Definitely felt something between my legs at the lines Whole cities of beautiful women, boundless tits, fucking sacks of animal. Beautiful women. Boundless tits. And fucking sacks of animal like some Oglaf sluuuuut. This poem, Playroom, and To Prevent Hypothermia. Is Fatimah Asghar my current fave poet? Am I a capricious slut? That's a yes.
P-Valley Season 2 is damn! those bitches are messy damn! the lighting damn the camera work damn! the music damn! the poledancing the poledancing the poledancing damn! the hair makeup eyes shoes heels costumes hips butts tits skin flesh Black femininity gushing flooding drowning anyone too weak for its power (me. I am too weak) damn! Uncle Cliff she every time and damn if I did not need to sit down after all that every time Diamond’s tight fade and soft lips and eyes.
Another in the small pile of books out of Aotearoa I’m getting all up in my memories about reading. I haven’t thought about Witi Ihimaera for decades. Same with Peter Wells. Old names in an anthology of mostly young Millennial and Gen Y poets and writers. Some of the other old names I can’t read past knowing they were rad-fem-les-sep transphobes back in the day. Cool if they’ve grown from that, but irrelevant to me; they did the damage then and I don’t need to read them now.
Dasniya said, on Thursday when their nohinohi little one was all big eyes and focus as I sung old Māori songs I seem to have remembered for them, she was seeing a show as Sophinesaele by Pelenakeke Brown and I said that name sounds familiar, reckon I’ve just been reading them. And I had. Her writing, A Travelling Practice, one of the couple of non-fiction pieces, and one of the couple that really stuck with me out of all the writers. The other was Jessica Niurangi Mary Maclean’s Kāore e wehi tōku kiri ki te taraongaonga; my skin does not fear the nettle, not the least for reminding me te Reo Māori is grammared but gender neutral, ia, tāna, tōna … like all the best languages. I photographed Pelenakeke’s piece and sent it to Dasniya before she saw her performance.
I should have marked all the writers I really liked. Forgot to do that with my usual oh I’ll remember of course I won’t and now I spose I could go back through. Almost finished my most recent stack of books and the upcoming pile is heavy on Māori Pasifika and I’m very fucking happy about that.
I joked I reckon I’ll know some people in this book. Turns out wasn’t a joke. Turns out it was much more personal than I expected, even when under that joke I knew I bought this book to remember history. My history. History around me. History I should know.
Long time ago, young me worked end-of-week nights in the needle exchange in Tāmaki Makaurau Auckland, binning returns and handing out fresh packs. Which led to me being nights at the NZ Prostitutes Collective drop-in centre, because being a young transsexual, the only work available was sex work. Or selling drugs or doing robbery, more or less in that order. I never did proper street sex work on Karangahape Road, but did occasionally crack it opportunistically, sometimes just so I’d have a bed for the night. All the transsexual women who worked the street passed through the drop-in centre of an evening, Māori, Pasifika, and the one of two Pākehā. Later, they’d be up the Ponsonby Road end, and when I lived in the old brothel, above the sex shop looking down Howe St, I’d see them on the corner.
My Body, my business: New Zealand sex workers in an era of change reminded me of a lot of history I’d forgotten, and connected things, filling in blanks, explaining details. Like the probable identity of the old Greek man who owned the house in Pirie St I lived in when I was (once again) homeless, the upstairs apartment home since the ’70s to various Māori trans sex workers. Or the doctor at Three Lamps in Ponsonby who used to prescribe hormones to all the transsexuals, also known since the ’70s. I don’t think I ever saw him, but pretty sure it was a woman Doctor in the same practice.
And just the general truth of it all, how it was in the ’80s and ’90s — even though most of the oral histories were slightly before my time. It was all so familiar, reminding me how deep I was in that life, how they were the ones who guided and saved me. And how it was so easy to have that all taken away.
I wonder how my life would look, would have looked, if I hadn’t been through conversion therapy. Would I have started dancing (probably, I was incredibly naïve about what trans girls and women could and couldn’t do)? Would I have moved to Melbourne? Maybe, though staying in Sydney is perhaps more likely. Gone to VCA? Realistically I wouldn’t have made it through the auditions, because being trans and a dancer has only been a possibility for the last decade or so. Even my — in current language — non-binary self bashed up hard against the rigid and strict cisheteronormativity of dance back then.
This is a reminder. Where I came from, what I lived through, who were my contemporaries, family, whānau, who I owe an obligation to.
I love Omar Sakr, and Son of Sin is a beautiful novel but this was not an easy read. It was also an expensive read because getting ‘niche’ books from Straya or Kiwiland up to Europe is an exercise random fees and expenses. Fuck this book made me sad sometimes, like sad for the whole world, for all of us who survived through violence and emotional distance, abandonment and loneliness, and conditional, manipulative love. Yeah Omar habibi you are a gift to the world.
