The poem underscores the pervasive nature of politics in every aspect of existence, emphasizing that even personal experiences are shaped by political dynamics. From my situation of having faced two miscarriages, the lines about how "all affairs—yours, ours, theirs—are political affairs" resonate deeply. The emotional turmoil of losing a pregnancy is magnified in a climate where laws are shifting rapidly and often harshly regarding women's reproductive rights. The chilling reality that a miscarriage can be viewed through a legal lens or that decisions about one's body can be criminalized highlights the troubling intertwining of personal grief and public policy. In the United States, this has been evident as many states have enacted restrictive laws that not only limit access to abortion but also intrude into the realm of miscarriage, effectively diminishing women's autonomy over their bodies and experiences. This evolving landscape creates a complex layer of anxiety and vulnerability, where personal loss intersects with the harsh realities of political discourse, suggesting that even the most intimate experiences are now subjected to scrutiny and regulation. The poem's assertion that "apolitical poems are also political" reflects the stark reality that silence or sorrow in these moments is a form of political expression, revealing the urgent need for advocacy and awareness in the fight for women's rights.
Yvaine Undina is an original painting that poignantly embodies the essence of a five-week embryo, representing my second early miscarriage from the previous year. This artwork intertwines spiritual elements, featuring a galaxy with the embryo nestled within a Tanzanite crystal, symbolizing the month my unborn child would have been born. The title 'Yvaine Undina' holds significant meaning, reflecting the first and middle names I selected, which also serves as a unisex designation.
