Women Who Submit Supports Universal Abortion Access

abortionfunds.org image stating liberate abortion everywhere in purple against a floral background
image from the abortionfunds.org

by Noriko Nakada for the Women Who Submit Leadership Team

This week my ten-year-old had her annual physical. Her dad took her, but that afternoon, when she came home to tell me about it, she said, “I’ve never had a man before.” In her ten years, every pediatrician she’s known has been a woman or non-binary physician. She is growing up in a world where women can be and do so much: they are doctors, they run for president, they play professional sports. In my work in a public middle school, I see young people pushing back against sexist dress codes, and exhibiting so much freedom in what they want to do with their bodies and their lives, but the leak of the Supreme Court’s overturn of Roe v. Wade cast a long, dark shadow across any of the improvements to women, non-binary, and transgender folks’ rights, reminding us that our bodily autonomy is under aggressive attack.

We have seen this coming in the election of a blatant misogynist, in the efforts at the state level to restrict abortion access, to silence stories through book and conversation bans, and in the appointment of conservative justices to the Supreme Court. We have watched this unfold slowly, like the shifts in our planet’s climate, but with this ruling, for the first time in many of our lives, abortion will no longer be protected in the United States.

Over the course of the pandemic, chapters and memberships have sprouted up across the nation and globe, and while some of us might reside in solidly blue states where access to safe and legal healthcare remains intact, but even there, care can become precarious as clinics shut down, or voting restrictions make it more likely that the conservative minority will come to power. We watched this over the years as in so many places the reasonable availability of abortions has eroded. And for those of us living in poverty, no matter where we reside, healthcare options are often financially out of reach.    

Women Who Submit supports safe, legal, affordable abortion access for all and encourages members to support and lift one another up as we navigate these hostile waters. We see you and acknowledge the range of emotions this week’s news might have triggered. We urge you to take care of yourselves and those around you as you seek out opportunities to turn the tide. We acknowledge that the ways we all push back are diverse and unique. Maybe you are grieving silently, writing a story you have about your reproductive struggles or health, or having difficult conversations with loved ones about the significance of this ruling. However you are processing, we are here, we are creating, and we aren’t going anywhere.

If you have the wherewithal to push back financially, here are some funds and resources to pass along. Most are set up to help people in areas where access to abortion and healthcare is already limited and is likely to become more challenging in the coming months.

Mississippi Reproductive Freedom Fund

ARC Southeast supporting Alabama, Florida, Georgia, Mississippi, South Carolina, and Tennessee

Fund Texas Choice

West Fund serving West Texas

Tea Fund serving northern Texas

Whole Women’s Health Alliance with clinics in Austin, Minnesota, Charlottesville, and South Bend

Jane’s Due Process supporting Texas teens

New Orleans Abortion Fund

Women’s Health Center of West Virginia

Kentucky Health Justice Network

Holler Health Justice serving Appalachia

Missouri Abortion Fund

Arkansas Abortion Support Network

National Network of Abortion Funds

Reproductive Legal Defense Fund

Keep Our Clinics

Indigenous Women Rising

Yellowhammer Fund

Clinic Access Support Network

Lilith Fund

April 2022 Publication Roundup

Although April 2022 has been a quiet publishing month for our WWS members, they still are consistently sending out their work and publishing in fantastic markets.

I’ve included an excerpt from published pieces (if available) or a blurb if the publication is a book, and a link (if available) to where the pieces can be purchased and/or read in their entirety.

Please join me in celebrating our members who published in April!

Continue reading “April 2022 Publication Roundup”

March 2022 Publication Roundup

March 2022 is ending here in Los Angeles with both rain and sunshine, which feels like a hopeful sign. Another hopeful sign: our WWS members are, as always, consistently sending out their work and publishing in fantastic markets.

I’ve included an excerpt from published pieces (if available) or a blurb if the publication is a book, and a link (if available) to where the pieces can be purchased and/or read in their entirety.

Please join me in celebrating our members who published in March!

Continue reading “March 2022 Publication Roundup”

Toward Reckoning  

A review of Toni Ann Johnson’s novella, Homegoing 
by Hazel Kight Witham

I first heard Toni Ann Johnson bring voice to a character onstage at a reading in the MFA program we shared. I barely knew Toni Ann, but I was swept into the world of her fiction by the characters she illuminated with her humor, vivid dialogue, intriguing conflict, and acting chops.  

