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Nonbinary poet unmasks society’s gender expectations in new collection

Karen Poppy’s ‘Diving At The Lip Of The Water’ debuts next week

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'Diving At The Lip Of The Water' by Karen Poppy will be out from Beltway Editions on May 1.

“I started to compose poetry around the age of three – before I could even write,” poet Karen Poppy, 47, told the Blade in a telephone interview. “My Mom would write my poems down.”

“I had the good fortune,” added Poppy, whose first, full-length poetry collection “Diving At The Lip Of The Water” will be out from Beltway Editions, a Washington, D.C. area press, on May 1, “My Mom read poetry to me. The first poem was about a nightingale. Maybe she read Keats to me.” (John Keats was the 19th century Romantic poet who wrote “Ode to a Nightingale.”)

Poppy has written a book “that will rough a reader up and then wrap their scraps in silk,” poet Francesca Bell has said of “Diving At The Lip of The Water.” For Poppy, who identifies as queer, nonbinary, lesbian and an artist, coming out has been a lifelong process. “I’ve come out many times in many ways,” Poppy, who grew up in Foster City, Calif., and now lives in the San Francisco Bay area, said.

April is National Poetry Month. In every month, Poppy thinks often of Walt Whitman, one of the United States’ greatest poets. Thought by many to be queer, Whitman, a nurse in Washington, D.C. during the Civil War, is best known for his groundbreaking work “Leaves of Grass.”

Whitman comes to mind to Poppy when she talks about her identity. “As an artist,” Poppy said in reference to how she identifies, “I’m everyone and everything.”

When Whitman talks about the self containing “multitudes,” “He’s not just speaking of individuals,” Poppy said, “he’s saying that poets-artists enter into everything.”

“As an artist – a poet,” Poppy said, “I don’t like to be put into boxes.”

Poppy celebrates Whitman’s creative spirit, refusal to have limitations placed on him and, what she called, “his joyous experience of limitlessness and connectivity with everything.”

As a young child, Poppy sensed that she was different. “I knew very early on,” she said, “I wanted to be like my mother and my father.”

She wanted to be glam like her mom. “My Mom’s family’s nickname for Mom was Miss America,” Poppy said.

She wore her Dad’s leather jacket, cowboy hat and cowboy boots. “Early on, I got in trouble for trying to smoke a cigarette,” Poppy said, “I put it in the wrong way. I was lucky I didn’t burn my mouth!”

“I cut my mouth, trying to shave as a toddler,” she added, “I was already creating my own gender identity.”

At a time, when people were far less out and proud than now, Poppy crushed on her girl babysitters. “In kindergarten, I got in trouble with my best friend at the time,” she said, “because I told her that I was interested in her physically.”

“I think she was very kind about it,” Poppy added.

That same year, Poppy was reprimanded by her teacher for kissing a boy. “The boy and I were in line waiting to go back to the classroom,” she said, “he kissed me back.”

During that era, Poppy didn’t have the words to name or describe her feelings. “I have a gay cousin who’s older than me,” she said, “and a lesbian aunt. But because they weren’t exactly the way I am, I didn’t realize I was queer, too.”

In Foster City, when she was growing up, people didn’t talk openly about being queer. “We talked about it in euphemisms and negatively,” Poppy said.

A poem is never just the story of what happened or the recitation of fact, poet Sheila Black, a 2012 Witter Bynner Fellow, said in an email to the Blade.

Poppy’s poetry, like that of many poets, at times, channels her life. Though, it’s not autobiographical in a literal or linear way. Like Whitman’s work, it contains multitudes from individual and collective experience.

Her searing, moving collection “Diving At The Lip Of The Water,” unmasks society’s gender expectations and family systems. Poppy’s poem, “No One was Gay Back Then,” draws us into what it’s like to have to hide your sexuality. “We used to make fun of you/You, making out with Michael/in the grass. 5th grade recess,” the poem begins.

“Michael liked Matt. So in 5th grade,” Poppy writes in the poem, “already seeking cover-ups/Trying to convince everyone and ourselves./Our small town. No one was gay back then.”

