Every Curve a Middle Finger
Let's workshop this poem about the health-at-every-size movement and some wine drunk whites eager to signal their allyship for plus-sized populations—as always, no matter the cost to those populations
Every Curve a Middle Finger Drunken talk after the livestreamed abortion party revealed a unanimity already clear in finger snaps and hashtag cringe (“Slay, Queen”): parading about holding many men in pure lard “helps dismantle the white patriarchy that just loves to control our bodies.”
"Every Curve a Middle Finger" by Michael Anthony Istvan Jr. is a scathing critique of performative activism and the commodification of resistance. The poem dissects the dynamics of a post-abortion party, examining how acts of rebellion can become hollow gestures when they are more about social media approval than genuine defiance. Istvan's incisive language and vivid imagery expose the contradictions and superficiality of the characters’ actions, questioning the authenticity of their proclaimed ideals.
The title, "Every Curve a Middle Finger," sets the tone for the poem, suggesting a bold and confrontational attitude. This phrase captures the essence of the poem’s critique: the way personal expression and bodily autonomy are used as tools of defiance against oppressive structures, yet often in a way that can seem insincere or performative.
The poem opens with "Drunken talk after / the livestreamed abortion party," immediately placing the reader in a setting of casual revelry mixed with heavy social and political undertones. The concept of an "abortion party" is jarring, highlighting the extreme measures taken to reclaim and celebrate bodily autonomy. However, the "drunken talk" hints at the lack of seriousness and depth in the participants’ engagement with such a profound issue.
Istvan reveals the group’s collective mindset with "a unanimity already clear / in finger snaps and hashtag cringe." The finger snaps—a common gesture of approval in certain activist and artistic circles—coupled with the "hashtag cringe" reflect a culture that prioritizes surface-level engagement and social media validation. The phrase "Slay, Queen" epitomizes this, showcasing how acts of rebellion are often reduced to catchy slogans and digital approval.
The lines "parading about / holding many men / in pure lard" serve as a metaphor for the superficial and sometimes absurd ways in which the group believes they are challenging the status quo. The imagery of "pure lard" suggests excess and grotesqueness, implying that their methods are not just ineffective but also mockingly counterproductive. It’s a stark visual that conveys a sense of misguided defiance.
The poem culminates with the declaration that such actions "help dismantle / the white patriarchy that just / loves to control our bodies." This statement, dripping with irony, underscores the poem’s central critique: that these performative acts of rebellion are seen as dismantling oppressive structures, yet they often fail to address the deeper, more systemic issues. Istvan's use of the word "just" highlights the oversimplification of complex social problems, pointing to the inadequacy of these gestures in effecting real change.
Through "Every Curve a Middle Finger," Michael Anthony Istvan Jr. challenges readers to reflect on the nature of modern activism. The poem questions the authenticity and effectiveness of performative acts of resistance, urging a deeper engagement with the issues at hand. By exposing the superficiality and contradictions within these acts, Istvan calls for a more sincere and impactful approach to challenging oppressive structures.
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