NEW! Polyamory and non-monogamy workshop for support providers

NEW! Polyamory and non-monogamy workshop for support providers

Supporting non-monogamous and polyamorous community members: a workshop for therapists, social workers and other support providers.

When: July 25, 2019, 6 – 9 pm
Where: 2632 24 Street SW, Calgary, Alberta
Cost: $60, with sliding scale available.
Tickets can be purchased on Eventbrite and on the Facebook event.
Since space is limited, please do register ahead of time.

Do you work with polyamorous or non-monogamous community members? Do you want to? This workshop is for you!

In this workshop we’ll talk about what polyamorous and non-monogamous community members might need their providers to know, as well as some of the concerns that non-monogamous and polyamorous community members might bring into therapy sessions.

We’ll touch on:

  • Discourses of monogamy, some of the history of these discourses (including their link to colonialism and the suppression of Indigenous and other kinship structures) and how these discourses show up in people’s lives (including our own)
  • Marginalizing discourses within polycules (ableism, racism, sexism, cis- and hetero-normativity)
  • Beginning polyamory
  • Polyamorous families
  • Abuse within polycules

This workshop will also introduce some helpful narrative therapy practices, although it is open to practitioners from a wide range of therapeutic models.

The cost for this workshop is $60, with sliding scale available. If you would like to attend but the cost is an issue, please get in touch!


This location is *not* wheelchair accessible – there are stairs to get to the boardroom. If you would like to attend but will not be able to access the physical space, please get in touch and I will try to arrange to have the workshop set up on Zoom so that you can log in. There are gender inclusive washrooms at the location.

This is part of an on-going project creating resources and supports for polyamorous and non-monogamous community members seeking therapeutic support, and for narrative therapists and other providers who are engaging with polyamorous and non-monogamous community members. Some of this work was presented at the Horizons: Polyamory, Non-monogamy, and the Future of Canadian Kinship conference last year.

Tiffany Sostar is a narrative therapist and community organizer on Treaty 7 land. They are a white, non-binary, queer settler with eleven years of lived experience within the polyamorous community.

Tharseo Counselling is providing the space, and suggested this event. Thank you, Jill!

It’s the first day of this #100loveletters project.

It’s the first day of this #100loveletters project.

Image description: Lake Ontario on a foggy day. A flock of geese is in the water, and a bird is flying overhead. The trees in the background are green.

100 love letters to this world. This one that we’re in right now.

(Content note on this first section for talking about some of what is happening in the world right now, including climate collapse, genocide, and starvation.)

Today, in this world, orcas, grey whales, polar bears are starving. Insect populations are collapsing. Forests are burning. Permafrost is melting.

Today, in this world, the National Inquiry for Missing and Murdered Indigenous Women and Girls releases their report, outlining the genocide, and asking for justice from this colonial government after generations of violence.

Today, right now, in this world, thousands of Yemeni children are dying of starvation in a civil war that is enabled by the US government. And the Canadian government sends aid, but sells arms into the conflict.

How can we love this world?

But maybe that is exactly why we should love this world. Because there is so much healing to be done. There is so much to stand vigil for, to witness, to resist.

And because there is so much to love.

Today, in this world, new species are evolving. The world will find a way to eat our plastic, and already mushrooms can digest plastic (both the oyster mushroom and the Pestalotiopsis microspora, which can survive entirely on plastic), wax worms can eat plastic bags, and researchers in Pakistan are studying landfill ecosystems. This world, much as we have fumbled our relationship with it, is majestic and determined. Life, as they say, uhh, finds a way. 😉

Today, in this world, Indigenous communities are preserving and passing down their cultures despite the ongoing violence of colonialism. In Australia, the Milan Dhiiyaan community posts regularly about their culture-saving (and joyful!) activities. In Canada, communities are doing the same. In every colonized space, Indigenous communities are holding the threads of their histories. They are weaving together new ways forward based on old knowledge. They know this world. The colonial project has never been successful.

Today, in this world, the African diaspora is stepping up in every creative space to offer hopeful Afrofuturisms and maps of response and resistance. In America and Canada, the Black Lives Matter movement continues to make a difference, showing us that something else is possible. Black filmmakers, musicians, writers, historians, professors, podcasters, bloggers, and performers are holding space for possible futures and holding powerful systems accountable for the harm that is ongoing. 