So much lethal good shit coming out of Aotearoa. So horrifically expensive to get my grubby mitts on it in Germland. Saw Coco Solid on Twit when she was fundraising to set up Wheke Fortress community space and gallery in Onehunga. Then I listened to her album Cokes, ’cos she’s nothing if not doing all the arts. Saw the cover for How To Loiter In A Turf War and didn’t even ask the price (it was 22€ fuck).
Big old memories of Tāmaki Makaurau catching the Mt Eden bus on Symonds St or Ponsonby bus on K Rd. Ponsonby was still Pasifika and Māori back then, getting gentrified for real but not like now. Fave fiction book of the year so far (non-sci-fi that is, cos that’s other stuff). Loved this heaps.
Fave sci-fi / fantasy / demonic space opera book of the year? Very yes.
I don’t have the energy to write all about it (cheers chronic ijdgaf fatigue), but if I did I’d go on about how much I loved the main characters, all the food, the meticulous discipline of being a professional musician, love, kindness, moral ambiguity, queerness, transness, west coast migrant Asian-American culture. Pretty much everything I want to read.
bell hooks has been around since my early- / mid-teens first contact with feminism. I didn't pay much attention to her at first, not seeing how she was relevant. That's the smallness and limits of my upbringing showing there. A while later, in the noise of Paris is Burning touring the world's film festivals while the stars struggled to make rent, hooks had opinions on Venus Extravaganza that were disappointingly and unsurprisingly 2nd Wave. There was a long gap before I read her again, though she was always around. In 2013, a few months after I re-read Feminist Theory: from margin to center she hung out with Janet Mock and read her autobiography; in 2014 she had a dialogue with Laverne Cox at The New School. I felt she was someone from that generation who'd put it together a little better, and if Janet and Laverne and all the other Black trans femmes could be in the same room as her and share their love for her, I could move on from her remarks 20 years previously. We all gotta be allowed to grow a little. (But that doesn't give her a pass to come for Beyoncé.)
bell hooks passed over to Ancestor space earlier today.
The first thing I thought of was her writing on domestic work in Feminist Theory. I've quoted her (and often Gayatri Chakravorty Spivak on the same subject at the same time) to probably everyone I know if we ever had a conversation about housework. The quote continues after this, and like a lot of her writing I thought it became dogmatic and made some improbable conjectures. But that's bell hooks. She was this brilliant, Black feminist theorist who understood why housework was so important, who was loved by Janet and Laverne and Raquel Wells and so many Black trans femmes and mascs, and in turn worked to earn their respect and love, and whose opinions over the years, from Paris is Burning to Beyoncé were occasionally of a different era and different feminism and occasionally shite.
I love doing housework, cooking and cleaning, and while I'm on my knees mopping the floor feeling like it's not at all demeaning or degrading or drudgery, I'm thinking, "Yeah, doing aesthetics here, care for self and the world, it's beauty and it's got value," and bell hooks is nodding going, "Yes, child, affirmation of your identity coming through strong."
I feel like one of the very few queers in Berlin who’s never been for a night, let alone a weekend at Berghain. Charlene said, “I got a ticket to the exhibition at Berghain, wanna go?” Obviously yah, ’cos when else am I ever going to see inside that luscious body.
The group exhibition was that mix of terrible, uninteresting, kinda interesting, not bad actually, that’s rather good, and, like most group shows, a single one I would want for my hypothetical, ‘I’m mad rich, me’ collection. That kind of good. Monira Al Qadiri’s Holy Quarter, irregular vitreous globes of slippery iridescent black on the floor of the Lab.Oratory dark room.
And Berghain. The concrete and metal waxy soft with generations of physical contact and heavy drug fucking energy. No mirrors, no cameras, and that sound system. I’m not at all one for clubbing these days, but a night there — if I got past the door — I wouldn’t leave that space surrounded by that sound.
That kiss. That shot. That story.
I remember when you spoke your truth, ten years ago, back in 2011, and I remember when I heard about this show you were making, feels like longer ago than 2017. I read your books too, feeling myself and my history in the story of another, so close and so distant. And I cannot put into words the joy and sadness and love I felt and feel watching Pose, seeing you and all the beautiful trans women and trans femmes on screen, Mj Rodriguez, Dominique Jackson, Indya Moore, Angelica Ross, Hailie Sahar, Our Lady J, Black and Brown and Puerto Rican and Dominican and Latina, immigrant and children of immigrants, whose lives are as real as the story you fought to tell.
That wedding banquet. All the trans women and femmes at that table. That wedding. That fantasy that was never ours, the church, the dress, the vows, Janet, the vows! Papi! Lil Papi. I loved him from the first ’cos he was so full of love and pure and so fearless when it came to defending his family. And that kiss. You went all the way. When I saw your name at the start of the episode, yours alone, Writer and Director: Janet Mock, I knew. I knew it would be this. I knew it would be us.