An introduction. Published in 1988 and here we are, 30 years later, still having to prove the same truths, provide the same evidence, grieve the same death and damage. This is one of those fucking read this books. Fucking read this. You want to know how we got to this place again? We never left it. Fucking read this.
I’ve been trying out this lately, since my last year or so of reading on German Empire Colonialism (Deutsches Historisches Museum Deutscher Kolonialismus exhibition, and Showing Our Colors: Afro-German Women Speak Out in particular): It’s easier to count the number of countries and places that weren’t colonised. If a country was colonised, there was genocide. Countries that weren’t colonised also suffered heavily the effects of colonialism. I do this to shift the burden of evidence or proof: it should not be the task of each country or place in isolation to prove again and again colonialism and genocide happened and continues to happen. I read Peter Fryer’s Black People in the British Empire: An Introduction and it’s unarguable.
What else that’s unarguable: the same philosophical positions informed — and continue to inform — political, social, medical, legal, religious positions which have regional and temporal variations, but are nonetheless identical. These positions were enacted not just on racialised bodies, but on hierarchies of class, sex, gender, ability, and so on: any aspect of a person could be classified and taxonomied, and once classified, denied humanity. This is what we currently call intersectionality, what Peter Fryer and others have written about for decades.
This is a hard book. It will give you nightmares. It is a horror story all the worse because there’s no end, it’s all true, and it’s only an introduction. 30 years old and half that time the colonial nations have been busy at an endless war of colonialism. Nothing’s changed. Remember that. There’s no post-colonialism or neo-colonialism. It never ended. Just like those horror movies where you wake up to find you’re still trapped asleep. All the progress and improvements of the last 30 years rest as a thin film floating atop systematic horror.
I am a child of this. Every country I’ve lived in or had citizenship in exists as it does because of colonialism and genocide: Canada, Aotearoa New Zealand, Australia, China, Germany. My parents travelled in the international wash of it, were born where they were because of empire, British, Ottoman, Dutch. This is what it means to be that thing called Citizen of the World.
And there’s something else colonialism does: it atomises culture and destroys history. Every generation, every year, continuity is lost and it’s like starting again. This is an introduction, it reminds us where we came from and what we live in. It’s not complete or comprehensive, it’s 30 years old, but fucking read this.
Not actually an autobiography, but a collection of spoken word, poetry, essays, blog posts from the early ’00s till 2014, though they’re often so personal or drawing on personal experience that it reads to me like one so I’m going to call it that.
Serano filled a lot of gaps in my thinking and understanding of feminism, queer, trans *, femininity, and the interwoven hostility to each of these individually, sometimes from without, but substantially from the first two towards the latter two. Even though, Serano has some shortcomings around intersectionality in both Whipping Girl and her next book, Excluded: Making Feminist and Queer Movements More Inclusive.
I read Janet Mock’s Redefining Realness a month ago, and it was her talking about doing sex work to survive that stuck with me. What I often find missing in white feminism is survival. Struggle, sure, that’s there, but survival, and the things one needs to do to survive, these are not the same. I often find myself in queer / trans situations feeling somewhat displaced. There’s a lot of people doing sex work, but it’s out of choice and it’s an acceptable, even celebrated choice — my point here isn’t to criticise sex work or other choices, it’s about having the ability to choose.
With intersectionality, for each additional intersection, available choices rapidly diminish. As well, it’s impossible to talk about one axis of identity (and the commensurate oppression and discrimination) separate from the others. And often a thing that might be positive in one constellation (e.g. sex work or porn in white, cis queer context) becomes decidedly not when intersecting with another (e.g. hetero porn with white trans women) or multiple others (e.g. porn with trans women who are also brown and poor).
To be clear, I’m not denigrating or writing off the value of her work by saying, “Not intersectional enough!” nor would it be correct to interpret me as saying that. I do find while I read Serano — and I know she understands what I’m saying here, and I definitely love what she writes — I don’t entirely find myself there, these things around survival. Equally I don’t find the entirety of myself in Mock, but let’s not be asinine here.
