Welcome to Writers Resist the Spring 2025 Issue

March is many things. It’s officially the bloom of Spring for some, Autumn for others. It’s Women’s History Month, days of madness for college basketball fans, a time to celebrate corndogs and trees, Benito Juarez and books. Beer, pigs, and Sigrblót, peasants and heroes and transgender awareness, and countless other things living, inanimate and conceptual.

For those dwelling in the United States or connected to it, particularly those inclined toward our pages, March hosts the seventh through tenth week of the nation’s new Christian nationalist regime, a white-male-cisgender supremacist onslaught that’s devastating in as many ways as there are official celebrations in the month of March.

In response, some of us write poetry and stories, the historians of our turmoil, if not our destruction, and this Spring issue is rich with such contributions. The overwhelmed hide in mindless TV or video games, while the outraged protest with signs and letters and phone calls to legislators. Some, the hopeful, write prayers, calls to action urging a resounding response.

And when we acknowledge our power, the power of the people, we will respond as DW McKinney encourages us to in “The Sunday After.” We will unite to insist on freedom, equity, love and acceptance. We will unite to reject the cruel, the unconstitutional, the despotic. We will Lift Every Voice and Sing the revolution.

Sing with us by joining a progressive activist organization, whether your local Indivisible, NAACP, Dem Club, or any of the many groups advocating against the unfounded and brutal federal budget cuts, abductions and incarcerations, and supporting mainstream candidates in the 2026 midterm elections.

Uncertain how to get started? Read this Spring 2025 issue. Perhaps you’ll find some inspiration.

Alyssa Beatty “Enough

Annette L. Brown “Second Flags

Joanne Durham “Ode to America, November 6, 2024

Kelly Fordon “The Social Contract

Janan Golestané “Identity Theft

DW McKinney “The Sunday After

Caiti Quatmann “Finger Banging Slutty Young Woman

Ellen D.B. Riggle “Assigned at Birth

Susan Rukeyser “You Can Tell by Looking at Her

MM Schreier “She, I, You, We: Every Woman

Steph Sundermann-Zinger Two Poems

Ya-Ting Yu “Ya-Ting (Iris)

Banoo Zan “The Sea Gazelle

Two Poems by Steph Sundermann-Zinger

What if instead of the inauguration, I wrote about birds?

The rabble of small brown ones
beneath the feeder — the ones we can never
tell apart? Or the chickadees,
sacking away sunflower hearts against
a long, bleak season? Even now, the woodpecker
beats a concussive staccato, war drum
for the bruise-blue crows mobbing
to protect their nests, while the hawk preens
his tawny feathers on the garden wall,
indifferent. The mourning dove offers
a dogged lament, every day the same
bewildered grief. And always the cardinal,
blood-bright, black-masked, attacking
his own reflection in every shining thing.


Living Queer in the Days After the Election

The barn swallows are tucked into night’s shallow pockets,
morning song already brewing in their throats. Their familiar chorus
will start again tomorrow, nothing changing, even as the males
slaughter their neighbor’s nestlings, shoving their flightless bodies
to the ground. When frightened, octopuses close themselves
into coconut shells. They practice, I tell my wife after the votes  
have been counted, when she’s too afraid to sleep. I show her a video,
an octopus dragging crude armor beneath its tender belly, contracting
into it again and again, dress rehearsal for disaster. My daughter hides
under her teacher’s desk during blackout drills. It’s probably the safest place, 
she says, but there’s only room for one. A lot of kids just pile up
in the corners.
 I think about asking her to make space for another child,
but don’t. Survival is my body’s private anthem now, breath’s wild melody,
stubborn drum of my heart clenching and unclenching, like a fist. 



Steph Sundermann-Zinger (they/she) is a queer poet living and writing in the Baltimore area. Their work explores themes of identity, relationship, and connection with the natural world, and has appeared or is forthcoming in The Avenue, Blue Unicorn, Little Patuxent Review, Lines + Stars, Literary Mama, Split Rock Review, and other journals. She is a graduate of the University of Baltimore’s MFA program and the 2023 recipient of the Ellen Conroy Kennedy Poetry Prize. They were a fall 2024 Writer in Residence for Yellow Arrow Publishing. Find her online at stephwritespoems.com

Photo credit: “Evening Mourning Doves” by briandjan607 via a Creative Commons license.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Finger Banging Slutty Young Woman

By Caiti Quatmann

This poem contains themes and explicit descriptions of trauma,
including sexual violence, misogyny, and systemic oppression.
Readers are encouraged to approach with care.

When you’re the first girl in third grade
that has to wear a bra (the same year
that spice girls release their first album),
the boys will start calling you “Slutty Spice.”

& the next year, when you get your first period
(well before the health teacher comes in
to even tell you what it is, so your mom finds
you crying in the bathroom with blood
on your hands, as you ask her, am I dying?)
your name will just become “Slut.”

& by fifth grade (as you cry each night
in the bath from growing pains) when
you’re towering over every boy who won’t
start growing ‘til seventh grade,
the world will call you a young woman.

& it will tell you:
You look so grown up.
You should be a model.

& men will whisper as you walk past
the restaurant bar, following the hostess
& your family through a maze of tables
& chairs, “Look at the tits on that one.”

& your Mother, during
appetizers, will tell you,
“I would have killed
for boobs like that.”

& in the summer before sixth grade,
you’ll ride bikes with your childhood friend
to the playground at school. It’s Saturday,
so no one is there, until her older
boyfriend appears with his friend.

& when she rides off with her boyfriend,
while you’re crawling through the tubes,
his friend will slide in next to you.

& as he slobbers on your lips
& shoves his hand down your shorts,
you’ll stiffen & think about
the texture of plastic, & how the blue
is faded where the sun has bleached it.

& after labor day, when you
start middle school, you will learn
this boy has a sister in eighth grade
who told everyone to call you “finger bang.”

& in seventh grade when your friend tells you
how the math teacher (who is also your volleyball coach)
seems to call on you all the time & asks you
to walk up to the chalkboard,

& that he won’t stop looking
at your chest the whole time—
you don’t notice.

& because you’ve become so familiar with
the discomfort of men’s (& boy’s) attention,
you can’t even point to it as the reason
for the omnipresent tightness in your chest

& lump in your throat that grows bigger
& bigger each day. You’ve been desensitized
to the male gaze, learned that your body
is always available for viewing & comment.

& when you go to practice that evening,
you wear three extra sports bras
to make yourself smaller.

& in eighth grade when your friend
asks you what a blowjob tastes like
you don’t wonder why she would ask you,
why she would think you know
(you don’t actually know).

& because you’re “a Finger
Banging Slutty Young Woman,”
you explain it the best way you can.

And you tell her it tastes sweet
(because Ask Jeeves told you that
semen contains a high amount of fructose).



Caiti Quatmann (she/her) is a disabled poet, writer, author of the chapbook Yoke (MyrtleHaus) and Editor-in-Chief for HNDL Mag. Her poetry and personal essays have been published by manywor(l)ds, Samfiftyfive, Thread LitMag and others. Caiti lives and works in St. Louis, Missouri. Find her online @CaitiTalks.

Photo credit: “MacArthur Park” by Amy the Nurse via a Creative Commons license.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Enough

By Alyssa Beatty

I add another rowan branch to the fire underneath the brazier and test the water with my pinky. Almost hot enough. A quick count of the bundles of herbs on the kitchen counter to make sure I have everything I need. Rose-tinted sunset streams in through my back door, propped open with a cinder block. It’s a signal to anyone who needs me.

First in is Mr. Murphy, who needs a tea for his arthritis. I decant a measure of hot water into an old glass Coke bottle, sprinkle in the herbs, and seal the top with wax.

“Let it steep until you get home. Drink it all. It’ll taste like ass, but it will help,” I tell him.

He ducks his head in thanks, holding out a loaf of fresh baked bread from his wife. He’s never said a word to me, but he’s also never missed a visit.

When he’s shuffled out the back door, I sit at the kitchen table, waiting. I should turn the radio on, for the illusion of company. But it seems like too much effort to get up again.

I turn the little mustang figurine toward the door, letting him see the sky. He’s my reminder, for days like today when I’m feeling worn out, of why I’m here. Mustangs were brought to a place they didn’t really belong and made it their own so completely that they became synonymous with their adopted landscape. I don’t belong here either. I’m a city girl at heart, more at home with concrete and steel than the endless flat plains that surround this speck of a town.

Some people think witches shouldn’t live in cities; that they need to have their feet on bare earth, see the sky and hear the wind in the trees. But those people have never harvested the energy of a crowd at a street fair or bathed naked in the moonlight reflected off a skyscraper.

