#Jeanna Kadlec
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There is a consistent affirmation in Oliver’s poetry that we are worthy of our lover’s time, effort, gratitude. This is the queer erotic: the validation of our bodies as worthy of attention, of desire, of sex. In “The Gardens,” the speaker of the poem is lying her lover down in the forest. Her lover’s two legs tremble / and open / into the dark country / I keep dreaming of. This is desire, laid bare, naked and raw. Animal. This is cunt, the source of desire: the dark country / I keep dreaming of. There is want; there is also consent: I ask / over and over / for your whereabouts, trekking / wherever you take me. This seems an eloquent way of saying, I am checking in, how is this, and how does this feel, is this good?, and here? would you like it…?
There is a consistent affirmation in Oliver’s poetry that we are worthy of our lover’s time, effort, gratitude. This is the queer erotic: the validation of our bodies as worthy of attention, of desire, of sex.
Oliver wrote often of her lover’s hands—reaching, touching. How / shall I touch you / unless it is / everywhere? Hands, of course, are one of queer women’s more overlooked sexual organs. Here, there is the impossibility of hands being everywhere at once, married to impossibly large desire:
the shouting, the answering, the rousing great run toward the interior, the unseen, the unknowable center
There is orgasm (mutual? Multiple?). There is, at last, the finding of the center: of two women coming together, naked on the forest bed.
This is not the Mary Oliver memorialized by the masses.
... Take “Wild Geese,” perhaps her most beloved poem. “Wild Geese” is distinctly, uniquely queer. In the poem, the speaker gives the reader permission to inhabit their body: to be present in it, to know and own what they want without shame. Harder to do than it sounds, as any queer can tell you. Brandon Taylor has written about how this poem speaks to validating the reader’s worthiness. For me, someone who grew up in the evangelical church, the experience of reading “Wild Geese” has often been about receiving permission to desire within my own body: I do not have to be good; I do not have to repent.
“On the Overlooked Eroticism of Mary Oliver: Poetry as Affirmation of Queer Desire” by Jeanna Kadlec on LitHub
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I’m reading Heretic by Jeanna Kadlec and so far it’s a good memoir but there’s one thing that’s killing me. She keeps talking about her rural upbringing and small town, but then she mentioned her dad worked in an office and I thought. Well sure. Lots of people live in outlying rural areas and commute into like, Des Moines or something.
But it turns out she lived in Cedar Rapids.
I can’t stress enough, that when I was growing up in a small rural town in Iowa, Cedar Rapids was the city. We considered it an actual, honest to god city.
It’s killing me.
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Collective effervescence
'the feeling of energy and harmony when people are engaged in a shared purpose. It is a joie de vivre that manifests when we share moments with others'
...'excites individuals and serves to unify the group'
coined by emile durkham https://en.wikipedia.org/wiki/Collective_effervescence
First sighting: Heretic, Jeanna Kadlec (audio)
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New Releases: October 25, 2022
New Releases: October 25, 2022
Anne by Kathleen Gros In this modern graphic novel retelling of Anne of Green Gables from graphic novelist Kathleen Gros, foster kid Anne Shirley finally lands in a loving home and befriends a girl who she may have more-than-friends feelings for. Anne Shirley has been in foster care her whole life. So when the Cuthberts take her in, she hopes it’s for good. They seem to be hitting it off, but how…
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#Anne#Ghost Town#Girlfriend Material#H.A. Clarke#Heretic#Into the Riverlands#Jeanna Kadlec#Kathleen Gros#Katia Rose#Kevin Chen#Nghi Vo#Olivie Blake#The Atlas Paradox#The Scratch Daughters
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My parents never expected me to publish a book by 30; this was an arbitrary goalpost I set for myself. However, I can’t help but wonder if my family’s deeply rooted working class work ethic—show your worth—informed my own drive to publish a book as soon as possible. I have put immense pressure on myself since a young age to have a tangible payoff for this intangible desire, to prove to my parents that all of my wild life decisions, and thousands of miles of physical estrangement, have been worth it.
“I Didn’t Manage to Publish a Book By Thirty, and That’s Okay”
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“OH MY GOD WHITE PEOPLE FOR THE LOVE OF GOD STOP RETWEETING POLICE TAKING A KNEE! THOSE SAME OFFICERS GET VIOLENT LIKE AN HOUR LATER. JESUS FUCKING CHRIST, CLOCK A PROPAGANDA TACTIC WHEN YOU SEE IT.”
- Jeanna Kadlec
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if you want , go and like/quote/comment/rt and say thanks
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“I should hate forever to be a burden to you”: Lessons in Love from Virginia Woolf and Vita Sackville-West
I don’t want to take time away from your book, she said, but the book could wait. My writing was always there. She might not be.
Virginia Woolf and Vita Sackville-West met at a dinner party in 1923. Both were writers. While Virginia is the more revered now, at the time, Vita was far more commercially successful. They started writing letters to each other and quickly became infatuated, in a way that blended the professional with the fast-developing emotional intimacy of friendship between queer women.
I love Mrs Woolf with a sick passion, Vita wrote to her husband.
I met someone—I’ll call her Mara—when I was in the middle of reading the published volume of Vita and Virginia’s decades of letters. I had taken a year off of dating since my last serious relationship. I was convinced that I wanted friendship first, like the one Vita and Virginia had nurtured for years before becoming lovers. If the universe wanted me to have a girlfriend, it was going to literally have to drop one out of the sky. Or into my inbox—which is exactly how Mara arrived, seemingly out of nowhere.
Jeanna Kadlec, writing at Catapult, shares the lessons in love she learned from Virginia Woolf and Vita Sackville-West. Read her powerful essay HERE.
#Jeanna Kadlec#Catapult#Love#Virginia Woolf#Vita Sackville-West#Literature#writers#Writing#Books#Bookworm#Book Lover#Reading#Love Stories#Words Music Art
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Fascination. Expectations
https://catapult.co/stories/virginia-woolf-vita-sackville-west-love-creative-relationships-jeanna-kadlec
#virginia woolf#vita sackville west#women writers#litterature#english literature#relationship#love#orlando#vita and virginia#he was a woman
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A fascinating read! Discusses how our perception of lesbians, queer, and trans people in the 1700s and 1800s is influenced, as well as the reality of attitudes towards them back in the day.
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Old and ugly Last week, Maleficent: Mistress of Evil, was released on Disney+. Jeanna Kadlec takes this opportunity to explore how Disney has dealt with their most powerful of witches. Deconstructing Disney: Motherhood and the Taming of Maleficent
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“Which is to say, given Disney’s seeming lack of respect for the role of mothers and primary caregivers, one might wonder why they would try to marry the archetype of the witch with that of a Good Mother. But then, perhaps the answer is obvious. Fairy-tale mothers are easily discarded and erased in ways that witches, so deeply unforgettable even when ultimately murdered — physically or psychically — are not.”
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PRODUCERS: Jeanna Kadlec, Bluestockings Boutique Sonny Oram, Qwear
PHOTOGRAPHY: Debbie Jean-Lemonte, Dag Images
MODELS: TJ, @nyquilminajj (Tumblr) Mx Pris Matic, @mxprismatic (Instagram) Brie (she/they pronouns) Alysse Dalessandro, Ready to Stare Nyala Sheila Ariel Mahler, @ariel_chiq (Instagram)
SPACE: Maggie Gillette of The Giving Bride
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