I love seeing my friends freely expressing themselves and loving who they love. You do you! It’s all about  everyone living their truth  without the threat of violence or discrimination from opportunity.

I believe anyone who supports shifting this cis-gender patriarchal system should join forces and build a stronger inter-sectional community of love and respect. Especially in 2017. This is a moment where the powers-that-be will strive to divide us and create doubt within our movements. It is critical that we support each other.

~ C.L

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P.S > *USA Womens March Jan, 21 2017

#blacklivesmatter #feministkilljjoy #qwoc #equality #asexual #pride #lgbtqa

 

 

 

Blkgrlswurld Autumn Edition 4.3 Now Online

She’s finally arrived, the latest edition can be found at the link below. This season’s book features artwork by Trifecta Studios and a short story we crafted during November’s National Novel Writing Month.

Later this week on Dec. 15th, we’ll be reading from the book & performing a bit of music in Brooklyn at Pioneer Works Book Shop. Details in the poster below.

See you in the pit! \m/

Edition 4.3 | December 2016 | View PDF Here