In this world, crip communities are not only imagining but enacting disability justice. And disability justice means justice for everyone. This work is already being done, has already been done for generations among networks and communities of care. They know how to keep each other alive even when the context is hostile. They know how to get through apocalyptic conditions. And they are sharing their knowledge. Find the authors, the podcasters, the creators. The map-makers.

This world is more than grief and tragedy.

This world is more than collapse.

I’ve been thinking about this letter all weekend. I’ve written a dozen versions, and meant to send out a few pre-project letters, but I hesitated. This project, now that it is here, seems daunting.

It is hard to show up in love and grief. It is hard to hold love and anger in the same hand. It is hard to open up to love, knowing that despair will also find that open door. 

On Thursday, I went for a walk along Lake Ontario. The fog was thick, and the birds were everywhere. I saw chipmunks and squirrels, mosquitoes, good puppers and so many green and growing things.

It felt magical. It was a gift. An invitation. An affirmation.

Today is the June New Moon. From the Many Moons Planner:

“This month could be an excellent time to reflect on relationships. Thinking about everything as a relationship can be helpful, as it opens us up to multiple possibilities, and highlights our perceptions, behaviour, and thought processes as agents enacting those possibilities. When we interrogate our relationship to ourself, our relationship to time, our relationship to friends, family, etc., it can take us out of the realm of rigidity, and into the real of possibilities. We are NOT just our behaviour, our thoughts, our mistakes, our harmful habits.

This month, try to treat yourself with more care, kindness, and compassion. Hold your own hand through your one and only life.”

So I begin this project with an invitation to reflect on my relationship with this world. To find the possibilities, and to think about this relationship in deep and meaningful ways.


Dearest world,

I come into this project with grief and despair, searching for connection and possibility. 

I don’t know how to be with you, dear world. I interact with you primarily through media, reading about soil more often than I touch the dirt, looking at pictures of animals more often than I sit quietly in their wild spaces. 

Even my houseplants are struggling. I forget to feed myself, and I forget to water them, too. 

I dream of making crow friends, and forget to put seeds in my pockets.

But I am here, and trying.

And when I show up, you are here, too. Every time I step out into this world, there it is. Bigger than I am, bigger than I can imagine. And I am in it, I am part of it.

I think that this project is, in some ways, 100 days of grieving and memorial. We are watching many species die, and we are watching many ecosystems transform in ways that are violent, tragic. We are watching collapse.

We are watching change.

But change offers possibility. I think of Octavia Butler, and her Earthseed principles.

From Parable of the Sower:

All that you touch
You Change.

All that you Change
Changes you.

The only lasting truth
Is Change.

Is Change.

So, if part of this project is a memorial, let it be an Earthseed memorial. Octavia Butler knew just the way.

An excerpt from the Earthseed funeral in Parable of the Talents:

We give our dead
To the orchards
And the groves.
We give our dead
To life.

Is a great Change—
Is life’s greatest Change.
We honor our beloved dead.
As we mix their essence with the earth,
We remember them,
And within us,
They live.

Gives shape to the light
As light
Shapes the darkness.
Gives shape to life
As life
Shapes death.
The universe
And God
Share this wholeness,
Defining the other.
Gives shape to the universe
As the universe
Shapes God.

We have lived before.
We will live again.
We will be silk,
We will be scattered,
We will live
And we will serve life.
We will shape God
And God will shape us
Always again,

I start this project with grief, and also with remembering, and discovering. I am alive, and I will serve life. That’s my intention for this project.

I love you, world.

 – Tiffany

If you would like to receive the love letters in your inbox, you can join the email list here.

If you want to know more about this project, you can find the intro post here. You can participate in many ways, including on social media using the hashtag. You can also participate off social media, and if you would like your letters shared, you can send them to me to be included in the emails.

If you want to support my work, you can find my Patreon here.

100 Love Letters to This World

100 Love Letters to This World

An image of the full moon visible during the daytime, with dark clouds above and a pink sky. Text reads: 100 Love Letters to this World #100loveletters

An Invitation

Do not think that one has to be sad in order to be militant, even though the thing one is fighting is abominable.

Michel Foucault

This is an invitation to join me in writing 100 love letters to this world. An invitation to spend 100 intentional moments loving this world, and documenting this love. Finding 100 things to love in this world, or loving one thing in this world 100 times. Being present in this world, and seeing its complexities, holding space for what is terrible and for what is beautiful.

