I think I’m far too hard and cynical a person to be the audience of Becky Chambers’ novels, like them though I do. I wrote at length about her debut novel, The Long Way to a Small, Angry Planet and plenty of that holds true for A Closed and Common Orbit. I think this novel isn’t as successful though, perhaps because it alternates between only two characters and tried to build parallels between them that don’t really hold up.
The hard, cynic side of me also finds the general tenor of the characters flattened by a pervasive, apologetic niceness. There’s a scene early on where one of the two main characters, Pepper, at this time around ten-years old, escapes the slave scrap recycling plant she was born into and flees across the endless junkyard surface of the planet until stumbling by chance close enough to a destined-to-be-junked spacecraft she is rescued by the ship’s AI. So here’s a kid who’s obviously traumatised, dehydrated and malnourished — and we later learn the ship knows exactly what kind of planet and child this is — yet the AI spends pages before apologising for not flipping into emergency mode and doing triage, which the AI does not a little ineffectually. It’s a general over-caring niceness that ends up reading pathetic and monotonous, and grates against my “harden the fuck up” tendencies. Which may be my failure. “Always check the equipment for sensor error first.” As Iain Banks said.
Against me here, I wonder if the kind of world Chambers proposes is not a little of utopian, queer North American communities, and for people whose lives are made legible in such places, this novel might be really fulfilling to read, to see themselves represented in worlds which they yearn to live. And maybe if I’d been born 15 or 20 years later, coming of age in the LiveJournal and tumblr eras, I’d feel the same.
But I wasn’t.
But I like her novels enough to keep reading — even though I skipped a few pages out of boredom. I’d like to think she’s going to keep writing, have those glorious jumps in maturity and adroitness that happen to writers as they get a full handle on what they’re doing, cos for all my crapulous, old bitterness — which is going, “Frances, you’d fukkin hate being crew on their ship, haaate.” — I like reading her.
That boredom’s separate from still thinking he’s suss for the shite playing a trans woman character for laughs in The Nightmare Stacks — plus his editors, publishers, manuscript readers, who all let this version through. There’s way too many white, cis male writers (in all fields from novels to series to film) lately who blab loudly about their feminist and whatever cred yet throw up dodgy. It’s like the noise they spray about being allies gets in the way of their thinking, convinces them they’ve earned the right to be ‘edgy’ or some shite. It’s really, really hard for me to come back to an author after this, like William Gibson in his return to form (finally!) of The Peripheral, or N.K. Jemisin in The Fifth Season, all three I suppose aiming for ‘sensitive representations of trans women’ and — for me anyway — very much not nailing the landing. But with Stross, because I’ve been reading him since my Zürich days, I still buy what he writes, and in this case reading with a little trepidation in case he he was onto a winning idea with trans characters.
I read this a couple of weeks ago and having a lot of difficulty recalling the story. I do remember that it so heavily relies on the throng of characters introduced over the previous seven novels — and chronologically follows on so directly from The Nightmare Stacks as to be Part II — I was resorting to the internet to remind myself of who’s who. Yup, thinking my brain out here and still can’t recall the actual story. Fun to read for sure: I did it in over a weekend, but annoyingly insubstantial. And that’s been my criticism of Stross for a while. He’s more than capable of sophisticated, nuanced ideas and storytelling, but seems to be spinning his wheels throwing out stuff that’s on the flimsy side of late. But most people love it and I know my tastes are demanding. It’s not the one to start the series with either way.
I’d been waiting for this for so long. I’d read Stross’ notes on his blog for the sequels (which might have been in the long piece he wrote when The Trade of Queens was published early-2010, or the Crib Sheet), and somehow never thought they would happen. He’s been more than busy with The Laundry Files series this decade (plus a sequel to Saturn’s Children), so I was resigning myself to not seeing this world continued — just like the Eschaton series.
The original Merchant Princes series was six books, which I started reading in Zürich when I’d plundered the English bookshop for all available skiffy. In fact reading Charles Stross in the first place was because I’d dealt to the other writers. I kept picking up Accelerando and putting it back down, convinced by the first couple of pages it was a second-rate Neuromancer. I was joyously wrong on that, it turned out to be mental. I’ve read it at least four times. The Merchant Princes though. I wasn’t even sure it was the same Stross. It looked all … fantasy romance novel or something. Eventually I gave it a whirl, and thought it was enough of alright to keep going with the series. And like Accelerando, I’ve read them I think four times.
