Denarii Monroe

I did not leave that theater the same way I arrived. It was then, as I walked back to my building and looked up at the night sky, that I knew. I thought to myself, “I want to make movies.”

As storytellers, disabled writers have thousands of stories inside of us, some related to our disabilities and some not. Some of us are lucky enough to have some sort of outlet for our words — in public and/or private spaces — while others still struggle to find the voice that lives within.

It’s like being a deer in the headlights. You’re in imminent danger. You know it. But you can’t move. You can’t speak. No reaction whatsoever. You just stand or sit there, frozen in time, waiting for the crash.

And when you're multiply marginalized and know how much work there is to be done in the struggle for liberation, how few people are doing it, and that our lives literally depend on it, it can feel like you’re letting your people down.

Much has already been said about the way the Stanford swimmer's privilege has insulated him from consequence, about the ever-pervasive victim blaming in public discourse, and about the inadequacy of the criminal justice system. But in so many of these conversations, in our rage against the rape culture machine, we forget the survivors — the most important people in the fight against sexual violence.

[W]hy must the acknowledgment of my beauty be predicated on how well and how often I contort to attempt to fit into some kind of ideal? Why can’t I be all the iterations of me and still be beautiful?