Before I start to feel too sorry for myself, Martha Sperry knocks on the door. I’ve told her a million times if the door is open, she doesn’t need to knock, but small-town politeness is ingrained in her.

“Come on in, Martha. Need a refill?” I rise from the table, trying to disguise my weariness.

“Yes, please, ma’am.”

Martha’s son suffers from the worst case of cystic acne I’ve ever seen. Poor kid’s face looks like a map of the moon. He’d never agree to treating it with what I’m pretty sure Martha’s husband calls “devil’s brews,” but my tea works wonders for skin conditions. Martha’s been slipping it into her son’s dessert every night, and he’s come so far out of his shell he asked a girl to homecoming. Small victories.

I stir the herbs into the hot water, carefully pouring the brew into a yellow Tupperware bowl. As far as her husband knows Martha and I have been swapping soup in this bowl for the last three months. She takes it carefully and pulls out a hand crocheted rose and gold shawl, the exact colors of the sky outside. She’s really talented. I can’t help but picture her at an artisan market in the city, selling her wares for a hundred bucks a pop.

I need to stop thinking about the city. I’m here now. I stroke my finger along the mustang’s side. I picked him up at a swap meet on the trip here. He’s inexpertly cast, the metal lumpy and undefined on one side. But some magic leaked into his legs; they flow, capturing the joy of motion. He looks free.

It’s almost time. I dim the lantern on the table. The next client won’t want me to see her face or know her name. I wish I could concoct a tea that would take her shame and lay it squarely onto the man who should bear it. Lay it so squarely it puts him in the ground. I close my eyes and take deep calming breaths, visualizing my mustang, hooves thundering on the earth.

She slips in so quietly, trying to make herself small. My heart aches. Even in the dim light I can see the bruise blooming on her jaw. There are other bruises, too, I know, hidden under her loose sweatpants and oversized hoodie. On her wrists. Her thighs. She can’t be more than sixteen.

“Are you the lady they told me about? The one who helps . . . girls in trouble?’

“I am. Sit down. I’ll get started.”

“I don’t have money. The clinic . . . it used to be free.”

The clinic has been scorched rubble for two years now.

“I don’t take money.”

I scoop the water from the brazier with a jade cup, for peace.

“Will it hurt?” she whispers, as she watches me mix the herbs.

“Yes.” No use lying to her. “You’ll feel nauseated. You might throw up. And you’ll bleed. A lot. Drink ginger ale, real stuff, not Canada Dry, and rest as much as you can, until it’s over.”

“What will I tell my dad?”

There’s a lot of things I want to say to her father, none of them pleasant.

“Tell him you have the flu. The symptoms aren’t too far off. Burn or bury your pads, if you can.”

She nods, eyes downcast. Tears glimmer in the lanternlight.

“It’s not your fault, you know,” I murmur, filling the Coke bottle, melting the wax.

She clears her throat, taps her finger on the mustang’s nose.

“I like this. The way it looks like he’s running. Where’d you get it?”

“Someplace between here and San Francisco.”

“I’d like to go there, someday. Or anywhere, really.”

There’s no potion I can brew that will get her out of this town.

I offer her the bottle, and she slips it into her hoodie pocket. Just before she disappears into the night she whirls and hugs me, stick-thin arms around my waist.

“Thanks.”

I turn the lantern off. Starlight streams in; my mustang runs in their shimmer. I picture the girl running too, long legs skimming prairie grass, leaving this place behind. I picture it as hard as I can. Maybe it will be enough.



Alyssa Beatty lives and writes in Brooklyn, NY. Her work has appeared in Luna Station Quarterly, Flash Fiction Magazine, and Spread: Tales of Deadly Flora. Find her at alyssabeattywrites.com.

Photo credit: Madhu Madhavan via a Creative Commons license.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

The Sea Gazelle

By Bänoo Zan

                           For Ahoo Daryaei1


My body—my voice—

Time is out of joint
in this sea of forced hijabs

I wear a hoodie sweater to campus
To force me to wear a hijab
the Sharia militiamen rip it to shreds

I show you whose body this is—I roar—
Now that my torso is exposed—
I get out of my pants, too—

I announce independence—
walk down the street—tall as cypress—
My body is not my shame—

My arrest is a bloody scream
Plainclothes men beat me up—
bang my head against a car
and throw me inside—
The tires leave a trail of red

I am detained in a “psychiatric” ward
The only people with visitation rights  
are the Brigadier General of the Disciplinary Force2
Intelligence agents,

and pretend doctors who administer drugs
to drive me to insanity, confession,
and the insanity of confession

Waves besiege my protest
Pain pierces me as rape

I am restrained after attempts to escape—

I am a tempest in
a sea of subjugated resolves—

No ceasefire—between tyranny and freedom—

My body—is my weapon—

I am leaping out of waves



Bänoo Zan is a poet, translator, essayist, and poetry curator, with over 300 published pieces and three books including Songs of Exile and Letters to My Father. She is the founder of Shab-e She’r (Poetry Night), Canada’s most diverse and brave poetry open mic series (inception 2012). It is a brave space that bridges the gap between communities of poets from different ethnicities, nationalities, religions (or lack thereof), ages, genders, sexual orientations, abilities, poetic styles, voices, and visions. Bänoo, along with Cy Strom, is the co-editor of the anthology: Woman Life Freedom: Poems for the Iranian Revolution. 

Photo credit: Photoholgic on Unsplash.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.


  1. Ahoo Daryaei, nicknamed “the science-research girl,” is a PhD student in French Literature at the Islamic Azad (Free) University, Science and Research Branch, Tehran, Iran. On November 2, 2024, security forces tore her clothes to teach her that she should dress modestly. She then stripped to her underwear and was arrested by plainclothes forces and detained and held against her will at a “psychiatric” hospital. “The sea gazelle” is a translation of her name: “ahoo” is gazelle and “darya” is the sea in Persian. ↩︎
  2. FARAJA, acronym for the Disciplinary Force of the Islamic Republic of Iran ↩︎

Assigned at Birth

By Ellen D.B. Riggle

I needed only search a few minutes to find the aging heavy cardstock piece of paper labeled in block letters across the top, “BIRTH CERTIFICATE.” I scanned a copy of this original document into a PowerPoint slide for a talk I was scheduled to give on so-called “bathroom laws”—legislation restricting who can use which public restroom. To illustrate how my restroom destiny was determined at birth, I clicked on the virtual highlighter button and looked at the picture on the screen searching for my “sex.” Within the faded decorative border is my name, parents’ names, date, time, and location of my birth, and the signature of the hospital’s “duly authorized officer.” In the lower left corner is my tiny baby footprint. However, nowhere is my “sex”—not a prompt nor a blank line. Nothing to highlight.

I checked the original document, thinking maybe this vital information did not scan properly. No, it simply was not there.

In 2016, North Carolina became the first state to pass a bathroom law, House Bill 2 (HB2), restricting access to public restrooms based on “biological sex,” defined as “the physical condition of being male or female, which is stated on a person’s birth certificate.” Although North Carolina was pressured by a coalition of activists and companies to effectively repeal HB2, by early 2025 fifteen states had legislation restricting restroom use based on sex or gender assigned at birth, including two states that have criminal penalties for anyone who runs afoul of the law. Several other states have legislation pending, and current presidential executive orders attempt to regulate access to sex-specific restrooms.

Confused, given the certainty of the legislators in North Carolina and other states that one only need consult the birth certificate to ascertain their sex, I began searching for more information. First, I checked with my brother, born in the same state as I, but in a different year and hospital. His birth certificate decisively declares “male.” Online, I found various images from my home state and others across time, almost all of which included “sex”—although interestingly, not all did.

The birth certificate is far more complex than most people would suspect. In the United States, birth certificates are issued by a variety of sources. Hospitals give new parents, like mine, a fancy piece of paper, sometimes referred to as “ceremonial” or tritely as a “souvenir.” It is not a government document. However, it is (using legal terms) primary, original, direct evidence of the actual birth. This piece of paper is what most people consider to be their birth certificates—especially when that is the title at the top of the document.

A different form, named something like “Registration of Live Birth,” is how a hospital reports to the appropriate county or state agency that a child was delivered alive, and records the date, time, and location (obviously for later astrological consultations), the baby’s name, parents’ names, and maybe other information such as sex and race. The resulting document is issued with an official embossed seal for proving citizenship. I checked the county’s “birth certificate” that I used to obtain a passport in the early 80s, and again found no report of my sex.

Intrigued, I continued searching for my restroom destiny.