Early-2013, they got repackaged and edited into a trilogy. For the better with the editing. For the covers … well, they fit into what seems to be Stross’ current demographic, which is pretty hetero bro-ish, whatever he might like to think. The original covers were kinda embarrassing. It’s not so much the thematic elements of fantasy romance cover art that I cringe over (but they did provoke a few “WTF are you reading, Frances?”), more that they weren’t done very well. But they were explicitly directed at women, and that’s what was missing in the 2013 Omnibus and in the new Empire Games cover. Which makes me worry that this deceptively thoughtful and dramatic multiple universe espionage series is — even with the best intentions of the author — going to slowly slip away.
I’m not sure on this. Whoever might be Stross’ most vocal fan base, and whoever he might write for in, say, The Laundry series of late, I do think he has a long-term commitment to writing stories about women and prioritising them as characters. Besides The Laundry, almost all his other novels either have women as the main character, or as equals in an ensemble. And yet, some of the recent Laundry novels have become tiresome techno-bro fests of battles and hardware, and his poor handling of a trans woman character played for laughs in The Nightmare Stacks … if I hadn’t have read him for so long would have been enough for me to throw him the fuck out. All of which leaves me a bit conflicted. I really, really want to like Empire Games, and coming to it from reading Stross for ten years, I know why I like him and I also know what whatever it is that’s left me frustrated with his more recent books is not superficial.
So finally, here’s the continuation to my third favourite series of Stross. Third? Why, yes. Eschaton and Saturn’s Children are tied for first, probably with the former edging the latter out. I don’t know why I loved Singularity Sky and Iron Sunrise so much and might not if I read them again now, but he set a phenomenal standard with all these four novels. Empire Games. Yes, it gives everything promised and hoped for. Stross also (I think retroactively, sometime around Book 4 of the original series) establishes Earth 1 as definitively not this earth. Which makes sense considering he nuked Washington, and Anglo-Euro-American politics has become so bizarre in the last couple of years it’s better to preemptively avoid getting bitten by them.
We’ve firmly left the world of fantasy here, a shift that started sometime mid-series from memory, but was tempered by the non-Christian north-east coast Medieval/Renaissance Earth 2 world (Viking knights with assault rifles and a penchant for castle-based, early 21st century nouveau riche lifestyle). In Empire Games, that part of North America was comprehensively nuked, and the faction which escaped are now refugees in an early-20th century steampunk North American Commonwealth on Earth 3. It’s set a little in our future, so around 17 years after the original series, meaning the original main cast are all grown up and are now middle-aged women. And then there’s the new cast: Miriam’s daughter Rita, who was adopted out, her former East-German dissident/sleeper grandfather, the intrigues of the Family holding her in its grasp. And Rita is openly, unremarkably queer.
Empire Games is the first of a projected trilogy. Based on the synopsis I read (which might be linked to in one of those above posts), some of the general large-scale action he’d planned is being hinted at already. It definitely goes into the hard sci-fi worlds of Stross I love, potentially in a direction like Alasdair Reynolds’ Revelation Space. A lot of the book was devoted to both set-up for those events and catch-up for the last 17 years. It reads coherently enough as a single novel to not leave me awkwardly hanging — a habit of several authors lately which feels like their book has been ripped in half and I’ve paid for the whole — and does a good job of balancing the competing demands of past and future with telling the actual story. As much as I enjoy the silly romps of The Laundry universe, I’m overjoyed Stross has returned to The Merchant Princes. I think it’s less demanding for him to write the pop-culture novels, but his tougher, less-accessible books have both that pop-culture side and a depth of thinking that is his brilliance.
It’s not like the days when Charlie Jane Anders was running io9 and her monthly roundup of all things skiffy getting published pretty much guaranteed at least one book I’d stick in my reading list — I suddenly realise I’ve gone off on a tangent here — but that monthly summary has returned or reinvigorated itself, and with the arrival of The Root and Fusion under the Gawker Gizmodo Media banner, I could hope that io9 might similarly get the love it deserves and be de-subdomained from gizmodo.com, because it is one of the best sci-fi/fantasy/speculative fiction/etc websites around.