Perhaps I’m mentioning all this because Outspoken, even though just published isn’t a new book; even the most recent essays parallel or even in some cases come from her blog. Looking at the Table of Contents, she covers so much, from ’00s punk poetry and performance to Whipping Girl era trans-misogyny, to the late ’00s and early teens Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition (DSM-5) and the autogynephilia bullshit that went with it; the bisexual and/or trans women and queer scene hoopla on its own and tangled with queer activism, cisgender, cissexual privilege; and racism, and intersectionality, and the evolution of all this and her thinking and writing on this over more than a decade. It’s heaps to cover, and it’s powerful, crucial writing.
Change of tack here: When I was working with Melanie Lane on Wonderwomen we started talking about femininity. I gave her the chapter from Whipping Girl, Putting the Feminine Back into Feminism. I can’t quantify how much of an influence or effect it had on Mel, and on Rosie and Nathalie, the two professional bodybuilders in the work, but I do think it wasn’t insignificant. Which is to say, Serano’s work is vitally important and applicable far beyond the specific subjects of the title.
I’ve been swirling these three books around in my head the last month, Laura Jane Grace’s Tranny more than the others, though writing on her much less, I don’t know yet how to, maybe to say of the three, I see myself in her the most. Old punk and all. They make good reading as a trio, especially Tranny and Redefining Realness, perhaps because those are autobiographies whereas Outspoken is kind of. I’d love to read a proper autobiography from Serano, that would make a hell of a trio of books. In the meantime, yeah, totally worth reading, now and in a decade when it’s going to be even more valuable a document of worldwide progress for trans people, particularly trans women.
Julia Serano. If you haven’t read her, I swear, I despair for you. She’s the irresistible force of trans feminism, trans women, trans femininity shoving the shit out of bigotry and stupidity for over a decade. I recommend her to bloody everyone.
*As I said at the end of writing on Laura Jane Grace’s Tranny, bit of a postscript on words: More or less I’m dodgy on terms like trans, trans woman, coming out, transitioning, etc. They play into and reinforce an idea of identity that I think is fundamentally bullshit. I’m using them here cos sometimes I simply can’t be fucked; I’ve only got so much capacity to resist.
I’m writing this thrashing Against Me!‘s 2014 album Transgender Dysphoria Blues and all fucking sweaty excited cos they’re playing SO36 on December 22nd cos I thought I’d have to Leipzig to see them. (I like Leipzig, would totes go there to see them.)
Laura Jane Grace. Tranny. Best fucking title ever.
This is the second book in my trio of trans women* autobiographies I picked up on the weekend. Two down, one to go. Janet Mock’s Redefining Realness barely lasted the weekend; Tranny got me till Tuesday afternoon; Julia Serano’s Outspoken (not strictly autobiography, more of a reader) might take a bit longer cos it’s doing tag team with a couple of other books, but unlikely to make it beyond next week.
I came straight off Redefining Realness and into Tranny. In so many ways they’re completely different stories and lives of growing up and living as a trans woman. Janet, a multiethnic woman of colour living in Hawai’i transitioning in her teens, going to university and getting an MA in journalism from New York University; Laura a white punk from Florida touring the world, drinking and drugging, transitioning in her thirties. Both of them though were in the public eye before publicly talking about being trans, Janet as an editor for People magazine, Laura as the lead singer of Against Me! and being public figures is what both their autobiographies and audience interest turns on.
When I was reading Redefining Realness, I was reminded of similarities in my life in New Zealand, something I wasn’t at all expecting to find. In Tranny, well, I was a teenage punk and getting smashed at gigs, squats, anarchist politics, wasted sex, not showering, all that, of course it was familiar. The year Laura started Against Me! I started full-time training as a dancer and had moved from punk into Warp records experimental electronic territory, only coming back to punk in the mid-’00s for a bit before going Very Metal since then. I’ve listened to Against Me! before, but it’s only since reading Laura’s autobiography that I’m actually listening to them.
Tranny: Confessions Of Punk Rock’s Most Infamous Anarchist Sellout is a band memoir — the second part of the title gives that detail away — one in which the protagonist struggles for decades between living a white, hetero bro punk life and being a woman. Take away that and it’s still a solid, funny, harrowing story of an intense life lived in vans, busses, hotels, touring the world, pubs, venues, stadiums, and getting way too fucked up far too often to not expect horrible crashes. Laura kept journals since her teens, and these entries intersperse her narrative, co-written with Dan Ozzi. Without those journals, both as excerpts and informing her writing it would be a much thinner story, not the least because the incessant touring, drinking, drugging over years would blur into an undistinguishable mass more fictional musing on imagined past than lived, personal history.
