We See Through You #15

June 1, 2013

Hey whatup Maximum. I’ve bleached my roots, buzzed my sides, and after I finish this column I’m gonna do my nails, because I leave tomorrow on a two-month tour shilling this bright orange novel I wrote. I’ve cleaned out the car and I’m cooking all the food in the fridge, it’s pretty exciting.

Also last month’s column was some April Fools stuff. In reality if you’re sixteen and you suck at playing the songs you’ve written about how it sucks to be sixteen, I’d rather listen to you than pretty much anything else.

I wrote a column for this month while I was in Portland, Oregon a couple weeks ago that was all like “hipster this” and “it’s weird to see bands you’ve heard of in Maximum on the upcoming shows flyers in the windows of every bar here that” and “the riding a bike at night by myself after going to the queer punk show under trees when it’s kind of cold and beautiful and none of that other stuff matters other thing,” but when I reread it it was boring. Luckily I had a text document open on my computer that was just the words AGATHA, RVIVR, RAGANA, GROKE. Which sounds like an invocation when you string them together that way? Like I bet if you recite their names in that order thirteen times while looking into a darkened mirror at midnight they all show up in your basement and play so loud your house tumbles down. Give it a shot, let me know how it goes.

Hey speaking of invocations I think I mentioned RAGAN a couple months ago but didn’t really get into it- they’re two lady-type people (I think; I actually haven’t asked how anybody in this column identifies, so apologies in advance if I fuck it up, please let me know and I’ll try to fix it) from Olympia (I think) playing punk metal or whatever. They rule, they put out two EPs that are both up on their bandcamp, rararagana.bandcamp.com, which I’ve been playing kind of all the time. I put their backpatch on my hoodie. I know everybody hates witch stuff right now because somehow it became kind of cool for a minute and now we’re all over it but they play straightup witch metal. Their second EP Unbecoming came out in January and it’s even more intense than their first one, All’s Lost, which came out in June. They sing invocations and about growing and rotting and their song “666″ goes one, two, three, four, five, six, six, six, which is just like… that is how you write a metal chorus. Anyway both band members sing and I think they trade off between really loud and distorted baritone guitar and drums? That’s what it looks like in their youtube videos, I didn’t actually get to see them when they toured down from Olympia. Also they’re on hiatus because one of their members had to leave town to go to herb school, which is the most witch metal reason possible to put your band on hiatus. I’m not going to get into, like, Starhawk and chaos magic and candles here- Francesca is already gonna make fun of me for writing this sentence- but witch metal rules and RAGANA rules.

Oh I just looked at their tumblr- it’s called growsrots- and it looks like All’s Lost got reviewed in the March issue. Who knows where I was when that came out but I missed it, bummer. Anyway if any of this sounds interesting I think you can download both tapes for free from their bandcamp page.

I also want you to know that crusty queer Providence, Rhode Island dreamboats GROKE put out a tape in January! My band CORRESPONDENCES got to play with them a couple times when we were still all living in the same place and touring, they rule. Groke is noisy bass and drums and they play atmospheric drony crust. They also wrote the best song about being trans ever, titled “Dysphoria,” the lyrics of which are “You look more like me / Than I’ll ever look.”

Whoa weird, I’m looking at their bandcamp page now too- groke.bandcamp.com- and it looks like their demo came out last June and the Well Of Loneliness tape came out in January too. These are exactly the same months the RAGANA tapes came out. Spooky!

I’m also totally stoked on AGATHA right now. I feel like I’d been hearing about them for a minute but when I was in Portland my friend Kat’s thrash metal band (I can tell they are thrash metal because Kat plays drums like “what if Lars from Metallica was good”) (have I done my Lars impression here before? It goes like this: “hey guys I think I’m gonna alternate between the kick and the snare for the verse of this one”) LABRYSE put on a show titled Queer Aggression that was PAINTED DEBRIS, LABRYSE and AGATHA. PAINTED DEBRIS was this wingnut lady playing unreal and overwhelming eight-finger tapping guitar hero weirdness with a bunch of distortion and delay pedals and stuff; LABRYSE’s singer wasn’t there so they were instrumental lesbian thrash metal (I’m assuminag it’s okay to use the descriptor “lesbian” because their name is LABRYSE); and AGATHA were just, like, unreal.