As a tween, Poppy not only realized she was queer (though she didn’t have the word for it); she knew where she wanted to go to college. Poppy was determined to go to Smith College because Sylvia Plath went there.

 “When I was 12, I started to read Sylvia Plath,” Poppy said. “Plath has been a profound influence on me throughout my life.”

“Because of her fearlessness in speaking her truth,” Poppy added, “and her high level of poetic virtuosity.”

Poppy’s dream came true. She earned a bachelor’s degree from Smith College in Comparative Literature and Spanish in 1998.

At Smith, Poppy began to come out about her identity. But, there were pressures. “I was pressured into cutting my hair short,” she said, “the feeling was if I kept my hair long, I wasn’t a dyke.”

Poppy cut her hair. “I did cry,” she said, “there was a pressure to conform to a certain aesthetic. You had to be super femme or butch.”

It was another box that she had a hard time escaping from. “I realized boxes are not for me,” Poppy said.

She wasn’t sure what she wanted to do after she graduated from Smith. After a short stint as a chef apprentice, Poppy could tell that being a chef for the long term wasn’t for her.

Like most poets, Poppy knew being a bard rarely brings financial stability. “I wanted to have security and I wanted to help people,” Poppy said.

“I went to law school and studied international law,” she said, “A lot of my early focus was on immigration and helping refugees.”

Poppy graduated from UC Hastings College of the Law (now known as UC College of the Law, San Francisco) in 2003 with a J.D. degree in international law.

Today, Poppy works for The Hartford in the area of workers’ compensation.

Poppy kept writing from her childhood into her 20s. “But then, somebody said something really cruel about my writing,” she said. “The ridicule chilled my creativity.”

For 17 years, because of this cruelty, she didn’t write. “I was in a creative silence,” Poppy said.

A traumatic event compelled her to go back to writing. 

Since 2017, when her creativity was restarted, Poppy’s poetry has been published in literary journals, anthologies as well as the chapbooks “Crack Open/Emergency,” “Our Own Beautiful Brutality” and “Every Possible Thing.” She’s written three unpublished novels and short stories. 

One of her writing projects is Whitmanesque in its intersections of identities.

Poppy is working on an opera libretto. “It takes place when Handel [the German-British Baroque composer] was alive,” she said.

It’s about a merboy who’s washed to shore. He’s young, Black and queer.

“A family takes him in,” Poppy said, “they want to make him a form of income.”

The family forces the merboy to become a castrato, Poppy said, “they make him wear a mask to hide his dark skin. When he’s older and has a relationship with a man, he has to be closeted.”

Poppy is looking for a composer to work with her on her libretto. If you’re interested, contact her through her website karenpoppy.com.

Poppy’s interest in immigrants is personal as well as professional. Poppy is Jewish. Some of her family were murdered in the Holocaust. “Others in my family left Europe before the Holocaust because of pogroms and poverty,” she said.

When her family came to the United States in the early 1900s, they were “very poor,” Poppy said.

Her paternal grandmother, Poppy said, told her to make sure her son always had food, “because hunger would make his stomach hurt.”

We’ve come to see that the American dream is in many ways an illusion, Poppy said. It’s not accessible to all, and it’s slipping away.

“Elizabeth/The fifth of ten children/Who crossed the border, then/Still a child/,” Poppy writes in her poem “Elizabeth,” “Only sixteen and wanting to stay alive/To be the breath that survived.”

Poppy worries about the rise of anti-Semitism. “It comes in waves,” she said. “We have to remind each other to make sure it never happens again.”

It’s important for artists to take care of themselves, Poppy said. To get enough rest between creative projects. To be an athlete. So their minds and spirits can be in top form.

Poppy does yoga and loves to run. “A poem is a short lap,” she said, “writing a novel is like long distance open water swimming.”

“We write out of our humanity,” Poppy added.

The Blade may receive commissions from qualifying purchases made via this post.

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Books

New book reveals what we can learn from animal sex

‘Poking the Squid’ on homosexuality, gender swapping, and more

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(Book cover image courtesy W.W. Norton)

‘Poking the Squid: What We Can Learn from Animal Sex’
By Perrin Roosevelt Ireland
c.2026, W.W. Norton
$29.99 241 pages

Birds do it.

