AMOTM

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ILYA WEEK | DAY ONE - FAVORITE MOMENT (one of many): Tampa Bar Scene

"If “man” and “woman” are opposed and mutually exclusive categories, if men can only ever be predators and women can only ever be prey, then trans men can’t exist. We are logically impossible under the terms of the current system. You either “treat us like men” by voiding out half our lives, or you write us back into womanhood by denying our male identities. I knew all that, at least in theory, but when I came out, I actually saw my life story disappearing into other people’s blind spots. I watched myself become unthinkable in real time."

Also these:

"This wasn’t about accountability. This was people tactically forgetting my entire life,including incidents from my life they had personally witnessed or been involved in, so that they could shame me for transitioning. It was bad for me to be a man; if I was a man, I was a bad man, I was all the worst things men are. I was hulking, I was threatening, I was predatory, I was violent."

"I was treated as both genders, but only the most monstrous stereotype of each one."

"The idea that I had always occupied a privileged position within patriarchy was, frankly, untrue; nor did it seem to me that a trans person was any less gender-marginalized than your average cis woman. What privilege I had was conditional, and these books were no guide. Men who wanted to “forge a positive masculinity” (and everyone was very clear that I needed one of those) were encouraged to get in touch with their “feminine sides.” Maybe that was healthy for cis guys, but I had been forced to do feminine things, and present in feminine ways, for the entirety of my young life. Whatever liberation I had achieved came from giving myself permission to stop."

As did the ending:

This is one of those non-poem things that are among my favorite poems.

As the OP stated, the use of alliterative consonants is aesthetically just great, especially the placement of the strongest use at the end: “fuck him on the floor.” The use of “chintz” is indeed great word choice.

Because I’m insane, decided to scan the poem:

Not only is the second sentence, indeed, perfect iambic pentameter, the entire poem is perfectly metered, though the first sentence has four iambs rather than five.

There are further things I love about this poem, though: I like the casual connotations of “keep it real” juxtaposed with “chintz.” It causes me to interpret the “chintz” more strongly as meaning something fake, a facade. There is also of course the coarseness of “fuck,” which is a contrast with “chintz” but a different kind of contrast, gutsy and carnal where “chintz” is flimsy and inanimate.

And then there is the storytelling: there is SO MUCH storytelling in just these two lines. To break it down: The speaker is having sex with a married man, in the house he shares with his wife, which is “filled with chintz”—something that here connotes fakeness, in contrast with “keep it real.”

The illicit encounter in the poem takes place within a house filled with facade, the flimsy construction of the wife’s marriage and domestic sphere, but the encounter itself is a taste of something “real.” That’s a story, and it’s just two lines.

This is EIGHTEEN SYLLABLES, y’all. The amount of meaning condensed into these eighteen syllables is stunning, and it is so elegantly done.