There’s a scene where she’s on a tour bus somewhere, the other guys doing tour bus stuff, and she’s hiding in her bunk reading Julia Serano’s Whipping Girl, afraid of getting sprung. This scene points to something Laura does a pretty good job of obscuring: she’s smart, intelligent, thoughtful, more than capable of stepping outside the intense world of bands and touring that forms much of her story and would otherwise make it a kinda generic ’00s punk band memoir — generic any era band memoir. Maybe that obscuring goes with her isolated, high school dropout, Crass punk history, a lot of believing you’re gutter even while revelling in it. Listening to her lyrics and Against Me!’s music it’s obvious she’s crazy talented and always was. It’s these nuances that make what she’s doing, and her herself qualitatively different, especially since she came out as a trans woman.
At the end of writing about Redefining Realness, I wrote, “I was reading another trans woman last night, on Twitter, who said, “Transition memoirs sell b/c their audience is curious cis ppl. They satisfy cis curiosity/voyuerism.” I think the difference between Redefining Realness and Tranny is one of audience. The former is for a mainstream audience; it was a New York Times bestseller. Tranny is for the weirdos, or whatever still isn’t or imagines itself isn’t mainstream.
As well, Janet is astute at media and is explicit in using her position to educate and effect change. This almost requires that transition memoir storyline, if for nothing else than to combat misrepresentation, to tell her own truth. Laura, there’s a lot more “Fuck you” in Tranny.
I’m also not sure Laura’s is a transition memoir in the way Janet’s is. Yeah, there’s that, struggling with arsehole doctors and taking hormones, bouts of guilty buying of clothes then trashing them, but these moments are not especially prominent amidst all the other chaos and drugs in her life. It lies over her life like smog, an unabating grinding out of her life over decades. She’s barely able to articulate it even to herself in her journals. Whereas for Janet it was a desperate flight always forward.
Just to be clear, I’m not saying one or the other was the right way to be trans, nor did I want to write this as a comparison of Janet’s and Laura’s stories, just that reading them back to back emphasises the stark differences in their lives and their experiences, and I’ve been thinking constantly about this. Particularly because I see pieces of my history in both and what reads as hopeless, profound misery, fear, deeply internalised transphobia is so familiar to me as to be unremarkable.
There’s an episode of Orphan Black where Cosima is challenged with, “So, you’re gay?” and responds, “My sexuality is not the most interesting thing about me.” For both Janet and Laura it’s evident this is also the case, for their gender, identity, selfhood. Yet it’s at the same time critical to who they are. By talking about this, they become and participate in representation for all trans women. We see something of ourselves in them, we’re no longer invisible, we exist. Without this, Against Me! would be just another white boy punk band I vaguely recalled the name of, no idea who the lead singer was. Instead, I’ve spent money on Laura’s book, been listening to her music and am gonna get my sorry arse to SO36 on December 22nd to see them play.
*A bit of a postscript on words: More or less I’m dodgy on terms like trans, trans woman, coming out, transitioning, etc. They play into and reinforce an idea of identity that I think is fundamentally bullshit. I’m using them here cos sometimes I simply can’t be fucked; I’ve only got so much capacity to resist. Tranny, though, totes fucking ok with that one**.
I’ve had Janet Mock’s Redefining Realness on my To Buy List since before it was published, the start of last year. I reckon Janet would read my tardiness and why in a second. Cos she’s wicked smart like that.
I’ve been following Janet on Twitter for I dunno how long, she turned up multiple times from various sources at least four years ago, around the time of CeCe McDonald, Isis King, and others being in the news. She also appealed to me because she writes about being women who are trans and multiethnic, women of colour. And quite frankly she’s amazing.
As for trans women autobiographies though, I read any and all I could get my hands on in my teens and twenties and since then have little interest in the narrative conventions. If you think of sci-fi or romance novels having stereotypical storylines, the same applies here. I have a lot of “blaaah why do you expect me to care?”. So I’m reading Redefining Realness and it’s right in that storyline, but here I am, slammed it in an afternoon and an evening.
I was writing at 3am this morning about being in the Grassi Ethnological Museum and going through the collections from Australia, Aotearoa and Polynesia, North America, having this strange disconnect between being in Leipzig, Germany and seeing this art and culture and going, “Yup, I know this … I know this too … and this,” remembering people and places. My history is so different from Janet’s, yet there were these moments reading where mine and hers were the same.