I think they’re from Seattle? Their record is on Rumbletowne, I think you can download the whole thing for free on there- the URL’s got a bunch of slashes hyphens and stuff, just google it. I don’t know how folks in this band identify but it seemed clear that they weren’t just a bunch of dudes; I didn’t even want to buy a record because my debit card had already started getting declined and I needed the cash in my pocket to last through a trip to Philadelphia and back, but I ended up paying ten dollars for a record after they played a set of the like hardcore punk or whatever that they play. I think they play hardcore punk? None of the members of AGATHA seems to play much like any members of Metallica so I don’t really have a reference point. Lots of yelling and making me want to push someone, I think that’s hardcore punk right?

Anyway after they played I went up and I was like “Hey what was the second to last song you played, I want the record with that on it.” The singer was like “That one’s called Sissy Dang, it’s on the twelve inch,” so I bought the 12″. And it rules, I’ve been driving around town trying to get my shit together before I leave and banging my head at traffic lights to it; even better, they were like “Oh yeah, that one’s about the way the femininity is devalued in queer communities and how that’s bullshit” and I was like: that is exactly what I care about! Like, for real. So thanks AGATHA for being awesome, I’m totally stoked on your record.

Also on Rumbletowne is RVIVR! Who you probably don’t need me to tell you about right, RVIVR fuckin rules and I think everybody knows it. Their new record The Beauty Between is up on rvivr.bandcamp.com and it’s awesome too. Like in the last couple days I’ve been listening to PUNCH, AGATHA and RVIVR, depending on how intense I’m feeling. Like if my life were a Nintendo game with a little intensity gauge in the corner and if it was all red and SUPER AGGRO then PUNCH would play while I jumped on turtles, and if I was a little less aggro it would be AGATHA, and if I were a little less aggro than that and maybe kinda stoked then it would be RVIVR while I rode around on Yoshi or something.

One cool thing about the new RVIVR record is that they re-recorded the song “Paper Heart,” which was on a 7″ from a couple years ago. It is about feelings, it rules.

Another cool thing about RVIVR is that I’m doing a fucking reading with them! While we were putting together a reading in Olympia for this tour I talked to my friend Jess who talked to her friend Kelsey who is a librarian in Olympia. She was like, “okay the only day we have is a Friday but nobody shows up to Friday readings, do you know any Oly bands you’d want to play at your reading?” I panicked and blanked but Alex was like “RVIVR, duh,” so I was like, Oh yeah! RVIVR! Kelsey was like, “Okay great, they’re friends with the library, I’ll see what I can do.”

What.

Turns out RVIVR was into it and Mattie from RVIVR was like “oh yr column is cool” and I was like “oh thanks yr BAND is cool” and now I’m turning this column in a day late on March 6th and reading with fuckin RVIVR in Olympia on March 8th.

I’m feeling pretty lucky right now. Pretty stoked. Music right now rules and I have a book out and I get to go on tour with my girlfriend and our dog for the next month. If I get hit by a train or some shit on this tour I’m gonna be so fucking bummed. Anyway tour dates are up at topsidepress.com and you can buy the book there too… actually though by the time you’re reading this the ebook will probably be done and we’re going to put it up on the pirate bay so if your computer can read a pdf or whatever, you should be able to just go download it.

I guess I love the internet?

(May 2013)

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Slice Harvester #3

May 25, 2013

Vinci’s is literally the shittiest pizzeria I’ve been to thus far. Excuse the easy joke, but seriously, the awning was covered in a quantity of avian feces (bird doo) larger than I have ever seen in my life. There is a line between being unconcerned with convention regarding personal odor or clothing-dirtiness and being so filthy you get a butt rash and footrot and people are like, “Dude, come on! This isn’t even about ‘Fuck Society’ anymore, this is about your own health!” I have lived on both sides of that line, and trust me, there is nothing punk about having a yeast infection on your taint. And much like scaly grundle-skin is not the whole of the problem, but symptomatic of the colony of Candida Yeast festering within, so too, Vinci’s doodie-strewn awning hinted at greater ills lurking behind the doors.

