In Treasure Box, Jamilla VanDyke-Bailey reflects on an important conversation that came too late.
A publicist engages in an activity she can tell no one about: an affair with her boss.
A battered woman makes a crucial deal with Dominican Jesus: if she could escape her abuser in order to spend time with her dying mother, she would learn to make flan.
From “Bad Art Friend” to the Miya Marcano murder to reports of femicide, writers shy away from a crucial word: stalking.
The Petito case challenges us to consider how we language romantic harm. Domestic violence seldom stays at home.
After a gang unit stopped my 14 year old cousin for driving in a stolen hoopty, they took her to Eastlake Juvenile Hall and handed her over to a new abuser: a cop.
An older homegirl, a hood mom whom Desiree considered her mentor, announced, "I'm jumping you in."
Myriam Gurba writes about her cousin Desiree, female gangsters, cholas, Mexican bad asses with big hair, and the criminalization of survivors.
When battered women "move on," sometimes, we "start over" in a new home that's, in many ways, a reconstitution of our old home. We might not be sharing walls or a roof with the piece of shit who fucked us up but the weapons he used remain. Weapons like a bed. They don't look like weapons. They look like ordinary things. That's what's so frightening about them.
No daughter should live in terror of her dad and prolonged fear of a caregiver, especially a masculine one, indicates that someone may be experiencing coercive control, an ongoing form of gendered oppression characterized by a combination of conditions which are documented by Framing Britney Spears.