I didn’t know she had a significant history as an actress, both on stage and in film, and experience giving characters voice through her work as an award-winning screenwriter: she won the Humanitas Prize for her screenplay “Ruby Bridges,” another one for “Crown Heights,” a true story about two teens who connect in the wake of the Crown Heights unrest of 1991.  

Toni Ann Johnson’s novella, Homegoing, winner of Accent Publishing’s Novella contest in 2021, explores vital questions we all need to reckon with. The book opens in New York City, the winter of 2006. At the outset, Maddie, a singer, has just suffered her second miscarriage and her husband, who reminds her he “wasn’t ready” for a baby anyway, is bailing back to Los Angeles.  

She is twisted with grief and the shock of betrayal, “curled up like a fist on the floor.” A phone call with her mother, Velma, reveals that she is more interested in who from their mostly white neighborhood in the New York suburbs has ended up on the obituary pages. Her mother’s inability to listen or empathize with Maddie, or even allow space for her to share the news of her miscarriage, is breathtaking. 

 Hollowed by these twin losses: her baby, Nina, and her partner of ten years, Rolando, Maddie is further leveled by the inability to voice her grief. Her mother doesn’t know how to listen, and neither does her father. She spends a week invisible, bedridden, underwater. She can’t go to her job as a singer in a piano bar, she is cut off from her voice. A visit from her mother gets her up and moving but she is still heavy with sorrow that no one seems to want to let her express.  

On the TV all the channels begin covering Seinfeld star Michael Richards’s racist meltdown on the stage of the Laugh Factory in LA, the place Maddie’s husband is headed without her. Richards’s vitriolic performance of this country’s deep-seated racism, compounded by her mother’s mourning of a white neighbor, brings Maddie’s childhood rushing back. She grew up the only Black child in a white, conservative town in the wealthy New York suburbs, where kids who are her friends in kindergarten “realize she’s Black” by third grade. They perform the racist behaviors they inherit from their elders, and no one seems to think there’s anything wrong with that. 

The performance of overt racism becomes a through line. While the comedian is publicly called out, Maddie reckons with the trouble of returning home to that mostly white, conservative town as the holidays descend. A neighbor’s death brings her back to her hometown on New Year’s Eve to both mourn one more loss and contend with the harms of the past. The kids who filled her childhood are all grown up now, and Maddie, raw with grief and the loneliness it brings, asks some of them to account for their childhood transgressions and their cowardly silence. 

The responses range, and reveal the complexity of reckoning: her own mother dismisses Maddie’s memories, the bully acknowledges and apologies, her friend Tobias, “breaker of her young heart,” just wants to move on. 

But the story is not, of course, only about grief and racial reckoning. Johnson’s humor is a through line too. It comes in memorable scenes, like when Velma’s spiteful Dachshund seems the embodiment of microaggressions—a snapping, snarling, unapologetic creature that Velma defends unconditionally. It comes in the dialogue that renders each character vivid and compelling. 

Humor and reckoning collide too when Velma once again offers her daughter up to this community with all its blind spots, racism, and privilege. The novella rises to a crescendo in the scene where Maddie’s mother Velma has volunteered Maddie to sing “Amazing Grace” at the funeral of the deceased. Maddie learns she will be performing just moments before when she sees her name on the program, and has no time to prepare for this sudden call. She is furious with her mother, but takes the stage anyway, standing before the mostly white community, the handful of people of color, performing a beloved anthem in this display of public grief. 

Johnson reminds us of the complexity of this song, an ode to awakening, to being lost and then finding redemption, a song written by a slave trader who made his fortune trafficking in African lives. As Maddie sings before the crowd she asks herself, “What am I doing standing in this white church in this white town that crushed my spirit, singing the words of a white supremacist who wrote it for his own forgiveness? Why should I forgive?” 

Maddie’s grief—for her lost child, her broken marriage, her challenging parents, and the betrayals of this childhood home, make for a tricky performance. “Singing magnified every feeling,” and when she falters, her childhood friend, daughter of the deceased steps up, calls for the community to step up, and they begin to sing together, offering this complicated, beautiful song back to Maddie. The moment is riveting, but also another kind of performance: what is it to sing of being lost then found, blind, then seeing, when so much has still been unaccounted for? What grace is this community asking without having done the work to earn it? 