Data about births are collected by states and reported to the federal government annually as mandated by the Vital Statistics Act. The federal government agency questionnaire of over 60 items for each birth is a relatively recent invention, and none of the information is mandatory. With no standard national form for birth certificates or registrations of birth, states and localities include different information in their files and create their own documents. Consequently, the National Center for Health Statistics estimates there are over 14,000 different variations of the birth certificate currently found in the United States.

I began to question the implications of this lack of decree of my sex. For example, what would I do the next time I flew through an airport in a state with a so-called bathroom law? What restroom would I be entitled to use? Would I be entitled to use the restroom at all? Would I use the “family restroom” even though I am not a family? Maybe I’ll fly only through airports located in states without such laws?

The legal sex on my driver’s license is listed as F. Seemingly, the DMV accepted my word for it when I turned 16, and it has been so ever since. X has never been an option where I live. Recently I paid for a new copy of what, in my county of origin, is now called a Certificate of Birth. It’s unclear when the certificate form was updated, but on the current version, my sex is listed as “female,” a designation not on prior documents and with no indication of when or how this was determined. In my mind, this is not my birth certificate; it is, at best, a sketchy administrative document of nebulous origin and uncertain validity.

Some legislators seem to have caught on to the birth certificate sex void, because several recent iterations of bathroom bills do not refer specifically to birth certificates but more generally to “sex assigned at birth.” Most legislatures have gone with that vague wording, but Montana lawmakers are quite graphic in their attempt to define sex. “Female” is a human with XX chromosomes and “produces or would produce relatively large, relatively immobile gametes, or eggs, during her life cycle.” “Male” is a human with XY chromosomes and “produces or would produce small, mobile gametes, or sperm, during his life cycle.” This wording ties sexing a baby to an event more than a decade in the future (puberty). Also, I personally find it disturbingly creepy that legislators are talking about human babies the way they do cattle. Perhaps they have forgotten that in the cattle farm economy, producers of small, mobile gametes have little value beyond ending up as a hamburger on someone’s grill.

Where I come from, long before kindergarten we learned it’s not polite to look up girls’ dresses or down boys’ pants. We simply took people at their word they were a girl, boy, astronaut, cute barking puppy, or a scary monster. And somewhere along the way, we learned that adults can be scary monsters, even if they don’t call themselves that.

I called my mother. She reported that in the delivery room the doctor made the classic announcement, “Congratulations, you have a baby girl!” She had never noticed this declaration was not on my birth certificate and was rather amused. I am certain she will not turn state’s evidence if I am arrested for violating a restroom law. Given there is no record of a gene map, nor hormone and hormone receptor test results, and my primary birth document is silent on the subject, I argue my sex is still a mystery.

Other states avoid “sex” by referencing “gender assigned at birth” in their legislation, ironically writing gender ideology into statutory code.

What gender was I assigned at birth? My mother often refers to me as her “awesome daughter.” But her heart and mind are big enough to know that not all daughters are assigned female at birth.

There is an Olin Mills portrait of my brother and me at ages 4 and 2, respectively, wearing matching blue tartan flannel shirts my mother made. Clearly she was enabling my early embrace of flannel lesbian chic. My gender could easily be called Midwest tomboy.

My father more than once referred to me as “he.” We fixed trucks, shot guns, rode motorcycles, and did all the things he would do with a son. In fact, he does have a son. Maybe sometimes in his mind he has two.

Perhaps my gender assigned at birth was never fully ascertained or reliably implemented.

I find a sense of freedom in my discovery that the document labeled BIRTH CERTIFICATE does not declare my sex. I know sex is not determined by a word on a piece of paper, and the simple sex binary is doomed by nature. Gender, often conflated with sex, seems even more complex. However, if we open our hearts and minds a little wider, it’s not so complicated.

One summer day, while standing in the yard talking to my neighbor, her four-year-old grandson looked at me and asked, “Do you have a penis?”

She and I were both caught off guard and smiled. I asked him, truly curious, “Why does that matter?”

He replied impatiently with another question, “Are you a boy or a girl?”

This is a question I had been asked several times before by children his age, usually to the horror of a nearby parent who was obviously afraid of my answer.

“Why does it matter?” I inquired.

“If you’re a boy we can play together,” he declared, obviously hopeful this was the case.

I left it to his grandmother to figure out the specifics of where he learned this rule and conduct a teachable moment.

“I’m neither. Sometimes both. We can play if you want.”

The answer satisfied him. We engaged in a very competitive imaginary car race around the yard, followed by a game of tag, ending with me on my back, balancing him in the air on my feet so he could spread his arms and make airplane sounds.

After a soft landing, he rolled over and put his feet up in the air, offering to lift me up so I could fly too.



Ellen D.B. Riggle is an award-winning educator and author, currently based in Kentucky. They hold a day job as a professor to support a semi-serious hiking habit. Their poems have been published in Rise Up Review, Pegasus, ADVANCE Journal, and Earth’s Daughters, and they are Executive Producer of “Becoming Myself: Positive Trans & Nonbinary Identities” (available free on YouTube).

Photo credit: Joy Gant via a Creative Commons license.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Ode to America, November 6, 2024

By Joanne Durham

Oh America, I desperately want
to praise you, but even this poem
has begun wrong, like you began
wrong. How easily you claimed
the name of two continents,
the lands of other peoples. Here
you are, states untied, no belt
of decency holding them together,
all the rot of unentitled claims
shredding your fraying fabric.

Lying in bed before dawn, I fight
that rot creeping through my lungs.
I do not want to suffocate,
least of all from my own faltering
breath. So I walk out onto the deck
of this ocean-facing place
I call home. The stars are still the same,
Orion’s belt shines on, so close
to the Equator everyone on earth
can see it. Some woman like me
will stand beneath it as the sun shadows
away from her, in China, Ghana,
Greece, and marvel
at the three giant stars that hold
this belt secure. In ancient myths
those heavenly bodies make a bridge
to the world of souls. Few of us know
their names, but we know connection,
perhaps that is all we need to know—

The fog thickens as the sun rises,
even the sky doesn’t want to witness
the mayhem below. We are left
to navigate by our own constellations,
what shines true in our fragile lives.
I walk down to the beach, search
for a shark tooth, a reminder
of how old this earth is, how much
it has weathered.



Joanne Durham is the author of To Drink from a Wider Bowl, winner of the Sinclair Poetry Prize (Evening Street Press 2022) and the chapbook, On Shifting Shoals (Kelsay Books 2023). Her poetry appears in Poetry South, Vox Populi, CALYX, NC Literary Review and numerous other journals and anthologies. She lives on the North Carolina coast, with the ocean as her backyard and muse. Visist her website at www.joannedurham.com.

Photo credit: Yuriy Totopin via a Creative Commons license.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Second Flags

By Annette L. Brown

I was slicing tomatoes from the garden, their rich juice nearly overwhelming the grooves in the cutting board, when I heard the story of Lauri Ann Carleton’s murder. I stopped to make sure I heard correctly, my knife hovering mid cut. Yes, Lauri Ann Carleton, 66 years old, died August 18, 2023 in Lake Arrowhead, California. Story details could not escape my ears when CNN broke for commercial: The Mag.Pi clothing store . . . a confrontation over a Pride flag . . . a man with a gun.

My husband, my dinner-prep partner, reached for me, rested his warm hand on my lower back as we stared at the TV. I remember wondering, What is happening to us? Sometimes, when I watch the news, I do not recognize my own country—the people I’ve imagined us to be.

Though not a member herself, Lauri Ann Carleton raised a Pride flag in honor of the LGBTQ+ community—a community defined by diversity and acceptance. She had been asked by various townsfolk to remove her flag. She refused. I imagined her pulling her Rainbow from its sleepy quarters each morning, placing it in its storefront holder, watching it catch the breeze. It fluttered there, a symbol of peace, defying those unable or unwilling to recognize its meaning.

                                                                        •

In war, people fight for flags, or at least for what they symbolize. I remember visiting the Marine Corp War Memorial in Washington D.C.—the sculptured image of six men pushing into place the second flag to be raised on Mt. Suribachi during the WWII battle at Iwo Jima. The first was not large enough to be seen across the island, not large enough to render the response to the second—gunshots of celebration and cries of joy from soldiers fighting on land and sailors in ships just offshore.

                                                                        •

The cries over Lauri Ann Carleton’s loss lacked celebration. The gunman killed a wife-mother-friend-community advocate, then fled the scene. Police followed. Now he’s dead. I wonder what fear terrorized the shooter’s heart, what war waged within, so horrific he had to kill over that flag. Community members mourned Lauri Ann Carleton by crowding her storefront with flowers, sidewalk-chalk messages, and Pride flags—the display, a greater rainbow than could ever be contained by a single flag. I studied the image of her shop until the explosion of color, ironically initiated by the gunmen, grew into a vice constricting my breath.

