Obviously I a) want to give myself Hellraiser nightmares again, and b) am very dtf with Jamie Clayton Pinhead, and c) know an Oglaf relevant to solving puzzles. Horny but afraid? Horny and afraid!
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.
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.
Fave Muslim show since We Are Lady Parts and fave superhero show with Muslim superheroes since Legends of Tomorrow got cancelled (tbh that was the only superhero show with Muslim superheroes). The last episode was a bit of a letdown, but that’s really on Marvel / Disney and their compulsion to Big Superhero Smackdown, and overly CGI’d action / fight scenes. I’d have watched 26 episodes of Kamala and Yasmeen going ”Mashallaaaaah!!!” over hot shirtless bruvs, and calling each other bro.
I have a pile of Akwaeke Emezi waiting to be read. After reading Freshwater I knew I had to read everything of theirs. But. It’s tricky. I held off reading Freshwater for maybe a year. I started it and barely a page in recognised something in their writing that was, if not close to mine, then inhabiting the same space. Like I can get a plane in this world from Berlin to Nigeria, and the spirits moving in my writing could do the same. And, like I said a while ago, I’m drawn to them even when it’s scary, ’cos just reading of spirit worlds draws attention to me, wakes the spirit worlds I know. And like I also said, I love them and they could eat my heart and take my soul and I’d be like, “Scary but worth it.”
Which is maybe a complicated way of saying I need to be careful to not get influenced by someone else’s writing when I’m in heavy writing mode. Though it’s more than that.
Pet was tough to read. Funny how books marketed as Young Adult can fray me in a way serious literature simply can’t.
I was at a meet-up for trans women and femmes in Berlin the other day. Me trying to have real world time instead of online. I do love the online for friendships I’ve made with trans people (a surprising number of beautiful trans mascs) who aren’t in Berlin or Germany or Europe, but 2+ years of pandemic has utterly gutted physical connections. And it was very nice, that meet-up. Except I still felt at a distance. Some of those online trans femmes, Black, Indigenous, Roma, recently were talking about how white trans femmes — and there’s so many new ones who suddenly went ‘fuck it’ and started living their truths under the pandemic pressure — are shocked at experiencing discrimination for the first time. Which was one of the subjects talked about in the meet-up. Which I felt like I couldn’t speak truely on because for me transphobia, Islamophobia, racism, hating on migrants, all that, are inextricable. And no one was talking about disability, fat, neurodiverse discrimination either. It felt well abstract.
Which in part is maybe why I love Pet. The main character, Jam, is a young Black trans girl. She lives in a house with aunties and uncles and cousins all around and I kept seeing it as the house of the Māori woman and her family who took me in when living at home became impossible, and took me in when I needed somewhere to stay while the court case against the man who sexually abused me when I was a child was going on. And there were the bad similarities in the background also, those which are the story in Pet.
It reminded me where I came from, and where I felt most at home. It reminded me also how easily I’m gaslit to believe I don’t have a claim to … I dunno, being racialised I suppose, to my own history. As in, to most people I look white, primarily because my skin is pale, and my relationship to whatever parts of my heritage which aren’t white (in any or all the permutations of that slippery parasite) is tenuous as fuck, and aren’t I just claiming it to be special? To be cool? Because we all know how cool being not white is. And yet. I remember, because I have to keep reminding myself, of the very Muslim name I was given at birth. And the names of my grandmothers. And what that means.
So when I read Emezi, when I read Pet, I was reminded. It feels familiar. Different also, obviously, but familiar like I could get a plane there. Not the different I often feel reading white trans women’s and femmes’ fiction, which feels familiar because I know white culture from having lived in it in multiple countries, but always felt like something I never belonged to. Pet is also near-ish (our) future fiction, when all the things we’re fighting and losing our lives for as trans people, as Black and Indigenous people, has been made real. And yet, something of that was real already, decades ago in small-town Aotearoa.
Maybe lastly, it’s a real moment for trans writing lately. I can actually choose to only read trans authors and still not keep up. Five years ago even, that didn’t seem realistic. And, more importantly, I can choose only trans and queer authors who are also Black, Indigenous, Māori, Pasifika, Asian, Arab, immigrant. It’s fucking delectable.