It is a moving moment, but Johnson quickly reminds us of how far we still must go. When that childhood friend Tobias is bitten by her mother’s vicious Dachshund, he offers a trade: the harm and disregard he perpetrated in the past for present forgiveness of canine transgression, as if the two could be comparable: “Maddie, how ’bout, I let this go, and you let your stuff go?” 

She responds: “Let it go where? Where do I send it?” 

Shortly after, a neighbor with Alzheimer’s unleashes a racist diatribe against Maddie, lunging at her as he hollers the n-word and rails that she doesn’t belong in the house. It is a scene that brings the Laugh Factory moment directly to Maddie, highlighting all the vicious ignorance of our shared past. 

When the beleaguered wife of the man apologizes for his behavior, Maddie thanks her, but doesn’t let her off the hook: “I’m surprised though…Because you called me the same thing when I was a kid. You hated ‘us people’.” Now the woman is friendly with Maddie’s mother, and Maddie wants to know: “What’s changed?” 

By the end, Johnson’s character understands the impact of this place of her childhood better. “The voice of this place had been loud and she’d carried it with her all her life. Now she saw that the voice was nothing but a beat-down, demented, old fossil clinging to the need to be better because its own image was so fragile.” 

“What’s changed?” is a question that Homegoing asks of all of us. What does healing look like? How can we reckon with the past if we do not listen to those hurt by it, and make authentic amends? How do we hold each other accountable for harm? How do we reconcile with each other in this country where so much brutality was baked into the beginning, and the legacy of it lives on in our language, in our actions and inactions? How do we make amends, instead of dismissing old wounds, or hiding behind excuses? 

What truth and reconciliation might be possible in this country if we could do that? If we could hold space for the grief and trauma our history has brought, and that our present perpetuates, but work toward better for one another as we move together into something new?  

Toni Ann Johnson’s Homegoing invites us through the story of Maddie and the vibrant scenes she inhabits, to consider how we listen, how we honor, and how we make amends—authentically, not performatively—so that we may move toward collective grace together.

  

author headshot of Hazel Kight Witham on a sun-soaked island off the coast of Maine.

Hazel Kight Witham is a mother, teacher, slam poetry coach, and writer who was made in Los Angeles and still calls it home. She has published work in The Sun, Bellevue Literary Review, Integrated Schools, Mutha Magazine, Cultural Weekly, Rising Phoenix Review and other journals. She is a proud public school teacher in LAUSD and was a 2020 finalist for California Teacher of the Year. She is a member of Women Who Submit, and gathering with them throughout the high seas of pandemic kept her afloat as a writer. Find her work here: www.hazelkightwitham.com.

Breathe and Push: The Art of Rumination

by Désirée Zamorano

How do you deal with your emotional wounds? For me, as a writer, telling what I hope are emotionally engaging stories, doesn’t that mean the wounds need to be examined from all angles? Prodded, to see where the most tender parts are, and returned to, over and over again, even if the wound has healed?

Towards the end of 2019 a close friend of mine for over decades stopped talking to me. She and I had gone through the child-raising years, health crises, family struggles. I had ignored the distancing hints, even as I hid parts of myself from her.  I had for the last few times set up our coffee dates. The last time we met, I gave her a copy of my daughter’s zine.

A month later I didn’t hear from her. I emailed, got thanks for the zine, then silence. My birthday passed, unremarked. Christmas passed, with no traditional photograph of four smiling faces in front of an elegant backdrop.

The isolation of the pandemic gave me plenty of vacant, musty hours to immerse myself in this. I brooded on the fact that when she mentioned her (mostly white, like her) book group had just read, The Sun of Distant Lands I had suggested her club might also consider reading White Fragility. Had that been it?

I examined that friendship from every angle there was, from wounded self-justification, to prostrate abject apologies over unknown crimes. (All right, full disclosure, I never considered I had done any wrong. But I can apologize on the drop of a dime.)

