A Poetry Reading to Support Reproductive Justice

In response to the 2022 Supreme Court case Dobbs v. Jackson Women’s Health Organization, which eliminated the constitutional right to abortion, The Asian and Asian American Classical Caucus (AAACC) organized a fundraising event to support reproductive justice in conjunction with Classics and Social Justice, Society for Classical Studies (SCS) Committee on Gender and Sexuality in the Profession (COGSIP), Eos, Lambda Classical Caucus (LCC), Mountaintop Coalition, and Women’s Classical Caucus (WCC). The fundraiser took place during the 2023 AIA/SCS Annual Meeting in New Orleans and featured four poets: Skye Jackson, Tiana Nobile, Karisma Price, and Cate Root. All proceeds from this event went to the New Orleans Abortion Fund.

We provide below more information on the four poets and the poetry they read for the event. We also welcome you to explore and support local organizations in New Orleans (list curated by Allison Emmerson at Tulane University), which are fighting for equity and reproductive justice. We encourage our members to donate where they feel most comfortable and also to our WCC Equity Fund so that we can continue to support our members in need.

Meet the Poets

Featured Poems

Our guest poets have generously allowed us to share excerpts from their poems. Scroll down to read them.

Skye Jackson

  • the day i was born


    my father does not remember
    the day i was born
    the events, i mean
    questions that were asked of him
    like when my mother’s placenta
    burst like a supernova
    and the doctor asked him:
    who would you like me to save?
    your wife or your daughter?

    after learning
    that my parents weren’t married
    & that my father
    had no say in the matter,
    the doctor turned to my mother:
    we may very well lose the baby, he said.
    who would you like me to save?
    you or your daughter?

    my mother closed her eyes,
    horrified her unborn child
    might not survive
    as i began to drown inside her,
    like one of those children
    lost in the dark of the river,
    when she turned to the doctor and said:
    we are both going to live
    we are both going to live

  • #medusawasblackyall


    After Benvenuto Cellini, “Perseus with the head of Medusa,”
    bronze sculpture


    perseus, hold my dead lips
    up close to your ear.
    let me tell you a secret
    with my split tongues.
    once, long ago,
    poseidon held a fistful
    of my black locs
    just like this.

    on the floor of the temple,
    fingers pulling at my scalp,
    he inhaled me; my body
    soft from lavender and holy oil.

    my robes, cast off and torn,
    spilled down over the altar
    and even the candles
    dimmed in respect of my shame;
    my brown skin somehow paled
    in the fading light.

    the last thing i remember
    before the snakes came,
    before my body was lost
    both to the sea and to knowledge:
    a reflection of myself,
    in the eyes of that cruel god.
    the imprint of his hands,
    hot and red as the sea on my neck.
    the chill of them
    first touching my face –

    the press and dead fish stink
    of that salty mouth,
    lips rough and cold
    as the jagged rocks of the deep
    against my collarbone.

    picture a girl built pretty and open
    like a temple, only to be destroyed.

    be kind: you are looking at ruins
    further ruined.

    what i mean to say
    is that the swift kiss
    of your sword on my neck
    is not unfamiliar, perseus.

    i have tasted the sharp, quick
    pain of a man before.

  • no foul play suspected

    for kori gauthier

    “Everyone warns us off the rocks. / But what will keep us from the river?” – Eugenia Leigh

    in a new car on a bridge overlooking the mississippi river, you left your phone & purse on the passenger’s seat. you did not take the keys out of the ignition. you left the car, an eighteenth birthday present from your parents, still running. you rushed to your blind date with death as though it were the dental appointment scheduled in your google calendar for the next morning. there was no need for seduction. you were a sure thing. so you stood on the cement lip of the bridge and cast yourself over the guardrail without a sound, like a fishing line, gliding into the muddied water.

    your headlights were still on as the tow truck arrived. no one, not even the tow truck driver, stopped to wonder why. lights on. car running. phone & purse inside. engine still breathing, though you were no longer. when he rigged your car to his truck without so much of a backward glance, he confirmed your haunting: no one cares. no one cares. i imagine your ochre eyes: beautiful & sick with tired, anchored to the water below. tell me this: if no one is around to hear the sound of a brown girl plunging like a dagger into a river, did she ever even fall at all? no foul play suspected, is all that the papers will say. out of respect for the family, the police chief refuses to speak on the topic any further. they will not call your death a suicide out of respect. the drowned girl silenced twice. i ask myself: where do you run when nowhere, not even home, will suffice?

    i was like you, once. saw the river as comfort, a dark crib, to nurse my suffering. the water, stygian, & full of possibilities, delicious silence. what if i had driven off the bridge, as desire called me to, under the blurred veil of my tears? a wedding of brown water & browner skin. would i have beckoned to you from the river bottom on a jagged marital bed of rock? the current pushing our bodies, together, as the curve of the moon smiled down at the light of its own reflection on the water.

