-from "Mermaid Spotlight: Angela Zumwalt" by Chisom Ogoke
In Porter House Review’s mission statement, we write that “we seek unique perspectives from both established, award-winning authors, as well as emerging and underrepresented voices from around the world.” While representing voices from historically marginalized communities has been a broad goal for the journal, the editors at PHR decided to take the next steps: public accountability for the race and gender makeup of our contributors, and concrete, measurable goals to improve the diversity of voices in the journal.
Sadly, I think my biggest fear had something to do with stigma. I still did not completely trust myself or my own experience because I’ve lived with a diagnosis, labels, and generalized hurt for so long.
All the sacrifices he had made to earn invitations to reputable artist colonies abroad, only to be rejected by a consular officer with glee. Nkiacha took the embassies’ collective declaration of his unfitness for travel as a writer and poured all his resilience into it.
Following last year’s critically acclaimed Telephone, Percival Everett’s The Trees weaves tropes of pulp-cop noir with trademark acuity and genre-bending inventiveness to deliver a swift, startlingly expansive take on the legacy of lynching in the American South.
Independent (or “indie”) bookstores are one of the many gems that emblazon and attract others to a community. Within their facets, they serve the local economy, bolster the small business industry, add flavor to a locality, and bring people together. Amidst the past year’s whirlwind of closures, layoffs, adjusted work environments, and various other impediments that affect how a community gathers and stays together, they thrived.
Prado perfectly encapsulates the insecurities of growing up and the never-ending search for identity in a society that tries to define and confine us at every chance it gets.