Shanta Lee Gander
Shanta Lee Gander is an artist and multi-faceted professional. Her endeavors include writing and photography with work that has been featured in PRISM, ITERANT Literary Magazine, Palette Poetry, BLAVITY, DAME Magazine, The Crisis Magazine, Rebelle Society, on the Ms. Magazine Blog, and on a former radio segment Ponder This. Shanta Lee’s photojournalism has been featured on Vermont Public Radio (VPR.org) and her investigative reporting has been in The Commons weekly newspaper covering Windham County, VT. Shanta Lee is the 2020 recipient of the Arthur Williams Award for Meritorious Service to the Arts. Her contributing work on an investigative journalism piece for The Commons received a New England Newspaper & Press Association (NENPA) 2019 award. Shanta Lee gives lectures on the life of Lucy Terry Prince, considered the first known African-American poet in English literature, as a member of the Vermont Humanities Council Speakers Bureau and is the 2020 gubernatorial appointee to their board of directors.
Shanta Lee has an MFA in Creative Non-Fiction and Poetry from the Vermont College of Fine Arts, an MBA from the University of Hartford and an undergraduate degree in Women, Gender and Sexuality from Trinity College. To see more of Shanta Lee’s work, visit Shantaleegander.com.
Photo Courtesy of MacLean Charles Gander, Photographer
“This time, I teach myself how to say gimme / This time, I am fluent in / No / Mines / You can’t have”
from "Lessons in Development from a Butterfly"
What does it mean to move away from the shadow of one’s mother, parents, or family in order to come into being within this world? As collective memory within the Black diaspora has been ruptured, GHETTOCLAUSTROPHOBIA time travels by creating and recapturing memory from a fractured past to survive in the present and envision a future. In her first full-length collection GHETTOCLAUSTROPHOBIA: Dreamin of Mama While Trying to Speak Woman in Woke Tongues, Shanta Lee Gander navigates between formal and vernacular styles to introduce the reader to a myriad of subjects such as scientific facts that link butterflies to female sexuality and vulnerability; whispers of classical Greek myth; H.P. Lovecraft’s fantastical creature, Cthulhu; and the traces of African mythmaking and telling. Beneath the intensity, longing, seeking, wondering, and the ‘tell-it-like-it-is’ voice that sometimes tussles with sadness, there is a movement of sass and a will that refuses to say that it has been broken. Gander leaves a door ajar in this ongoing conversation of the Black female body that walks the spaces of the individual within a collective; the tensions between inherited and hidden narratives; and the present within a history and future that is still being imagined.