A Lasting Conversation with Emanuel Xavier
Photo Credit- Brian Berger.
Emanuel Xavier is the author of the poetry books Pier Queen, Americano, If Jesus Were Gay, Nefarious, Radiance, Selected Poems of Emanuel Xavier, and Love(ly) Child (shortlisted for a 2024 Lambda Literary Award for Gay Poetry). He is the recipient of a New York City Council Citation and a Gay City Impact Award for his many contributions to NYC arts culture. His books have been finalists for the International Latino Book Awards and Lambda Literary Awards, and his work has appeared in Poetry, A Gathering of the Tribes, Best American Poetry, and elsewhere. He is on the Board of The Publishing Triangle and lives with his husband in Staten Island, NY.
I had the pleasure and honor of asking Emanuel what literary devices he likes to use to set the tone of a poem, what people need help understanding or would least expect about the ins and outs of the ballroom scene, how writing and art have changed the world, and so much more.
UZOMAH: Could you delve into your unique personal journey and how it has shaped your work and writing, particularly in the context of your experiences in the LGBTQIA+ community?
EMANUEL: I came to poetry unexpectedly. I was kicked out at sixteen for coming out as gay during the ’80s in the middle of the AIDS pandemic, and though I found my way back home and completed high school, those experiences continued to haunt me. So much so that, even though I managed to attend some college, I never finished my degree and found myself back at the West Side Highway piers of NYC. Much has been popularized about the scene from Paris is Burning to Pose but that was my life. Those were my friends. That was my chosen family at the time. I started working at a gay bookstore and hanging out at The Nuyorican Poets Café. I noted that there were few books or spoken word poets sharing our experiences from that community, and I took it upon myself to share my truth. At the time, diversity, equity, and inclusion were not a thing in the publishing world. The spoken word community came from hip hop, so there was still that homophobia, and, at the same time, the LGBTQ+ literati understandably were not welcoming to spoken word. I was dubbed a “street poet” by academia. I had no education or credentials to consider myself a writer. Though we only shared six degrees of separation, I was inspired by street artists like Haring and Basquiat, who believed art was for everyone, not just the elite. I started printing postcards with some of my poems, distributing them at gay clubs, and leaving them in phone booths. In ‘97, I self-published a chapbook, Pier Queen, which would go on to become somewhat consequential. One of the positive things about having had such a rough life was that I developed a thick skin and pushed through despite these boundaries. I had to bring my own folding chair to the table, but I get to still be here to share these stories.
U: What suggestions would you give to the poetry world about fostering a more inclusive and diverse environment, particularly for poets not as seasoned as most writers when submitting to publications, such as minorities, including members of the POC and LBGTQIA communities?
E: The gatekeepers who are on judging panels, advisory Boards, and publishing houses should reflect the diversity of the literary world we live in. Not all poets are writing for academia, and not all poetry readers are enthralled by metaphors and literary rules. There have been any number of great poets who have not been anthologized or published enough because they didn’t move through the standard venues and were deemed street poets. The Beatnik generation, made up of mostly white poets, was widely romanticized and published, while the work of many poets of color came long after, if at all. The work of Miguel Piñero or Pedro Pietri should have been as widely available.
U: Could you elaborate on your writing process and how it is a healing tool, particularly in dealing with trauma? How would you encourage others with similar experiences to use writing as a form of self-expression and healing?
E: Sharing my own personal trauma through poetry has been incredibly healing. I always try to encourage others to share creatively in some way. I write with a purpose. In the beginning, it was for the stage, and then it evolved to the page. It’s important to share our histories before others make them their own. If you’re going to turn to writing, just remember that it’s totally fine to write for yourself and never share your words with the world at large. You can express yourself in a journal and keep that for yourself or close loved ones, or put it out there for public consumption. There’s no right or wrong; it doesn’t have to be literature. It could be dance, music, or art.
U: If you could name one poet who has influenced your writing most, who would it be and why?
E: I could name any number of famous poets but the one that immediately comes to mind is a fabulous Palestinian poet by the name of Suheir Hammad. We met early in our careers; her poetry has always been powerful and moving. Her stage presence has always been full of grace and beauty, and her words are revelatory and meaningful. I had my own House (The House of Xavier) for some time, and she was very involved in it. We share a lot of personal history. Every time I need some inspiration or motivation, I think of Suheir. I’m lucky to have personally met many great poets throughout this journey that I can call my friends.
U: Can you go into depth about the most favorable aspect of writing?
E: Personally, I think it’s the best way for me to express myself. I’m not a great conversationist, and I’m considerably shy about sharing stories, especially about my past. However, I can weave something together as a poem and have no problem sharing it all up on a stage in front of an audience. People think writers have fabulous lives like Truman Capote or are tortured poets like Sylvia Plath. I suppose being emotionally crippled in some way helps, but the truth is most of us are like every other person, just looking to get noticed.
U: As the visionary behind the Penguin Random House LGBTQ+ Network, what inspired you to create this platform, and what are your aspirations for expanding access to publishing opportunities for the LGBTQ community to share their unique stories?
E: When I started working for a major publishing house, my experience came from small presses. Once I was on the inside, I got to see that it wasn’t just a monolith. It was made up of diverse people who loved books. They were publishing many great LGBTQ+ authors, and I was impressed. I wanted the company to be recognized for those contributions, and the group started to celebrate our community. This was before DEI became an initiative and LGBTQ+ books became du jour. I was pushing for visibility, and, in many ways, we succeeded. I can’t speak for other major publishing houses, but I’m thrilled that there is more support for our stories. I just have an administrative position within the company. I’m not a major editor, but it speaks to how all it takes is passion to help create change.
U: What are some favorite literary devices you like using to set the tone of a poem?
E: Because I learned my craft on my own, I was not privy or bound to the use of literary devices. I knew nothing specific about hyperbole, alliteration, or onomatopoeia. If there was any rhyme or reason, it was perhaps inspired by reading other poems or finding the musicality in reading a poem in front of an audience. I followed none of the rules of poetry, which is perhaps why I was annoying to so many writers in the literary community.
U: What is something people need help understanding or would less expect about the ins and outs of the ball scene?
E: Many loved the underground aspect and exclusivity, and it wasn’t as welcoming to the outside world as it is now. Much of that was understandably driven by fear of exploitation. Houses mostly consisted of individuals who had been rejected, oppressed, demonized, abandoned, and carried a lot of additional baggage. Like most families, there was love and support but also dysfunction. I published a cult novel in 1999 (Christ Like), which featured characters from the ball scene on the darker side of the spectrum, but I truly loved the mainstream popularity of Pose. It’s a very different world we are living in now and the community has also come a long way. They have contributed so much to culture throughout the years. I am thrilled that the ball scene is finally getting the props and recognition that they so rightly deserve.
U: How do you think poetry, writing, and the visual arts can and have changed the world?
E: Perhaps by continuing to share our stories and our histories creatively through any form of art, we can learn from one another and find a common humanity. Also, James Baldwin famously said, “Artists are here to disturb the peace. They have to disturb the peace. Otherwise, chaos.” That has proven to be true throughout history, and it is much more important now.
Please visit his site for more information about Emanuel’s writing and work in the community. More information about Emanuel can be found on Poets.com here, along with Poets and Writers here, and his latest book can be found here.