                                                                        •

The day I visited the Marine Corp War Memorial was hot and humid. I remember at one point a gust of wind wrapped loosely around the inside of my collar, lifting the hair from my neck. When I closed my eyes to receive that cooling restorative, I could almost hear the snap of the war memorial’s flag whipping in the chilled February wind of 1945; I could imagine how battling soldiers were lifted by the tendrils of hope streaming from the stars and stripes, though the battle waged on for weeks.

                                                                        •

When her family left Lauri Ann Carleton’s body at the hospital, a new flag, secure in its delivery packaging, awaited them on the porch. She died over a flag she had planned to replace, the colors the gunman despised, too faded for her commitment.

                                                                        •

Sometimes watching the news stings my eyes, hitches my breath. Still, I don’t seem to look away. Scientists who study these things report people respond more intensely to negative stories than to positive as measured by changes in heart rate and the electrical conductivity of skin. But some things have no accurate ruler. They cling to memory in immeasurable ways.

I didn’t go to Lake Arrowhead, didn’t see individuals placing rainbow gifts at the Mag.Pi storefront. I couldn’t tell if there were any gusts of wind. Yet I cannot forget. I wonder if Lauri Ann Carleton’s new flag is still nestled in the dark of its packaging. I suppose it doesn’t matter. That second flag doesn’t need to flutter from a pole for its tendrils to stretch hope toward us.



Annette L. Brown is a personal essayist and creative nonfiction writer who has pieces reflecting her love of nature, family, beauty, and humor in several publications including Flash Fiction Magazine, Every Day Fiction, several volumes of the Personal Story Publishing Project (Randell Jones) and in Bad Day Book, Parenting. Annette is grateful for the support and friendship of her writing group, the Taste Life Twice Writers. 

Photo credits: Pride flag by Cecilie Bomstad on Unsplash.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Identity Theft

By Janan Golestané

My second-generation,
Iranian-Canadian
voice
speaks without an accent
in English.

It’s been known to recount
my many fortunes as the
daughter of an
Iranian woman who chose to leave Iran.
She, the only one of seven siblings to immigrate.
Me, the only one of my maternal family born with basic rights and freedoms.

My second-generation,
Iranian-Canadian
perspective
was then that I gained immensely
from my mother’s departure from Iran.
I won the lottery of opportunity
and a passport that would take me places
my family in Iran could only dream of.

My second-generation,
Iranian-Canadian
voice
speaks with an accent
in Persian.

Once it began reciting
Zan
Zendegi
Azadi1
in support of the youth risking everything to reclaim Iran,
it began recognizing
my many misfortunes as the
daughter of an
Iranian woman with no choice but to leave her home.
She, the only one of seven siblings in exile.
Me, the only one of my maternal family planted in distant, unfamiliar lands.

My second-generation,
Iranian-Canadian
perspective
is now that I paid a high cost and
took an immense loss
to grow freely and
with opportunities
someplace
my ancestors never set foot.

An entire diaspora,
robbed of our
homeland,
language,
culture,
family,
loved ones,
identity.

An entire nation,
robbed of our
selves,
self-expression,
self-determination,
free choice,
individuality,
identity.

Stolen versions of who we each
could’ve,
would’ve,
should’ve been.

Me, an Iranian that
could
bloom on the land she descended from,
would
seamlessly recite Persian poetry in her mother tongue,
should
sit in her spot around the sofreh2 with her people,
like her ancestors did.

Empty spots around a sofreh,
in place of fully constructed identities,
representing those
killed,
imprisoned,
exiled,
displaced,
oppressed,
robbed.

Identify theft
on a mass scale
added to a rap sheet of atrocities
spanning over 45 years.

So, I’ll keep using
my second-generation, Iranian-Canadian voice
to reclaim what was stolen
ta ba yek seda
be azadi bereseem.3



Writing under a pen name, Janan Golestané was forever changed—like so many Iranians and others—by the Woman Life Freedom movement. As a second-generation Iranian-Canadian woman for whom it is unsafe to set foot in the Islamic Republic of Iran, she was inspired and compelled to dive into her heritage, working to strengthen her mother tongue of Persian and reconnect with her cultural roots. She has since studied and memorized famous poems in their original language by such poets as Omar Khayyam, Rumi, Saadi, Sohrab Sepehri, Rudaki, and Baba Taher. In solidarity with Iranians fighting for freedom, this her debut published poem shares the journey of how her sense of self and belonging to the Iranian community was permanently altered by the Woman Life Freedom movement, as well as her commitment to sustained resistance against the Islamic Republic of Iran’s tyrannical and oppressive regime.

Photo credit: Nina Haghighi via a Creative Commons license.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.
______________________________________________________________________

  1. Transliteration of Persian protest slogan meaning, “Woman / Life / Freedom.” ↩︎
  2. Transliteration of Persian referring to a cloth on which food is served in Iranian culture. ↩︎
  3. Transliteration of Persian meaning, “Until with one voice / we reach freedom.” ↩︎

Ya-Ting (Iris)

By Ya-Ting Yu

“Iris sounds like a grandma name,” Samuel said, frowning. His large rugby hands sank into his sweatpants when he saw my face. “You’re no fun. It’s just a joke. And, I mean, it’s true.” He stuck his tongue out and shrugged, the Fly Emirates logo stretching across his chest.

His nonchalance made it worse, as if it were common sense, and I was too sensitive for the humour.

“I didn’t know,” I mumbled, heading to the kitchen for a glass of water, not thirsty, just wanting to drop the topic. When we met, he’d been eager to share his background, his faith, bridging our religious differences. But language? That never crossed his mind; he’d only known one. Four years as his girlfriend, my hair still bristled like quills at any reminder of my ESL status.

I’d researched “Iris” during undergrad, oblivious to its cultural nuances, proud of my foresight in choosing a name tied to a flower and visual anatomy, perfect for a photography student hoping to break into the industry. My earlier, teenage naivety had surely amused Samuel and Valerie.

“So you named yourself Iris?” Valerie’s sharp voice snapped me back to my studio apartment, where an IKEA bookshelf and a three-seater grey couch framed the room. Lavender Febreze lingered, a poor attempt to mask the bitterness of Chinese herbal tea, an aroma I’d hoped would fade before they arrived.

Valerie stretched her legs under my Hudson’s Bay blanket, pedicured toes peeking out. “That’s pretty cool. I wish I could’ve named myself. Hey—give me a Mandarin name!”

“Y-yeah, definitely. I can look up some names, but, you know, in Taiwan and maybe other countries, we give ourselves English names starting from a young age. My Korean and Chinese friends do too. It’s just something we—”

“Really? Why?” Valerie’s brows pinched into an uneven M, mirroring her brother’s exasperated face.

I opened my mouth, but no words came. Despite a decade in an English-speaking country, I still lacked the vocabulary to explain my urge to assimilate. It wasn’t about Samuel. No, it had begun long before his offhand comment—the summer I registered for a Canadian public school, my first time moving to a foreign country. The summer I turned fifteen.

“Have you picked an English name?” my aunt asked in Mandarin, twisting from the passenger seat. Next to her, my uncle fiddled with the radio dial while my parents turned to me. In the back, my cousin and little sister listened to what I assumed were traffic reports crackling through the speakers.

Through the SUV’s windshield, I watched the horizon split into a cloudless sky and endless highway lanes. The Toronto skyline loomed, intimidating yet wistful, like a crush I’d only dared glimpse from the back of a classroom.

“Iris,” I said, biting my lip, surprised at my daring.

The name had circled in my head like the low hum of an overhead vent since our plane left Taiwan. Fifteen hours offered plenty of time to contemplate a new name between naps and in-flight movies. We arrived in Toronto in mid-summer to settle in and finalize my registration. When September came, my parents and sister would leave me to start my new life on a continent where no one spoke my language.

“Good. Then you’ll introduce yourself as Iris,” my aunt announced with an approving nod. “Remember, prepare a self-introduction. You’re here to improve your English. So don’t go making friends with other Mandarin speakers.”

Hao,” I responded like an obedient student, the word less a reply than a promise. I vowed to learn Canadian ways, speak their slang, and make my international tuition a worthwhile investment. I’d seen enough North American high school series to know how to blend in.

Yet, a new life needed a new name. Iris was a girl I admired at my cram school in Taipei. Although we attended the same English class twice a week all year, we weren’t friends, just classmates. I’d watch her from the corner, envying her dancer’s figure, perfect egg-shaped face, and wavy black hair, sometimes tied in a ponytail, sometimes braids. When she passed by, I’d sniff the air to identify her shampoo brand.

