some queer shit

here’s a link to a manuscript i made called some queer shit. it’s mostly about queer anarchism and queer ecology.

here’s my statement about it:

I think my manuscript “Some Queer Shit” best reflects my creativity because it is the most interdisciplinary work I have to offer. It’s an assemblage of poetry, critical and philosophical musings, personal accounts, and visual art. Most of the content was produced by me, and I did all the work compiling it, but it also contains work from my sister and closest friends and, as well as cooperative work done with colleagues originally produced for other spaces and events like the Manhattan Experimental Theatre Workshop. I’ll try to provide a concise list of everyone who contributed to the project and would love to share recognition for the award if it comes to that! Beyond that though, I think the work questions dominant notions of authorhood and originality, and subverts the trope of artist as an individual genius that exists outside of encounter with others and social and political systems.

Furthermore, I think the work’s tactility – which is why I am submitting it in person – is important because it makes the work more personal and intimate when read by an audience. I love the manuscript as an object, a sculpture, and ways it can interact with readers beyond merely being read. I like how it looks when it sits on a table, I’ve been reading about the material sublime and a potential resurgence of ‘the real’ through the corporeal and so maybe you can see how queerness and ecology and anarchism manifest in my life personally (as a pansexual polyamorous gender-nonconforming lil thang) by touching the things that I have touched and getting glitter and chalk on your fingers and messing with the iPhone cord I bound some of the book with. It’s super fun, and I learned a lot while making it, so it blurs lines between academic and creative, process and content, form and content, public and private spaces, and the line between work and play, which is all critical to moving towards a more queer-friendly conceptualization of nature that embraces difference as a point of unity—which is important because nature is sort of a stand-in for our broader ontological orientation toward others, a la the ‘human nature’ debate. But really I just think it’s cool and funny so I hope you like it too!

People who contributed:

Hobby Lobby, sadly

Reid Beer, my old roommate who let me use his printer

Sarah Ngoh, it was for her class

Melody Peacock Barnett, my grandma who gave me the calendar I cut up

National Geographic

A bunch of professors at the Queer Ecology Summit 2015

Flora Riley, who gave me many art supplies

Whoever wrote the anonymous anti-copyright zine “Queer Anarchism”

Olivia Bashaw, my sis

Jenny Saville

Kazimir Malevich

Mona Hatoum

Antonin Artaud

Gustave Courbet

Dakota Santiago

Daniel Aramouni

Emma Brase

Evan Hager

Isabelle Diller

Ashley Flinn

Shay Burmeister


Creator of many anon memes

Egon Schiele

Hot Pockets

Tomie Futakuchi

FT Marinetti

Annie Spence

Cherokee Hayden

Alex Brase

Lauren Fischer

Alexander Rodchinko


Hank Willis


And here’s some other releases about my work!


Mayan Yaxchilán Lintels

Yaxchilán was a major urban center of the Mayan Empire during its Classical Period, between 250 and 900 CE. Under the rule of Emperor Bird Jaguar IV, public buildings adorned with relief sculptures began to spring up around the settlement. Pieces of these sculptures are known as lintels, and art historians have been studying them for years in order to gain insight into the mysterious and often brutal Mayan culture.

Yaxchilán lintel 16 (commissioned by Bird Jaguar IV for Structure 21), after 752 C.E., Maya, Late Classic period, limestone, 76.2 x 75.7 cm, Mexico © Trustees of the British Museum.

Known simply as Lintel 16, this shallow relief sculpture depicts Emperor Bird Jaguar IV standing over a submissive captive. The non-naturalistic, idealized king figure stands with dignity, his arm and sword directly above the cowering prisoner who looks up fearfully. Note how intricately patterned Bird Jaguar’s garbs are in  comparison to the other figure. The Mayan military’s strategy relied heavily on taking prisoners, for these were the individuals used in ritual sacrifice.

Yaxchilán lintel 24, structure 23, after 709 C.E., Maya, Late Classic period, limestone, 109 x 78 x 6 cm, Mexico © Trustees of the British Museum

Lintel 24 also depicts a violent Mayan ritual known as bloodletting. One of the most famous pieces of Mayan artwork, it shows Lady Xoc pulling a string covered in sharp obsidian shards through her tongue, an accession ritual. A detailed image is displayed at the top of this post. The woman wears a huipil which is woven intricately, indicating her status. She performs the ritual, lines of blood seen spilling from her mouth, over sheets of a paper-like material meant to catch the blood, symbolic of the Mayan gods’ bloodletting to create the human race in their creation story. The text which is inscribed on the lintel reads, “burning spear,” probably referring to the Emperor and his spear which stands above her. It also reads the date at which the art was created, October 24, 709 CE– the Mayans had a complex understanding of astronomy and therefore had a surprisingly accurate calendar.

Bloodletting was a Mayan ritual which emerged as early as 400 BCE, and occurred at all kinds of public rituals. Pulling a string through one’s tongue was one way to do it; other ways included incising oneself with lancets made from obsidian, bones, or even stingray spines.