  • sade & stevie sonnet sequence


    i listen to sade with men i love
    foolish & wild, i whisper forever
    glistening like diamonds, so wet, in their beds:
    my spent heart, cold, shakes the four posts again
    don’t mock me as i melt into my gin
    it starts with record players and hot nights
    i find the wrong ones & fail to do right.
    the wine hugs as you call me a good girl.
    desire gussies my throat like ruined pearls.
    there are depths to the sorrow her voice holds:
    sometimes i think you’re just too good for me
    i beg for a cage but you set me free
    i know i’m about to have a breakup –
    stevie’s voice through the cvs speakers

    the cvs dims as stevie’s voice spins:
    when you build your house /then please call me home
    i buy plan b & pads i hope to need.
    the dark blood comes as i drive into work.
    the psychic will call it a miscarriage.
    my soul will call it an answered prayer.
    i look for a man who was never there.
    i call in sick as my bent body roars.
    there are certain debts only women pay.
    who did i destroy? myself, you or us?
    years later, i don’t remember his name:
    the man who stood outside as i shed you.
    sade’s voice purrs through my studio walls:
    will you keep bringing out the best in me?

  • sugar daddy sonnets (excerpts)


    i dreamt of you so long before we met
    a rich mystery man on a dark street
    offering me the world for just a taste
    of my swollen clit, plump brown breasts beneath
    my dress; you came to the titty bar &
    watched me dance with another man, grinding
    on the hot roof top. did you have your fun?
    you asked as you ordered me my first drink,
    something pink in a cup: dirty shirley
    sweet & cool on my lips; you watch me sip
    as lightning flash cracks up the key west sky.
    how strange you found me on a street corner,
    counting my loose change outside a sex shop.
    we head inside the bar as the rain falls.

    the night blinks & the beach whispers its speech.
    the full white moon so close, almost in reach.
    i throw off my sandals & hike up my
    dress, wade into the sea. saltwater
    swallows my thighs. it’s 4am, sunday.
    workshop in 5 hours & i haven’t
    even slept, watching you bereft in the dark
    waves; night so quiet i can hear the sand
    breathe. you tell me you’ve never had a night
    like this, though you were married once before.
    you ask to hold me as we float in deep.
    i oblige to see your illusions rise,
    that look in your eyes. this, you say, the best
    night of your life & lead me to your room.

    best night of your life led me to this room:
    the pool outside your window, glowing blue
    like a turquoise tomb. i tell you i need
    to use the bathroom; you laugh & say girl
    just pee on me
    , as you sit on the bed.
    i’ll pee on you for three grand, nothing
    less, i say, you ready to write that check?
    you’re silent. i smile. guess we’ve found our max.
    i ask you for an uber. clearly, it’s
    time for me to go; sand stuck between my
    toes. i leave, flush, though you ask me to stay.
    in the car ride back, the night flees, fades.
    once home, i peel off my dress & shower.
    i wash the night & you away, so quick.

  • grocery list for when my ex comes to visit


    seltzers of all flavors
    that green salsa he likes
    avocados
    wine (on tap)
    spaghetti sauce
    bubble bath
    lavender epsom salt
    pillar candles
    whiskey for balcony hot toddies
    condoms
    black teddy
    sheer lace stay-ups
    various meats (he’ll want steak)
    coffee
    bread
    another mug
    to finally place
    next to mine
    on the shelf
    black beans
    brown eggs
    tissues
    matches to start
    a fire
    neither of us
    will know
    what to do with
    a gift for him: lucille clifton divination cards

    (later in my kitchen
    he will pull one card from the deck
    it reads:
    today we are possible)

    exactly three beers
    the strength to watch him walk
    through the door
    the acceptance if he chooses
    to walk out of it again

    & scissors

    to cut
    down my braids
    when he flies out
    on monday morning

Tiana Nobile

  • Cleave


    Tiana Nobile read from her debut collection, Cleave, which grapples with the history of transnational adoption, both her own from South Korea and the broader, collective experience. In conversation with psychologist Harry Harlow’s monkey experiments and utilizing fragments of a highly personal cache of documents from her own adoption, these poems explore dislocation, familial relationships, and the science of love and attachment.

  • /’mīgrent/


    Of an animal, especially a bird. A wandering species
    whom no seas nor places limit. A seed who survives despite
    the depths of hard winter. The ripple of a herring
    steering her band from seas of ice to warmer strands.

    To find the usual watering-places despite the gauze
    of death that shrouds our eyes
    is a breathtaking feat. Do you ever wonder why
    we felt like happy birds brushing our feathers

    on the tips of leaves? How we lifted our toes
    from one bank of sand and landed—fingertips first—
    on another? Why we clutched the dumb and tiny creatures
    of flower and blade and sod between our budding fists?

    From an origin of buried seeds emerge
    these many-banded dagger wings.
    We, of the sky, the dirt, and the sea. We,
    the seven-league-booters and the little-by-littlers.

    We, transmigrated souls, will prevail.
    We will carry ourselves into the realms of light.

