"And love is a bond radiating from primaries to secondaries, tertiaries and beyond."
Humanity has an obsession with sorting itself into categories. Academic, athletic, tall, short, old, young… the sorting never ends. With these categories, inevitably comes stereotypes, certain kinds of people that we expect to see attached to each category, and ridicule if they do not.
Maiden Leap by CM Harris is an exploration of identity and relationships, the pressure to conform for the people you love, and the terrifying freedom of embracing who you truly are after a lifetime of denial.
Genevieve Hudson captures the comfortable in the uncomfortable. Her collection of short stories, Pretend We Live Here, centers on characters looking for home in places, in people, in their own bodies. No matter where her characters roam, readers are confronted with the violence inherent to existence through her sharp-edged but haunting, sometimes even joyful, prose.
One aspect that makes poetry such a powerful form is how it is often used to tackle pertinent and even controversial topics. Race and sexuality are two timely issues, and Danez Smith tackles both of them in his book of poetry Don’t Call Us Dead. As a gay, black man in America, Smith has a unique perspective that shapes much of what he writes. In some ways, his poems speak to a very particular demographic and yet, they ring true for larger audiences.
There are some cravings that can last a lifetime. If there is any evidence of this, it can be read in Clementine von Radics’ poetry collection Mouthful of Forevers. These poems separately challenge the reader to look at how they define love and how they heal from it. They make us question whether or not love is just one thing, or a mangled mess of emotion. Von Radics begs us to be raw with ourselves, to explore the types of love the world has to offer, traditional or not. She teaches us that the type of love we learn is the definition of love we bring with us, the love we challenge.
Julie Marie Wade’s chapbook When I Was Straight, a title that may lead a reader to expect poems about the transition between sexual identities, is actually largely heterosexually focused. Wade speaks openly about her experiences with men at the start of her sexual awakening, comparing her role as a woman to the ideal feminine condition society preaches, and in contrast to the feelings she had for other women in her life, even before she acted on them. Instead of appealing only to lesbians, the content of Wade’s poetry is extremely relatable for any woman who might not be entirely comfortable in the gender roles society has assigned to her or who is questioning her sexuality.