Colin Atrophy- whose name is Colin Atrophy, not Colin Entropy, no matter what I wrote in Maximum Rocknroll that time- gave me all the issues of his zine Slice Harvester when he came to the release party for Nevada and I’ve been poking my way through them ever since. I think everything in the zines is online at sliceharvester.com but it feels better to me in my heart to read them on paper. I made everybody read this part from Slice Harvester #3 last night because I couldn’t stop laughing about it.

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NOS4A2

May 15, 2013

Oh yeah I have a blog! And since I woke up early, checked my bank account on a whim, saw that somebody had cashed an $800 check from it without me being involved, and now I am having hell of anxiety- before the Nevada tour, I can’t rememeber that last time I had $800 in my bank account- and waiting til the bank is open to go see if they will give me that money back, this seems like the perfect time to write in it.

So I just read Joe Hill’s NOS4A2. Y’know like Nosferatu as a vanity plate? I know that it is a terrible title, but speaking as someone who is partial to terrible titles (the working title of my next book is Keep The Piss Christ in Piss Christmas), I assure you: whatever. This is the best horror novel I’ve read in a really long time.

Before I get into it I want to tell you this: there’s a fucking intense scene where the tension is based around sexual assault/the threat of sexual assault, and so this book gets the ol’ rape culture tag and I can’t recommend it to you without qualification. I just want you to know. Oh also there’s some fatphobia, happy-ending-for-the-fat-guy-is-gastric-bypass-surgery stuff, although that character is three dimensional and interesting so in my opinion that wasn’t as intense as it could have been.

But if those aren’t a dealbreaker for you, and you like horror things? And Christmas monsters and cute demon children and magic bridges and stuff? IT IS SO GOOD.

Maybe you know that I have, like, a thing for Christmas. Maybe you don’t. Why would you. But I do! I fucking start playing Christmas carols on Thanksgiving and between the Christmas (Old Timey) and Christmas (New Timey) genre tags in my itunes thing, I have about a gig of Christmas mp3s… I guess it doesn’t sound like that much when you write it out. One damn gig. But I don’t think my first laptop even have a gig on it! I have a couple old laptops worth of Christmas music. Also I have a Love, Actually tattoo on my arm. It is a perverse relationship to Christmas but also a sweet uncomplicated one: I love a Christmas tree with little colored lights on it and snow outside and all that shit! Whatever, my point is just, I think that Joe Hill did a good job of taking the charge of feelings that comes from Christmas and making it a central creepy thing in NOS4A2.

I mean it is kind of a story about a vampire with a magic car but not really? It is kind of a story about a girl who can ride a bike or motorcycle to a bridge that fell in the water years ago that only exists in her mind which takes her to find things? And there is a dyke librarian who does, like, scrabblemancy. With a paperweight on her desk in the shape of a gun with “Property of A. Chekhov” inscribed in it, which shows up early on and comes into play in the fourth act. I don’t know man there’s just a lot of charming stuff here, especially if you’re a nerd maybe.

One thing that I think we’re not supposed to talk about- but which everybody always talks about- is that Joe Hill is Stephen King’s kid. I read a review somewhere where somebody was like “Joe Hill’s prose is tighter and less rambly than Stephen King’s, which makes it less scary,” which is fucking dumb. I mean, Stephen King is an obvious influence here, but Stephen King is an obvious influence on anybody who’se writing horror in 2013, it’s not like you can get away from him. And my thought while reading NOS4A2 was, like, this continual almost head-rush feeling of My god, this is everything that’s good about Uncle Steve without all the hokey dadisms and not-charming charm. Or whatever. Y’know, the stuff that’s been making us say for years that what Stephen King needs is a good editor? NOS4A2 reads kind of like what if Stephen King were having the best ideas of his life right now and had a good editor.

But not exactly like that. Joe Hill does this thing that as far as I know Stephen King has never done- and I’ve read a lot of Stephen King- where like, the tension will be getting thicker and thicker and piling on higher and higher until it seems almost unbearable, and then he’ll start describing characters or shadows or teeth or whatever in these creepy, impossibly long shadowed, almost cartoonish ways that put it over the top really effectively and all you can do is smile at how bad he’s got you in the palm of his hand.

