She told us she was a feminist.
Danielle Bacibianco, Ph.D.
September 10, 2026
She wore ripped jeans.
I remember the first day she walked into class.
As a closeted 20-year old,
I dreamed in the margins of the Norton Anthology.
She was the kind of woman
who looked like she spent her life being called
“too much.”
She leaned against the desk —
as young professors do,
cool and careless
bangs sweeping across her eyes,
silver rings tapping the podium,
her voice rising in chalk dust.
I’ll tell you: not many English classes kept me that awake
But I was young
and trying to be someone.
Full of Pride and Prejudice –
That’s when I began to question,
when rules could split at the seams,
that language could bend and play.
Every time she walked into that room
I thought about the possibilities of living freely.
– I do think she loved
hearing the sound of her own voice.
I sort of get that now.
But, I was new to English Lit.
To theory.
To find desire in prose or iambic pentameter.
I tried to participate, often saying the word “omniscience” wrong.
But she let me mistake a little, with a smirk and a hand on her hips.
I began to love the smell
of old paperbacks.
There were feminist buttons pinned to her bag,
We started to read
Jane Austen,
Virginia Woolf,
Adrienne Rich –
I wrote and taped quotes
all over my notebooks.
There were photocopied pages
folded into her books,
like little exchanges of power.
– Yes, I know,
I watched her too much.
The way queer girls do
observing who they like –
who they want to be like –
before they actually learn
how to read the room.
But she wasn’t actually gay.
Maybe she was just one of those women
who knew how to free herself fully.
Because queerness arrived first
as possibility,
as dreamlike,
as playful coyness
as language would tongue-tie
itself into promiscuity.
So much room for interpretation.
How to read a room with this woman
as a woman who was told she took up too much space.
I thought about all the women before us —
women reading in locked bedrooms,
women talking over shared cigarettes
women kissing in parking lots
after bars closed,
women folding love letters
into coat pockets,
women teaching other women how not to disappear
the kind who carry
books under one arm
a coffee cup with a lipstick stain in the other.
“Then came the most exquisite moment of her whole life,
passing a stone urn with flowers in it.
Sally stopped; picked a flower; kissed her on the lips.”
I read those lines alone in my room.
That’s when I started smoking.
And suddenly my body
made terrible, beautiful sense to me.
Virginia Woolf reached out of the page
and split me open.
After that,
I noticed women everywhere.
On trains.
In bookstores.
Outside bars after midnight
with Doc Martens scraping pavement.
Women laughing too loudly.
Women refusing to be told what to do.
Women who looked like
they knew permission
was a ridiculous idea invented by men.
So somewhere between lit class
and cigarettes,
and alcohol
I bloomed . . .
between creating my own “room of one’s own”
between Sappho and Woolf,
between the confusion of not knowing
if I wanted her
or wanted to be like her –
But as time went on
I learned that
the patriarchy doesn’t always arrive
wearing a man’s face.
I saw her
in department gatherings
In hallways
In the small economies of power
That I started to learn what universities run on.
To see her and
learn her place in the story of the university.
She holds onto her seat
while clawing through
other women who are still fighting to get inside.
And suddenly the ripped jeans looked different.
A feminist mistaken,
it was not rebellion,
Performance.
Branding.
Not resistance.
You can’t call yourself a feminist
if doing so
requires another woman to shrink.
Just a silhouette who banked on privilege
and whiteness –
Because now I know . . .
the less impressive her vocabulary actually is.
Today, when I stand in front of the classroom
I remember how foolishly
I idolized her
the way young women do
when they are starving for examples.
But you can’t say
you are here
to break glass ceilings
if you plan to keep
all the power for yourself.
Because the truth is,
the real truth, is
that language is easy –
Especially when you find your own.
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About the Author
Danielle Bacibianco, PhD (she/her), is a queer writer, playwright, and researcher whose work explores the intersections of addiction, recovery, identity, and emotional survival. Her writing is marked by visceral honesty and lyrical intensity, often tracing the gray space between destruction and transformation. Drawing from lived experience, Danielle examines themes of longing, self-reclamation, and the complexities of healing from alcohol and drug addiction.
Danielle's original 60-minute play, The Plans We Made, was invited to take the stage at the Midtown International Theatre Festival (New York City, June 2026). Her play first took the stage as a 10-minute original at the Women’s Playwright Collective New Voices Festival (Staten Island, New York, 2025). Aside, her scholarly work has appeared in the following academic journals: College English, Reflections: A Journal of Community-Engaged Writing and Rhetoric, and Writers: Craft and Context.