Which is a long way of saying I’m pretty sure I heard about Becky Chambers’ The Long Way to a Small, Angry Planet there, probably when it came out late-2015, but didn’t put it on my Must Eventually Buy list until a few months ago. I’m going through another phase of random experimentation with new writers, and she seemed to pass my rather strict interpretation of the Bechdel Test. And now I’ve read this, and yes, she does.
It’s a light read, in the sense that unlike say, Alasdair Reynold’s Revenger, we don’t have entire space ship crews annihilated just as we’ve begun to care for them, nor do the protagonists come out the other side morally terrifying. Almost all the story takes place on their moderately sized, ramshackle construction ship as they move ever core-wards in the galaxy. And the story, the actual story from which all those things we’re told are crucial come, narrative tension and arcs, conflict, and so on, all this is more like the background staging through which they move. What’s in fact the story is a group of individuals — well, for the most part individuals — let’s just say a small mob who we get to know as they live and work their daily lives.
I was thinking it owes something to Firefly, which is one of those series that’s either hugely pivotal in people’s sci-fi evolution, or entirely baffling. A more recent comparison might be Mass Effect. Either way, it owes a lot to fan fiction set in these universes. It also owes a lot to current critical discussions on identity — a word I’m very ambivalent about at the moment, and have been trying selfhood as a rickety replacement, not sure it’s much better, but the problem is with English (and English-influenced) language and its fixation on describing the world in a highly rigid manner going back to the Enlightenment — and you can’t easily think outside language.
In a lot of science-fiction set in the future — in writers who are actively trying to work through this stuff — I find that where we are currently around language, identity, selfhood, what constitutes personhood or a person, these massive discussions we’re having amongst ourselves and fighting against others who would deny us, are carried over into a future hundreds or thousands of years away. Or maybe it’s just a future where gender neutral ze / hir is used isn’t one I really aspire to. Perhaps also because this again proposes a future in which Anglo-American culture is dominant, something interestingly that Firefly tried to modulate with its use of Chinese language. And given English has a singular they (which is used in the novel), spoken Mandarin has nǐ, Cantonese has 佢 keoi5, Persian has او (yes, I’m imagining a future where Cantonese and Persian is in the galaxy), on and on, I feel like ze / hir is kinda redundant at best (plus I’m not a fan of Kate Bernstein). So on one hand I liked the novel and Chambers for working with this, and on the other, a far future where we’re still struggling with early-21st century identity is probably not a future we’d have survived to live in. Which is maybe to say, Chambers could be a lot more deliberate in thinking these ideas through to far more interesting and developed states.
Then I realise I haven’t said much about the story itself, like a review and all, where you get familiarised with a synopsis and a bit of who’s who. A crew of multi-planetary species mostly vaguely humanoid, one who I decided looks like a sloth, another a tardigrade with chin tentacles, another like Vastra the Silurian from Doctor Who, another who reminds me of Jewel the mechanic from Firefly, a ship artificial intelligence like Cortana from Halo (or pretty much any recent sci-fi with a ship A.I.); a hyperspace ship like a well-loved junkyard with modules and sections bolted on, one of which is a garden and kitchen, dining, hanging out area; the lives and relationships of this crew I both could imagine hanging out with and find their lack of boundaries a little off-putting. That’s not a review. You can find those everywhere. So, yes, despite my truculence, I read it and enjoyed it, enough I’ll read the sequel / offshoot A Closed and Common Orbit.
Sarah-Jane, or Satan-Jam, my meeting of whom last year I’ve described in eloquent, sweary detail (it’s all true, I swear! It’s why I blog, external memory storage an’ all), is in Melbourne. Right now! How privileged are you, Melbz? Get over your smug selves and get to Dancehouse this weekend, or Friday if you’re down with premières, before 17h — that’s 5pm to youse — for 2 hours of harrowment.
To be honest, I’m not sure if it’s 17h for the installation and 19h for the performance, and if both works are on each day, or … mainly because Dancehouse and Melb Fest websites are making my brain bleed. Probably best to camp out on Princes St from Thursday, just to be safe.