Rumination, holding a scalding puzzle piece to my past, or my present, or my blighted future; taking its measurements, its temperature, its weight, examining its psychic heft and dimensions, mentally recoiling, mentally recording. This is my personality, and I can excuse this behavior because it’s good for my art, I whisper to myself. All this rumination, neurotic or artistic, is who I am, I tell myself.

A few weeks into California’s lock down, where the traffic nearly vanished and the streets were instead filled with the chirruping of birds, I, part from the need of distraction, part from my restless self-improvement compulsion, enrolled in the popular, free Coursera class on the Science of Well Being.

Mid-course, I ordered one of the recommended readings: The How of Happiness by Sonja Lyubomirsky. There I discovered terrible truths about myself: I have a penchant for social comparisons. Where do I rank? How far up, how far down? Research shows we tend to compare ourselves up, to what’s missing. And even if we compare ourselves downward, against those who are lower down whichever scale of our choosing, it brings us no consolation whatsoever, only guilt or a sense of inadequacy or a sense of undeserving whatever gifts or greatness or joy we have. What a happiness buzz kill, amirite?

The answer, according to these well-being experts? Stop. Doing. It.

The horrible thing is, these insidious social comparisons for some of us (me, me, me) are as second nature as breathing in and out. 

I don’t know where you are on the social comparison scale; perhaps, like my husband, it never enters your head to think if that person walking by is better fit than yourself, more fashionably kitted out, or whether an acquaintance or friend has a smaller behind and a larger bank account; the measures are limitless, almost like our capacity for self-loathing and self-recrimination. 

Sonja Lyubomirsky links social comparison and rumination together, although her term is “over thinking,” How presumptuous! Dammit, Sonja, I’m a writer and over thinking is something we pride ourselves. If there were a test on it I’d score 110%. Again, you’re telling me to simply cut it out?

Actually, she offers five specific strategies for subverting your own worst impulses in order to open the possibility of leading a fuller life, opening your brain waves like passageways to more positive possibilities. One in particular involves writing it all down. Of course, I am simplifying things here, because if you want her strategies completely spelled out, and if you want to find areas for your own flourishing, do Sonja a favor and buy the damn book.

For my particular neurosis, I was prescribed to spend a minimum of fifteen minutes writing about this very thing you are ruminating over, for four consecutive days. Write about the incident that you’re reliving, write about anything connected to it, write about other things you’re over thinking, over and over again. So that’s what I did, kicking and screaming and cursing, and then I forgot on the third day so I started the clock again.

This was not fun. This was not pleasant. I am here to say, it was actually kind of painful doing an autopsy of the events that seemed to seared into the obsessive/compulsive part of my brain. I had to force myself to continue writing for fifteen minutes. When that ended, I did not feel much better. When the full four days ended, I did not feel much better.

(Oh, Lord, what is the objective criterion one can use on oneself for how we feel?)

As the weeks passed, I admit I was not paying much attention, but my mind no longer seized on the missing friend. When my mind fluttered across her, it blithely, cheerily, kept going. No more pauses. No more spiraling loops and recriminations and ruminations and accusations. Nope. On to something else.

That had been happening, but it had taken me a moment to actually notice. Huh, well, indeed, I no longer had that anxious mentally racing laps circling her. Huh, well, my oh my, was it all really as simple as that?

Recently, more than a year after the realization that my friendship had ended, I received a card from my former friend.  I groaned. Had she sent me an early, cheery, smiling Christmas family photo? I dreaded what I would find inside. 

I slit the envelope open and pulled out a birthday card. I examined the text for clues as to why things had ended. There was nothing, only neutral birthday wishes, signed off with “take care.”

Did I scrutinize every interaction again? Did I, like previously, unpack the years before she stopped talking to me, for further possible hints and clues layered between child-rearing activities or political disagreements?

No, I did not. I felt released from the tug of this dangling thread of a severed relationship, and tossed the card and envelope into the trash bin. That writing away your ruminations strategy has the depth charge of a long-lasting, slow-release wonder drug. I felt freed and light-hearted

The next time I catch my mind going round and round the toilet bowl of obsessive rumination, or over thinking, I’ll be sure to sit down for four days straight, and write it out and flush it away like the mental waste it is.

