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Peak Middle-Age Bougie / Old Cunt On A Bike

Late-December last year, I got paid in one hit for a bunch of work on a couple of projects, that contemporary dance thing in Europe of getting cash after the work was done. One of those was the solo which got canned a few days before première (thanks poor response in Germland and EU to global pandemic) which we’d been working on since January.

So, I had mad cash and, for possibly the first time in my life, no pressing obligations. Also not mad enough cash that I could do bougie middle-age things like get a mortgage. Cash enough I’ve been working my way down a list that’s a decade old in places of stuff I need to buy. Like new underwear and socks.

And then there’s the big items. Big for me and pretty much everyone I know. The kind of things which cost up to a couple of thousand and actually cause me cold sweats when I think of doing the spend. ’Cos what if, tomorrow, I’m fully povo again and a couple of hundred is the difference between eating, making rent and all? Except this year I already have work till August and money-wise — ’cos I’m good at living on fuck all — I’m kinda sorta maybe doing ok.

I’d been struggling with training over winter. My back blew out in November, I was feeling well too soft to be doing 90-minute rides in below zero weather, and my base training felt majorly on a plateau. I’d been thinking of buying an indoor trainer for years, very attached to the idea of getting rollers rather than one of those remove the back wheel direct trainers, but somehow over the last few years (thanks bogan mountain bikers on a YouTube channel I watch far too frequently), I went for the latter. Went for multiple times and nah nah nah I’ll come back in the morning, need to sleep on this massive decision, only to find them sold out for more weeks, repeating this until a month ago when there it was in the morning, still available.

It arrived within days and sat there, unboxed for three weeks. Because I needed a 10-speed cassette for it, and decided to get an isolation mat and cadence sensor and new heart rate monitor and … and … absolutely spraying money around. And I knew I’d need a calm few hours to do the setup, get it all working, get a feeling for it. On Monday, I did that.

And joined Zwift.

Total fucking bougie middle-aged cunt on a bike.

Yeah but I’m also a semi- / ex- / occasional- athlete-ish dancer-ish professional who knows very well how much I fall apart if I don’t train and it’s work and an actual work expense and a serious commitment and investment.

For the moment I set up in my kitchen. My balcony has some weird, complex slopes I need to make a trip to the Baumarkt to get some levelling blocks to sort out. I put myself through the intro 5-day training plan, 30 minutes each ride and fuuuuck me I have to face the shame I might have never pushed myself as hard — or maybe as structured and intense within that structure, even though I like suffering. It’s very different having actual numbers on a screen to correlate to feeling, and to have to stay at certain numbers for more seconds or minutes than I’d do when doing laps at Tempelhofer Feld and doing it on feel. Mostly it feels like what I get in 30 minutes on the trainer is about what I’d get from an hour at the airport. And if I did my casual longer warmup and cooldown, 15 minutes either side, it’d maybe be comparable. Still though, I haven’t ridden since November, and very not in endurance and high-intensity shape, and I might be in love with how good a fit an indoor smart trainer is for me. Especially because I can set it up at 9pm and do a session in the dark.

And it occurred to me over breakfast that I needed a trainer if I ever wanted to make those solo endurance works, Preparation, and Hell of the North. And now I have one.

Yeah but the bougie, white, racist, cisgender, heteronormative, ableist, masc-centric, middle-class and all miasma is what cycling soaks in, road cycling especially, and online smart training environments even more so. There’s almost not a day that goes by where there isn’t another story about legislation to ban trans kids or athletes — almost always girls, femmes, and women — from sport, competition, changing rooms, swimming pools, and all. I barely ever see a rider who isn’t white — and yes, this is why riders like Ceylin del Carmen Alvarado and Teniel Campbell and Ayesha McGowan are important but aren’t in themselves or as ‘representation’ enough alone. I’m acutely aware of who I am when I’m in lycra on a bike in that environment. I’m acutely aware also, when I’m in queer and trans spaces, that my decades-long relationship with and love of physicality, training and the discipline that is part of professional dance which I carry into riding, climbing, and everything else, all this has a very uneasy, fraught and painful relationship of its own with and in those spaces. How my trans-ness, femme-ness, queer-ness bangs up against cis AFAB queer spaces has a history of exclusion that has an eerie familiarity with sport.

Shit’s mad over-complicated. I just wanna ride and thrash shit.