In all non-hyperbolic seriousness, I can’t speak highly enough of them. For the past year — when they’ve been in Berlin — I’ve had crucial, on-going discussions with them around identity, selfhood, making performance, representation (as well as epic slamming of telly series), racism, colonialism, diaspora (geographical and within one’s own body), Australia in all its ambivalence; also “What’s the best music for Mad Gainz, Frances?” “That’d be ’80s speed and death metal, crossover and thrash.” type conversations about training and physicality. Really some of the best convos I’ve had in years. (They also stepped up and were on the sharp pointy rivet of the Marina Abramovic racism a couple of months ago.)
So, as if it’s not obvious enough, Frances “Hostile To Everything” d’Ath (seriously, that’s what another awesome Australian said about me, “… in a good way though …”) is a huge fan of SJ. Go see them, say hi from me.
It’s that time of year again! Frances’ and supernaut’s Books of the Year for the 9th time. And some most excellent books were read indeed. This time last year, I realised I’d been struggling a bit with enjoying reading. I looked back over what I’d read in previous years, compared it with 2015’s crop, and noticed I’d dug myself into a bit of a hole with mediæval art and history.
What to do, Frances? I dunno, Other Frances, how about read about space travel and stuff? Good idea!
Unlike last year, my ninth iteration of looking back on a year’s reading — and it’s in October because that’s when I first started blogging about reading, almost a decade ago — has some absolute slammers on the fiction side. Last year I didn’t even name a fiction book of the year. This year, if it wasn’t for one in particular, there’s be 4 or 5 smashing at it for joint Book. And in non-fiction the situation’s pretty similar, or even better, cos there’s barely a single non-fiction work I’ve read in the past 12 months that was anything less than well awesome. It’s also one of my least-read years, only 29 that I read and blogged (possibly a couple of others I’ve forgotten); definitely plenty of internet — I mean Rainbow Autobahn distraction in the last year, exacerbating my inability to focus on pages. I blamed my poor reading last year on that distraction as well, probably time to harden the fuck up and put away the internet.
Of those 29, only 10 were non-fiction; the remaining 19 non-fiction skewed more to fantasy than sci-fi, with around 7 works explicitly skiffy, 9 explicitly fantasy, and a trio (maybe more depending on how dogmatically I apply those categories) deftly straddling both. I call those Speculative Fuckery, ’cos I love when the only two genres I read start boning each other.
On the non-fiction side, mediæval Northern European history continues filling my shelves, and there’s a bunch of “not easily categorised on their own” which nevertheless fit predictably into my decades-long interests.
Then there’s the new, or maybe to say newly clarified bunch that I kinda want to call Islamicate Studies, though that might miss something, so it encompasses that, human rights, identity, philosophy, feminism, and is primarily from women from and/or writing on Iran, Near/Middle East (I’m a bit iffy on this appellation right now, and have been trying out ‘West Asia’ also because it shifts the centre and subject of focus out of Europe, dunno though), and people from or descended from those regions in Europe, North America, Australia. I arrived at this field of interconnected subjects after increasing dissatisfaction with how feminist/queer/left-ist writing addressed brown and/or Muslim identities; regarded these people living in Europe, North America, Australia; and when I spent some time thinking about how the diverse subjects I was reading needed to come together. Also it’s a lot of living in Berlin/Germany/Europe and getting increasingly pissed at the racism against anyone not unequivocally ethnically correct, and the white feminist/queer/left-ist bullshit distractions, and my own personal, slow movement towards identifying if not myself as Turkish/brown/West Asian/Muslim, then definitely my family history (as you can see from all the slashes, I have no idea).
Books! I have read them!
Fiction first. This was a fine year. If I hadn’t read Sofia Samatar’s A Stranger in Olondria, she’d still be my Fiction Book of the Year with The Winged Histories, though sharing with a few others. I don’t actually know how I would pick a book of the year from a pile comprised of that plus Jo Walton’s Necessity and The Philosopher Kings; Jaymee Goh and Joyce Chng’s The Sea Is Ours; and Ann Leckie’s masterful finish to her debut Imperial Radch trilogy, Ancillary Mercy. Impossible. I would probably give it to the latter, but then … Necessity, a brilliant conclusion to another trilogy, and The Winged Histories: sublime. So I could possibly get it down to a trio of exceptional literature, but no further. Lucky then A Stranger in Orlondria saved me from that anguish.
