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    [post_content] => 

There's much to celebrate in the rise of exvangelical literature. But why isn't there more focus on the people evangelicalism hurts most?

In 2016, writer Blake Chastain created the Exvangelical Facebook group as a perk for Patreon supporters of his then-new podcast, also called Exvangelical. It was a label he’d originally coined in a hashtag on Twitter, where it had quickly gained traction as a way for people who’d left evangelicalism to find each other online. The Facebook group was, in many ways, an extension of the hashtag’s original mission of helping former evangelicals who “got it" connect with others for discussion and emotional support. I was an admin from early on, and we soon opened up the group to anyone who needed it. By the time I left my admin role in 2021, the group had ballooned to over 10,000 members—all people who wanted to connect with others who had left evangelicalism behind.

The efforts Chastain and I made were part of a broader phenomenon. Along with Emily Joy Allison, R.L. Stollar, Tori Douglass, Jamie Lee Finch, Cindy Wang Brandt, D.L. Mayfield, and a number of others with varying emphases and approaches, we hoped to help foster discussion and a sense of survivors’ community among some very online folks who had been harmed by (mostly white) conservative evangelical Protestantism—people who, for the most part, grew up evangelical and whose childhood socialization was thus twisted by indoctrination into false and often discriminatory beliefs.

Since those early days, the exvangelical movement has only grown, and we’ve now arrived at a place where exvangelicals have broken into mainstream American nonfiction, with NPR journalist and fellow exvangelical Sarah McCammon’s The Exvangelicals: Loving, Living, and Leaving the White Evangelical Church (St. Martin’s Press, 2024) quickly becoming a New York Times bestseller earlier this year. McCammon’s book wasn’t the first to address exvangelical experiences, and it won’t be the last, but it certainly made the biggest splash so far.

Its breakthrough also marked an important milestone for the loose movement of exvies: Many of us have been hoping to expose the damage that evangelical theology causes not only to people—and especially children—within evangelical communities, but also to American society and politics writ large. For the most part, McCammon’s book did just that, as have other recent additions to the exvangelical canon, including Chastain’s book, Exvangelical and Beyond: How American Christianity Went Radical and the Movement that’s Fighting Back (TarcherPerigee, 2024), released just last month. Yet while I’m glad to see literature from and about exvangelicals blossoming, I’ve simultaneously found myself frustrated with what—and who—many of these books have left out; most notably, the voices and stories of atheist and agnostic exvangelicals, queer exvangelicals, and exvangelicals of color.

Evangelicals’ extreme right-wing politics does wide-ranging harm, and it’s pivotal that the American and global publics are informed of how this form of Christianity is far from benign. Unfortunately, Christian privilege makes accepting this an uphill battle for many—even, sometimes, amongst religious exvangelicals. This makes uplifting a diversity of exvangelical voices all the more important, both in literature and otherwise. It’s also why, despite some caveats, I’m still celebrating that, after years of getting occasional press from scrappy hashtagging (#EmptyThePews, #ChurchToo, #ExposeChristianSchools), we’re starting to see a stream of books that are reaching a wider audience, including McCammon’s and Chastain’s new books, and Allison’s 2021 work on abuse in evangelical institutions, which builds on the #ChurchToo movement she started. Other notable books include Sarah Stankorb’s Disobedient Women: How a Small Group of Faithful Women Exposed Abuse, Brought Down Powerful Pastors, and Ignited an Evangelical Reckoning (Worthy Publishing, 2023) and Linda Kay Klein’s Pure: Inside the Evangelical Movement that Shamed a Generation of Young Women and How I Broke Free (Touchstone, 2018). These are all valuable contributions with respect to exposing evangelicalism’s harm—but in my view, Klein’s and McCammon’s books in particular are too invested in “saving” Christianity and a reverent view of Jesus, instead of focusing on the people most harmed by the religion they’ve left.

Take McCammon’s book, for example, which is more of a memoir situated in a broader social context and less an account of the movement at large. It quotes a few other exvangelicals, including myself, providing much-needed context on the diversity of those of us who have left the church. But it also largely focuses on exvangelical voices hesitant to fully denounce the religion as a whole. I appreciate that McCammon minces no words about evangelicals’ “culture of systematic and spiritualized child abuse,” which includes a ‘divine mandate’ to spank. Unfortunately, McCammon balances that perfectly valid straight talk with an unnecessary emphasis on evangelical parents’ good intentions. For instance, she describes a situation where an evangelical mother set her daughter up to believe her mother had been “raptured” and that she, the daughter, had been left behind to face apocalyptic horrors due to her insufficient faith—every evangelical child’s nightmare. But a few paragraphs later, McCammon notes that the daughter still describes her now late mother as “a saint.” She might have used this point to emphasize how victims often sympathize with their abusers, but she doesn’t, and in context it’s clear that McCammon, too, is still overly sympathetic to evangelicals. Why not also quote an exvangelical who, correctly, blames their parents for this kind of socio-psychological abuse and is unwilling to downplay its significance?  Exvangelical literature might also hit harder if it held more space for exvangelical agnostics and atheists, and was more uncompromisingly critical about evangelicals instead of, too often, making excuses for them.

