We've Got Some Things To Say

The anthology "We’ve Got Some Things to Say: Reshaping Narratives Around Sexual Violence" is a powerful collection of poems and prose that explores the profound and often harrowing experiences of survivors of sexual violence. The stories and poetry address the pervasive impact of trauma, the struggle for healing, and society's tendency to blame victims. Editor Mary Simmerling has curated works from survivors from diverse backgrounds, who bravely share their personal journeys of pain, resilience, and recovery. Each piece delves into the emotional and psychological aftermath of sexual violence, the pursuit of justice, and the transformative power of art and writing.

Simmerling, a survivor of sexual violence herself, has been conducting writing workshops for fellow survivors for many years. Her dedication to fostering raw and authentic expression in her collaborators is evident in the emotional depth of each piece they create. I appreciated the content warning that highlighted potential triggers for readers.

The poems and stories in “We’ve Got Some Things To Say” are heavy and intense. I found that it’s important to take breaks while reading the works to process the emotions that are coming up and avoid becoming overwhelmed. It is heart-wrenching to read the stories of survivors from childhood abuse. Isabella Moreno in “Counting Beauty Marks" recounts her childhood experiences and the lasting impact of sexual abuse. Sarah Kerr’s poem "Words in my Mouth" shares a narrative of betrayal and decay of trust.

What stands out—though it is not surprising—is that many survivors come from marginalized communities. This anthology highlights the voices of women of color and their experiences with sexual violence, resilience, and healing. Several contributions explore the intersectionality of identity, examining how factors like race, gender, sexuality, and socio-economic status influence the experiences of sexual violence survivors. For instance, Arabella Grayson's piece "A Hyphenated Line" addresses intergenerational trauma, while Angela Lore's works "Silenced" and "A Voice Restored" reflect on her experiences as a woman of color.

Although the content may be distressing, this collection serves as a tool for healing for both the writers and readers, while also advocating for social change. It invites readers to reflect on these experiences and encourages them to take action to end sexual violence and support survivors.