The other day, I was in the kitchen, wearing a classic shirt waist dress and an old school apron, chain smoking and generally looking like a discontent housewife, whilst I was cooking a big old home cooked meal for my darling husband. It was his favourite; cheeky Nandos style pot roast. Naturally, I’d never had any, because it’s important that a woman retains her figure, but he seemed to like it, so that’s the important thing.
My darling husband was late. He often arrived late, sometimes with lipstick on his collar, but he swore to me that he wasn’t having an affair so that was the end of that conversation. As I sat alone in the kitchen, with no one to keep me company but my children, I couldn’t help but glance at the salt shaker. It looked so boring. It was just a little ceramic pot with a few holes in it. I hated it. It was dull, drab, desolate, and it reminded me of the limitations of humanity.
I had no such qualms with the pepper shaker. I loved the pepper shaker.
Bo-Arts is a bi-weekly art/literature initiative.Twice a month, Boshemia will share creative writing and visual art submissions from our readers and folks who identify as feminist to give a larger audience to emerging creatives. Our goal is to provide a platform for feminist artists to share and discuss their work.
This issue of Bo-Arts, Woman of the Year: Part 2, is the second installment of the poem-and-photography collaborations brought to you by a duo from Frederick, Maryland, USA. Anna See-Jachowski is a poet and feminist thrilled to be working with Boshemia. Anna, her partner Matt, and their four cats live in Frederick. Emily Jessee is a young feminist creative who uses platforms like photography to portray the harshness and vulnerability of the world around her.
Artist’s Statement – from Anna
These poems are part of a series I plan to self-publish this year, titled Woman of the Year. Each poem represents a period in a young artist’s life in which they find love, a muse, and desperately seek the meaning of that experience. The five poems are a taste of what the series will offer, and explore the deadly combination of desperation and anger felt when a lover leaves; the lovely vulnerability of falling asleep around people you love; the ritual of hedonism in summertime; and finally, the artist’s banishment of her muse for the sake of her own recovery from trauma. Read more of Anna’s artist’s statement here.
Today, Carrie Fisher’s daughter released a statement via People stating that her mother had passed away aged 60 following a heart attack on a flight home to LA on 23rd December. At the end of a very long year filled with many deaths of beloved celebrities, this is one which will touch the hearts of many generations of people from all walks of life. From long-time followers to people who were helped by her candid and honest accounts of mental illness to brand new fans brought on board by last year’s The Force Awakens, Carrie’s death will certainly be a tough one to swallow.
Netflix original series have been carving out much-needed spaces for transgender representation this year. While the year 2016 has been an unrelenting shitshow for women, people of color, the LGBTQ+ community, and humanity at large, a glimmer of solace and social progress can be found in the strong casting and authentic characters of Netflix’s original science fiction series Sense8 and The OA.
A Brief Look at Recent Trans TV History
Before Sense8 and The OA, a handful of widely streamed web series have and continue to feature trans characters—Transparentand Orange Is The New Black, most notably. These shows present extraordinary events within “normal circumstances”— in Transparent, Jeffrey Tambor plays Maura Pfefferman, a transgender mother who undergoes gender reassignment surgery; in Orange is the New Black, viewers get an inside look at a women’s prison in America, discovering the complex lives of incarcerated LGBT women—including a transgender woman Sophia—played by Laverne Cox.