I don’t want to say it’s ‘better’ any of those other three — though perhaps that’s the case when comparing it to The Winged Histories, which would lose its spot in the trio just as The Philosopher Kings does to Necessity. I think of the two Samatar has written it’s a more major work. If this is my final trio then, I’m not claiming one is better than another, simply A Stranger in Olondria has had a significant effect on me. Would that effect stand up under re-reading? How would that re-reading compare to one of Leckie’s trilogy? If I read them both back-to-back, what then would be my judgement? The best questions always involve more reading.
This is all anyway just writing from memory, how I remember a book made me feel. I’ve been thinking recently that eventually my memory of a book dissolves until it’s just feelings, colours, a glimpse of an image or two. It’s like sediment, like geology, layers upon layers of this.
Breed was a romp of Oglaf proportions and probably the most fun I had this year. I wish she’d write more of this. Reynolds’ Revelation Space I read because I needed some hard operatic space sci-fi, and his Slow Bullets novella was a favourite of mine last year. This one was good enough for me to slog through the whole, uneven trilogy. I like him, but there’s a hopelessness in his work, like the heat death of the universe.
As with Reynolds, Genevieve Cogman is another whose previous works got me to read her latest. The Invisible Library, which I also read last year was well tasty. I was super excited to find she had this sequel — and OMG! Just like last time when I discovered The Masked City, she has a sequel to that! Excellent! The immediate result of me writing about my favourite books is I’m ordering more.
Ada Palmer’s Too Like the Lightning. Yeah, loved a lot. Glorious cover art, almost almost one of my first choices, but a few flaws in it, and the cliffhanger “Will bad things happen? Stay tuned for Book 2!” guaranteed to piss me right off. Please, don’t do that to me. I’ve paid for a story, not half a story. If your story’s too big for one book, then at least divide it in a way that doesn’t leave me hanging.
All of these authors I’ll read again (along with a score of others on my Have You Written A New Book Yet? list). I might be a bit crabby here and there about the works, but I also possess a modicum of self-awareness that I’m a pretty fucking demanding reader. The authors and works above if you’re into sci-fi / fantasy (or if you’re not) are about as good as it gets. Not just for this year, but of everything I’ve read in the last 12 years or so. (And just wait for next year’s Books of the Decade! It’s gonna be hectic!)
I didn’t read much of this in the last year, but I lucked out here too, barely a dud among them (and that single one was an old book I realised I’d never finished), running out of superlatives here.
Svetlana Alexievich was awarded the Nobel Prize in Literature last year, in no small part for her writing on the Soviet occupation and war in Afghanistan. Her writing is chilling. Heart-rending. I even said Zinky Boys would be my Book of the Year. Pretty sure I said the same thing about Seyla Benhabib’s The Rights of Others. In truth I shouldn’t pick one over the other, except that Babayan and Najmabadi’s Islamicate Sexualities somehow is tying all this together, mediæval history, human rights, feminism, identity, migration, religion, and it’s so urgently pertinent to the slow stumbling back to the abyss Europe is currently taking. Read them all, or at least familiarise yourself with the writers.
And that’s my reading for the last 12 months. As if I’m not sated and replete already, I’ve already got a pile of new stuff.
Reading is a great privilege. It’s not however, explicitly a human right. Article 26 i. and 27 i. of the UN Declaration of Human Rights either directly imply or by extrapolation intend reading as a human right, yet nowhere is it explicitly stated that reading comprehension or literacy, and the opportunity to gain this ability is a right. Perhaps I’m splitting hairs, yet I can interpret the UNDHR in a way that fulfils the letter of declaration while still populating my dictatorship with illiterate proles.
My ability to read, at the level I do, at the frequency, my ability to critically consider the works I read (with or without concomitant swearing), to write about them here, to discuss them with others, all this is a privilege. And I mean that in the sense of a special honour. And that necessitates obligation.
Buy books! Buy books for your friends! Encourage people to read. If you know someone who Can’t Read Good (And Wanna Learn To Do Other Stuff Good Too), help them, reading is only difficult if you’ve been told it is. Support your local libraries!
So here’s to the writers, and their publishers and proofreaders and editors and typesetters and designers and artists and agents and friends and families who make it possible for them to write so that I may read.
In fact I read Charles Stross’ The Nightmare Stacks way back shortly after it was published, sometime early-July. I haven’t really wanted to blog it because there was a fucking great Trannyphant in the middle.