I’ve been feeling enthusiastic again about writing about books I’m reading. It became a chore rather than something I did for pleasure and fun a few years ago. But it feels like it’s a special time for the kind of writers I care about: trans and queer, Indigenous, Black, Brown, migrant … I want to say us who are not white and straight, but defining via a negative is apparently not how we do it even if it’s felt for a while like ‘straight, white, cis’ is a genre and a small one at that. Like how there’s serious literature and then manky sci-fi and all the weirdos doing unserious, b-grade, cult, trash ‘genre’.
And I’ve been feeling more enthusiastic about reading. I was stuck for a while, reading but not feeling the thrill of it, not getting lost with an author and their words. Part of that has been pandemic-attenuated focus; a long, dragging-on burnout (chronic fatigue, fuck knows what), and just heaps of stress, anxiety, the sads caused by way too much bullshit. Bullshit as in what gets called discrimination, transphobia, Islamophobia, anti-immigrant hate, and full-blown settler colonialism white supremacy which is very comfortable with doing genocide on us while white neoliberal centrists ‘both sides’ the fuck out of it all.
One of the reasons I stopped writing about reading was that I got too tied up in wanting to say everything and be intelligible, coherent, and all, like a good reviewer. I’m not that. I’m quite a bit of a bogan who uses fuck like nice people use commas. I’m looking at all these books and trying to remember them; it’s been a whole season since I read some.
Some I straight up didn’t like, or I did right up till they disappointed me. Cis women and queers (and some trans women) seem to love some 2nd Wave feminists and are all fingers in their ears when the copious evidence of their faves being TERFs and SWERFs is pointed out. So I was loving Kamilah Aisha Moon’s She Has a Name right up till she gave a whole page to Adrienne Rich. I don’t think it’s too much to say I can’t move beyond that knowing those same 2nd Wavers are still alive and as committed as ever to erasing trans people — especially and with particular violence trans girls, women, and femmes — from existence.
Randa Abdel-Fattah’s Coming of Age in the War on Terror reminded me of sitting in my flat in Charnwood Rd, East St. Kilda, having stayed up late for some reason, maybe to come down from doing an evening call centre shift and watching those planes missile into the World Trade Centre towers. And dreading knowing it was going to be Muslims who were blamed, and that gut-churn when the American news reporters started saying that so quickly. It felt like barely seven minutes had passed and no way they could have really known either way, but once that word had been uttered for the first time, with Bush as fraudulent President, with the last decade of Al-Qaeda, it was so clear what was coming. And I was a few years off then from finding out I myself was the child of a Muslim and grandchild of a Hijabi. Twenty War on Terror years later and it’s global open season on Muslim genocide, the Taliban is back in power in Afghanistan doing the same genocide on any Muslims not the right type. I just have this profound sadness.
Also in so-called Australia: Claire G. Coleman’s Lies, Damned Lies: A personal exploration of the impact of colonisation. I will always read her. That’s all. Except to say, if you’re a white person living on colonised Indigenous land, and you haven’t read her, it’s your job to. And everyone else should too.
Shon Faye’s The Transgender Issue: An Argument for Justice is specifically about trans people in Britain, and me spending way too much of decades of my life on this stuff, I think I’m not the intended reader. That audience would be you cis people who seriously need to educate yourselves. My main criticism is it struggles when talking about trans women who aren’t white. I often wonder about how whiteness recreates hierarchies of representation, visibility, inclusion and exclusion in trans women’s and femmes’ writing (and culture, community, and all). I see a lot of writing, fiction and non-fiction, and white trans women are the majority. I don’t think it’s enough to say, “I’m aware I’m white and …” as though that’s enough of a response in the structural, systemic, institutional racism in publishing — especially when writing about transphobia. And yes, trans women are an incredibly small segment of writers, and often just doing whatever to survive. So I read this with a constant internal reminder that yes, some of this is about me, but there’s a lot that’s missing.
Completely opposite, Akwake Emezi’s Pet. I’m saving for a separate post. They can write about trans femmes and women and girls any fucking time they want. I love them and they could eat my heart and take my soul and I’d be like, “Scary but worth it.”
It was Vass who introduced me to Nyla Rose, the Oneida, Native, Black American trans woman wrestler. And also told me about her hot af girlfriend. Talk about hot summer couple goals.
My t-shirts are now folded and stacked vertically like a record bin. I have finally achieved t-shirt critical mass.
