Photograph and Essay by Nina Pak

Resistance Wears Many Faces

By Nina Pak

Resistance wears many faces. Sometimes it marches in the streets, a cry against injustice that refuses to be ignored. Other times it is quiet, invisible. Nothing more than a refusal to yield, a single word withheld when obedience is demanded. Victory is never guaranteed. You may rise against tyranny and prevail, or fall beneath the weight of an abuser’s power. Yet even in defeat, there is a deeper triumph: the knowledge that you stood for yourself, that you did not abandon your own dignity. Too many women are denied even that. Too many are broken, again and again, until the will to resist is gone.

I know this intimately. Abuse has taken many shapes in my life. From childhood molestation, beatings, rape, and the suffocating grip of sociopathic relationships. I carry those scars as lessons. Resistance, for me, was not about becoming hard or meek. It was a long journey of discovery. I slipped from one cruel hand only to find another waiting; the patterns of harm run deep, and breaking free is not a single act but a process of unraveling.

Through it all, I learned to survive, and chose to serve. I have opened my doors and my heart to women who needed refuge. I have given what was never given to me, shelter, support, belief. I have tried to kindle confidence in those who doubted themselves, to mentor and nurture creativity in the young, and tend to the needs of the elderly. I treasure friendships across generations.

I believe this is our calling as women: to be each other’s salvation. No one else will rewrite the paradigm for us. We must protect one another, raise each other up, sometimes above ourselves. We must learn to step back when it allows another woman to step forward, not with envy, but in solidarity. For centuries, we were trained to support men’s lives, their dreams, their greatness. It is time we give that devotion to one another, without jealousy or regret.

My creative work in photography, art, and writing, have given me confidence and a sense of accomplishment. But my proudest moments are not public and not seen. It’s the way we choose to move through life that matters most. The relationships we build and nurture, the people we give our time and energy to, the small acts of kindness. The willingness to be there when needed.

So, if you ask who I am, who Nina Pak is, I will tell you this: I am the one who will step into crisis at my own risk. The one who will give her time and strength to women I believe in. I am the one who found her voice, was pushed down for it, but never lost the will to speak. Who had fear beaten out of her. Who finally had enough. Who learned against all odds to believe in herself. I am not loud, and I do not threaten. But I will not be silenced, and I will not endure mistreatment to myself or those I care about.

We don’t have to fight to make a difference, but we can’t be silent anymore. 



After studying painting and printmaking at Evergreen State College in Washington State, and then with a master jeweler in Settle, Nina Pak has since shifted through place and time, with creativity and courage, inspiration and service to the communities in which she’s dwelled. Today, she is a digital photographer, wardrobe stylist, set designer, and hair stylist. Her other projects are usually credited under the name Dreamloka. Explore more of her photography at ninapak.com and follow her on Instagram @ninapak.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist on our Give a Sawbuck page.

Mask Gleaners by Donald Patten

Artist’s Statement

Almost overnight, COVID-19 had changed the way people interact with each other, and with our own bodies. We lived our lives in vulnerability during that historically significant time of disaster. The initial phases of the pandemic are behind us, but the virus remains and continues to be dangerous. The societal trauma this pandemic has caused will be remembered and felt by those who have lived through it for the foreseeable future.

In the past, master painters would depict historically significant disasters that happened to them as a way to cope. Artists of the 19th century depicted hardships and trauma in the wake of the Industrial Revolution, which began the formation of our modern world. As an artist learning the techniques of masters, I have the opportunity to create long-lasting visual information that depicts the trauma of this pandemic.

Therefore, I have created a series of drawings that represent my experiences in modern COVID life by drawing inspiration from past masterpieces that depict the embodied experience of trauma. This drawing is inspired by the oil painting Gleaners made by Jean-François Milletin 1857. Gleaners symbolizes the hardship peasants experienced in rural France surviving on gleaned grain after massive industrial farms take the majority of the harvested crops, leaving scraps for the old and poor. During the pandemic disposable face masks were common litter people would throw them away after using them. It was very common to see masks on the ground as trash. My drawing Mask Gleaners emphasizes how ubiquitous face masks were as litter, critiquing how our society disregarded masks as disposable trash, while they provided an important function to help prevent the spread of COVID.



Donald Patten is an artist and cartoonist from Belfast, Maine. He creates oil paintings, illustrations, ceramics and graphic novels. His art has been exhibited in galleries throughout Maine. To view his online portfolio, visit @donald.patten on Instagram.


A note from Writers Resist
Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist on our Give a Sawbuck page.

Welcome to Writers Resist the 2025 Summer of Resistance Issue

Wouldn’t it be dandy if this season were a 21st century version of the Summer of Love, but more inclined toward the civil rights movement? An uprising of all ages—of every identity!—leading a powerful return to our generations-long quest for liberty and justice for all; for diversity, equity and inclusion; for a moral commitment to our three branches of government, our pursuit of a true democracy, our vision of what we might be?