Désirée Zamorano is the author of the novel The Amado Women (Cinco Puntos Press). Her work often explores issues of invisibility, inequity, or injustice. Her writing has appeared in CatapultCultural Weekly, and The Kenyon Review, and upcoming in the  Akashic anthology series South Central Noir. A frequent contributor to the Los Angeles Review of Books, she was recently a scholar at the Sewanee Writers’ Conference.

February 2022 Publication Roundup

February flew by, settling us more deeply into 2022, which is shaping up to be as tense and chaotic and unpredictable as the past two pandemic years. Even so, WWS members continue to send out their work and publish in amazing places.

I’ve included an excerpt from published pieces (if available) or a blurb if the publication is a book, and a link (if available) to where the pieces can be purchased and/or read in their entirety.

Please join me in celebrating our members who published in February!

Continue reading “February 2022 Publication Roundup”

Book Review: Through the Screen

By VK Lynne

Review: Once Removed by Colette Sartor

I first met Colette Sartor in 2020. She was sitting in her backyard, adjusting her glasses and announcing, in the middle of a women’s writing meeting, that she had a sourdough bread to check.  I was smitten.

Of course, whether my admiration translated through the portal of Zoom is anyone’s guess, but she became a friend through those Women Who Submit check-ins, and then later through the pages of her enchanting book, Once Removed.

The pink/peach cover of Colette Sartor's short story collection, Once Removed, with the purple silhouette of a woman standing with her hands in the pockets of her a-line dress.

Colette’s writing is much like the woman herself: No nonsense, yet sensitive; incisive, yet gentle. She was one of the first in the group to listen to my music and tell everyone else to do the same, and when I told her that I planned to read her book in order to write a review, she briskly popped a copy in the mail before I could object.

There is always that one person, when you join a new group, who you gravitate toward to find your footing. I had joined Women Who Submit perhaps a year before the COVID-19 pandemic, but had not really felt like a concrete part of the community, until the meetings became virtual and weekly.

That first morning, as I scanned the boxes, something about the woman with the half-smile, long dark hair and knowing eyeglasses settled my nervousness, and gave me the courage to return, Saturday after Saturday.

So of course, I really wanted her book to be good. There are few things worse than building something or someone up in your head, only for the idol to come crashing down from the pedestal once the statue is exposed as mere stone.

Fortunately, as I turned page after page of the short story collection, it became clear that it was not a gilt facade, but a solid golden cathedral.

Each story is discrete, yet all the tales are connected. In this way, Colette acknowledges that there is dignity and value in our starring roles in our individual life stories, while gently reminding us that we are also a supporting characters in many others’.

As the stories describe various women’s journeys, and losses they suffer along the way, it becomes a book that commiserates and comforts its reader. We are all struggling, we are all succeeding and failing, and while our tragedies are to be honored, they should not isolate us in despair- for we are not alone.

Colette deftly stitches the pieces of each life’s fabric together into a bittersweet tapestry that reveals its glorious pattern gradually, beautifully, until the final page, when the entire work is thrown into the light to take your breath away.

Once Removed is one of the very few books I’ve read that left me greedily turning back to the beginning immediately upon completion to walk the path again. More slowly this time, I began to notice the sweet harbingers, the dangerous forebodings, and the profound lessons strewn along the way.

The Saturday after I finished reading, I logged on to Zoom and saw Colette propped in her bed, a smile curling up one side of her face, and I longed to climb through the screen to hug her in gratitude for the experience that is her book. Ruefully, I knew that even if we’d been face to face at that time, we still could not have embraced, because we were still in the plague of distance.

So instead, I wrote this down. Colette, for me, your book served as a reparative to that isolation. It brings its reader edification and visibility and empathy. It offers perspective, healing, and wisdom…and not a small amount of joy.

Thank you.

Image of author and musician VK Lynne with bright pink hair and wear a black hat and and jacket with a gray fluff color.

VK Lynne is a writer and musician from Los Angeles, and a 2015 recipient of the Jentel Foundation Artist Residency Program Award for writing. She penned the award-winning web series ‘Trading on 15’, and authored the novels ‘Even Solomon’ and ‘A Pook is Born.’ Her two poetry volumes, ‘Crisis’ and ‘Revelation,’ make up the audiobook ‘The Release and Reclamation of Victoria Kerygma.’

