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“When being freed from labor requires others to labor, others are paying for the price of your freedom” (Ahmed 86)

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Home and the Women inside, joint annotation

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Home and the Women inside, joint annotation

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Family ties - Ut Pictura Poesis by Khadijah Queen

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Family ties - Ut Pictura Poesis by Khadijah Queen

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“I try not to take
my mother, grandmother for granted
& not their elegant fierceness in flight – How do
I resurrect the excised archive of my relatives” - Queen

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"Some have to become willful just to appear"
(Ahmed 119)

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A concept that come to understand or realize through hard work. Coined by Ahmed and can connect to Anodyne through Queen’s assertion of existence in her work

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Khadijah Queen, Something About The Way I Am Is Not Made

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Khadijah Queen, Something About The Way I Am Is Not Made

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"Something about the way I am is not made
to make sense - I stretch my insides
across pages until my pain is upside down"
- Khadijah Queen, Something About The Way I Am Is Not Made

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Flavia Dzodan's piece on intersectional feminism

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Flavia Dzodan's piece on intersectional feminism

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Showcases the whiteness of canonical feminism and how that does a willful disservice to WOC in and outside of the feminist movement

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accepting the words within the poems for what they are and not trying to transform them into something else. sitting with that discomfort.

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“Feminist housework does not simply clean and maintain a house. Feminist housework aims to transform the house, to rebuild the master’s residence.” (7)

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"In Camelot, the great thorn trees wept / over the green page of land"..."in Camelot / we cannot live without books" (Petrosino, “Happiness #10)

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"In Camelot, the great thorn trees wept / over the green page of land"..."in Camelot / we cannot live without books" (Petrosino, “Happiness #10)

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the hyper-mythologization of white spaces and how the stories we tell are instrumental to its survival
also the association of these spaces with emotional turmoil

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Some years there exists a wanting to escape-
you, floating above your certain ache-
still the ache coexists
- Claudia Rankine, Citizen

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Faulty edges hazed against
clarity, uncut nails
catching on unfortunate silk

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- “Will you marry it?”– “It” is not commonly used to describe who someone is marrying, this word’s usage expands marriage beyond just man and wife, but of wife and the rest of her life.
- Commodification of womens' bodies--> dehumanization
- advertise what “it” can do, the woman can clean. "It" can sew. We don’t want "it", you take "it" and keep "it" in line.

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him/body/meant her/body/meant by Evie Shockley

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him/body/meant her/body/meant by Evie Shockley

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"In my desk chair, the cushions unforgiving of years of pressure, neck and spine aching
I stare onto the screen
try to forget my body, to fold it without wrinkles and tuck it away.”

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Khadijah Queen

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Something About The Way I am Made Is Not Made

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Something About The Way I am Made Is Not Made

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/ "to make sense - I stretch my insides / across pages until my pain is upside down. Peonies & / tulips bloom red & pink from my back, / bent like washerwomen's knees" (Queen 13)

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“You begin to feel a pressure, this relentless assault on the senses; a body in touch with a world can become a body that fears the touch of a world”

(Ahmed 23).

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“Feminist consciousness can feel like a switch that is turned on. Turning off might be necessary to survive the world that we are in, which is not a feminist world. Feminist consciousness is when the on button is the default position. Unless you turn it off, you are on.”  - Sara Ahmed, Living a Feminist life, Page 31

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Khadijah Queen

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"I have a method of letting go" by Khadijah Queen

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"I have a method of letting go" by Khadijah Queen

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“We used our words we used what words we had” (Choi)

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“We used our words we used what words we had” (Choi)

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the repetition of words as a way of showcasing the reiteration of systems

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“We would understand unhappiness not as the failure to be happy and thus as causing yet more unhappiness, but a refusal, a claim, a protest, or even just some ordinary thing, a texture of a life being lived” (Ahmed 58).

