KOKUMỌ is a musician. Have you heard her debut EP, “There Will Come A Day”? Stop sleepin’. KOKUMỌ is the thought leader responsible for influencing the very framework of the modern-day Trans Movement. Yep! She’s your fav’rite advocates, fav’rite advocate. KOKUMỌ is a performance artist. Her first play, “The Faggot Who Could Fly” headlined the world’s biggest African-American poetry conference, The Gwendolyn Brooks Conference, when she was only 23. She even put together a cute tour. Dat’z cool! Broadway wudn’t ready. KOKUMỌ is a poet! And this, is her first book of poems. Enjoy! Fat/intersex/dark-skint/femmes fuckin rock. You ain’t know?
If you haven’t yet, read Raquel’s poems, EL SUCIO NUESTRO. Her translator’s note for “‘mediante el acto de circulación opuesto, o la metamorfosis inversa’/‘through the opposite act of circulation, or the inverse metamorphosis’” and “poema político/political poem” appears below.
Raquel Salas-Rivera ha publicado poemas y ensayos en numerosas revistas y antologías. En el 2011, publicó su primer libro, Caneca de anhelos turbios, con Editora Educación Emergente. En el 2016, publicó su segundo libro, oropel/tinsel, con Lark Books & Writing Studio. Actualmente es editorx contribuyente para The Wanderer. Si para Roque Dalton no existe revolución sin poesía, para Raquel no existe poesía sin Puerto Rico. Puedes aprender más sobre su trabajo si visitas raquelsalasrivera.com.
Raquel Salas-Rivera has published poetry and essays in numerous anthologies and journals. In 2011, their first book, Caneca de anhelos turbios, was published by Editora Educación Emergente. In 2016, their chapbook, oropel/tinsel, was published by Lark Books & Writing Studio. Currently, they are a Contributing Editor at The Wanderer. If for Roque Dalton there is no revolution without poetry, for Raquel there is no poetry without Puerto Rico. You can find out more about their work at raquelsalasrivera.com.
Natalie Eilbert is the author of the debut poetry collection, Swan Feast (Bloof Books, 2015). She is the recipient of the 2016 Jay C. and Ruth Halls Poetry Fellowship at University of Wisconsin-Madison, where she will serve a one-year academic appointment. Her work has appeared in or is forthcoming from The New Yorker, Tin House, jubilat, The Boston Review, The Kenyon Review, and elsewhere. She is the founding editor of The Atlas Review.
Vetch, the first-of-its-kind magazine of trans poetry and poetics, has just released a second issue.
From the paperback memoir onward, trans literature has a strong history of ruminating on temporality. What have we been? And who will we be? We look back for the sake of comparison, of revulsion, of nostalgia, of estrangement. In this issue, Vetch’s authors address temporality. Vetch takes a approach to the past ala utopian Marxist philosopher Ernst Bloch. This work sets out to use the past to “imagine a present otherwise.”
Kate Schapira’s fifth book, Handbook for Hands that Alter As We Hold Them Out, just came out from Horse Less Press, and her 11th chapbook appeared with Projective Industries last summer. She co-runs the Publicly Complex Reading Series, teaches writing in a few capacities, and sometimes offers Climate Anxiety Counseling.