Cate Root

  • Peter’s belt


    A clown goes on a podcast about grief
    He’s Catholic as Catholic can be, the youngest of eleven children
    When his mother died, the first object of hers he claimed was a crucifix
    Simple, that had hung on her bedroom wall

    He quotes Tolkien, “What of God’s punishments are not gifts?”
    He calls his grief his tiger
    A dangerous pet to keep in your house, a pet you would not choose
    But his nonetheless

    He spoke of being the last one left, who
    When asked whether a funny story is true, says, I don’t know
    The last, the keeper of the heap

    The clown’s son needed a belt, and the clown said, I have one for you in my closet
    His son’s name was Peter
    When the clown gave Peter the belt, Peter asked, whose is it, and the clown said
    Peter’s

    But it was the other Peter, the one the clown hadn’t seen in forty years
    As he shuffled from place to place, carrying his dead brother’s belt

    I could pretend here that the belt would leash the tiger
    But we all know that would be a lie

  • The real work


    Have a feeling and then breathe
    Sounds simple, human,

    I want to write about what it is like to be alive
    While my mother is dying, but I don’t want to write about that
    Do you know that the dead do not belong to us? That their names are not ours
    To make our own names off of? I just wanted to ask. Sincerely,
    Tell me about who you love, please tell me how it
    Tastes when you remember the loss, when it steals
    You away from yourself, can you please mix in more sensory details?
    Ernest Hemingway, drunk or not, said it best:
    It’s easy to write, all you do is sit at the typewriter and bleed
    How did you learn how to bleed yourself?
    Do you take care? Do you bring towels or ligature?

    Do you want me to talk more about my mother dying? Is that more literary?
    She has been dying for four years already and we can’t count how many more
    I promise I have tried to count, I promise I have all the proper degrees and calculators
    I have made so many spreadsheets to add up how much grief I need
    To make a difference

    I try to remember that all day we walk on the dead

    I have spent so many years thinking of what I do not want to tell you
    About my mother, my family, these stories that really belong to others
    What I actually want to tell you about mother:
    (She’s beautiful, she’s kind.) She has lived with cancer inside her
    More than once. She is my model for patience, but I honestly wonder if maybe
    She had to work at it as hard as I do
    She tells the truth but you have to prove you’re actually listening
    (Truth: I don’t know when I’m truly describing my mother and when I am simply trying to
    Describe myself with affection)

    I have to try to understand this as it happens: Is it that I don’t want to write about
    My mother’s death, or her dying? Do you see the distinction? I am the only writer who loves her
    Like this. She is mine to hold, to carry into forever.

  • People take care of me


    My neighbor tells me she woke up in the night
    Worried I didn’t have a proper mask. She’s going to give me two
    Sets. I say thank you. I don’t tell her that I was worried
    She would be mad at me, for anything or nothing. Just that
    Kind of feeling. Actually, I was worried because I found a dead
    Mouse in the courtyard, and I didn’t know how to deal with it, so I just
    Stepped around it for two or three or four days, who can count,
    At some point I saw the maggot line. I didn’t know how to deal
    With it. I knew to bury it but I couldn’t understand how or with
    What, do I just use my hands, what use are my hands? This is how
    It’s been going in my mind lately. So I was afraid she was going to say
    Cate, your cat is such a problem and so are you, and it’s ridiculous that
    I would think that because this is the week I told her my mom is dying, so
    No one is trying to scold or punish me, but I keep bracing, bracing.
    My neighbor cried when I told her. She lost her momma last year.
    I hope I wrote a note, even if it was late. I guess today or this week there still is time.
    I think there is still time. I am bringing my note cards and my stamps to my mom’s
    House. I am wearing masks and big sunglasses on the plane, and I am crying, and my
    Nose is starting to run. I keep deciding to close my eyes. My neighbor, the one who woke up
    Thinking about what care I needed, she told me to wear big glasses, she told me that
    My eyes are wounds. She doesn’t know how right she is. I have never been able to stop
    Touching my face. I am still doing my best. I wanted to end by telling you one good thing.
    Last night my friend came in the door and immediately washed his hands and said
    Did you see the mouse out there? I buried it.

  • Waste more, use more


    A prime example: cut the top third off the baby bell pepper
    You don’t need to waste time seeking out errant seeds
    You are allowed to waste items in your kitchen if you are trying
    Not to lay waste to your whole insides

    Let me give you another: I cut the cilantro straight in half
    I don’t save the stems, which can flavor broths
    I don’t make a cilantro oil or a bell pepper vinegar
    When the trash lid swings open, I’m free

    I am going to try to describe where I come from without using the word
    Pathological; my mind scans all available options, calculates the margin of
    Errors, when I don’t recycle or throw a cigarette butt in the street

    My favorite moment of a late night is when I realize
    I don’t want the rest of this drink, and I clang it
    My big powerful goodbye, my pride in pure
    Recognition of my rarest state: a respite without want

    So I chop the ends off the cucumber
    Yesterday I tossed an entire pint of raspberries, black-spotted
    I chose not to sort through the muck
    Trust, I already have enough