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“But in twenty-five years she’ll be silver, / in fifty, gold. / A living doll, everywhere you look. / It can sew, it can cook, / it can talk, talk, talk"

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invader magic
resembling a hoarded apocolypse
of fetishized resistance
against corridor of wounds

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"The world says not to expect the world" by Khadijah Queen

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"The world says not to expect the world" by Khadijah Queen

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“Playing with coherence” and the way that poetry affords a greater degree of freedom to test the boundaries of language and storytelling (Professor Mark’s lecture)

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The Uses of Anger: Women Responding to Anger

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The Uses of Anger: Women Responding to Anger

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"Guilt and defensiveness are bricks in a wall against which we all flounder; they serve none of our futures" (Lorde, 1981)

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"Walls are how some bodies are never encountered in the first place. Walls are how other bodies are stopped by an encounter"
(Ahmed 145)

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“Playing with coherence” and the way that poetry affords a greater degree of freedom to test the boundaries of language and storytelling (Professor Mark’s lecture)

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“The white fathers told us: I think therefore I am. The Black mother within each of us – the poet – whispers in our dreams: I feel, therefore I can be free. Poetry coins the language to express and charter this revolutionary demand, the implementation of that freedom.” – Audre Lorde

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"The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, and upon the changes which we hope to bring about through those lives. It is within this light that we form those ideas by which we pursue our magic and make it realized. This is poetry as illumination, for it is through poetry that we give name to those ideas which are - until the poem - nameless and formless, about to be birthed, but already felt.” – Audre Lorde

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“Exchange/ twisted infinitudes learned hard/ ways, flake & tarnish.”

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- "The connection between lesbian and feminist is not something that can be prescribed even if some of our histories include this prescription or even if lesbian feminism is heard as prescription (to be a lesbian you must identify as feminist; to be a feminist you must identify as lesbian)" (Ahmed pg 214)

-"A queer experience: You are seated with your girlfriend, two women at a table, waiting. A straight couple walks into the room and is attended to right away: sir, madam, over here, sir, madam. Sometimes if you do not appear as you are expected to appear, you do not appear" (Ahmed pg 214).

- "This queer experience might be better articulated as a lesbian experience or something women in particular experience: as if without a man present at a table, or a body visible as man, you do not appear " (Ahmed pg 215).

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A loop, a girl born
to each family,
prelude to suffering.

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"Of Course She Looked Back" by Natalie Diaz

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"Of Course She Looked Back" by Natalie Diaz

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"You would have, too."

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“Feminist consciousness can feel like a switch that is turned on. Turning off might be necessary to survive the world that we are in, which is not a feminist world. Feminist consciousness is when the on button is the default position. Unless you turn it off, you are on.” – Sara Ahmed, Living a Feminist Life, Page 31

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- "You have to persist because they resist" (Ahmed pg 113)

- "...diversity workers tend to be judged as willful: as if we are imposing our own will by the very expectation that some things can or should be modified" (Ahmed pg 113)

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"'although [tom] was much more willful and inflexible than Maggie, his mother hardly ever called him naughty' (Eliot [1860] 1965, 59)" (Ahmed 68)

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“When you are sensitive to what is not over, you are deemed oversensitive. We are sensitive to what is not over. We are sensitive because it is not over”
“I am not willing to laugh at a joke designed to cause offense”
“Humor is a crucial technique for reproducing inequality and injustice”

Ahmed is commenting on feminists are often portrayed as "buzzkills" or "party poopers" because they refuse to participate in jokes perpetuating gender-based violence. In reality, feminists are not trying to spoil the fun, they just refuse to laugh at the expense of others.

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"I think about that in the ecstasy / of a sweet peach & irony of death & theft of indigenous / land & the violence of language in every space / I enter & I think I am losing everything but my mind. / I certainly am paying for the trouble / & we split all that liquor so now / our whispers mean to get loud. Yes, now / you have to listen, or move the hell out of the way"
(Queen 79)

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“Think of the intense sociality of the subway or train, how some men typically lounge around, with their legs wide, taking up not only the space in front of their own seat but the space in front of other seats. Women might end up not even having much space in front of their own seats; that space has been taken up. To become accommodating, we take up less space. The more accommodating we are the less space we have to take up. Gender: a loop, tightening.” (25)

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“Note how first the mother says that happiness is all she ever wanted for her child. The happiness wanted then becomes: wanting the child to have the things that she did not have. (51-52)

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him/body/meant, her/body/meant by Evie Shockley

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him/body/meant, her/body/meant by Evie Shockley

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"i see bodies extended through technologies of touch,
the traffic in bodies,
the traffic of bodies, social choreography."

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The Rod's POV and State Sanctioned Violence

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The Rod's POV and State Sanctioned Violence

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“The state’s story is how those who die cause their own demise. The rod that beats her to death is made a right, because this story of the willful girl is told from the rod’s point of view” (Ahmed 209)

“Let me repeat: there can be nothing more dangerous to a body than the social agreement that that body is dangerous” (Ahmed 144)

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There are certain types of anti-blackness that do not propel any further questions, because they assume they already know you and already know your place. Often the violence is not being questioned - they may assume you to be of lower status or criminal or bad. - Professor Imma

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"I wanted there to be places to go where I could just leave my body behind" (Ahmed, 29).