Some I didn’t finish, some I didn’t start, some I’m reading by proximity until I get on to turning pages, some keep getting started and left when something I want to read immediately comes along, some just take me forever to finish.
Semi-alphabetically and fiction first (and I’m very out of practice with writing about what I’m reading):
Ben Aaronovitch is the not-TERF white dude writing actually good magical fantasy set in London. Yah, the main character is a cop and my current rule is “don’t engage with new stories if they humanise the piggos,” but I’ve been reading the series since 2017 when Gala slipped me one. What Abigail Did Last Summer is more Young Adult or whatever it gets called but my reading level is, “This. This I can read.’ I have the upcoming one on order, and that’s how I am with Ben.
More sci-fi with Charlie Jane Anders, and Victories Greater the Death is her best ever? I think so. Not enjoying waiting for the sequel though. Am enjoying the thought of it turned into a live-action series (movie?) with Wakanda’s own Michael B. Jordan.
I have been thinking about how many white trans femme or trans women authors and writers are about at the moment, how much media attention they’re getting (good attention, especially in traditional media; not talking TERF attention here), and how on Twitter (’cos that’s where the writers congregate) there’s a heap of interaction and interlinking between white trans women. And I’m wondering where all the Indigenous, Black, Blak, Brown trans femme and trans women authors and writers are and why the ones I do know, Claire G. Coleman for example, don’t seem to be interacting or being spoken about in the same sentence much. I mean I think I know why, eh.
Akwaeke Emezi and Zeyn Joukhadar (both trans but not trans femme or trans woman) I somehow place in the same space as Claire. All three have had media attention, but I’m trying to be specific on the dissonance I notice. I see white trans femmes being grouped together, and interacting on Twit and other online media — and likely the algorithms amplifying this, and feel like all the others are somehow isolated or separate. Which is one part of it. The other part is these three write about and live in spirit worlds. I feel that’s very familiar to me, and part of why they appear to me solid, multi-dimensional, in full colour. Part of why I’m drawn to them — even when it’s scary, ’cos just reading of spirit worlds draws attention to me, wakes the spirit worlds I know.
I read Charlie Jane Anders because she’s writing sci-fi and I’ve read her for years since the early days of io9. There were a number of other very high-profile novels published by white trans femmes and trans women last year, which I have no desire to read. I don’t care for the stories being told (and in one case think the story is well dodgy), and don’t feel much affinity at all with the authors. And I’m actually concerned (though not surprised) that whiteness is playing a substantial factor in trans femmes and trans women having any kind of success as writers and authors.
That’s a whole fucking convo there, so I’ll move on.
Becky Chambers I have a relationship to I don’t understand. I don’t think I’m a huge fan, but there’s something about her novels I really enjoy reading. I don’t think too hard beyond that and I keep buying them.
Genevieve Cogman though. I did get a kick out of her Invisible Library series, but The Dark Archive is where I’m stepping off. It was the ending, where the previous Big Bad turned out to be a diminutive bad who might actually be on the good side (I dunno, it was months ago now), and the true(?) Big Bad was revealed. Bait and switch is not a narrative device I enjoy unless there’s a huge amount of prior work to make me care, and six novels in feels way too late for such a plot twist.
Alastair Reynolds’ Inhibitor Phase wrapped up that massive universe (for the moment). He’s one of the two or three white cis dudes writing sci-fi I’ll read. It’s mainly because his space opera is so fucking epic. This one has a heap of his delicious weirdness he let loose in the Revenger trilogy, and being Reynolds, of course any celebration is swept away by the whole galaxy getting shafted a few hundred years after the end of this story.
Zeyn Joukhadar. If I was in my old days where I’d write a post per book and spew out hundreds of words, Zeyn would get extra. The Thirty Days of Night and The Map of Salt and Stars are my favourites of the year — and would be Books of the Year if I still did that — for personal reasons as well as he simply writes beautiful stories. And he’s queer and trans and Muslim and Arab, so duh highly unlikely I wouldn’t rate him.
Sliding from fiction to non-fiction, Massoud Hayoun’s When We Were Arabs covers some of the same ground as Zeyn Joukhadar, and reminded me of my father’s family, as well as a couple of moments which caused me to look very side eye at them and what ‘Turkish’ really means. Which is another stitch in the long, slow unravelling of family from that single sentence uttered over a decade ago, “That’s why your grandmother couldn’t stay, because the kitchen was not halal.”