At cram school, I was Jenny, a name given by my elementary school teacher. I hadn’t objected; it felt special to have a foreign name. Only later did I realize how many Taiwanese girls were named Jenny, like guava in the grocery store, too common to catch anyone’s interest. It wouldn’t do. For my new school, I needed a less generic name, one that broke with my thick glasses and pudgy face. Iris was my new skin—a revised version, a 2.0.

Then, on that first day in the Canadian school, I wanted to hide in the washroom. I didn’t understand a word of the group activity. While my rehearsed introduction had gone without my throwing up, I hadn’t anticipated the teachers’ accents, quick pace, or the singing of the national anthem. My eyes darted as I tried to mimic the sounds on their lips. But no amount of High School Musicals and Taiwanese cram schools could’ve prepared me for this.

At least adopting an English name had made me my first friend, a non-Mandarin-speaking Iranian girl, with a tingling laugh and clear speech. She had accepted Iris as my name without question.

Now, Zahra’s hijab-wrapped smile stayed with me as I surveyed my studio. Would she understand? To me, it was as instinctive as picking up food with chopsticks, a survival strategy to take on a name others could read, say, and accept.

Across the floor, Samuel unfolded his legs, stood, and padded to the fourteenth-story balcony. He tsked, squinting at the pouring rain. To me, the rhythmic pusha pusha was oddly soothing. Silhouetted against the eerie brown sky, he turned to me.

“I don’t understand. Ya-Ting is an easy enough name to say.”

I parted my lips but didn’t correct his intonation. Samuel had practiced my Mandarin name when we first started dating, but it never sounded quite right. His initial interest faded into irritation. Over the years, other non-Mandarin-speaking friends had tried, but the tones in Ya and Ting dipped, then rose, unlike the syllabic stress of English. Saying my name meant speaking another language: Forget your norms, flex your tongues, and repeat after me.

“Ya-Ting Yu?”

I’d cringed at the sound of my full name through my Canadian teachers’ lips. Before preferred names became a concept, I’d written Iris in brackets on the attendance sheet, a hint for future references. The teachers seemed to sigh in relief, shoulders sinking imperceptibly, spared the challenge of pronouncing it. A non-English-sounding name felt isolating, like being singled out because your lunch was a pork bun instead of an avocado sandwich. My dark eyes, yellow skin, and fobby clothes brought from home couldn’t be helped, but my name was an identity I could reshape at will.

“Is it Yu or Ya? Which is your last name?”

I didn’t blame the teachers or, later on, the bank tellers and driver’s license officers. In Mandarin, family names come first. My name appeared as Yu Ya-Ting on my passport, spelled out below the Mandarin characters, a reminder of the group-over-individual mindset I grew up with. Serve the family before satisfying personal wishes. We before me. Had it started here, my desperate need to belong to the Canadian community? So ready was I to shed my Taiwanese label that I even considered changing my passport name to Iris. At least then, I wouldn’t have to answer those awkward questions at government offices.

Pusha pusha. The steady sound of water filling the Brita was comforting. In the kitchen, Samuel thudded over and slung an arm around my shoulders. “When we’re married, you’ll have a new last name—my last name.” My face warmed. I snuggled closer to his chest, the Fly from his jersey logo sticking to my cheek.

Though surname adoption in Taiwan was already a thing of the past, I’d always dreamed of taking his name, a way to cement my reinvented identity and secure my place in his white family. They seemed superior in every way, from physical stature to social standing. I never argued when they dismissed my tradition of ancestral worship or questioned their applause when I was baptized as Christian. So why hesitate to take their name?

From the couch, Valerie groaned about excessive PDA. I sprang back, brushing off a lingering unease, the kind you chalked up to overthinking, reminiscent of that first barbecue invitation from his family.

It was the Labour Day weekend after I’d graduated, my introduction to his congregation of relatives. His parents, siblings, aunts, and cousins clustered around in patio chairs, the air thick with laughter, smoke, and the aroma of sizzling chicken. Samuel’s uncles rotated shifts at the barbecue, catching the tail end of grilling season. Behind them, a forest of half-turned maple trees framed Lake Ontario, a time for family gatherings, though mine were an ocean away.

“Iris’s real name is Ya-Ting,” Samuel threw out casually after we’d all said grace, waving a skewer between mouthfuls.

“Don’t tell them,” I whispered, nudging him to stop. The only Asian at the table, I prayed to blend in like weathered patio furniture, not stand out like a neon bottle opener left on the table.

Ya-Ting?” his mom echoed, confusion tightening her gaze as a spoonful of mashed potatoes halted mid-air.

Before other relatives jumped in with more questions, I waved my hand like wafting at an unpleasant odour. “Ignore him. Just Iris. By the way, this mash is so creamy. Did you put milk in it?”

His mom gave me a knowing look and leaned in, grinning while she revealed her sour cream recipe. I feigned interest, nodding and wowing on cue, but the hair on my neck rose, an instinct against his endless, innocent jokes. Perhaps I’d curled up too long, afraid of any prickle. Knocks came, but shame fixed me in place, my sharp spines a safe barrier against any curiosities, genuine or otherwise. No escape. I’d already swallowed the keys to the exit.

The sound of the overflowing Brita jolted me, though my mind felt dazed, still in the shadowy corner of my brain. I rubbed my temple, tuning out Samuel and Valerie in the apartment while I rummaged through the fridge.

A chill spread. My fingers landed on a buried, expired avocado, its scabby skin dark and soft under my thumb. I pulled it out, massaging the peel away. Inside, no part was redeemable.

“What’s that smell?” Samuel and Valerie called.

I bristled, wiggled my nose, and watched my shadow on the tiled wall grow quills. The reeking scent. My mouth. The taste was no different from a fresh avocado, creamy and melted on my tongue. At the back of my throat, their approval and my self-betrayal bubbled. I gulped some water and forced it down, determined to be every bit Iris, rotten or not. Skin to seed, my fantasy had become—I’d become.

Years later, people were too polite to ask, but they whispered behind my back, surprised, even outraged, that I’d ended my eight-year relationship with Samuel. I surprised myself too, at how I’d done it, by cheating. But I’d been living a lie for years: a false name, a misguided belonging. With each laugh alongside his family, the corners of my mouth grew stiff, like a poster girl trained to please. In the end, I forsook Samuel the same way I had myself, not out of malice or disregard, but as a last act to reclaim what I’d lost.

I remember his parting words: “Goodbye, Ya-Ting. That’s your real name. At last, something real about you.”

Those words haunt me, like his familiar hand on my shoulders, heavy, insistent. Shushing me, shoving me back into my self-inflicted prison, “liar, cheater” stamped on the walls. His fingers, once a loving gesture beneath my hair, now dig into my collarbones, an aching reminder of my sins, no matter the aliases I carry.

Today, if you ask, I have a complicated relationship with that hyphen. Sometimes, I write it as Yating and wonder how long I can keep up the pretence. This morning, however, I feel as though I’m uncurling, gently nudged by a friend whose smile recalls Zahra’s from high school, open and steady.

My best friend since moving to Edinburgh, Greta is on a mission to find the best kardemummabullar, a Swedish cardamom bun. We’re seated by the off-white Victorian window frame, watching Bruntsfield’s weekend brunch-goers bask in the start of Scottish warm weather, when she slides her pocket-sized notebook across the cafe table.

“How do you write your Mandarin name?” she asks.

I pick up her pen and ink the two characters, now foreign to my hand. “Ya is written with the tooth character next to this straight spine character. Together, they mean grace or elegance. Ting, here, has a girl and a gazebo. Don’t ask why,” I grimace, and a chuckle escapes. “But together they imply beauty.”

I slide her notebook back, then steal a glance. Greta doesn’t laugh or joke about the implications. She nods, earnest brown eyes glistening, the colour of her half-drunk coffee in the cardamon-scented nook.

“The characters are beautiful. Like paintings, not words,” she murmurs, gliding across them with slender fingers as if feeling the texture, each glossy black stroke etched into the crisp paper. Her touch softens the sharp edges, easing the stiff lines.

I study her and push back my chair, a feeling sticks in my throat. “I’ll . . . just get another bun. You want anything?”

Greta shakes her head, brunette strands falling over her face. I release the breath I’ve been holding and walk to the pastry counter, blinking away the sudden moisture behind my metal frames.

From the queue, her outline swims, bent over the notebook, pen gripped as though tracing my name onto a fresh page. Something mechanical clicks. A lock gives way. The hedgehog unrolls, stretches, and I lift my head to the April sun.



Ya-Ting Yu is a Taiwanese writer based in Taipei with roots in Toronto, Canada, and Edinburgh, Scotland. She recently earned a master’s in counseling from the University of Edinburgh and has since turned her focus to fiction and essays. Her work explores the lives of East Asian expatriates and international students. This is her literary debut.

