orlando shooting victims

A Queer Latinx Mourning After The Orlando Shooting

I was back in my homeland of Puerto Rico—the first time in two years—for a professional conference when I heard the news about the Orlando shooting.

I sat around a table, ordering pancakes as big as my face, surrounded by fellow members of the Women of Color Sexual Health Network. We ate, talked shop, and decompressed after some difficult events that weekend. There was a TV on next to us—flashing lights and “ORLANDO SHOOTING” in big letters displayed on the bottom of the screen.

It’s too early for this. We’re already so weary.

Not until later did I actually pay attention to the news. I was in work mode, though, and nothing sunk in. Later that night, I hopped a plane back to Boston and came home to an empty bed. I craved human contact, craved my queer partners, craved community as I read the names of the dead late into the night, crying and unable to sleep. I wanted to light candles, whisper Spanish into the sky and honor the dead, but I could only witness the little information available and sob in the dark, thankful I only had a few clients to see the next day.

On Monday, I watched a mother recount the last words she exchanged with her son as they texted during the shooting. On Monday, I watched the last Snapchat videos various victims filmed that night, including one with gunshots in the background. On Monday, I couldn’t feel rage because my nerves were too tangled in sadness and exhaustion. On Monday, I told one of my partners that I was randomly crying throughout the day.

“It’s not random if you’re grieving, boo. They killed your *family*”

Their words settled in my chest. They killed my family. 

I’ve never been one to grieve over strangers, but this felt personal. They were fellow queers, fellow people of color, fellow Latinx, fellow people of complicated genders, out to have a good time. 

23 out of 49 victims were Puerto Ricans like me.

So I could try to speak of the rage at how many White queers have put themselves at the center of this grief like they were the center of the universe. I could try to speak of the disgust at how many have spun this into Islamophobic propaganda, speak of the frustration at how this has been turned into a detached debate about gun control.

I could try to speak to how I see this as part of a web of violence, threads connecting the ALMOST WEEKLY murders of trans people and especially the violence against trans women and femmes; the slaughter and erasure of Natives; African enslavement; police brutality targeting Black and brown bodies; harsh immigration policies; lynchings and gay-bashings; harmful legislation about where we can go to the bathroom, how we can dress, and how we can reproduce (or not); and the present-day colonization of Puerto Rico. 

And I could try to speak about the hope for the future and the ways we are strong and resilient, of how I see love as the long-term fuel we need for our movements.

But all I can speak to right now is holding sorrow in the same hands I try to hold hope, and how sometimes my hands don’t feel big enough.

All I can speak to right now is my fear that one day it will be me and my familia… and realizing that it already is.

All I can speak to right now is how intensely I want to protect my communities and how I want to care for my QT/POC lovers with such ferocity that the world trembles.

All I can speak to right now is the grief at those misgendered after death, those outed to families who would reject them, those whose undocumented status prevents families from reaching their bodies, those who survived and are wracked with guilt…all the ripples of pain spreading throughout Orlando and mi isla and the entire continent. 

The atom of the Latinx universe is the family, not the individual, and so the number of broken hearts balloons much larger than the 49 dead and 53 wounded. This is why community matters. This is why we gather together at places and times like these.

So I hold space for all those who grieve in secret, whose workplaces and families and surroundings don’t acknowledge how this has carved open their chest. I hold space for those who are in helping professions trying to keep their ish together in front of clients as their insides splinter. I hold space for you, for me, for us. For those who are confused about their grief, for those who are numb, for those whose rage rises like bile, for those who have lost so much already and feel this as another drop in the bucket that’s already overflowing. 

By being queer and trans we have inherited legacies of mourning, loss, and persecution. By being Latinx, we have inherited legacies of discrimination, colonization, and diaspora. And we must remember that we have also been passed down resistance, power, healing, life. 

Como dice el refrán: “They tried to bury us. They didn’t know we were seeds”

To all those who were taken too soon: descansen en poder, and may you never thirst. 


Part of this was originally published on Autostraddle’s roundtable of queer Latinxs, and the rest was crafted for a vigil in Boston focusing on Q/T/POC in the wake of the Orlando shooting. Header image via a Buzzfeed article on the Orlando Shooting victims

Dear White Friends, Lovers, Strangers

No, I don’t hate you as a person because you’re White.

I hate the structural inequalities that put White people at an advantage. I hate the legacy of racism in the U.S. and in Puerto Rico. I hate that people of color can’t try to create a safe space for themselves without some White people commenting on how that’s “reverse racism” and “discrimination.” I hate that when people of color talk about race and inequality, many White people respond defensively, negatively, and/or with guilt that then makes them focus on their “feeling bad” and impairs them from seeing the realities we’re bringing up. I hate that many respond with “well, we’re not ALL like that” because I already know you’re not all “like that”–“like that” being overtly discriminatory and horribly racist, but most of you to some degree still perpetuate racism even if in small ways.

I don’t need your guilt or anger; I need your support and your allyship in action.

I don’t need you to hate other White people, but to call them (and yourself) out when something racist happens. I need you to stand up for people of color even when there are none in the room. I need you to examine your privilege and see how it affords you certain things that are not accessible (or easily accessible) to people of color. I need you to look at the history of how racial difference was constructed in the United States and understand the context of race.

I need you to LISTEN.

I do NOT need you to feel guilty, but I understand if you do. I can understand if you feel bad, uncomfortable, awkward, or anything in that realm, but those feelings are a byproduct of examining privilege and usually they can even be part of the process of becoming an ally.