You can find the email list here.

This world, which I propose we love with intention and with tangible actions, is full of grief and suffering and injustice, and many of us are resisting, responding. That core of recognizing and responding to injustice is central to this project.

Why speak of thriving and love when there are so many massive, urgent problems that need to be confronted? To write about the potential or trust and care, at this time in history, could seem like grasping optimistically at straws as the world burns. But durable bonds and new complicities are not a reprieve or an escape; they are the very means of undoing Empire.

Nick Montgomery and carla bergman, Joyful Militancy

Loving this world in a time of compounding crisis and active, necessary response can be challenging and it can feel counter-intuitive. But as I move through this difficult time in my own life, and as I witness community members similarly moving through fear, and grief, and anger, and despair… I find love and connection more and more critical.

Community care, connection, and the ability to recognize and express love; these are not just a reprieve or an escape, as Montgomery and bergman point out. They are the means by which we can respond to injustice.

And so, 100 love letters to this world.

To this world. And to those of us who are in this world, fighting for this world, fighting for each other within this world.

To all survivors today: your time is precious, your energy is precious, you are precious. Your love is precious, your relationships are precious. And I don’t mean precious like cute. I mean precious like invaluable like massive like power like transcendent.

Hannah Harris-Sutro

The goal of this project is not to stifle resistance or to turn our focus away from injustice. But rather to find a way to be in relationship with this world – this world that we have, the physical world, the social world, the emotional world that we find ourselves in right now, unique to each of us – that allows for love and struggle. I am not looking for a quick fix or a cure for the problems that we are facing; the idea of a “cure” for trauma is fundamentally ableist, and I reject it.

The idea that survivorhood is a thing to “fix” or “cure,” to get over, and that the cure is not only possible and easy but the only desirable option, is as common as breath. It’s a concept that has deep roots in ableist ideas that when there’s something wrong, there’s either cured or broken and nothing in between, and certainly nothing valuable in inhabiting a bodymind that’s disabled in any way.”

Leah Lakshmi Piepza-Samarasinha, Care Work: Dreaming Disability Justice

We are facing climate crisis, and seeing the effects more and more clearly. Time is short. We are at, and passed, many critical tipping points.

We are also facing an emboldened and increasingly powerful right wing, fueled by capitalism, climate denial, white supremacy, and cis hetero patriarchy.

Within my own heart, and within my communities, there is despair, hopelessness, existential dread. How do we move forward? How do we continue breathing, living, loving, in this context? How do we stay connected when we are in such pain, and when we are anticipating so much more pain?

It is easier to scroll the newsfeed endlessly, to think about collapsing insect populations and melting glaciers and rolled back rights and ongoing colonial violence, to think about these things rather than engaging with them. To grieve in an abstract and disconnected way. It is harder, and I am less likely, to go outside, to attend a rally, to have coffee with a friend, to breathe the air that I still can breathe, to see the moon in the sky, to feel the ground under my feet, to hear water moving through rivers and streams and in raindrops.

Moving from the abstract to the material is difficult, because it means facing what is at stake. Feeling my own body on the line with this world.

Underpinning so much of the despair is the sense of impending and worsening scarcity. Many of us have been so deeply steeped in capitalism and capitalism’s story about humans as inherently greedy, as hoarders and accumulators, that it is hard for some of us, for me, to think about scarcity without wanting to retreat. To turn inward, to accept the neoliberal premise of individualization, to become ever more an island.

Disconnection is a coping strategy. There is value in disconnection, in avoidance, in the inward turn. There are times when it is just what we need in order to continue on. But for myself, and for some of my community members, there is a way in which disconnection has stopped being supportive of my life and has become too heavy. I want to change it.

When I notice how much easier it is to access feelings and stories that close off acts of living and resistance, that’s when I know I need to interrupt the disconnection and find a way back. That’s where I’m at now. And that’s why this project exists.

Whatever comes next will be hard, and it will leave most of us hurting. We can learn from disability justice work, from racial justice work, from queer and trans justice work, from all the community workers who have come before us into apocalyptic trauma and have found a way to stay connected. We can take their wisdom and ask: How will we love this world? How will we love ourselves in this world? How will we love each other in this world?

Those are the questions I hope to ask with this project. And I hope that by bringing our love to this world, we can start co-creating possible futures together, or even just co-creating the possibility of imagining a possible future.