“What’s a Trannyphant, auntie Frances?”
“Well, dear, it’s what happens when a writer, almost always non-tranny, tries to write a trans woman character into their novel and it causes cringing. It’s an elephant-sized tranny (or tranny-sized elephant, fuck knows which) in the room.”
“What does uncle Ludwig think about this, auntie Frances?”
“He’d probably say, “that ‘there is not a trannyphant in this room’ is not empirically knowable.”
“Are we mixing metaphors here?”
“I’m afraid so. But isn’t it nice?”
“And you just worked a Rocky Horror line into this?”
“Why, yes, I did.”
There’s a lot of writers writing tranny characters lately, jumping on the tranny bandwagon — and by ‘tranny’ I mean trans women, transsexual women, however they self-identify, the ones who specifically have ‘medically transitioned’, an important distinction ’cos there’s a whole lot of unreflective fetishising of these bodies going on in parallel with this. I expected a lot better from Stross. I’ve been reading him since 2005 and some of his works like Glasshouse, Saturn’s Children, much of the Merchant Princes series prove he can write believable women, that he gets gender, identity, sexuality. But there’s also something like a didacticism in his writing, ’cos he’s very capable of writing knowledgeably on subjects, of doing his research — which I mostly enjoy in his work — that can go badly wrong when applied to a subject for all his knowledge and experience on some fundamental level he doesn’t really get.
Him and whoever proofread this. In the acknowledgements, he credits a whole slew of military historian types with providing assistance in writing the final, meticulously detailed (yet kinda boring for me) battle. It’s a pity he either didn’t have such critical eyes for the tranny scene, or they didn’t see how dodgy it is. Being pedantically clear here, there’s all kinds of trannies, all kinds of trans women, and for some it’s not inconceivable this scene would read fine. But just as within military history there’s a broad consensus on how things work, so too is there in this. A different version of this scene would have emerged from either Stross or proofreaders assigned to this scene (even if they loved it) going, “Yeah, I get what you’re trying to do here, and it’s nice you’re writing a trans woman, but within the historical, social, political, medical situation for trans women — generally and within feminist / queer situations — how you’ve written this is problematic and unrealistic because of the following things.”
Instead, what Stross wrote was principally outing a young trans women in a situation she couldn’t easily extract herself from and playing it for Comedy of Errors type laughs.
I’m sure he didn’t mean it like that. I’m sure many if not most people read it as a ‘sensitive portrayal’. I’m sure of a lot of things, like how much of my time I pour into trying to understand whether such bullshittery is genuine or if I’m ‘too sensitive’ and ‘over-reacting’, and how I always have to steel myself when I point out that ‘x’ might be controversial in situation ‘y’ because of historical/social/political ‘z’ because I know there’ll be hard pushback from whoever thinks I’ve just unfairly criticised their ‘ally’ credentials, and how the pit of my stomach drops out when I turn the page and there’s a fucking trannyphant.
I’ve loved Stross in the past, some of my favourite sci-fi/fantasy of all, up there in the triumvirate of Banks and Miéville (though Banks always far above at the apex). I didn’t like this. Irrespective of this scene I wasn’t so impressed, or maybe this scene in itself also makes apparent the problems I find in his writing of late. The trannyphant though, it’s a killer problem for me and who I’ll read.
I was rewriting my biography last week, amazing how many hours can be spent on 240 words. I realised that it’s been a while since Central Asia, specifically Afghanistan, has been one of the foci of my studies. China’s still there, mediæval northern European / germanic history has sprung from nowhere to rout swathes of interests, as has Islamic history.
A big one right there, “Islamic History”. What does that even mean? Well, my interests in China did and do have a component that’s concerned with the borders, not China proper, occupied China, whatever we might agree in the future is the term for Tibet, Xinjiang, even the provinces like Guangdong and others, which could be regarded as discrete countries, and in that Islam plays a role, either in Xinjiang as the eastern-most region of Central Asia, or in Guangdong as the port on trade routes that saw significant Muslim presence. Then there’s my Central Asian / Afghanistan interest, obviously Islamic (as well as Buddhist and others), which in the past few years has slid more consciously over into an interest in Iran, thanks in no small amount to Najmabadi. And then there’s whatever is in Berlin, which reaches out to Germany, and across Europe. A history of any of these is inextricable from a history of people who also happened to be Muslim, whether immigrants, descendants of immigrants, or locals (not sure how long you have to be a descendant for before you’re a local; that’s the conversation we’re having right now).