I hated Joe Hill’s second book, Horns. I didn’t finish it. Something about it felt like he just… missed, with the cartoon stuff. It just kept piling on and feeling dumber and dumber, which I think is a risk you take when you write that way! And no matter how much I thought Horns was dumb, I appreciated that he was taking risks. And as I’m working on my own second novel and trying to figure out what kinds of risks are a good idea and what kind aren’t, I’m finding myself- especially in the context of how good NOS4A2 is- feeling really affectionate toward how much I hated Horns. I mean, I didn’t finish it and now I’m thinking maybe I should. There’s a used copy at Toadstool Books in town.

But anyway, when use the word cartoonish, I don’t mean it in a this-is-silly sense. I mean it like, here is the thing: horror is awesome. And horror is fun. And not to keep harping on the “hey you look like your dad” thing that nobody can ever shut up about with regard to Joe Hill, but it seems like Joe Hill gets that in a way that Stephen King never really did. The tall tale cartoon stuff isn’t dorky! It’s like, giddily replacing a child’s teeth with hooks and then having him live in a filthy Christmas tree. I don’t know if that reads as creepy to you out of context, but I feel like, in the context of a six hundred page novel or whatever, Hill gets giddy or vicious or sadistic in a way that I don’t think King- or any other modern horror writer I know about; comment with suggestions?- really gets.

Which isn’t to talk shit about Uncle Steve! Everybody says his Kennedy book was really good, but after reading all of Under The Dome and being like, “That’s it?” I’m a little less excited about his “people are the real monsters” thing and a lot more excited about Hill’s “monsters are the real monsters” thing.

MONSTERS ARE THE REAL MONSTERS

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Hey Maximum listen can I be serious for a minute? I want to be a real punk (instead of one of you fakeass punks, you know who you are) and go after some dumb punk rock orthodoxy this month. Like can we talk about the dumb old punk rock myth that you don’t have to know how to play an instrument in order to be in a punk band? I mean, technically you don’t, right- obviously, anybody can start a band. But if you suck at your instrument, do you really think anybody’s going to want to listen to you all wailing away out of tune? You can have a shitty band in your garage or your friend’s bedroom or whatever but like, when I go to a show and some dumb bunch of kids who can barely play their instruments starts wailing away and yelping about their feelings, it legitimately makes me question why I’m still a part of this scene when I’m this old. I’m like, I get it, being sixteen sucks, could you at least play a cool guitar solo or something when you’re not whining about it?

I don’t even know where this dumb myth started. It’s like, have you ever even listened to the music on the first punk record by the first punk band, Never Mind The Bollocks… It’s the Sex Pistols? They could play their instruments! They could all play in time and and while the singer wasn’t always in tune, at least his words were really intelligent.

Then when the second punk band came out- the Clash, obviously- they were even better! That’s why they got so popular and managed to put out six perfect albums over the course of eight years: not because they didn’t give a fuck about how to play a guitar, but because they did give a fuck. The whole reason they replaced the Sex Pistols in the media is because they were better at their instruments! If you listen to their classic single “I Fought The Law” which they wrote for their first record, it’s not super musically complex, but it works because the musicianship is so accomplished. I just watched a video of them playing it live from “Clash on Broadway” on YouTube and not just any drummer could play the tom roll that opens that song!

Or look at a more modern punk band, like the White Stripes. Sometimes their songs seem really simple but I have been playing guitar for almost two years and sometimes I have to practice their songs for like a whole afternoon to be able to play them all the way through! They play a lot of simple open chords but the arpeggiations can get kind of tricky sometimes and sometimes it’s hard to make a straightforward chord progression sound natural. Plus people give Meg White shit for playing kind of simple drum parts but in a band like the White Stripes it would be terrible if she was playing complicated fills and solos all the time! They’re a duo and Jack White fills up the space so much with his singing and fretboard pyrotechnics that it’s Meg’s restraint that makes the songs work. Tell that to every kid who just got a drumset and is trying to play like the guy from Primus!

Not to mention, the guitar solos in the White Stripes are amazing. Have you heard the thing he does where you can’t tell if it’s a guitar or like an electronic computer piano thing or something? It’s so amazing! I still don’t know how he does it.

