Erika Luckert is a poet, writer, and educator. Her work has appeared in Denver Quarterly, Indiana Review, CALYX, Room Magazine, Tampa Review, F®iction, Atticus Review, Boston Review, and elsewhere. A graduate of Columbia University’s MFA in Poetry, Erika has taught creative and critical writing at public schools and colleges across New York City. In 2017, she was awarded the 92Y Discovery Poetry Prize. Originally from Edmonton, Canada, Erika is currently a PhD student at the University of Nebraska-Lincoln.



Poets Resist
Edited by Christine Taylor
February 6, 2020

Erika Luckert

Female

after Morgan Parker, after Glenn Ligon, after Zora Neale Hurston

I feel most female when I’m walking home alone at night. I feel most female when I’m told not to walk alone. I feel most female when I carry mace when I carry a whistle when I carry a purse with my own hand tucked inside, my knuckles clenching the sharpest of my keys. I feel most female in my own home, using power tools to drill through century-old walls, I feel most female on a run to the hardware store, when I do not ask for help when I choose my own diamond-edge bit sharp enough for any brick. I feel most female when I can’t reach the top shelf, can’t open the salsa, can’t untwist the coffee pot and laugh it off— you have a great laugh someone will say. I feel most female on my first date repeating in my head my mom’s advice if he touches you somewhere you don’t like just hold his hand. I feel most female holding a camera holding a paintbrush a book, a pen. I feel most female when I am in the background when I am in the foreground when I am in the studio like Degas’ dancers, dressed from bun to pointed toe in tulle, when my pink body is thrown into the air and only the ground can catch me. I feel most female at the bar, at the bus stop, sitting, standing in front of the classroom, in front of a mirror, in line and waiting to check out at the grocery store. The most female thing I ever did, if you ask my niece, was flip off those two men who catcalled us walking down the street. I feel most female when I follow the rules, when I follow the leader, play clapping games, jump rope, line up for gym class, come home after school. Most female when I read Hurston, when I read Hegel, when I am dialectically gendered, canonically divided into two. When I come home, when I go to sleep, when I wake up and the president is a rapist and a racist and fifty-three percent of women like me lined up at a ballot booth and asked for it. I feel most female when I’m angry, when I’m sad, when I’m ashamed of it. I feel most female when I am the subject. I feel most female when I am the object. When I replace the word woman with female on a student’s paper to make it feel grammatically correct. When I write the word perhaps perhaps because even my language knows to doubt me. Forms: femaal femaille femaal femawle femayll femel ffemale femmall faemale feymel femill famaal foemal I feel most female far away from home, at night with a single match lighting a fire and placing a grill above the coals. I feel most female coming home. I feel most female coming home.


"Female" is a poem written in response to Morgan Parker’s poem, "I feel most colored when I am thrown against a sharp white background," which she wrote in response to a painting by Glenn Ligon, which was created in response to an essay by Zora Neale Hurston.

Poets Resist is published by Glass Poetry Press.
All contents © the author.