Leanne Betasamosake Simpson’s As We Have Always Done comes from near the land I was born on and is probably the single most important book I read last year or last several years. Unlike a lot of the heavy politics I read, in books, in articles, on social networks, Simpson also describes ways out of the shithole mess colonialism and white supremacy have caused. I raved to everyone (pandemic everyone, that’s about 5 people) about this book more than once. That kind of book.
Audra Simpson’s Mohawk Interruptus, slightly further east from the other Simpson, I’m still reading. It’s one that got — haw haw — interrupted by other books. It’s one that I need to have the right attention for. Reading this together with the other Simpson is good, strong words.
Geraldine Heng’s The Invention of Race in the European Middle Ages is another I’ve raved to everyone about. And I was reading it in 2020, slow reader, me. I’m including it here again because … because it’s probably my non-fiction Book of the Year, over As We Have Always Done, which is a tough call. Settlers and Europeans need to know the history which led to colonialism, white supremacy, invasion, genocide, ongoing occupation of stolen land (as well as cisgender heteronormative supremacy as both a tool of those above systems and actions, and conversely a separate system and action which used those above as tools, a kind of reciprocal system of shit, but that’s not so much a topic for this book). They need to know the long, deep roots of these systems which go back most of the last two thousand years — not as ‘proto-racism’ or ‘not really racism, more like xenophobia’ or whatever, but as actual, recognisable, functioning racism. Racism at encompassing and conscious institutional, political, religious, community levels, and at individual levels. Knowing better how this emerged and evolved in the European Middle Ages makes it possible to understand more clearly Renaissance, Enlightenment, Industrial, and 20th / 21st century colonialism and racism. And that in turn makes it possible for non-Indigenous people to read Simpson and understand deeply what she’s saying and what’s required.
A bit of astronomy and space science now. And racism. Shit’s inescapable like that.
Ray and Cilla Norris’ Emu Dreaming: An Introduction to Australian Aboriginal Astronomy is really an intro, more of a pamphlet I was reading to educate myself on Indigenous astronomy which turns up a lot in my novels. And you’d be surprised at how much has been written on the subject. And by ‘surprised’ I mean not at all, and by ‘much’ I mean really fuck all, and the stuff that has is either paywalled academic papers or insanely expensive academic books.
Ronald Greeley’s Introduction to Planetary Geomorphology turned out also to be very Intro and missing all the fun of the 2015 New Horizons Pluto flyby. I love me all things space science though, so I keep buying these books.
Chanda Prescod Weinstein’s The Disordered Cosmos: A Journey into Dark Matter, Spacetime, & Dreams Deferred, is the one speaking about racism. Growing up Black and Jewish in East LA, going to Harvard, being queer and agender, these oppressions and marginalisations are inextricable. In my early-teens, I wanted to be an astronomer. Being a young, queer multiethnic trans femme back then — and so many of those words, their meanings, and how they were lived were not available back then — meant I failed out and dropped out of school way before that desire had a chance to bloom. Still love the stars though; still sad fuckall has changed in all the decades since.
I’m grouping these together: Tiffany M. Florvil’s Mobilizing Black Germany, Priyamvada Gopal’s Insurgent Empire, Johny Pitts’s Afropean, Asim Qureshi’s (ed.) I Refuse To Condemn. I haven’t finished any of these and at least one I’m unlikely to finish. They’re all important books. I really want to be enthusiastic about reading them. I’m just struggling with reading heavy shit (and there’s no way this stuff is not heavy) after two years of a fucking appallingly politicised and mismanaged pandemic response.
I’d almost put Adonia Lugo’s Bicycle / Race in with those. Maybe because I’ve been involved with racism and transphobia in professional / competitive cycling, as well a being very opinionated about bikes, walking, and public transport as the primary method of getting around in cities, and the need to massively reduce if not outright ban private cars and vehicles (yeah, I’m a devout hoon who loves the smell of hot engines and the sound of a redlining engine and I said that), I read this with hope and a bit of joy. I would absolutely do lazy laps of a city with Adonia.
And then there’s a few others I’m not going to mention, but the covers are below. All kinds of feelings and thoughts about all of them. This is already 2000 words and I needed to stop long before now.
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."