Your love letters can be as elaborate or as simple as you’d like. A single word or a ten-page billet-doux. A photograph, a drawing, a poem, a deep inhale. A conversation with a friend about what there is to love in this world, a moment in the mirror, a short story, a long story, a postcard. Love letters can take so many forms, and all of them are welcome.

All that is required is that you do this intentionally, that you find some way to connect with love for this world.

And your love, just like your love letters, can take many forms. Love can coexist with despair. Love can fuel anger. Love and grief know each other well. This project is not a demand for “positivity.” It is, instead, an invitation to connection.

This project will run from the New Moon on June 3 2019, to the Full Moon on September 14 2019.

Following the project, I will be collecting the love letters into a zine.

You can participate on social media by tagging your posts #100loveletters. If you’d like to receive my love letters in your email, you can sign up for the 100 Love Letters to This World email list. I’ll be sending out my own love letters throughout the project, and also sending out any letters that you submit to be included. You can submit those letters by emailing them to me at

If you want to be further involved, you can also support my Patreon, or find me on Facebook or Instagram.

This project is my fourth iteration of the 100 Love Letters process. (This process began with Stasha Huntingford years ago – I cannot take credit for it!)

The first 100 Love Letters project was 100 love letters written to ourselves. You can read about the origin of that project in this interview with Stasha Huntingford, the inspiration for the project.

The second 100 Love Letters project was one that I undertook personally. 100 love letters to my body, as a response to increasing chronic pain and other issues. This project is ongoing.

The third 100 Love Letters project was the Tender Year, and you can read about that project, a year-long collaborative project between Stasha, Nathan Fawaz, and myself, here.

When I let myself daydream about possible futures, I think it would be cool to pull all of these iterations into a book.

For now, though, join me in this project.

#readharder2019: The Seven Husbands of Evelyn Hugo

#readharder2019: The Seven Husbands of Evelyn Hugo

Image description: The cover of The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid. The cover is green, showing part of a face and a torso in an emerald green dress.

One of the benefits of supporting my Patreon is that you get access to first-look posts, like the first draft of this review, which was available to patrons last week.

And sometimes you get access to posts that never make it to the blog! April was such a busy month, and patrons got to read the first draft reviews of the books I read that month.

Will I ever write up full reviews of the books I read in April?

Who knows! If you’re desperate to know what I thought about The Underground Railroad by Colson Whitehead, Introducing Teddy by Jessica Walton, A Girl Like Her by Talia Hibbert, and why I stopped reading Attachments by Rainbow Rowell and The Color Purple by Alice Walker, you’ll have to head over to the Patreon! (The three books I finished were all excellent and important, so I’m sure I will write up the full reviews eventually, but I’m not sure when.)

I started The Seven Husbands of Evelyn Hugo at the end of April because I completely gave up on finding an epistolary novel that I could actually finish, and I just wanted to read something queer and feminist and fun. I’ve been making good progress on the Read Harder 2019 challenge, and at the end of April I had finished 9 of the 24 categories. So I figured I could take a break and read something outside of the challenge.

I’ve been in quite a serious Sad Mood since I got back from Australia, and I needed something fun. This review from Casey the Canadian Lesbrarian is what convinced me to give this book a try.

Evelyn is ambitious, hard-working, confident, and cut-throat. She describes herself in this way: “I’m cynical and I’m bossy and most people would consider me vaguely immoral.” She’s also explicitly, wonderfully BISEXUAL. I knew the book had queer content going in, but I had no idea that it tackled bisexual identity so specifically. There’s a specific scene early on in the interview process where Evelyn coolly asserts that she’s bisexual, and not gay as Monique has just assumed. Evelyn makes it clear she loved her husband and then a woman, so “don’t ignore half of me so you can fit me into a box. Don’t do that.” It was such a perfect slap in the face of monosexism. GO EVELYN. This section, as well as more than one other part in the novel, brought me to tears.

Casey the Canadian Lesbrarian


It turns out that this book is an epistolary novel, since nearly every other chapter is either an excerpt from the book-within-a-book, or a series of newspaper articles, or a letter.

So I bailed right into exactly the right book. Delightful!

And this book truly was delightful.

The writing is witty and sharp, the characters are nuanced and well-rounded, and there are some really well-crafted moments of emotional intensity. 