By the way I also think a similar thing about zines. It’s like, hey you guys, if your writing was actually interesting or good, maybe a real magazine would be publishing it and you wouldn’t have to be doing it yourself? I guess I understand publishing your own writing because it’s not good enough for a magazine to publish it but then I’m like… But you want me to pay a dollar for this? Like, a dollar that I could spend on half a coffee? Get real, man.

And I mean we’ve all seen the thing happen where a band starts out shitty and then gets better. This isn’t, like, a miracle, or something mysterious that happens. This is the natural result of playing music for a while! Or more specifically, this is what happens when you give a fuck about what you’re doing with the short time you’re allocated on this earth in this life, when you care about your music and work to make it better. Like if you’ve been playing guitar for a while and you still can’t lay down a cool solo over like the key of A, it’s probably because you’re not trying very hard. You know? Just by nature of making up songs and playing them a bunch of times, you will get better at playing your instrument! And at making up songs.

If you care about playing music at all, you will get better at it. So why should everybody have to listen to your shitty learning process? Nobody listens to the first couple Beatles records from when they sucked and nobody ever listens to the first Nirvana record. You know why? Because those bands sucked when they started out! Those songs are interesting to listen to because when you listen to them you can hear those bands learning to play and write but it’s not like you listen to them because the songs are any good. I mean the first Nirvana album wasn’t even on a major label, it was on some weird little label called Sump Pop from Oregon.

And then what about this thing that happens when you’ve put in the practice time and you’ve written some bad songs and then learned to write better ones and your band starts to get some attention so you get invited to play some festivals and everybody just starts fucking judging you. It’s like, hello you guys, car companies know good music when they hear it, and all they are trying to do is reward people for making awesome music by giving them cars or money or socks or whatever it is you get for playing at a festival like that, or for putting out a record with a car company. Everybody just needs to chill out. I mean, being in a band is a lot of work! Not to mention if you got on tour with four people in your band and one roadie, it is not cheap to eat at Olive Garden every night! Where are bands supposed to get the money to fucking eat? What people don’t understand is that maybe back in the day it was messed up for bands to play festivals- like maybe “selling out” used to be a thing- but in these hard times for bands, with itunes and bad record sales and no MTV play, it is a whole new ball game. It’s messed up that some people will get mad at a band for taking advantage of the things that they have earned. Like, who are you to judge, with your shitty band playing in a shitty basement?

I guess my point is just, like, keep practicing, you guys. I read a story in Guitar Player magazine once where Alex Van Halen said that when he and Eddie were teenagers, Alex would go out drinking and partying and having fun every Friday and Saturday night, while Eddie would bring home a six-pack in the afternoon and drink the whole thing over the course of the evening while he practiced for six hours. And look how that worked out! Eddie put in the time and he got all the awesome rewards that he had earned: gold records, cool clothes- and he even got to be in a band with David Lee Roth for a while! What I’m saying is, that could be you! That could be any one of us. It could happen to any of us if we work hard enough. Like Gandhi said, “be the change you want to see in the world.”

***

Email me: imogen@keepyourbridgesburning.com

My novel Nevada comes out April 2nd but I’m gonna have copies with my while I start touring on it in early March. Dates should be up on keepyourbridgesburning.com and if you wanna read something with me (like as in, be a performer) in a town I’m gonna be at, let me know! I’ve only done shows with guitars and stuff instead of just, like, a book, and I’m terrified of being the only person performing at one of these shows. Also the official book release party is on April 2nd Manhattan. There’s gonna be wine and food! And queers and- I assume- a bunch of celebrities. Come crash it.

(note: this appeared in the April 2013 issue of Maximum Rocknroll and is stupid on purpose because it’s an April Fools’ Day joke.)

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We See Through You #13

April 1, 2013

Hey Maximum! How’s it going? This is my THIRTEENTH COLUMN which means it’s my one-year anniversary. Sick! Hell of thanks for letting me publish this thing, I’m pretty stoked about it.

For my one year anniversary I am going to tell you a story about my life.

2004 was a weird year to be trans. Like, widespread internet access made information about how to transition pretty much accessible, but most of that information was, like, written by middle-class and rich white women, for middle-class and rich white women. If you were looking you could find strap-on.org, which started off as the Chainsaw Records message board, which was a fuckin decade ahead of its time in terms of arguing on the internet and all the social justice stuff the kids can’t get enough of on tumblr these days. But if you were a dumb kid and the social justice language on strap-on scared the shit out of you, and you thought you might be trans but you didn’t want to grow up and be a Gap-shoping mom, it was a bleak scene: it was mostly internet tests that boiled down to “do you hate math? you are probably a girl.” It sucked.