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“You might pick up the vacuum cleaner, a toy vacuum cleaner, and feel like you are holding the future for girls in a tangible thing. You can pick up a toy gun, and also feel this: the future for boys held as a tangible thing” (Ahmed 43).

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"Once you are a feminist killjoy, however, I think the only option is to become more of a feminist killjoy" (Ahmed, 173).

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"We can leave a life...Not giving up: feminism can be experienced or narrated as giving life, or as taking one's own life back, a life that you may have experienced as what you have given to others or event what has been taken by other people's expectations" (Ahmed 47)

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When you don’t take it, when you cant take any more of it, what happens? The moment of not taking it is so often understood as losing it. When a snap is registered as the origin of violence, the one who snaps is deemed violent. She snaps” (Ahmed 189).

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‘Sometimes a highway opens between my hearts, and I run suicides till I’m lactic

Sometimes I wonder how long I’d have to run to reach the last generation where one of us felt loved’ (Choi)

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“those who get in the way are often judged as getting their own way. It is a way of diagnosing critique and opposition as self-interest”. How does the tendency to attribute opposition or critique to self-interest, rather than recognize it as genuine, affect the way individuals who challenge normalized ideas are perceived? (Ahmed 71)

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- “To be asked ‘Where are you from?’ is a way of being told you are not from here. The questioning, the interrogation, can only stop when you have explained yourself…It is an account of how I ended up brown. Brownness is registered as foreign; brown as elsewhere.” – Sara Ahmed, Living a Feminist Life, Page 116

- "Sometimes, whether or not you are asked a question, you feel questionable. Maybe you have been questioned too many times; you come to expect it; you begin to live your life as a question...sometimes you might be asked questions because of who you are with; or how you are with who you are with." - Ahmed

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"If talking about sexism and racism is heard as damaging institutions, we need to damage institutions" (Ahmed, 140).

"If talking about racism within feminism gets in the way of feminist happiness, we need to get in the way of feminist happiness" (Ahmed, 177).

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- redefines the meaning behind ordinary words: poetry allows us to change language to suit a different significance.
- strength redefines the word usage of "soft" in this poem.
- softness is closely associated with feminity
- in this poem, softness is associated with resilience, durability, rather than fragility

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This is an excerpt from the Hullabaloos open letter to Allies article. Reading Ahmed helps us to read our own lives. Using what Ahmed talks about to understand a piece of text that comes from within our own community is an active application of feminist theory into practice. I want to consider this piece in the context of what we've discussed in this class and what we've come to understand from the help of Ahmed.

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“We cannot conflate the histories of ideas with white men” (Ahmed 16)

Makes you step back and examine the canon of academia but also the choices you make in your own media consumption (are you always reading/watching/listening to men, to white people, etc)

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“A pattern is the generalization of tendency. Once a momentum is acquired, it is directive. You can be carried along by the force of a direction.”

“You are carried by that flow, it might even save you energy. But if you drop something, if you have to stop for some reason, the crowd thickens; a crowd can frown, you become an obstacle; an inconvenience” (Ahmed 45)

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“The anger between women will not kill us if we can articulate them with precision and if we listen to the content of what is said with at least as much intensity as we defend ourselves from the manner of saying. Anger is a source of empowerment we must not fear to tap for energy rather than guilt” -Audre Lorde

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“The problem is not simply about the content of what she is saying. She is doing more than saying the wrong thing: she is getting in the way of something, the achievement or accomplishment of the family or of some we or another, which is created by what is not said” (Ahmed 37).

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Citation is how we acknowledge our debt to those who came before; those who helped us find our way when the way was obscured because we deviated from the paths we were told to follow. In this book, I cite feminists of color who have contributed to the project of naming and dismantling the institutions of patriarchal whiteness. I consider this book primarily as a contribution to feminist of color scholarship and activism; this body of work is where I feel most at home, where I find energy as well as resources. Citations can be feminist bricks: they are the materials through which, from which, we create our dwellings. My citation policy has affected the kind of house I have built (Ahmed 16)

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She uses the analogy of a twig to describe the anger that she experiences. Additionally, she redirects the attention of the audience to illuminate the unnoticed pressure that caused this snap.