I’ll start with what I’m less enthused about… I read this immediately after finishing A Girl Like Her, a book about an autistic Black woman, written by an autistic Black woman, and reading half of The Color Purple, also by a Black woman, also very clearly about race by someone with insider knowledge. The fact that Taylor Jenkins Reid does not have this insider knowledge, and includes two protagonists of colour (Monique Grant is biracial, and Evelyn Hugo is Cuban, though entirely and intentionally white-passing), lent a certain lack of depth and nuance to the discussions of race. It wasn’t that the representation was terrible or stereotypical, but coming immediately after being immersed in writing about race, by Black authors, I noticed it. 

For example, we learn that Ruth, the protagonist of Talia Hibbert’s A Girl Like Her, is Black organically, later in the book, through physical descriptions that refuse to exoticize or dramatize the fact that she’s Black. It was revealed in the same casual way that many descriptions of white characters are done; skin tone is not the most interesting or relevant part of the character’s experience of themselves. And Hibbert managed this without downplaying Ruth’s experience of racism in the majority-white town.

In contrast, Monique’s skin tone and biracial identity are introduced in the very first paragraph. There’s nothing inherently wrong with this, but the contrast really struck me. When I read that description, I had to pause the audiobook and look up the author, because it came across as someone wanting to draw attention to the capital-D Diversity of their writing.

After that initial impression, I wanted to get a better understanding of what I was about to read. I tracked down some interviews with Taylor Jenkins Reid that specifically addressed her choice to write queer characters and characters of colour when she is white and straight, she acknowledged how problematic this is, and talked about the thought that she put into it. I also appreciate that she’s said she won’t be writing another book like this, and will instead focus on amplifying marginalized writers.

From an interview at

Do you think it’s your place to to tell the story of how these marginalized groups feel when you’re white and straight?

Yes, and no. Most importantly, no. We have a problem, in publishing and entertainment, of not centering minority voices. The solution to that problem is to bolster and support minority writers. There is no replacement or substitution for the incredibly important and, quite frankly, exciting work of reading, celebrating, and promoting minority writers. I naturally read stories of people different than myself but I’ve made a concerted effort to spend the small power behind my name blurbing minority voices and I will continue to spend whatever platform I have to champion the work of minority voices. This is what the majority should be doing and it is, first and foremost, where our energy needs to be spent.

Work written by people who have lived the story is always going to have a beauty and honesty that cannot be matched by someone writing outside of their own life.

The reason why I wrote this book despite not being queer or biracial is because, due to my work writing about straight white women, I have an audience. I continue to be handed a microphone. I have a book deal. And my feeling was that I could use that book deal, that immense privilege, to continue to write about people like myself or I could use it to write about people that often get pushed to the sidelines.

I chose to center my story on women who are underrepresented. I’m able to do that and still be considered mainstream because of my previous work. Which means I’m able to put a queer story in the mainstream and put it in front of people who might not otherwise read one. I am in a unique position to be able to do that and so I chose to do it.

But then I come back to my original point. It’s very hard to parse out, even for me, the line where good intentions can turn into misrepresentation or to a loss of opportunities for people to tell their own stories. I’m very proud of this book but the rest of my energy, for the time being, will be spent in trying to lift up other people to tell their stories themselves.

Zachary Zane interviewing Taylor Jenkins Reid at
You can read that interview here.

There was a lot of racial diversity in the book, and I did appreciate the fact that the cast was more reflective of reality than a lot of books manage. These characters included both of the protagonists, as mentioned, but also many of the secondary characters, including two of Evelyn’s long-term personal assistants, and one of the major love interests in the novel. It is absolutely notable that two women of colour (one Latinx and one Asian American) are hired domestic labour, but I also noticed that the first person introduced as domestic labour is a white woman (which serves the purpose of destabilizing the idea that women of colour who cannot pass as white are relegated to the role of housekeeper, and allows the deep relationships that Evelyn has with the women later in the book to unfold in less problematic ways).

So, having noted that, on to what I loved!

So much.

I loved so much about this book.

I loved that Evelyn is such a complex character, who does horrible things in order to survive, and does other horrible things in order to succeed, and she looks at her own life with clear but compassionate eyes. Early in the book, when Evelyn has told Monique that she will tell her her life story, Monique says, “so you’ll confess your sins to me?” Evelyn is quick and firm in her correction. She says, “I didn’t say anything about sins. I’ll tell you the whole truth of my life, but I am not ashamed.” (Paraphrased because I listened to the excellent audiobook.)