I didn’t know what to do so I moved to New York.

I was like, I dunno, maybe moving to New York will turn me into the kind of person who’s able to bravely resist gender norms or whatever. It didn’t though. Moving to New York just meant everything was expensive as fuck and the bars didn’t close til 4 AM. I moved there with a girl I was dating, she broke up with me pretty much immediately, I got a job at the Strand, and then I spent all my time blogging about gender and feelings.

Dude, I blogged hard.

(I was listening to a bunch of abrasive electronic music right around then- like Kid 606 and this guy Poisson D’Avril, who I don’t think ever put out a record- and a friend gave me some electronic music software for my dumb old computer and I spent a few months trying to be a tough electronic hardcore musician- it’s pretty funny, I put the complete and inept thirteen-minute discography up at fighterhayabusa.bandcamp.com if you wanna laugh at me from eight years ago.)

I was like, how the fuck am I supposed to be trans, trans women are all either, like, boring and hungry for respectability, or else they are way cooler and more self-assured than my dumb punker doofus idiot ass is ever gonna be. Some friends were like, look, come to this thing called the Trans Health Conference in Philly, it’ll be cool, hang out with trans people, maybe it’ll help. So I was like, uh, okay.

The Trans Health Conference is still around and it’s become this big deal thing every year and I’ve done workshops there and stuff and from the perspective of a radical/punk/queer/gross/hesher/dumbass trans woman who’s been exhausted for years by the way dyke, queer and “trans” communities bend over backwards to be inclusive toward trans men without giving a single half fuck about trans women, it gets worse and worse every year. But even back then it was pretty busy and multiple workshops were scheduled at a time. The friends I was with were going to some workshop that I don’t remember anything about but lo and fucking behold, dude, somebody was literally doing a workshop called The Trans Punk Perspective!

I was like, uhhh, okay, I guess I’ll see you all later, and stumbled up the stairs on shaky baby deer legs, terrified that everybody there would be so cool I’d get laughed out of the room for looking like a herb. But what the fuck was I gonna do, not go to this thing? So I went into this little room and sat in the back and the two women who were leading it passed around a zine that one of them had made specifically for the workshop and then spent the next hour making fun of each other. They were covered in tattoos and they both seemed kind of surprised that they were in charge of a workshop, and they both had weird hair and dumb glasses, and like, I found out later that Sybil was hella stoned and drunk. I didn’t talk to her then but Anne Tagonist, who had written zines about being trans in the nineties and who basically is this smart wingnut who I look up to even though I don’t really look up to anyone, she was totally there too, talking about anarchy and bikes.

But that was it.

That was my sun coming out from behind the clouds revelation moment.

I was like hold up, I can dye my hair stupid colors and cut it weird, cuss a lot, be a fuckup, get tattoos and make zines and be trans? Are you… are you sure about this? Suddenly this whole other life was possible.

I grew up and now I’m friends with the presenters. Alyssa told me that she did that workshop because she didn’t know any other punk trans women except Sybil and she wanted to make a thing finally fucking happen and Sybil was like, okay, I’ll do it, but then right before the workshop Sybil got nervous so she got all stoned and that’s why the workshop ended up going off the rails and being a clusterfuck. But I guess that’s the magic though, right? You can’t kill it. And it worked- eight years later, I know hell of punker trans women! Who play in bands and mentor younger punk trans women and cultivate this, like, sub-subculture or whatever.

I guess my whole point of bringing this up is that I seriously literally owe everything cool that came up in my life to that dumb workshop they did in 2004. Punkers, man, bein all stupid and saving lives. That shit is real.

The second part of this column is that I want to tell you that I have a book coming out. I wrote a novel about this stuff. I mean, if you’ve been paying attention to this column for the last year, I have a lot of trouble shutting the fuck up about it, because I’m fuckin’ stoked. Seriously. I wrote this novel about trans women for trans women and it’s about this girl who is a borderline punker and about how hard it is to find a mentor and, like, if I may, I want to quote three hundred and fifty words from the 1970s classic of feminist psychology Toward A New Psychology Of Women by Jean Baker Miller.