As a teenager, writing to my father whom I’d not seen for years, telling him what I was up to and if he didn’t accept it that was his problem, not mine. Him writing back, a multiethnic, working class South African living in Toronto, saying, “You sound angry. You don’t need to be angry with me. Whatever you do, I’ll always love you.” I don’t have that letter, or anything from him anymore, but amidst all the abuse, violence, the loss and rejection of family and friends, the world I was living in on an island far from North America, his unconditional acceptance in the face of my ultimatum shamed me. Shamed me because I expected rejection from him, and however much it hurt the one powerful thing I could always do was walk away from everyone.
Still as a teenager, in poverty, often homeless — homeless of the kind where you sleep on friend’s couches or floors — on the edges of street sex with the trans women on K’ Road in Auckland, though unlike Janet, loaded on drugs. Also Dutchess, the tough dyke former street kid in Wellington who loved Michael Jackson, not Janet’s Wendi to me but I thought of her while reading Janet. She was staunch, she knew what I was about even if I couldn’t say it, and “Fuck them all, let’s go rob a chemist,” remains the unequaled statement of friendship to me in the face of rejection.
I didn’t know Janet had survived her teens and paid for her life with sex work. Sometimes I’m kinda vague, pretty sure I must have read that, but yeah, vague; I know I’ve admired her all along for her uncompromising advocacy for and representation of trans women of colour, and that for many, being a trans woman — even more so if you’re not white — means sex work is not merely the only option, it’s expected of you. But I still didn’t connect her with this until I read her working the streets in Hawai’i. And then I remembered the women working K’ Road who were just like the women on Merchant St.
The similarity of our lives diverges here. Though we did both go to university. What I see and read with Janet is that she had just enough support to make it through. Not perfect, ideal support, but enough that it didn’t hinder or destroy her. The Janet who did not have family who accepted her from a young age would be a very different Janet to the one who wrote Redefining Realness, if she was even alive now. The Janet who didn’t have Wendi likewise. A liveable life turns on these not insignificant things. One person is enough to make that difference, in either direction.
I was reading another trans woman last night, on Twitter, who said, “Transition memoirs sell b/c their audience is curious cis ppl. They satisfy cis curiosity/voyuerism.” Redefining Realness is a transition memoir, its audience is curious cis people, and it satisfies their voyeurism. It does more than that though. Janet uses her position as a high profile, conventionally attractive, heterosexual trans woman who works in media and has an MA in Journalism to educate this part of her audience, to make them see us as human. So there’s another audience her book is for: #girlslikeus. Trans women, especially trans women who are multiethnic, who see in her something of themselves. Janet writes to represent us.
A stack of books waited for me while I was in Bologna, and yesterday I had my first riding in snow of the year to pick them up. I didn’t know which one to start with, so I started with them all; I think the word for that is gluttony.
I Sailed with Chinese Pirates, I discovered this on China Rhyming, a blog responsible for a not insignificant number of the books on China I pick up (and yes, the actual work being discussed there, White Lotus Rebels and South China Pirates, is also on my list). I’ve had a thing for southern Chinese pirates ever since I discovered their leader for a period in the Qing dynasty was a woman named Jihng Sih (or Ching Shih in Mandarin), who commanded hundreds, or maybe thousands of junks and tens of thousands of crew, and despite appearances in popular culture has not had much written of her in the way of biography. Jorge Luis Borges though wrote a story about her, “The Widow Ching, Lady Pirate” in A Universal History of Infamy.
As for Aleko E. Lilius, he was one of those comically hard journalists who threw himself into highly improbably situations and lived to write about them, somewhere between Peter Hopkirk and Ernest Hemmingway, though unlike the latter, he’s not embarrassed to write of his terror when the pirate junk he is sailing on goes into battle with canons pounding.
Originally published in 1932 during the Republican era, I Sailed with Chinese Pirates was republished in 2009 with a short forward by China Rhyming’s Paul French, who also wrote about the book, which makes for a good read as well. And what else? It’s full of photos! Photos of Cantonese pirates and southern China from the 1920s! It’s also a very fast gallivant of a read; I’ll probably finish it tonight.