According to Cole Porter, bees do, too, but it’s not exactly what he imagined. Wild and tame, avians, insects, and mammals all have sex – although not always as you’ve been told or for reasons you might think. Even educated fleas do it and, as in the new book, “Poking the Squid” by Perrin Roosevelt Ireland, humans can learn from them all.

If you read through scientific papers on animal reproduction, you might notice something unusual: for scientists, the word “sex” means a lot of different things.

Says Ireland, “It’s used to describe behaviors, biology, life histories, and more.”

That might be because animals are not simply binary.

Take, for instance, hyenas. It’s easy for the casual observer to mistake a male hyena for a female and vice versa because of stereotypes of anatomy. Mating, for hyenas, requires subordination for the male and a nifty trick on the part of the female’s body to get things done.

Our feathered friends are no birdbrains, either: black-browed albatrosses were once thought to be monogamous but global warming seems to have changed their nesting habits sometimes. Male flamingos have sex with one another, as a territorial thing; other birds and animals form same-sex pairs for other reasons.

The Chinese mantis eats her mate after fertilization. Female snakes, alpacas, guinea pigs, and monkeys are anatomically able to enjoy sex. Genitalia between species varies quite a bit; in fact, the vaginas of ducks “are highly complex.” Lionesses will mate up to 100 times when in heat. Female damselflies will change into a “third sex” to avoid overly aggressive mating males. Bearded dragons can change their sex, if needed, as can yellow clown goby fish. And seahorse pregnancy and birth sparked a book banning in Tennessee.

So, asks Ireland, if animals, including us, vary so much in biology and life, “… why are we using the word sex like it means something, anything, consistent?!”

Pick up “Poking the Squid,” page through it a few seconds, and you’ll see that the information here is largely told through cartoon-like drawings mixed with captions. It seems to be something on the lighter side, but don’t let that artwork fool you.

Author Perrin Roosevelt Ireland offers readers solid information that cozies up to the scholarly, with hard science, philosophy, feminism, and quotations from researchers to support it, thus furthering the narrative and hitting the points squarely. If you see the art and expect something lighthearted, comic, and small-talk-worthy, you could be disappointed.

On the other hand, if you want solid, wryly serious facts, you’re in for a treat.

There’s lots of learning to be gleaned here, and some slight nudge-wink whimsy to emphasize the absurdity of wrong-headed thinking. This can make readers feel like they’re in-the-know on the jokes, and the playfulness balances the seriousness of the information well.

So, serious, scholarly, or slightly silly, none of these are negative but you’re going to know what you want from a book like this. For the right reader, someone in the mood, “Poking the Squid” is wild.

The Blade may receive commissions from qualifying purchases made via this post.

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Books

‘Transcendent’ a tough but important read

Laverne Cox’s memoir recounts horrific abuse as a child

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(Book cover image courtesy of Gallery Books)

‘Transcendent: A Memoir’
By Laverne Cox
c.2026, Gallery Books
$30/238 pages

OK, let’s just say it: You’re tired of lies.

They come from above, behind, from either shoulder. They’re repeated, laid out in a line, told as if they’re true but they’re not. You wish people would stop lying to you. As in the new memoir “Transcendent” by Laverne Cox, you wish you could tell the truth about yourself.

Sissy.

If the bullies in the neighborhood weren’t constantly calling Laverne Cox that name, then Cox’s mother was. “Sissy,” was just one word, though; the others were worse. The boys would say those things while they beat Cox, when they could catch her. Her mother screamed at her gentle child who didn’t like “boy” activities.

Even at eight years old, says Cox, “I was a prim and proper lady.”

Despite the verbal abuse about her perceived feminine behavior and a furtive, failed attempt at conversion therapy, Cox’s mother sent her and her brother to the Alabama School of Fine Arts, where Cox learned to dance. It was a lifeline for her, and the talent gained there helped Cox get into college in Indiana.

From there, Cox expected to find fame and fortune in New York City.