Photo credit: stilinberlin via a Creative Commons license.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

The Sunday After

By DW McKinney

the inauguration of the 47th President of the United States, we gather in the church sanctuary and sing the Black national anthem1. We mourn in unison. A week after the new president resumes his campaign of white (straight, male) supremacy, of “making America great,” of rolling back civil rights and liberties for marginalized people, we step backward in time with him. We borrow the strength of Buffalo Soldiers, Black infantrymen crooning the anthem as they fought on two fronts against fascists and discrimination in World War II. We borrow from our revolutionary leaders who belted the lyrics as they marched through segregated streets. We borrow from our greats and grands who sang for glory as they conducted sit-ins, and integrated schools, and lived and died and endured. Our lungs expel the words in the air around us, but we breathe them back into our souls again and again until our grief becomes a rallying cry.



DW McKinney is an award-winning writer and editor based in Las Vegas, Nevada. A 2024 TORCH Literary Arts Fellow, she is also the recipient of fellowships from PERIPLUS Collective, Writing By Writers, and The Writers’ Colony at Dairy Hollow. Her writing appears in Los Angeles Review of Books, Oxford American, Ecotone, and TriQuarterly. She serves as nonfiction editor at Shenandoah.

Photo credit: Cover of the Hawthorn Books 1970 edition of Lift Every Voice and Sing.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.


  1. James Weldon Johnson, civil rights activist and a leader of the National Association for the Advancement of Colored People, originally wrote “Lift Every Voice and Sing” as a poem in 1900. It was later composed as a hymn, becoming a powerful refrain throughout the Civil Rights Movement. ↩︎

She, I, You, We: Every Woman

By MM Schreier

FIFTEEN

She’s afraid her skirt’s too short, but gives it a little hip-swish, anyway. People are watching. If she owns it, maybe they won’t give her the side eye. Wishing she wore leggings, she considers tugging the skirt’s hem down, as if the sparse fabric could magically cover more of her legs, but knows if she does, it will just give them something else to gossip about.

Instead, she shifts the heavy calculus book that’s tucked under her arm so the title shows. She ignores imagined whispers of thunder thighs and decides it’s better to appear clever. Still, there’s a fine line between chic-smart and nerdy-smart. Her stomach clenches, and she struggles to keep the hint of a coy smile on her lips. She flips the book over and hugs it to her chest. Maybe everyone doesn’t need to know she’s in advanced placement math. She shimmies her hips again and swallows a sigh.

A broad-shouldered jock in a letterman’s jacket gives her a wolf whistle. It cuts across the throng of students. An unnatural hush falls over the crowd as too many eyes focus on her to see how she’ll react. She tosses her hair, blows the boy a kiss, then ducks into the bathroom before anyone can see her cheeks flush crimson.

While she waits for the halls to clear, she touches up her makeup in the mirror. Eyeliner, mascara, powder. A spritz of perfume, a swipe of blush. She digs around in her purse to find the smokey cranberry gloss that turns her lips into a sultry pout. It’s all camouflage. No––war paint.

The bell rings, and she saunters to class wrapped in the armor of feigned confidence. She might feel like an imposter, but at least she looks fantastic. She tells herself it’s all that matters.

TWENTY-SIX

I wake up every morning in my dingy studio apartment, take a deep breath, and repeat my favorite mantra. Visualize, materialize. It’s my habit to bolster myself with a series of pithy motivational quotes. Today is going to be an amazing day. The best is yet to come. Focus on the positive.

Leaning over the rusted fire escape, I take a snapshot of the sunrise and crop out the dumpster. #earlybirdgetstheworm. It’s important to curate my socials with meticulous attention. I tell myself it’s not deception; it’s the highlights reel of the life I want to have.

At lunch, if I turn the plate around and add the right filter, no one can tell that the #perfectsalad is disappointingly wilted. I post selfies from the woods, fresh-faced and smiling like the #trailgoddess I want to be. No one needs to see the hot mess that returns to the car, covered in bug bites and blisters. When the light’s just right, I get a shot of my #newtome Jeep that doesn’t show the rust spots or bald tires. I promise myself the next time I buy a car I’ll be able to afford a nicer one.

There are a million little photo tricks to upsell my reality. I order a second drink when the first is only half gone. After a few sips on the new one, I pose the glasses side-by-side so the solo excursion to the brewery turns into #girlsnight on Instagram. Framing and angles and perspective can make a budget trip to Portsmouth look like the glamor of Cancún. Haircuts, makeovers, vintage thrift store clothes, and suddenly #Iseeyourguylooking. He could be.

It’s exhausting work to fill my feeds with all the right tags––#livingthedream, #singleandkillingit, #mybestlife. If I get enough likes, maybe I’ll believe it’s true.

THIRTY-EIGHT

You power walk everywhere. Not because you’re in a hurry, but so everyone knows you have somewhere important to be. Running would make you look late and scatterbrained. Strolling is for receptionists with nothing better to do than ordering paperclips and making coffee. Not that there’s anything wrong with that—honest work, you know. You’re just driven to prove yourself as a career woman, so you stride with purpose.

Kitten heels clack on the tiles, not too high to be slutty, but still feminine. You must balance both. It’s difficult to speed walk in a pencil skirt and still look graceful. You feel like a drunken calf, hobbled by a cage of carefully pressed pinstripe cotton.

It’s tough being the only woman on the Leadership Team, and it looks bad if you are the last to show up to the meeting as if you’re Greta Garbo making an entrance. Keeping up with the men in their comfortable trousers and loafers requires twice as many steps, twice as fast. Somehow you do it, though it tests your extra-strength antiperspirant. You hope you’re not glistening. Ladies never sweat.

You round the corner to find That Guy from sales blocking the doorway to the conference room. You’re moving too fast. The damned heels skitter on the polished marble as you try not to collide with him. Surely, he’ll step back and give you space. You bounce off his shoulder when he doesn’t move.

Everyone laughs when a man almost a decade your junior says, Whoa there, little lady. You paste on a faux smile and pretend it doesn’t bother you. It appears you’ve made an entrance after all.

FIFTY

We dye our hair an unladylike purple. When asked if we’ve changed our look, we reply, Thanks! Glad you like it. That’s not what they said, but we don’t care. Once, we might have hedged and said it wasn’t exactly what we asked the hairdresser for while secretly loving it. But we no longer have the energy to be ashamed of who we are. Liking ourselves is an act of resistance.

When it’s hot, we wear tank tops and shorts, cellulite and knobby knees hanging out. When it’s cold, we cozy up in leggings paired with oversized hoodies. We have no patience for clothes that bind and pinch and squeeze. Some days, we pull on a slinky dress that hugs our curves and do our hair up in flowing waves. But only if we want to. It’s all on our own terms now. Either way, we remind each other at every opportunity we are beautiful.

We have hobbies, and we don’t hide them. Sure, we do typical middle-aged “women’s” activities like gardening and reading. We also scuba dive and play video games and forge armor and raise newts. We’ve stopped power walking and actually enjoy hiking. It’s peaceful in the woods, and we take our time on the trails. If we post #optoutside it is photos of cool mushrooms or fat toads we find along the way. We can’t remember the last time we took a selfie, but we’re head over heels for the toads.

Shagging is still a good time. We’re fifty, not dead. But we no longer accept being sexualized without our consent. Young, thin, and pretty do not hold the same value as generous, kind, and loyal. We no longer sacrifice our sense of self for love, because we have found it within.

For the first time, we know we are powerful; we are strong. We never truly needed to pretend to be all these things. It was who we were all along. We only wish we had realized we were enough at fifteen. 

TOMORROW

She’ll tell her friend she’s more than just her clothes, her makeup, her hair. Her body is not for consumption. I’ll remind my niece that Internet people don’t care about her. She can stop fabricating an image and live beyond the lens. You’ll teach your daughter she has nothing to prove, freeing her to find success on her own terms. Together, we’ll forge a generation of women who know what they are worth, and that will be our legacy. 



MM Schreier, the author of two speculative collections—Monstrosity, Humanity and Bruised, Resilient, is a classically trained vocalist who took up writing as therapy for a midlife crisis. In addition to creative pursuits, Schreier is on Leadership for a robotics company and tutors maths and science to at-risk youth.