It took a while to arrive … I’m not even sure now what prompted me to decide I wanted to read this, given it was published in 2009, and I tend to be on a “Want now! Why must I wait until published?” bender lately. But something in the previous months must have made me decide it was more important than the other hundred on my want list, and so it duly arrived last week.
Admittedly, I’m in much more of a fiction mood at the moment, and after finishing Stonemouth, did the rounds of my Iain Banks collection and somehow romped through a mass of Charles Stross also. Predictable of me, yes.
Paul French is one of those China bloggers I’ve been reading since I first wandered to the orient, or at least it seems that way. Being once again incoherent, it took a while for me to realize Through the Looking Glass, China’s Foreign Journalists from Opium Wars to Mao was written by him – I mean ‘through the introduction and into Chapter II’ a while.
It’s from Hong Kong University Press, so that means it’s very nicely bound and has a suitably academic-sized typeface, with plenty of margin for both thumbs and (for those so inclined) notes. It also dwells satisfyingly on Guangzhou (yes, I am tired reading books about China that are really about Beijing and/or Shanghai), and covers the periods – Qing Dynasty and Opium Wars through to the end of the Republican Era – I’ve been reading regularly of late.
Thus far in, Paul manages to combine the ‘ripping good yarn’ approach to Far East writing of the likes of Peter Hopkirk with the serious academic detail of Hershatter, Mann and others I’ve been holding up lately as exemplars of scholarship. Which is to say, I’m inhaling it every night until I fall asleep and it bonks me on my face.
It’s mainly the reason why every October I write about all the books I’ve read in the last year, that some remain in my thoughts. Isabel Cole’s translation of Annamarie Schwarzenbach’s All Roads are Open is one of these, as well as having the kind of attention to typography, layout, and design that … well, makes me less likely to spill a late-night snack in bed over.
Which is to say, it’s already near the top of everything I’ve read in the last six months. I also read Ella Maillart’s The Cruel Way and Vita Sackville-West’s Twelve Days in Persia as a result, and Annamarie makes them both read like spoilt upper-class nobs whose only talent is the distinct whiff of colonial racism – I kept thinking if I was traveling with them I’d be obliged to leave them stranded and be off with their car and money because that’s all they’re good for. Perhaps being hooked on heroin gave Annamarie an empathy absent in these others; it did wonders for William Burroughs also. At very least, her translation into english adds a great deal to 20th century Central Asia writing.
25 April, 2012
20:00 Dialogue Books
RSVP is required: firstname.lastname@example.org
Journalist, novelist, antifascist, archaeologist, world traveler, the Swiss writer Annemarie Schwarzenbach (1908-1942) became a European cult figure following her rediscovery in the 1990s. At long last, her works are also appearing in English via Seagull Books.
To celebrate, join Dialogue Books as we host Alexis Schwarzenbach, the writer’s grandnephew and the leading expert on her life and work. He and Annemarie Schwarzenbach’s translators Lucy Renner Jones and Isabel Fargo Cole will also read from a selection of her works suggesting the breadth of her concerns and creativity. Lyric Novella is the tale of a young “man’s” love for a nightclub singer in decadent Weimar-era Berlin, while Death in Persia is a more open exploration of lesbian love and existential anguish against the background of 1930’s Teheran, and All the Roads Are Open is an account of Schwarzenbach’s epic journey in a Ford from Switzerland to Afghanistan on the eve of World War II.
Annemarie Schwarzenbach, born in 1908 to one of Switzerland’s most prominent families, published her first novel at the age of 23. Her friends Klaus and Erika Mann introduced her to artistic circles, and she scandalized her conservative family by living an openly lesbian lifestyle and supporting leftwing political causes. From 1933 to 1941 she took numerous trips in Europe, the USSR, the United States, the Near East and Africa as a photojournalist covering social and political issues, while also publishing novels and short fiction. After the outbreak of World War II she sought ways to take political action, helping the Manns’ anti-Fascist efforts, but increasingly succumbed to depression and drug addiction.
Annemarie Schwarzenbach died in 1942 in Switzerland following a bicycle accident.
There is no other single website and group of people who have so profoundly shaped my reading habits over the last few years, and many of the blogs I read I came across directly from one of their writers. Also, much, if not most of my ability to understand the technical aspects of internet anonymity, computer security, getting around annoying things, all comes from people whom I have in some way found on or via Global Voices.