So I’m vaguely defining my current interests and studies as Northern European & Germanic mediæval, Islamic, and Chinese history, with an emphasis on women’s roles and representation. Which sounds like a whole tanker of “What the Fuck?” but if there’s one thing I do even if I don’t consciously trust my doing, it’s have seemingly wildly divergent interests that are in actual fact deeply intertwined. (And yes, my love of hoonage is not incommensurable with this.) And it’s people like Najmabadi and books like Islamicate Sexualities that help me understand this.
And what a book. If the quality of a book can be measured by the number of works mentioned which go onto my Must Buy! Ned Cash 4 Bookz list, this one will bankrupt me.
I was watching the première of Pitch on the weekend. It’s a Fox TV series about a young black woman who becomes the first woman to play for a Major League baseball team; a serious drama marketing campaign equivalent of the “You Never Lamb Alone” ad (“What’s the best thing about diversity? Everything!”). I have zero interest in baseball, but there I was watching it when for a split second the camera cuts to close-up pan the grandstands and it’s totally “What’s the best thing about diversity? Everything!” cos there’s a woman standing wearing a long white hijab in a crowd that’s multicultural as fuck. I don’t know if this is representative of an average baseball crowd, my feeling (informed only by unintentional slopping around the edges of US sports culture) is that American baseball has one of the whiter sports audiences, not NASCAR, but over that end of the spectrum. What that image is about is desire — even if it’s primarily driven by marketing and money. In combination with casting a black woman as a rookie Major League player, it says, “We see you and we want you here.” And again, even if this is cravenly driven by money, we see ourselves in this and once we are visible, we can decide how to interpret our image. And if we don’t see ourselves, we’re nothing.
And how, Frances, does this relate to Islamicate Sexualities? Same weekend, watching the second episode of High Maintenance where the first story is about a young South Asian student living in Brooklyn with her religious aunt and uncle, negotiating that while wanting to get blazed on the roof. The first essay, also the introduction goes between Orientalism, homo-nationalism, queer colonialism, mediæval history, post-colonial theory, to sketch out a broad proposal for how we might talk about sexualities, and by extension identities, for people living in and coming from Islamicate regions, cultures, and/or backgrounds. And talking about ourselves, not being talked about.
Somewhere recently I said I was only interested in reading works coming from this perspective, that the issues and questions around desire, identity, self and community would only find partial, incomplete answers in feminism/queer/whatever we’re currently calling it that was located within an Anglo-Euro-American (throw in Australasian) historical frame of reference, a reference that’s inherently white. Or to put it another way, we’re not going to find an answer to colonialism from colonialists. This is something I think has become unambiguous from living in Europe and Germany, where not only is there an unwillingness to regard immigrants of how ever many generations distant as ‘German’, we’re not even at the point of admitting this a fundamental problem. My reading of works like Katherine Pratt Ewing’s Stolen Honor: Stigmatizing Muslim Men in Berlin, and Ruth Mandel’s Cosmopolitan Anxieties: Turkish Challenges to Citizenship and Belonging in Germany played a big part in beginning to understand this and formulate my thinking, as did more recently Seyla Benhabib’s The Rights of Others: Aliens, Residents, and Citizens. I’m reading writers like these substantially because they’re the only ones prepared to address these issues.
Islamicate Sexualities was published in 2008, emerging from a seminar held in 2003. That’s a generation, a lifetime ago, the seminar a few months older than 4Chan; the book barely younger than tumblr. Yeah, I’m talking about 4Chan and tumblr. If you want to understand how transgender/transsexual/trans people (I mean trans women here) and identities came over the last few years (call it a decade) to where they are now, places like these (along with LiveJournal, and probably MySpace, but that’s all been lost) are critical. And how fast this is moving means a book like this is going to miss a huge part of the conversation as much as it retroactively informs and predicts. (And as for why our part of the conversation is only recently tipped the queer/cool meter, that’s the history of Anglo-Euro-American feminism/queer right there.) I’ve barely read the first part, so I’m not pre-emptively criticising it here, just pointing out its age, how things have changed in eight years, and what that might mean for a prospective reader.