No one said this would be easy, and we must not confuse safety with comfort.

Advertising: Hope, Crying, and Culture

I often feel a desire to cry during movie previews. Well, not the movie previews, exactly, but some of the ads they play before movies–the ones with swelling music and Spanish words and some bullshit about what it means to be Puerto Rican. The Banco Popular one? Dear lord, it makes me well up like nobody’s business. There’s a longer version out there, but this the version in theaters (and it’s faster-paced):

Click here for it. Like, I’m watching it right now and I’m tearing up, even though I’ve watched it a bunch of times before. The part where the children’s chorus comes in? Ohhhhh man. If I haven’t cracked by then, that does it. (Of course, I have to be in the zone for the tears to be inevitable; catch me off guard or stressed and I will wave away the ad with annoyance.)

Anyway, I’ve translated the lyrics for those of you who are Spanish-impaired. 😛

I’m the light of the morning
that illuminates new paths,
that goes flooding the mountains,
the farmer trails.
I’m the fruit of the future,
the seeds of tomorrow,
planted in pure dung (read: fertilizer)
of my boricua land.
I’m a fisherman of dreams;
I go looking for a sea of spume
of shells and sands,
of sirens and moons.
Of stars and horizons,
my fortune is composed.
I’m a sailing seagull and an astronaut of fog.
Of the bread, I am the yeast that feeds the hope
of the Puerto Rican man,
of the awakening of my mother country.
I bring boricua blood;
I’m the son of the palm-trees, of the fields and the rivers
and of the singing of the coquí,
of valleys and coffee plantations,
of sugar-cane and pineapple,
of guava and mampostiales,
of tembleque and maví.

I chose to not translate tembleque, maví, and mampostiales. It feels too weird to see them in English, somehow linguistically reduced, or transformed into something else. But, if you MUST know:

  • mampostiales = “very thick, gooey candy bars of caramelized brown sugar and coconut chips, challenging to chew and with a strong, almost molasses-like flavor”
  • tembleque = creamy coconut pudding usually garnished with cinnamon on top
  • maví = “mauby,” a drink! (“The drink or syrup for the drink is made by boiling a specific buckthorn bark, Colubrina elliptica, with sugar and a variety of spices. In looking at individual recipes on how people make mauby, you’ll note spices and flavorings vary exceedingly. Cinnamon is usually included, but then the drink flavoring diverges according to recipe. Some people add cloves, anise, vanilla extract, or cola flavoring. For more info, just check the wiki.”)

If this doesn’t make your mouth water at least a LITTLE, you should get your salivary glands checked. Anyway. Why do I get so emotional? Part of it is the setting of the theater, of course, that sets the stage (no pun intended); everything is bigger and louder and more intense there, plus the darkness creates an air of intimacy and solitude (that’s more believable when one is not in a packed room with some dingbat kicking the back of one’s seat), or at the very least of uninterrupted connection to what is onscreen. However, even when I’m not in the theater, I can get teary-eyed. It’s the idea of this, well, idealized Puerto Rico. It’s a longing for that, and not coupled with the belief that it’s nonexistent, but with the belief that there IS that beauty and that wonder in the Puerto Rico in which I live–that it’s just a matter of stopping and appreciating it, or finding it, or even just knowing how and when to look. The beautiful visuals and music create an air of hope…and if an ad is going to make me feel something, hope is a fucking fantastic choice. It makes the viewer tune in to that part of themselves, the hopeful part, the part that identifies as Puerto Rican, the part that wants to be proud of the mother country and not ashamed. It’s the part that goes “yes yes yes” during the whole ad.

To me, advertising is important. Heck, I wanted to GO into advertising for a while! All things being equal, or more or less equal, I WILL give preference to the organization with better ads, not because I believe their product is better, but because I admire their advertising and feel like rewarding them for a job well done. I will purposefully choose to support a company whose ads I like. And speaking of other ads I like, Harris Paints created a CLASSIC with this one:

Click here.
This thing was played at EVERY MOVIE SHOWING IN EVERY THEATER (of the Caribbean Cinemas chain, at least, but I’m pretty sure CineVista also played them). It ran for YEARS. People went into a movie and sang along to this during the previews, some in barely audible whispers, others in great, booming voices. It was glorious. They eventually retired the commercial after a bunch of years and everyone got upset. And what does this ad have in common with the Banco Popular one? It invokes our sense of Puerto-Rican-ness AND it has great visuals AND catchy music. It talks about paint colors in terms of Puerto Rican things, colors WE know because we see them every day or we are at least pretty damn familiar with them. Green is not fucking…kelly-green or hunter green or limeade green, it’s “verde quenepa.” Red is this red, of the flamboyán (Royal Poinciana or Flamboyant). Blue is the blue of the cobblestones that line San Juan’s streets. And so on. In fact, here are the lyrics:

Paint your life
with the colors of my land.
Paint your life.
Piragua strawberry,
white like coconut,
mango yellow.
Quenepa green,
cobblestone blue,
flamboyán red,
turquoise of the sea.
The colors of my land,
our colors,
paint your life
with the colors
that Harris gives you.

Mmm, gotta love appealing to people’s sense of unified culture. I’ll avoid cynicism for now (shocking!). And for clarification, a piragua is like a snowcone, but the top is pointy like a pyramid (not rounded like a snowball). SO yes. Other ads or previews make me cry too, for different reasons. It’s usually the beauty in them, though, that captures me; they’re so intense and beautiful that I just can’t help but tear up. Same thing with music.