Over time, we can see certain characteristics in the writings of an oppressed group. Initially, many writers work to dispel the false ideas which have been purveyed about the group. Dispelling falsities is very valuable. Along with it, however, a tendency often emerges to ‘prove’ that the oppressed group is ‘just as good as the so-called first rate people’ and should be treated in the same way. In seeking to prove this, writers often accept the standards and values of the dominant group, either wittingly or unwittingly. They often assumed that the dominant group’s method of advancing knowledge is the best of only method. Indeed, academic disciplines exert heavy pressure on everyone to believe this, and they tend to penalize and silence those who deviate from it.

Once the period of dispelling falsities is under way, the ability emerges to see the experience of the oppressed or “second-class people” in their own terms – and to see that these terms can open up a greater understanding not only of the second-class people but of everyone. It then becomes clearer that the categories and even the words used by the dominant group are not appropriate. The words usually tend to systematically downgrade and obscure the experience of the dominant group. If writers search for more appropriate terms, they depart from the usually categories and assumptions. They then see the experience of the dominant group in a new light, in terms that can illuminate that experience as well as the total human experience.

This new scholarship leads to the recognition that the descriptions of the events in the lives of the subordinate group were inadequate, as were those used to describe the dominant group. [...] …the close study of an oppressed group reveals that a dominant group inevitably describes a subordinate group falsely in terms derived from its own systems of thought. These same false categories guide the dominant group’s explanations about itself. Once writers see the inadequacy of these terms, they have to find new ones. And once they begin to find new ones, they see that the systems of thought which contained such false terms are seriously flawed in their basic assumptions, which had previously defined everything.

I’m obsessed with this.This seems so applicable to where trans women are at right now- there’s hella trans memoirs and a bunch of trans fiction but I mean, not to dork out, but the central thing about most trans stuff that’s out there right now is that it’s designed to explain trans people to cis people. Like, it’s about the fact that being trans is a priori interesting. This reifies cultural norms in which trans people are other, are less than- are in a place where we need to explain ourselves. But I’ve known trans women who’ve been saying otherwise for over a fuckin decade and it feels kind of like, any day, this shit is gonna bubble over.

I’m not saying I’ve solved it or anything- I may in fact have written a fucked up book that’ll set trans women as a whole back a couple decades. I dunno. But I have this novel called Nevada coming out from Topside Press in April and it’s about a trans woman who’s smart but also a fucking catastrophe who has an ill-conceived personal odyssey of shitty mentorship or something… It doesn’t have much about her transition in it and all the sex in it is really bad so it’s kind of like, if you’re looking for a book that explains trans people to you, this might not be it. Like… I dunno, man, I feel like I got to write this thing that I’d been wanting to read for fucking forever and it’s weird and cool that Topside Press is letting me publish it and I’m not trying to be a capitalist asshole and advertise it here- if you wanna read it but you’re broke and wanna trade or work something out email imogen@keepyourbridgesburning.com, seriously, let’s talk- especially if you’re in prison- it’s just, like, I feel stoked that I get to do stuff in the tradition of the 2004 Trans Punk Perspective workshop at THC almost a decade ago. Like imagine if some kid was reading this right now and was like, fuck, nobody STILL ever talks about being a trans woman punker, I feel heck of lonely. How sick would that be! Dude, email me if that’s you. Let’s hang out, I wanna come to your town. Don’t get a tattoo of the transgender symbol. Trust me.

I’m gonna be touring on it from the beginning of March to the end of April and then again at the end of the summer I think and if you wanna come and hang out, that would fuckin rule. Tour dates are probably at topsidepress.com/nevada although I’m writing this a couple months in advance so if that doesn’t work, y’know, I bet you can work google.. I’m also tryna get RVIVR to play my reading in Olympia. How rad would that be? Haha. What the fuck. Book punk. Gross.

But I guess that’s all I want to say. I’ll shut the fuck up about myself (yeah right) and write about bands next month. And maybe tumblr? The kids are using tumblr right now in a manner that is punk as fuck, if you didn’t know. Also: check out this band Ragana, trust me.

(March 2013)

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