And yet, the abuse she suffered as a child held Cox back, and the words “There is something wrong with me” became a daily mantra.

“I didn’t know how to say it.” Cox says. “Im a girl.

There were therapy sessions to get to that point, as Cox learned the language and skills needed to speak the truth. Landing a sense of style helped, as did her brother’s support, a handful of friends, and happy, scent-infused memories of her mother’s make-up table.

At each step, Cox says, “I was expressing myself, I was also allowing myself to edge closer to my girlhood.”

Let’s start here: “Transcendent” is a difficult read – not for style, but for substance.

From her earliest memory of being sexually abused as a toddler; to verbal and physical abuse from many sources; to what, judging by photo captions, seems perhaps like forgiveness, author Laverne Cox glosses over nothing. Be ready, in other words, for pages and pages of memories that, like a roller-coaster, will make you cringe and want to hide your eyes, although doing so would be a mistake.

As this book progresses, Cox’s story does, too. We see a child who knows a truth but has no words for it. The child becomes a teen with a bursting sense of self, then a young adult who craves love as she’s stretching her wings. By the time Cox advances to writing about her career and the abuse is (mostly) over, readers will breathe a well-deserved sigh of relief. Whew, you’ve winced through a harrowing tale to reach a satisfying but not complete update.

Fans of Cox’s work will want “Transcendent,” as will anyone who’s transitioned, is thinking about it, or loves someone who has. It’s a rough read, but a necessary one, then, and that’s no lie.

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Books

Reflect on Pride season with these engaging books

Travel, memoirs, and more on tap for June

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Books for Pride by various authors
c.2026, various publishers
$18.95 – $29.00

How many times have you marched so far this month? Seems like there’s always a reason to gather and walk during Pride, but save some time for yourself, too. You’ll want to reflect, rest, and read these great books about living your best Pride month. 

No doubt, you’ve thought once or twice about stepping away from society as it is, and moving somewhere more accepting. So read “Qtopia: A Memoir of Love, Land, and Liberation” by Juda Bennett (University of Wisconsin Press, $18.95), the story of doing exactly that, and how it turned out.

Back in the ‘70s, Bennett fled the suburbs and all it represented, and went “back to the land,” to a commune named Lavender Hill. Some of the places he’d lived before then had promised way more than they delivered, but Lavender Hill was different – more rural, more open, more queer, much better. But you know all good things must end, and that includes “queer utopia.” The only thing left was to re-enter the mainstream, a journey unto itself, and one worth reading.

Speaking of memoirs, in “Gay Mormon Dad” by Chad Anderson, art by Remy Burke (Graphic Mundi, $21.99), you’ll read about Anderson’s life as a husband (to a woman), a father, and a man who seemingly had it all but it wasn’t right, and he wasn’t happy. He was gay, but acknowledging it, telling his family and his church family, could mean the loss of everything he loved. It’s a story that may be familiar to you, in some way, and it’s a quick read.

For most of his life, Joseph Osmundson dreamed about getting pregnant and having a family. The former didn’t happen and, as for the latter, as he writes in his memoir, “Spawning Season: An Experiment in Queer Parenthood” (Bloomsbury, $27.99) the journey for a gay man to become a father can have plenty of roadblocks.

When two women approach Osmundson to be a sperm donor, it appears that his ultimate dreams are about to come true. Things go swimmingly – until race enters the conversation. Are the words “donor” and “dad” the same? Read this powerful book, and think about it.

And finally, if parenthood as a gay person is something that’s a case of maybe-later, then “Good Morning Moon: A Snapshot of an American Family” by Brad Gooch (Harper, $29) is a book to find. It’s the story of late-life love, surrogacy, and identity as Gooch learns about himself as he learns to be a good Dad. This is a great book for older fathers, and anyone who’s on the parental fence, later in life.

If these great books aren’t enough for you, or if you’re looking for something different for Pride, then head to your favorite bookstore or library and ask the staff there to help you find your next best read. They’ve got a lot of books to put in your hands, a lot of sunny afternoons full of relaxing and promise, so march on out, get a new book, and happy Pride!

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