Garcia’s Guide to BIPOC Authors: Aricka Foreman

Hello everyone and welcome to Garcia’s Guide to BIPOC Authors! I decided to write a blog dedicated to BIPOC authors after reading and looking at The Vida Count, which highlights imbalance in publishing by collecting data. Unfortunately, diversity in publishing (albeit getting better) is still concerning. Moreover, reading classical literature has left me with a need to discover voices and perspectives outside of the literary canon which tends to house primarily white authors. This is not to say that the literary canon does not have timeless and well developed pieces of literature, but I got tired of hearing stories about people of color from those that are not in that community. 

As an Indigenous American (on my mother’s side) and Puerto Rican (on my father’s side), I feel as if I have some obligation to uplift communities that have been historically marginalized. Following Royster’s commentary, I will not speak for those outside of my community, but instead I would like to offer a promotion and recommendation of authors from various communities. In this series, I would like to highlight some of my favorite authors, both classic and contemporary. 

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Not Your Binary: A QTPOC Reading Column – A Reading of Roy G. Guzmán’s “Blood Fantasia”

Roy G. Guzmán’s “Blood Fantasia” patchworks the words of thirty-seven poets, composing a sublime composition into a loose-sestina form. Each time Guzmán’s speaker repeats phrases, the words crescendo and build into an intense meaning. The beginning lines depict an awareness from the speaker of their own disorder: “I am cosmically outrageous, a tragic orchestra” (ll. 1).

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