Freegan weekend feast!
Over easy eggs; avacado with lime; olive salsa; black bean chips; and fried plaintains.
Totally free, from the dumpster. :-)
Q: please stop taking food that homeless people survive on
I think you are misinformed about food waste and poverty if you think that I’m taking from homeless people. So much of the food that is wasted is stuff that requires cold storage and food prep (meaning the use of kitchen, stoves, utensils, fridge etc). If you are houseless, these are items that you can’t take with you. Most common food items we find in the dumpster are: meat, cheese, yogurt, eggs, heat sensitive veggies (like lettuce) milk etc. Homeless people are not the only folks who need food, either. There are many working-poor people whose resources get depleted early in the month and rely on well-stocked food banks to make it through. Most WIC and food stamps programs are not enough to sustain a person’s nutritional needs for the whole month. Most working poor folks are women with children, elderly individuals, veterans, and people with disabilities. Most of these populations do not have the time or physical ability to dumpster dive.
Thus, the food we collect would be rotting in the dumpster anyway contributing to the landfills and producing methane (which heats up our planet).
You are making huge assumption about the sort of activism I engage in. My partner and I dive for food not only for ourselves, but food banks, too. We donate over 50 pounds of food a week—usually from one night of diving in just a couple of dumpsters. (Honestly, we could be doing much more!) Moreover, my partner and I, along with community member volunteers, prepare hot meals and distribute them directly to those who can’t store their food. We use our time and privilege to help others while also living a sustainable lifestyle. We sincerely believe that food is a human right and we work hard to help bridge people’s nutritional needs.
If you have further questions about my freegan practices or ethics, you should read some of my back posts, titled, “Everything You Wanted to Know About Freeganism but Were Too Afraid to Ask, part 1/2.”
Holy shit where does this come from?
[Black and white picture of Black Transwomen protesting, carrying signs that say “Money for hormones, not war!”, “We also have rights!”, and “Trans Rights Now!”]
Freegan breakfast!! Mini breakfast sandwich—whole grain mini bagel, provolone cheese slice, and poached egg.
One whole banana!
Chow time!! 100% dumpster.
Collection of poems, stories, essays, and artwork about woundedness and the healing potential of Gloria E. Anzaldúa’s writing.
‘Come Little Green Snake’: Healing Our Wounds through the Work of Gloria E. Anzaldúa is a collection of essays, poems, artwork, and stories that focus on the healing dimensions of Gloria E. Anzaldúa’s writing. We are asking for support from the community to independently publish a short book of writing on the transformative and personal-communal healing potential of Anzaldúa’s work; a process that is commonly overlooked in much of the academic, scholarly writing process and the publications on Anzaldúa’s writing. We affirm the embodied, healing potential of writing for the survival of our communities, social transformation and self-care and we seek to explore these realities through our lived experiences, particularly in our encounters with Anzaldúa’s writing.
We are seeking submissions that focus on trauma, recovery, woundedness, pain and embodied wisdom in relationship to the works of Gloria E. Anzaldúa in the following (suggested) areas:
-Death, grief, loss, and passing; bodily transitions
-Embodied wisdom, “theories in the flesh,” and healing
-Chronic illness and bodies in the Borderlands
-Traditional healing and medicine
-Revisionist archetypes and healing imagery
-Neptantla consciousness, mestiza identities
-Planetary citizenship and environmentalism
-Spirituality, “healing breeches in knowledge,” and cultural appropriation and proliferation
-“Bridges” and healing collaborations
- Healing (in) the academy
(Have an idea not listed above? Submit your abstract anyway!)
-abstract/summary (no longer than a page, please!)
-a brief CV or resume (if you don’t have one, just list out some stuff you’re involved in!)
-100-word biography to: Anzaldua.Anthology.Submission@gmail.com
Submitted artwork must be in .jpg format
Writing must be in .doc or .docx format
(if you don’t have regular access to a computer or don’t use these formats, please email us and we’ll see what we can do!)
PROPOSED PROJECT TIMELINE:
Abstract Deadline: May 7th, 2014.
