Literary MagNet
Jun 15, 2022
3 minutes
–DANA ISOKAWA
n their debut essay collection, (Coffee House Press, June 2022), Raquel Gutiérrez (she/they) observes how tricky photographing neon signs can be: “[I] knew the ghostly streaks caused by moving your phone suddenly, or losing the legibility of the text without enough light.” In , Gutiérrez engages in an analogous task: depicting the complex, electric spaces and queer brown communities she has moved through. With thoughtful ambivalence and care, Gutiérrez describes the work of artists such as Sebastian Hernández and Jeanne
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