Photo credit: sandra lansue on Unsplash.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

The Social Contract

By Kelly Fordon

I’ve been thinking about Irish wakes—
what my aunt’s must have been like—
19—killed by her drunk boyfriend
who slammed into a light pole.
For years afterward, my grandfather
ran into the boy around town.
My grandparents believed he would pay—
if not in this lifetime, in the next.
But I heard it nearly drove
my grandfather mad to see his face.
Those were the days before we all decided
drinking and driving is dumb,
a collective decision after so much loss.
What we had tolerated before,
we could no longer abide.
Irish wakes always took place
in the deceased’s home.
Back in those days
they covered the mirrors
so the soul wouldn’t float off
into the nether world instead
of zooming straight up to heaven.
The vigil lasted all night.
The men lit their cigarettes
to ward off the evil spirits.
That’s another thing
we used to sanction—
several of my family members
went up in smoke.
It takes a village, they say.
What I happen to believe
matters little without you
on board. Otherwise, how
would we even set the speed limit?
I was working one day
behind the circulation desk
and a man walked in
with a Glock strapped to his chest.
Who he was,
what he intended to do,
we had no idea.
He was exercising
his rights, and it made me think
about my aunt flying through the windshield,
my uncle hacking up a lung,
bombed-out hospitals,
preemies huddled together
in shoe boxes,
kids who were just having fun
at a music festival,
my son cowering
in his MSU apartment,
a killer on the loose.
His grade school friend, who
didn’t make it through that night.
Back when I was in high school
we didn’t know boys were supposed
to stop when we said stop.
If we’d banded together,
if we’d called out the bystanders,
if we’d agreed that we deserved better,
that what was happening
was really, really shitty, maybe
we could have shut it down.
Maybe we could have changed
everything.



Kelly Fordon’s latest short story collection, I Have the Answer (Wayne State University Press, 2020), was chosen as a Midwest Book Award Finalist and an Eric Hoffer Finalist. Her 2016 Michigan Notable Book, Garden for the Blind (WSUP), was an INDIEFAB Finalist, a Midwest Book Award Finalist, an Eric Hoffer Finalist, and an IPPY Awards Bronze Medalist. Her first full-length poetry collection, Goodbye Toothless House (Kattywompus Press, 2019), was an Eyelands International Prize Finalist and an Eric Hoffer Finalist. It was later adapted into a play by Robin Martin and published in The Kenyon Review Online. Her new poetry collection, What Trammels the Heart, will be published by SFASUPress in 2025. She is the author of three award-winning poetry chapbooks and has received a Best of the Net Award and Pushcart Prize nominations in three different genres. She teaches at Springfed Arts in Detroit and online, where she runs a fiction podcast called “Let’s Deconstruct a Story.”

Photo credit: Marc Nozell via a Creative Commons license.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

You Can Tell by Looking at Her

By Susan Rukeyser

Purity stood behind the counter at Wildfyre Drug, ready to assist Billionaires in possession of a valid pharmacy card and a signed Terms of Agreement, swearing that none of their purchases would be shared with members of the Worker class.

Occasionally, customers recognized her from her beauty product testimonials, which ran on true crime podcasts. Her niche was aggressive anti-aging for Billionaire’s wives at midlife and beyond.

Here in what used to be Los Angeles, known as The Angels since 2039’s American Language Act, the freezing haze hung low and yellow. The heavily armed security guard at the entrance wore a parka but not a respirator, although most people wore both.

“Men don’t need respirators. Their lungs are stronger,” Purity had been informed by Dotsie, a frequent customer of Wildfyre Drug and also sort of a friend.

Purity was the third wife of Skip Jenssen, an acquaintance of Dotsie’s husband, Dick. Dick and Dotsie were Billionaire class.

Dotsie appeared at the store’s entrance. The security guard recognized her, despite her respirator. Once inside, Dotsie removed it carefully, so as not to disturb her hat, which appeared to be covered in bald eagle feathers, velvety brown and white, very on trend for Winter 2051. Dotsie paired it with a long cashmere dress and vintage down comforter, redesigned as an oversized wrap.

Another employee, a kid named Link, stood across the store by an endcap of two new drugs from Compliance, Inc.: Smile4Me and ChillZout. Link was a Billionaire’s kid working off his community service for rape.

He said, “May I—”

“No,” said Dotsie, heading straight for Purity.

As Dotsie approached, Purity realized the hat Dotsie wore was a live bald eagle, now waking prematurely from sedation. It was secured by loops of brown ribbon. It could not move much, but it tried.

“What do you think?” Dotsie asked.

“About your hat?”

“No, about my Mommy Makeover!” Dotsie spun to give Purity the 360 view, holding out her arms—all four of them. “I splurged,” said Dotsie. “Two eyes in the back of my head, extra set of arms, and of course the entire line of detachable tits. Dick likes when I put a set on my back, ha ha.”

“You look unbelievable,” Purity said.

Dotsie blushed, pleased with the compliment. “So tell me, what’s new, overpriced, and fabulous?” She squinted at the products displayed behind the counter.

“Microrobotic lip enhancement,” Purity said. “From a brand called Face Invaders.” She handed Dotsie a red foil packet. “It’s expensive, but—”

“Purity!” Dotsie scolded. “Don’t be dreary.”

“Sorry. Just hold the packet open near your mouth. The microrobots locate your lips and access them through tiny tears—it’s not that painful, I swear! Then they travel around inside your lips, dispersing a proprietary blend of plumping agents and fillers according to specifications you pre-select in the app. Then they dissolve.”

“Sold,” said Dotsie, plunking down a credit card. “I’ll take five.”

Purity wondered how long it would be before Dick and Dotsie learned that Skip had accused her of adultery? That she now slept on the couch in her sister’s one-room Worker housing? Would Dotsie let her explain that Skip was the cheater, and he projected his guilt? That when he was angry, the first insult he hurled at her was “Worker,” contempt always just beneath the surface of his love?  

Dotsie was a lot, but she was kind. She invited Purity to all her social functions, but some of Dotsie’s friends were sticklers about who qualified for inclusion. Some said, “You can tell by looking at her, Purity was not born Billionaire.”

“Is that one of those Traditional Values credit cards?” Purity asked.

“You are correct,” answered the card. “I am the Traditional Values card, Woman edition, crafted from a polished cross section of real human bone and carried by the wives of Billionaires of exceptional taste and worthwhile portfolio. I ensure the highest level of security for all transactions approved by her husband. When in use, I stream a live feed to both our monitoring station and her husband, offering the premier protection every Billionaire’s wife deserves.”

“Your credit card is a snitch,” Purity said.

“Proceed with the transaction,” said the card.

Purity scanned Dotsie’s human-bone card over glass, causing it to groan in a way Purity did not care for.

Before Dotsie replaced the card in her wallet, it said, “Dick says that’s enough shopping.”

Dotsie pressed her ear implant: “Hover sack, come.” A shopping bag appeared at the door and identified itself to the security guard. It flew to Dotsie’s side.

“Hungry,” it said.

Purity put the five red foil packets of Face Invaders into the bag, and it quieted down.

Dotsie put on her respirator and turned to leave. Then she turned back and said, “Purity, I’ve always known you were Worker class. It never bothered me. Skip told us what he did.”

“I understand this changes everything,” said Purity. “You don’t have to stop shopping here to avoid me. Link can help you.”

“Doubt it,” Link called.

“I don’t want to avoid you, Purity. I always thought Skip was a prick—don’t you dare tell anyone I said that. But listen: You are free. You have a job and you’re famous. You can do anything.”

“I’m not famous,” Purity said.

“You deserve better,” said Dotsie.

“Oh, please.”

“See, there’s your problem,” said Dotsie. “Mine too.”

Dotsie walked toward the door, her hover sack gliding beside her. The eyes in the back of her head stared up at the bald eagle, now wrestling free of its bonds, sending clumps of Dotsie’s hair flying. It let out a shriek.

“I hate this hat,” said Dotsie, but as usual, it looked like she felt nothing.

When she got outside, Dotsie untangled the ribbon and released the bird. It flopped to the sidewalk but swiftly recovered and flew off. Then Dotsie walked on and out of sight, her neatly pinned hair torn loose.



Susan Rukeyser writes and lives in Joshua Tree, CA. She publishes select titles as World Split Open Press and hosts the Desert Split Open to amplify literary work that is feminist, queer, and otherwise radical. Her second novel, The Worst Kind of Girl, is out now from Braddock Avenue Books. Find her here and there: susanrukeyser.com, IG @SusanRukeyser.

Photo credit: Birgith Roosipuu on Unsplash


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Welcome to Writers Resist the Winter 2025 Issue

Whether you’re still in recovery or planning your resistance against the incoming regime, there’s plenty of common ground in this the Winter 2025 issue of Writers Resist. Enjoy the art, poetry and prose and then join us for our virtual Writers Resist Reads, Saturday 15 February 2025, at 5:00 p.m. Pacific. Just email for the Zoom link: writersresist@gmail.com.

