Jennifer Baumgardner is the author of several books about contemporary feminism, including Abortion & Life, the editor of LIBER, and the publisher/ editor of Dottir Press. She lives in New York City.

Helen Boyd is the author of My Husband Betty and She’s Not the Man I Married, books chronicling crossdressing culture, relational gender, and her own marriage to a trans woman. You can find her at

S.C. Cornell is a writer in Brooklyn at work on a novel.

Sarah Dougher is a writer, educator, and musician from Portland, currently at work on a coming-of-age memoir set in 1984 Austria.

Grace Ebert is a writer and editor based in Chicago.

Rob Franklin is a writer and organizer living in New York. A finalist for the 2019 Sewanee Review Fiction and Poetry prize, his work has appeared or is forthcoming in the New England Review, The Masters Review, and Prairie Schooner.

Jessica C. Holburn has work in Art Agenda, Blue Arrangements, BOMB, Brooklyn Rail, Caesura, Fence, Filthy Dreams, Overland and Stillpoint Magazine, among others. She is based in New York.

Jisu Kim oversees marketing, sales, and publicity at the Feminist Press. She also acquires and edits books, mostly relating to Asian and Asian diasporic experiences.

Noelle McManus is a writer-poet-linguist from Long Island, New York, and editorial assistant at LIBER, whose poetry and reviews have been published in the Women’s Review of Books.

Kholiswa Mendes Pepani is a writer from Johannesburg, South Africa, currently based in Portland, Maine. Her writing appears in Anti-Racism Daily, Amjambo Africa, and Hobart.

Molly Peacock’s latest poetry collections are The Analyst: Poems and Cornucopia: New and Selected Poems from W.W. Norton and Company. Peacock has also authored two books about creativity in the lives of women artists: The Paper Garden and Flower Diary. She lives in Toronto.

Katha Pollitt is a poet, an essayist, and a columnist for The Nation. Her books include Learning to Drive and Other Life Stories, The Mind-Body Problem, and Pro: Reclaiming Abortion Rights.

Claire Potter is professor of history at The New School for Social Research and coexecutive editor of Public Seminar.

Rebecca Saltzman’s writing appears in The New Yorker, McSweeney’s, The Missouri Review, and elsewhere. She has an MFA from NYU and lives in New York City.

Catharine R. Stimpson is a feminist scholar, professor of English, and dean emerita of the Graduate School of Arts and Science at New York University.

Laurie Stone writes the “Streaming Now” column for LIBER and is the author of Everything Is Personal and Streaming Now. A longtime writer for the Village Voice, Laurie has worked as theater critic for The Nation and critic-at-large for NPR’s Fresh Air.

Karen Thomas has spent more than twenty-five years in the trenches of daily journalism. She now teaches journalism at Southern Methodist University in Dallas and serves as the inaugural Meadows School of the Arts diversity officer. She is also director of SMU’s Center for Teaching Excellence.

McKenzie Wark is professor of Media and Cultural Studies at The New School. Her books include Capital Is Dead, Reverse Cowgirl, and Philosophy for Spiders: On the Low Theory of Kathy Acker.

Meg Whiteford writes and edits works about art and is editor at The Studio Museum in Harlem.

On the cover: “MARCH FOR WOMEN’S LIVES—Washington D.C.”

Twenty years ago, the US Supreme Court was poised to consider Planned Parenthood of Southeastern PA v. Casey, and abortion rights advocates feared that the newly minted conservative majority would endorse a slew of restrictions (like parental consent and waiting periods) or even overturn Roe. On April 5, 1992, the recently formed Women’s Action Coalition (WAC) and Guerilla Girls (an anonymous street art collective formed in 1984 to disrupt sexism and racism in the art world) joined between 500,000 (according to the D.C. police) and 750,000 people (according to NOW) to rally in support of abortion rights. Photographer Teri Slotkin, an early member of WAC, covered this and “most of the high energy, smart, creative actions we staged.” 

More of Slotkin’s images can be found on our website: and Instagram @liberreview.

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