Signed in as:
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Signed in as:
filler@godaddy.com
MULTIPLE CHOICE FOR THE QUEER CATHOLIC
Atticus Review
April 2024
EMILY DICKINSON IN THE QUEER CLUB
Stone of Madness Press
January 2024
POEM FOR THE PLACES I AM IN THE CLOSET
The Lindenwood Review
February 2022
I DON'T KNOW HOW TO FIT THESE THINGS TOGETHER
In Parentheses Magazine
October 2021
In Parentheses Magazine
October 2021
In Parentheses Magazine
October 2021
DO ALL LOVERS FEEL AS IF THEY ARE INVENTING SOMETHING?
In Parentheses Magazine
October 2021
In Parentheses Magazine
October 2021
Stone of Madness Press
March 2021
THERE ARE NO MORE SPECIAL OCCASIONS
Kissing Dynamite Press
February 2021
Serotonin Poetry
February 2021
MAYDAY Magazine
January 2021
Lavender Review
December 2020
THERE IS NO DOWNSIDE TO OPENING THE HEART
Weasel Press
December 2020
SONNET FOR A QUEER WEDDING AT CANA
Weasel Press
December 2020
Pomona Valley Review
August 2020
Pomona Valley Review
August 2020
Pomona Valley Review
August 2020
Attic Salt Interdisciplinary Journal
March 2019
EMBODIMENT AND VIOLENCE IN A POST-APOCALYPTIC WORLD
May 2020
EN CROIX: A CHOREOGRAPHIC STUDY OF TRANSLATION
May 2020
THE PERFORMANCE OF GENDER ONSTAGE AND IN THE STREETS
Loyola Marymount University William H. Hannon Library Digital Commons
April 2019
MALE GAZE THEORY AND RATMANSKY:
EXPLORING BALLET'S ABILITY TO ADAPT TO A FEMINIST VIEWPOINT
Loyola Marymount University William H. Hannon Library Digital Commons
April 2018
MONICA YOUN'S MEDITATION ON THE FEMALE BODY
Criterion Journal of Literary Criticism
March 2018
THE CENTER WILL NOT HOLD CELEBRATES RESISTANCE IN THE BEST WAY – WITH DANCE
Bachtrack
June 2025
MUSIC FROM THE SOLE IS HERE TO STAY
Bachtrack
October 2024
DANCE THEATRE OF HARLEM PUSHES THE BOUNDARIES OF BALLET
Bachtrack
August 2024
LA Dance Chronicle
August 2020
MAKING A STATEMENT: CRYSTAL PITE & THE QUEST FOR A QUALITY DANCE VIDEO EXPERIENCE
LA Dance Chronicle
April 2020

Born to break our hearts, these exquisite, dusk-blinding, quotidian and cancer-que poems seem to bruise easily, seem to breathe the language of queerness with such tender accusation, seem so fearless in their candid vulnerability. How can one not love a collection that has the following lines in its last two stanzas: “god is a highchair toddler / who laughs when her feet touch the grass”? or ends one of its poems with this ideal cheekiness: “The Spanish word for dress / is masculine.” These raspberry colored poems here are so smart and so transformative that they are capable of teaching anyone’s tea kettle how to stop sweating entirely.
~ Vi Khi Nao, Judge of the Charlotte Mew Chapbook Contest
Copyright © 2026 Gillian Ebersole - All Rights Reserved.