In this issue:

Mary Brancaccio “This little piece of heaven

Salena Casha “In This Version, Cancer Is a Woman

Karen Crawford “You Don’t Run

Jennifer Freed “Upon Learning, in a Report on the Footage of a Sheriff’s Deputy Shooting Sonya Massey to Death in Her Kitchen, of Massey’s First Words to the Deputy

Jennifer Karp “Postcards from the Valley of the Moon

Flavian Mark Lupinetti “Trigger Warning

M.R. Mandell “Gen X Girls Ghazal

Melissa McEver Huckabay “Why I Fight for Texas Even Though Everyone Says We Should Move

Livia Meneghin “What should be free

Ria Raj “kaala; kala

Ash Reynolds “Uprooted/Planted

Sheree Shatsky “Judged

Beulah Vega “About Those Census Checkboxes

Laura Grace Weldon “Election Day Facebook Exchange

Amritha York “mmiwg


Photo by K-B Gressitt

Why I Fight for Texas Even Though Everyone Says We Should Move

By Melissa McEver Huckabay

Sapphire flowers on the roadside.
Mountain laurels that smell like grapes.
Yellow sulphurs that flit among blooms.
Breakfast tacos and tiny salsa cups.
Muddy bayous that swallow your feet.
Pine trees that touch the sun.
Whataburger lines circling the block.
Dr. Pepper. Shiner. Blue Bell.
Sticky shirt by 8 a.m. Sunburn by 10.
Summers hiding in air conditioning.
Wearing shorts on Halloween.
Orange-lighted towers and cowboy hats.
Ferris wheels in front of the livestock show.
Two-stepping and scuffling boots.
Walks on Town Lake when it was Town Lake.
Oak-tree canopy on Rice Boulevard.
Peacocks squealing in Mayfield Park.
Coconut shrimp on South Padre Island.
Charro Days in Brownsville.
Marching bands and Friday night lights.
Stands selling strawberries, peaches.
Neighbors who took us for pony rides.
Picking dewberries on the side of the road.
My hometown before the Trump signs.
Believing hearts can change.
My mother, my grandfather,
my grandmother, my great-grandmother.
My father, even though he left.
My stepfather, who never left.
The blood that calls me here.                    Even though. Even though.


Melissa McEver Huckabay has an MFA in poetry from Texas State University and teaches writing at University of Houston-Downtown. Her poetry has appeared in SWWIM, Poetry South, Phoebe Journal, Thimble Literary Magazine, Sweet: A Literary Confection, and elsewhere, and is forthcoming in Minnesota Review. Her short fiction has won the Spider’s Web Flash Fiction Prize from Spider Road Press. She was a 2023 Contributor to the Bread Loaf Writers’ Conference and was recently nominated for a Pushcart Prize.

Photograph by RobinJP via a CreativeCommons license.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

You Don’t Run

By Karen Crawford

even though you’re late for class, you don’t run because in this neck of the woods running screams fear, so you walk briskly and with purpose, always acting like you know where you’re going even if you don’t and when you get to the subway, you never root around your bag for a token, you always, always have one in your pocket, because in this neck of the woods you keep your bag close, and when the train pulls into the 103rd street station you rush through the doors and grab a pole because the only seats available are next to a junkie nodding off and some homeless dude cursing at no one in particular, and you know to keep your eyes to yourself, because eye contact is a no-no, a WTF are you looking at kind of no-no, and in this neck of the woods someone’s always looking for a confrontation, and at the 86th street station a flurry of people pile in sandwiching you between 9 to 5ers heavy on AquaNet hairspray and Chaps cologne, and now you’re holding your bag, the pole and your breath when at 77th street you think you feel a man bumping behind you, and you think maybe it’s because the train is rattling down the tracks, and you think maybe it’s because he has nothing to hold onto, and you think maybe and maybe and maybe until somewhere past 68th street the train sputters to a stop, and the air conditioning fizzles out and the lights flicker off, and that’s when you feel him, like feel ‘it,’ feel him, and you’re hemmed in, frozen, shame pooling under your armpits even after the air comes back on and the train chugs into the 59th street station, and you inch forward as passengers get off and that’s when his hand cups your cheek and it’s not the one on your face, and it’s not a pinch but a full-on handful kind of GRAB, and you keep moving forward because you want nothing more than to rush off this train, but then your face flames and you think about that time when… and you think about that other time when… and you swing around and see an ivy league looking guy in a tailored blue suit with a gotcha smile and you don’t think—you just SHOVE, and he stumbles backwards with a what did you do that for?, and you scream next time keep your fucking hands to yourself, and in this neck of the woods, you’re glad that everyone is looking.


Karen Crawford is a writer, with Puerto Rican roots, who lives and writes in the City of Angels. Her work has been included in Tiny Sparks Everywhere: National Flash Fiction Day Anthology 2024, 100 Word Story, Okay Donkey, and Five South. You can find her on X @KarenCrawford_ and Bluesky @karenc.bsky.social.

Photograph by Several Seconds via a Creative Commons license.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Trigger Warning

By Flavian Mark Lupinetti

Never before has my hospital seen
such dismembered torsos and pulverized brains,
results of a shooting with an AR-15.

The speed of a bullet from an AR-15
creates cavitation through muscles and veins.
A shot to the shoulder can rupture the spleen.

All of our doctors and nurses convene,
yet it’s futile to treat what are really remains,
these gobbets of protoplasm rendered obscene.

It distresses us we cannot follow routine—
bring a halt to the hemorrhage, alleviate pains—
but to rush to the OR dishonest. I mean,

there’s nothing to save after seeing this scene.
Kids of a country where the gun owner reigns,
doomed never forever to reach age thirteen.

Of the lethalmost species of killing machine—
bazookas, gas, napalm, presidential campaigns—
accessorized with a 55-round magazine,
nothing compares to the AR-15.


Flavian Mark Lupinetti, a poet, fiction writer, and cardiac surgeon, received his MFA from the Vermont College of Fine Arts. His poems and stories have appeared in Bellevue Literary Review, Cutthroat, december, Redivider, and ZYZZYVA. Mark’s chapbook, The Pronunciation Part, will be published by The Poetry Box in 2025. Mark lives in New Mexico.

Photograph by clappstar via a Creative Commons license.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

Uprooted/Planted

By Ash Reynolds

Today I learned the word “ecocide”
murder of the environment
Intentional destruction of the soil, air
of olive trees, strawberry fields
Mourn for all that is lost
the homeless animals, the rootless trees
Don’t cry over spilled oil
or plastic crowding the ocean
Colonizers raping an open wound
hands stained copper-tongue carmine
Dear planet, look what they’ve done to you

Today I planted my garden
birth of nourishment
Intentional tending of green zebra tomatoes
of hot & spicy oregano, mini-me cucumbers
Celebrate all that is growing
the native flowers, the bumblebees
Don’t cry over dry soil
or squirrels snacking
Tenderly dug holes in fecund earth
garden gloves stained abundant brown
Dear planet, look what you’ve given me


Ash Reynolds (they/them) is a nonbinary, queer, ace poet living in College Park, Maryland, USA, with their rescue dog and 41 houseplants. They are published in new words {press} and have a poem forthcoming in The Bitchin’ Kitsch.

Photograph by Gabriel Jimenez on Unsplash.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

About Those Census Checkboxes

By Beulah Vega

To those who do not look
she looks nothing like me
but we share that look

the slow ashen gaze that says I’m tired

of these forms that push messy spheres
into uniform squares.

She/ I/ we are tired. Tired
in the marrow of our bones
that share color and structure

but not marrow matches

tired of doctors blaming our blood
for illness.

I/we/she are tired. Tired
in lungs that share the same
air-poisoned and fear-filled

voices and pleas ignored

by pink hats who only really march
for pink skin.

We/she/I are tired. Tired
of learning two of every-
word. But never learning

one that means compassion.

Tired of monolingual and bilingual, both meaning
“outsider” “forastera.”

We/she/I/Half Caste/Mestizo/Indio
/Half breeds/Mulatto are all tired
of these boxes you’ve built

 to bury us in.


Beulah Vega (she/her) is a Latine writer, poet, and theatrical artist living and working in California’s Bay Area. Her poetry has been published in The Literary Nest, Sage Cigarettes, Walled Women, and Blood & Bourbon, among others. Her first book of poetry, A Saga for the Unrequited, was published in August of 2021 by Fae Corp Publishing. She is still amazed when people refer to her as a writer, every time. To follow her lunacy (artistic and otherwise) find her on Facebook @BFVegaauthor and Instagram/Twitter @Byronwhoknew.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.