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Apparently I Wrote A Novel

Okay, 4th draft on top of whatever I was calling assembling it before it was drafts, and 18 months to get it to this. But done in the sense it goes start to finish and got heaps of pages (which is what makes it a novel yah?) and when I finished this read-through which I’ve been on since late last week, it felt … something sparked in my guts, like this, yeah, I wrote a novel. Brought some big offering into the universe. Alhamdulillah.

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30+ Years Trans Femme

All that talk with Vass about Veneno reminded me I had a photo or two from way back then.

Young teen transsexual meet old auntie trans femme. Thirty-ish years between these two photos. Sometimes I need reminding.

That me back then … she survived.

Veneno

I ugly cried watching Veneno. Ug. Ly. Cried. Also laughed my guts out. Hissed — hisssssed!!! at Cristina’s mother and family and all the other cis cunts who fucked with her and straight up I would cut without a second thought.

When Pose came out, that was the first time since Paris is Burning I’d seen myself in some recognisable way, and known it was us in front and behind the camera. It was America though and similar worlds, yeah, but very different ones too.

Veneno though … this was real. Truth. Painful, angry, joyful, hilarious, terrifying, spiteful, sad, beautiful truth. I love seeing us on screen. Old us who did it hard, survived, loud and foul-mouthed and cackling. Young us who have so many more possibilities for lives without harshness and exile, yet still know those all the same. If we are trans, if we are trans femmes, trans women — transsexuals, transvestites, the old words you don’t use anymore and we grew up with — this is our life. This is our world.

Veneno — 1: Flip me over. I wanna talk to my friends
Veneno — 1: Flip me over. I wanna talk to my friends
Veneno — 2: Jeez. He slammed her door
Veneno — 2: Jeez. He slammed her door

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Seen at Rosenthaler Platz: Me on a Tram Pole

That’d be me, Francesca d’Ath, and my toes, yesterday while biking to rehearsals.

Pandemic and very delayed sensible government response allowing, I’m performing at Sophiensaele next week. A double bill of two solos, the other with Claudia Tomasi, and both started with Isabelle Schad way back in January.

I don’t know if we’ll even get to perform next week, carrying on like we will, and it feels dead weird to be art-ing while shit goes exponential in Neukölln, Berlin, Germany, Europe … In case we don’t or if we do, here’s me looking well tasty.

And for everyone who saw that poster around Berlin-Mitte, yes, that is me, yes that person is trans femme and serving deep trans femme energy, and yes, even a glance at a poster of me will turn your children trans.

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Francesca d’Ath, Isabelle Schad: Knotting (at Wiesenburg)

Me back performing again.

I pretty much had made peace with moving on from dance and all in the last couple of years, enjoying training for myself and finding myself at a distance to those worlds. Then, late-last year, Isabelle said, “You’re doing a solo!”

We’ve been rehearsing irregular weeks since late-January, slowly building a work that finally got a formal-ish public outing on the weekend in Isabelle’s studio at Wiesenburg (masks and physical distancing and pandemic attentiveness obviously). First time performing in more than two years, and, after a decade living in Berlin, first time I’ve performed here — in a formal, dance scene context at least, not counting small, more private art-ing.

It’s been huge, a lot of work physically, mentally, emotionally, spiritually, and a lot of responsibility in being seen. Being seen by both the audience, some of whom recognised parts of themselves in me, and understand what that means, and being seen by those who came before, aunties, mothers, old ones who visited, who I called on ’cos I needed their strength and support and approval, and I needed them to see me, us like this. And my babaanne, wandering around after just out of sight. I am grateful for them all, and for those who came up to me after, who were the ones I needed to fully see me, and who I needed to see also.

Another pause now, then — as always, pandemic allowing — at Sophiensaele in early-November.

Pose Was Straight Up Robbed Right Here

I rewatched both seasons of Pose the other day. Fuck the Emmys and fuck cis people.

It’s not about the awards. It’s about the awards. Even being nominated opens up possibilities for better pay, working conditions, opportunities, longevity, recognition, not only for the person or show nominated but for everyone involved. Not just for them but for those in the audience who need to see themselves or people close enough to themselves to feel seen in return for once.

It’s about representation for us. For queer and straight cis people it’s seeing trans people – especially Black, Indigenous, Brown trans femmes – as something other than sex workers, drug addicts, corpses, and things to be laughed at, seeing us as people with full lives and communities and love. For the majority of cis people – queer and straight – they don’t have any trans people in their lives, let alone Black, Indigenous, or brown ones. What they do have, if they even think of us, is cis people talking about and representing us and portraying us, standing in our places like we’re not good enough, like we don’t exist.