Response from Committee: May 31st, 2014.
Drafts of Essays Deadline: June 31st, 2014.
First Editorial Response: July 30th, 2014.
Final Manuscript Deadline: September 1st, 2014.
Final Editorial Response and Purchasing: August 1st, 2014.
Publication goal: September 1st, 2014
Contributor Incentives: September 31st, 2014
TIPS FOR CONTRIBUTORS:
We appreciate a variety of perspectives and treatments of Anzaldúa’s work; however, we have a few suggestions for potential contributors:
1. We encourage writers to consider the accessibility of their language and diction. We appreciate writing that is conversational and easy to read. Consider telling your own story and putting yourself into your writing (or what AnaLouise Keating would call “risking the personal.”)
2. Consider the breadth of Anzaldúa’s works and how these works exist in relationship to one another. We appreciate contributions that put Anzaldúa’s works in conversation.
3. Consider a broad audience and subjectivity. We envision a collection of works that will not be limited to a specific identity category in keeping with our vision of interconnectedness. Though, we welcome a variety of perspectives and treatments of Anzaldúa’s work.
4. Please remember to use accent marks where appropriate (i.e.: Anzaldúa instead of Anzaldua).
5. Please limit submissions to 1500 – 3000 words to ensure that we can incorporate a variety of authors!
POINT OF CONTACT:
April Michels and Sam Schmitt.
NOTE: please use project email address for inquiries related to the publication: Anzaldua.Anthology.Submission@gmail.com.
[Image borrowed with gratitude from the El Mundo Zurdo 2009 conference at UTSA]
IMPORTANT NOTE ABOUT BACKING AND CONTRIBUTIONS:
Please note that backing the project does not guarantee inclusion or publication. We are grateful for any and all support; however, it would not be fair if we prioritize backers’ financial contributions over others.
[Image courtesy of El Mundo Zurdo 2009 conference at UTSA]
Still need more submissions, especially cover and back art!
Q: Just saw your comment on someone else's post, most food banks in the UK don't take stuff past its use by date or anything perishable :(
Yeah, I hear that! You could always hand things to folks directly, too!
Feeling nervous about starting new medications, but hopefully, I will be able to function and feel better soon.
Just feels weird to finally have a name for what I have.
Grilled tofurkey spicy Italian sausage link; raw sugar snap peas; one whole clementine!
Albuquerque Police Department Buildings Smeared with Red Paint, Symbolizing Blood on Their Hands
"This is political expression. If you had a fancy art degree, like I do, you would realize that the red paint has symbolic significance. If you fought an insurgency in Iraq, like I have, you would know about asymmetrical warfare.
"The public that is aghast at the shooting of James Boyd recognizes that their voices are muted. They get two minutes of commentary at a City Council meeting. Some of the councilors listen. Some play on their phones. Some worry about what’s for dinner. Who has apologized to the public for not only the shooting but the release of a horrifying video thought to exonerate the shooting? Yes, the video was released by the police because when the Chief of Police saw that video he thought, “That’s a justifiable slaying and once I show this to the public they will stop scrutinizing this shooting.” Yet the rest of us, anyone with a stomach, want to vomit all over ourselves at what is revealed in that video.
"That is how out of touch APD is with the reality on the ground. And our civilian leadership, just like in Iraq, don’t have the moral backbone to ask the hard questions and make the hard choices. So. The public knows that their voices are muted. They know that their methods of expression must be asymmetrical in order to have any chance of being heard.
"I understood why Iraqi insurgents fighting a foreign occupation resorted to "illegitimate" tactics. They could not afford to go toe to toe with us. We had kevlar and unlimited rounds and years of training. They had an old Nissan and ammunition dating back to the Iran-Iraq War.
"I understand why red paint is plastered in broad angry strokes dripping down the sides of APD buildings. Blood is on our hands. You worry about taxpayer cost of political graffiti to a couple buildings? You are missing the picture, my friends. Look a little closer. There are corpses shuttered in that building that want out."
—- unnamed author