Evelyn is bisexual.


The love of her life is a woman.

Her best friend, and the father of her child, is a gay man.

The lengths they go to in order to hide their orientations are sometimes extreme, and Jenkins Reid situates these choices in a historical context that includes threats to career and safety (a context that we often believe has changed, but for too many people, has not changed enough).

The core group (Evelyn and Harry married, Celia and John married; Evelyn and Celia lovers, Harry and John lovers) are together in New York during the Stonewall riots, and there are some wrenching conversations (and disagreements between them) as to how best to support their community of fellow queer folks without jeopardizing Evelyn and Harry’s guardianship of their child.

I read this book through the lens of my own anti-capitalist politics, and through that lens, I find the choice to contribute primarily through philanthropic donations that still leave each of them extremely wealthy… frustrating. I recognize that it fits with Evelyn’s character, and I recognize that it fits with what most people do, but it’s not enough. It’s just not enough. Especially now, as we try to figure out how to respond to massive and systemic injustice, I want to see representations of responding to injustice in ways that don’t so neatly align with capitalism and the charity model.

Still though. Overall… I really loved this book.

I loved the moment when Monique calls Evelyn a gay woman and Evelyn corrects her and confidently claims the label of bisexual.

I loved the moment when Monique assumes that the problems between Celia and Evelyn were because of Evelyn’s bisexuality, and Evelyn again corrects her and tells her that the problem was never that Evelyn was bisexual. It’s such a rare thing to see bisexuality represented in ways that are both complex and positive. 

And I also loved the message of unapologetic success, even though it grated against my anti-capitalism. I loved how Evelyn demanded success for herself, and pushed Monique to demand it for herself, too.

I really recommend this book, and I’m glad that I gave myself permission to read a non-challenge book (and in the process, completed a category I had been struggling with!)

You can read my other reviews for the Read Harder 2019 challenge here!

My review of Binti for “a book by a woman and/or an author of colour set in or about space.”
My review of When They Call You A Terrorist for “a book of nonviolent true crime.”
My review of Washington Black for “a book by a woman and/or author of colour that won a literary award in 2018.”
My review of Fifteen Dogs for “a book with an animal or inanimate object as a point of view narrator.”
My review of The Widows of Malabar Hill for “a cozy mystery.”
My review of Circe for “a book of mythology or folklore.”



Image description: A Black woman with dark skin is laughing, with a wreath of red flowers in her hair. Text reads, “I am the expert in my own experience. No-one else knows what I need better than I do.”

Photo credit – Jessica Felicio, from the “Photos of my friends” series, found on Unsplash

I am so thrilled to share this collaboration between myself and one of the community members I work with.

In a recent narrative therapy conversation, the community member I was speaking with shared some moving words about why they’ve chosen to stay in their context and continue to showing up for community despite obstacles. We also spoke about the pressure on marginalized individuals to stay in hostile contexts and “be strong,” and about the need to support people in making the choice that is right for them, whether that choice is to stay or to leave a challenging context.

We turned some of their powerful words into affirming posters, with the hope that these might bring some comfort and validation to other marginalized people who are making choices about what to do with their lives!

The images were chosen to honour the wisdom of dark-skinned Black women, who are so often not listened to.

I am incredibly fortunate to work with the people who choose to consult with me, and all I can say is that we should all be so lucky as to hear the wisdom of Black women. What an honour to be allowed to listen, and then to share some of that wisdom.

Image description: A Black person with glasses is writing in a journal. Text reads, “I don’t run. My friends are all here, and I love my community. If they’re here for me, I’m here for them.”

Photo credit: LaShonda Delivuk, Eye for Ebony photography.

Image description: A person with brown skin and bright red hair is smiling and pointing to the sky. Text reads, “I deserve to be valued. “Being strong” is a huge issue in marginalized communities. We do not owe anyone our suffering.” 

Photo credit: LaShonda Delivuk, Eye for Ebony photography.

If any of these resonate for you, I’d love to hear about it and share your words back with the person who inspired and collaborated on the creation of these images.

We would also love if you wanted to share these images, if they resonate for you!

(I’m having a set of them printed up on glossy paper to bring to our next narrative session.)

EDITED TO ADD: After a conversation with a concerned community member, I have added photographer information and links to the images, and have remade one of the images to source an image from a Black photographer.