Billy Porter being nominated twice while none of the trans women and femmes in front or behind the camera have ever got a look in, that’s a lesson right there in who’s valid, who’s seen as real and legitimate. Similarly, Zendaya being nominated while Hunter Schafer wasn’t. And straight up, I love watching both her and Billy and yes, they deserve it. But if they deserve it, if Euphoria deserves it, so does Pose, so do Indya Moore, Mj Rodrigiez, Dominique Jackson, Hailie Sahar, Angelica Ross, so do Janet Mock, Our Lady J, and saying their names so do Trace Lysette, Bianca Castro, Cecilia Gentili, Leiomy Maldonado, Brielle ‘Tati’ Rheames, and so do the hundreds of other trans women and femmes in front and behind the cameras.

Almost every day I see another Black trans woman or femme murdered in the US and another white cis man pushing to legislate us out of existence. That’s one country, and don’t think it’s not the same or worse in your other countries. Season 2, episode 4, “Never Knew Love Like This Before”, where Candy is murdered and the aftermath of that, fighting to claim her body, scraping money together for a dignified funeral, her parents misgendering her, the grief and loss and anger, all that is way too real. And let’s not forget, Pose is a fantasy, it’s a story where the reality of trans women and femme’s lives is not shown like a documentary, we don’t need to see that brutality when we know and live it. If it was doing realism, it would have scared you straights and cis queers right off, and there wouldn’t have been a Season 2 ’cos most of the cast would have died between 1987 and ’90.

You all want RuPaul’s Drag Race, you want Yaaas Queen Slay! and you want Shaaade! but you don’t want to learn anything. You want LGB but only when it’s palatable and the T ain’t that. You want the glamour but not the politics. You want the glamour but only on cis men’s bodies. You want women but not when they serve like Pose does. Seeing Black and Afro-Latinx trans women and femmes living for themselves, centring themselves, defining femininity on their terms, defining queer and LGB for themselves, you can’t accept this. You can’t reward this. You need to deal with your discomfort, and yeah, your racism and femmephobia and transphobia and transmisogyny and misogynoir. You don’t even know how amazing these women and femmes are off-camera. We celebrate them for all they they are because of all this.

A Pile of New Books I’m Reading so far in 2020 (and late-2019)

There was a big gap this year when I had a little money for and no way of getting books. All that talk on social media of supporting artists during pandemic quarantine by buying their books hit up against furloughed supply chains.

Completely off topic here, I discovered yesterday I’d been using the entirely wrong word, furlong instead of furlough (and lifetime usage of either is in the single digits). And then I discovered furlong is 1/8th of a mile, so now I have Vin Diesel, or rather Dominic Toretto in my head going, “I live my life two furlongs at a time.”

Back to buying books. And no, e-books are not an option. I like paper, I like the feel and smell and aesthetics of books, I like how line lengths, page size, fonts, typography, layout, margins, the density of ink on paper, all that, I like how it creates a specific way of reading. So, no new books for some months and a rapidly dwindling pile of that variety which take months or years to read (Spivak, I’m looking at you.)

And then my favourite bookshop let me know books were available again and damn did I go hard. First, the Jhalak Prize announced its 2020 long and short lists and the winner, and I’m doing that thing again where I’ll end up throwing cash at about half the long list.

What is the Jhalak Prize (’cos clicking links scares me or something)? It was started in 2017 by Sunny Singh, Nikesh Shukla, and the sadly defunct Media Diversified and is an annual award for British and British resident writers of colour in any genre. And it’s consistently a banger. If I had the cash, I would without question by everything on the long list as soon as it’s announced.

And second, a bunch of weird old books I’ve been hitting my bookshop up for availability and prices for absolutely years turned up. A couple I’ve been asking about for five years. No, I cannot say no.

Some of these books have been sitting on my reading shelf since last year; some of them I finished months ago. I’m not doing that way too intense essay per book and annual Book(s) of The Year thing anymore, pumped the brakes on that. I still want to remind myself and celebrate a pile of authors who, all of whom did that indescribable magic a book can do. Some of these (’cos that’s my tendency) are hard, painful reads. Even these have beauty and joy and hope in them, and I reach for that. All these authors are my teachers and I’m grateful beyond words to have enough space in my life that I can read and appreciate and celebrate them.