Yes, that would be dandy.

This issue launches after the 14 June protests, and we saw you all were on streets across the nation, with oh-so-clever signage, lots of peace and love, and being absolutely dandy.

Thank you—don’t stop!

But first, we’ll take a moment to offer our fondest farewell to René Marzuk, editor extraordinaire and exceptional human being. We’ve been grateful for his presence on the Writers Resist team. We will miss him sorely and lovingly.

A note from René—

In August of 2022 (more than two and a half years ago!), the editors of Writers Resist welcomed me as one of their own. Since then, I’ve had the privilege of reading and considering (mostly) poetry submissions from all over the world. Working closely with Debbie, I read pieces carefully and consistently, trying to find expressions of resistance that took full advantage of the resources available to poetry. As I get ready to step down from my role, I look back with joy to all of the instances in which I found not only what I thought I was looking for, but much, much more.

Early on, I learned that Writers Resist offers a platform for resistance and community that is in turn supported by the generosity and love of those who keep it running. Thank you so much for creating and maintaining this space, K-B, and thank you all for allowing me to be one of you during the last couple of years.

Keep writing the resistance, friends!

Saludos,
René

And now, in between protests, please enjoy the rich contents of our Summer 2025 issue—and join us for Writers Resist Reads, a virtual celebration of this issue, on Saturday 16 August, at 5:00 p.m. PACIFIC. Email WritersResist@gmail.com for the Zoom link.

CONTENTS

Work Trip by Alyssa Curcio

Manure by Robert Delilah

The Neighbor’s Goldfish by Ashley Dryden

Freedom Calls (Commemorating Harriett Tubman’s Promotion to Brigadier General in the State of Maryland) by Ellen Girardeau Kempler

s k i n by Rebecca Havens

Awaiting Harris’ Concession Speech November 6, 2024 by Dotty LeMieux

Standard Safety Recommendations: Revised, 2025 by Ryan McCarty

Stars and Stripes: Registering Voters in the Travis County Jail by Lauren Oertel

Inauguration Day by Linda Parsons

The Age of Unreason by Matthew Sam Prendergast

The Bishop by Lao Rubert

Marked by Fendy Satria Tulodo

Saved by Phyllis Wax

you’re all for autism awareness ’til by Lauren Withrow


Photo credit: K-B Gressitt, taken at Greenwood Rising, a Tulsa, Oklahoma, museum that will “educate Oklahomans and Americans about the [1921] Race Massacre and its impact on the state and Nation, remember its victims and survivors, and create an environment conducive to fostering sustainable entrepreneurship and heritage tourism within the Greenwood District specifically, and North Tulsa generally.”

Where My Family Is From

By Howie Good

 

Photo collage: In the foreground is a human figure wrapped in a coast, face hidden. In the background, an image of Holocaust victims.

 


Artist’s statement: My family originated in Eastern Europe. Any member who did not emigrate prior to the rise of the Nazism—my maternal grandmother’s parents, siblings, aunts, uncles, cousins—were exterminated in the death camps during World War II. No record of exactly what befell them or where was ever discovered, despite intensive efforts by my grandma.

The collage is composed of a historic photo of a barracks in a death camp in Poland. I superimposed and colored by hand the ghostly coat in the foreground.


Howie Good’s handmade collages have appeared or are forthcoming in Mayday, Sulphur Surrealist Jungle, Defunkt, Drunk Monkeys, Blue as Orange, decomp, The Offshoot, Mad Swirl, Mercurius Magazine, Scapegoat Review, Wrongdoing, Willows Wept Review, Writers Resist, Kitchen Table Quarterly, and Otoliths.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

National Portrait Gallery

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By IE Sommsin


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Caricature of Senator Tom Cotton
Senator Tom Cotton

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Caricature of Sen. Ted Cruz
Senator Ted Cruz

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Caricature of Gtov. Ron DeSantis
Governor Ron DeSantis

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Caricature of Sen. Mitch McConnell
Senator Mitch McConnell

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Caricature of Elon Musk
CEO Elon Musk

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Caricature of Sen. Rick Scott
Senator Rick Scott

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Artist’s statement: I watch the news, and many faces that pass in the river of news strike me as utterly strange. Some are haunted; some have a childish malice. I’ve felt compelled to capture their essence in pencil, ink, and paint. These images are the first attempts to create a portrait gallery of a bizarre time in our political and cultural history.


IE Sommsin is a writer and visual artist who did too much time in graduate school. He divides the year between two political bubbles, San Francisco and his ancestral woods in Kentucky.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

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I’m With Exxon Mobile

By Carl Dimitri


Carl Dimitri, a Providence, Rhode Island-based artist, is committed to drawing one cartoon a day until the Trump era is over. Carl has received fellowships in painting from the Vermont Studio Center and the Rhode Island State Council on the Arts. He was also elected in 2012 into The Drawing Center in New York City.

A version of this cartoon was previously published in Entropy magazine.