Her writing has been published in the LA Poet Society’s Anthology “Los Angeles Poets For Justice: A Document for the People”, Image Curve, The Elephant Journal, GEM Magazine, and Guitar Girls Magazine.

January 2022 Publication Roundup

The first month of 2022 is just about in the taillights, and it’s been a quite a slog on so many levels: the omicron spike continued to rise for most of the month throughout the country, though it now seems to be hitting its peak. Plus, travel, work, school, health care, and so many other aspects of everyday life have continued to be disrupted. Even so, WWS members continue to send out their work and publish in amazing places.

I’ve included an excerpt from published pieces (if available) or a blurb if the publication is a book, and a link (if available) to where the pieces can be purchased and/or read in their entirety.

Please join me in celebrating our members who published in January!

Continue reading “January 2022 Publication Roundup”

Breathe & Push: A Writer’s Work Begins Again and Again

By Nicole R. Zimmerman

Photo by Yannick Pulver on Unsplash 

“One thing I know about writing is that you don’t have to be in the mood to do it.”  — Julia Cameron, The Right to Write

Morning pages. Morning stillness. Starting anew on a Monday. Stars are still visible while birds sing up the day as you sit in your pajamas to write. If all you ever penned were these pages, would they be enough? Doubtful. Your hunger is a whisper, gnawing from within. No need to feed the beast an entire feast at once. It’s easy to get overwhelmed. 

Start with a few words, a few pages. Find relief writing in the cool morning. No pressure to produce. No worries about whether or not it’s worthy—of that award, that publication. Just put words on this page. And that one. Grateful for the blue pen at 5:30 AM. Turn to the next. See how easy that was? Here’s permission to go wild on the page. You don’t have to be perfect. Just have fun. 

Yes, the taskmaster wants it all done without a fuss, without the mess of emotions. Ah, that impatient critic! It has little room for complaints. But sometimes an inner voice needs coaxing. Attend to it. This is not a performance, not a play. Unless it’s an imaginary game of let’s pretend. When you were little and talked to stuffed animals and made up games and dances did you ever wonder who might be watching or worry whether or not you were good enough? Is that what you’re afraid of? When did it start? Maybe you have many works in progress to see to completion. The same way you read books: stuck midway in the stack. 

Where to begin? Where to dig in? What were you last working on? Where did you leave it? Give it an hour, without any outcome in mind. Read your work through and jot down a few notes. Let curiosity lead. Sit with frustration. Allow the uncomfortable feelings and self-doubt to arise (“I don’t know where this is going!”). It’s okay not to know. Uncertainty is human. Later you can look for the big-picture view, mapping the manuscript.

How can you make writing more manageable, less insurmountable? Establish systems to support your creative life. Instead of listing all those aspirations, why not mark what’s done? Like a child’s incentive chart with stickers to celebrate any progress made. Too often we berate ourselves for being unproductive instead of honoring the small wins. 

Warming up your writing muscles may feel like starting anew at the gym; effort is required to pull yourself to and fro on the rowing machine before the flow. It’s tempting to spend your time reading about writing instead of writing. But putting off writing will only make it a chore. So many things compete for your attention. Later you can tally the credit card, get the groceries, look over that insurance policy, hang laundry on the line. 

Stop pushing those writerly dreams to the sidelines. Keep moving forward, step by small step. Now, look up and notice the inky sky switch to cobalt while you scribble.

Nicole R. Zimmerman (she/her) is a queer Jewish writer with an MFA from the University of San Francisco. Her writing, including nominations for the Pushcart Prize and The Best American Essays, appears in literary journals such as Sonora Review, The Rumpus, and Creative Nonfiction. Nicole lives with her wife on a sheep farm in Northern California and leads women’s writing workshops that follow the Amherst Writers & Artists method. https://www.nicolerzimmerman.com/

December Publication Roundup

We have officially reached the final day of 2021, and not a second too soon. What a tumultuous, unpredictable, often heartbreakingly infuriating year it’s been on so many fronts. Even so, WWS members continue to send out their work and publish in amazing places.

I’ve included an excerpt from published pieces (if available) or a blurb if the publication is a book, and a link (if available) to where the pieces can be purchased and/or read in their entirety.

Please join me in celebrating our members who published in December!

Continue reading “December Publication Roundup”