(Some of) What I Was Reading So Far in 2019

Excluding re-readings of Iain (without the M.) Banks, Steph Swainston, Charles Stross, Alastair Reynolds, and a few others I’ve forgotten because a) too poor for new books, b) too sooky to want to read new books, and c) very much wanting the comfort food of old books, even when I discovered I was hate-reading. Turns out I hate-read. I’m surprised and shamed at my pettiness, but here we are.

New books I did read though:

Built: The Hidden Stories Behind Our Structures, by Roma Agrawal, one on the shortlist for the 2019 Jhalak Prize, which in itself is guaranteed dead solid reading every year. And Roma has a podcast now. Buildings and engineering. Nice!

Bullets and Opium: Real-Life Stories of China After the Tiananmen Square Massacre, by Liao Yiwu, who is the one Chinese political writer everyone should read, up there with Svetlana Alexievich.

Edges, by Linda Nagata, someone I’ve heard about for years and had never read. Strong reminders of Alastair Reynolds’ Revelation Space trilogy, high probability I’ll keep reading the series.

Fast Ladies: Female Racing Drivers, 1888-1970, by Jean Francois Bouzanquet. Large-format coffee-table-ish book of women hooning the shit out of fast cars. Obviously 10/10.

Geochemistry, by William M. White, which I picked up yesterday and haven’t actually started. One of my periodical forays into geology fun. This one’s packed with formula and equations, which is slightly intimidating.

The Gilded Wolves, by Roshani Chokshi, which I don’t remember much of, except it reminded me a lot of Genevieve Cogman’s Invisible Library series, whose The Mortal Word I also read. Chokshi though, didn’t work for me, despite wanting to like it.

Growing Up African in Australia, by Maxine Beneba Clarke, along with Charlie Brinkhurst-Cuff’s (of the awesome gal-dem) Mother Country: Real Stories of the Windrush Children, both collections of autobiographical essays and both critical reading.

Last Days of the Mighty Mekong, by Brian Eyler, which I was expecting a lot more of, and got instead a weirdly messy history of the river like ’90s white Euro-American journalism.

The October Man: A Rivers of London Novella, by Ben Aaronovitch, this one set in Germany (or Germland as I’ve been calling it recently), and a very German take on “What if, Harry Potter, but he’s a black cop in London?” I also re-binged his entire series while in Spain at the rate of a book a day, “Yeah, seven books will be enough for 12 days …” (runs out of books.)

Our Band Could Be Your Life: Scenes from the American Indie Underground: Scenes from the American Indie Underground 1981-1991, by Michael Azerrad, which I somehow decided was all about US hardcore. It’s not. A few bands I’ve never listened to, several bands I used to love, revisited while reading and was sad at how they didn’t touch me at all when they used to define the movement of my life. Very worth reading for a particular moment in time and place.

Permafrost. Hello, Alastair Reynolds. Not a novel, sadly, but we had the sequel to Revenger, this year, Shadow Captain, so, can’t be greedy. Basically he’s my Iain M. Banks replacement, and I love his terrifyingly dark Space Opera.

The Raven Tower, by another solid fave and Iain M. Banks replacement, Ann Leckie — probably neither would like being called ‘replacement’, but fuck it, me doing high, awkward praise. This is her venturing out of Space Opera into not-really-fantasy but no obvious spacecraft, and it’s both the best thing she’s written since the Imperial Radch trilogy, and her best stand-alone novel since her first. Very, very, very good.

The Rise of IO, by Wesley Chu, which I have almost no memory of, vague nudgings of recognition when I read the plot, but … nope, not much beyond that.

To Exist is to Resist: Black Feminism in Europe, edited by Akwugo Emejulu and Francesca Sobande, which I’m randomly picking at. Some essays, like dealing with being a black woman academic in Germany, are very head-nodding, yup, it’s all that, uh-huh, others are … Black, cisgender heterosexual (whether middle-class, academic or not) feminism that operates as though trans and queer are things that don’t need to be at all considered, are ancillary, not relevant — like white feminism of the same type — is a thing. Fucked if I know why, either. Especially because my experience of Black feminism / activism in north-west Europe is that it’s hella trans and queer. But maybe they’re not the ones in academia, getting to publish essays.

And that’s it. Potentially acquiring a stack of new books soon, potentially reading them, vague possibility I’ll blog them. It’s all a balance for me between enjoyable focus and going too far with it, pleasure becoming obligation, and all.

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Three Families You Don’t Fuck With

Pose: “Blood does not family make.”
Euphoria: “They’re creepy and they’re kooky …”