To their credit, Chastain, McCammon, Allison, Klein, and Stankorb all take religious trauma seriously, in their books and otherwise. Laura E. Anderson, cofounder of the Religious Trauma Institute, discusses this trauma and the path to healing from it in her own book, When Religion Hurts You: Healing from Religious Trauma and the Impact of High-Control Religion (Brazos, 2023). Anderson’s book journey started when many of her clients from evangelical backgrounds began describing their distress over their families rallying around Donald Trump in 2016. She wasn’t the only one to notice this, and the way the election brought exvangelicals together: 2016 was pivotal for the rise of the exvangelical movement as what Chastain calls a “counterpublic,” a discursive space—think of alternative and queer newspapers and zines, for example—created by and for a community that is largely locked out of the mainstream public sphere. People had been leaving evangelicalism and other high-control religions forever, of course, but before 2016, there was no collective identity for former evangelicals, however loose. Chastain’s media and public sphere studies approach is also what allows him to build a convincing argument that what started among former evangelicals in 2016 could be classified as a movement.

Those of us involved in the early iteration of the Exvangelical Facebook group immediately recognized this, as well as the need to connect with others as an integral part of processing the deconstruction of our faith, previously an extremely isolating experience. Like any sort of fundamentalism, evangelical Christianity demands total subordination of one’s personality, attitudes, relationships, preferences, and goals to its theology. Those with even a hint of “wrong” belief are ostracized (or “holy ghosted”), as Chastain and his wife Emily experienced when they informed the leadership of one church they attended and volunteered for, that they supported equal partnership in marriage. Their position fell afoul of the church’s patriarchal theology of “complementarianism,” which demands that husbands lead and wives submit. The Chastains wanted to discuss the topic openly, since it was the reason they had never become formal members of the church despite valuing its community and taking on important roles within it.

“We planned to discuss the issue over the course of a year, but those dialogues broke down after the very first meeting,” he writes in Exvangelical and Beyond. “It became too much, and we decided to leave. We sent an email to the leadership, and that was that. Friends and acquaintances from church stopped reaching out. We lost our entire support network overnight.”

Chastain’s account of this experience aptly illustrates that, while the first self-identified exvangelicals were largely a very online group of people having niche discussions on Facebook and Twitter, they were doing so because of painful and powerful experiences offline. It was also clear that these offline experiences disproportionately hurt some groups of people more than others. Facebook groups provide their admins with members’ demographic data, and we noticed, as the Exvangelical group grew, that the membership remained disproportionately female. It seemed to veer disproportionately queer, as well (anecdotally, discussions about homosexuality, bisexuality, pansexuality, aroace experiences, trans issues, and so forth comprised much of the group’s content). Although Facebook groups don’t track race and ethnicity, it was clear that the group also skewed extremely white—an inevitability given that evangelicalism is a predominantly white and white supremacist Protestant tradition, and a concern that we attempted to address by strongly encouraging antiracist education and diversifying the group leadership to the extent possible.

That the movement is both largely queer and disproportionately shaped by women is something that needs to be much more explicitly and thoroughly explored in the burgeoning literature about exvies. Anderson’s perspective on healing from religious trauma is invaluable, for example, but despite chapters on relating to one’s body and reclaiming one’s sexuality and pleasure, she devotes only a few pages specifically to queer folks. Although Chastain does well in addressing the queerness of the exvangelical movement, his detailed analysis of LGBTQ exvangelicals occupies one chapter—a chapter that, unfortunately, only highlights the work of queer exvies who have reclaimed Christianity or at least some form of spirituality. In fact, atheist and agnostic exvangelicals are only briefly mentioned in the book’s introduction. But the vast majority of queer Americans are nonreligious. This is very likely also true of queer exvangelical Americans specifically. In contrast to queer exvies invested in reclaiming Christianity, queer secular exvies may not have organized as such or created hashtags that combine secularism and queerness, but we also deserve attention, as do nonreligious exvangelicals in general. (Admittedly, Chastain’s media studies framework places that work largely beyond the scope of his book.)

As for McCammon, a major theme of her book is how her parents’ homophobic and exclusionary religious beliefs kept her from having a relationship with her gay, nonbelieving grandfather until she was an adult, and how meaningful that relationship became to her. While her account of this story is poignant and moving, she doesn’t expound on the alienation of queer people as they grow up evangelical, and she touches only very briefly on trans experiences. She interviewed me (a transgender woman) for the book, but she only quotes me on my regret about harming other queer people when I was younger (and not yet out to myself) with my “love the sinner, hate the sin” comments and internalized queerphobia.

Meanwhile, on race, McCammon affords a lot of space to Christians of color who are highly critical of exvangelicals. I understand providing these voices space out of fairness, and agree that white exvangelicals need to work not to conflate evangelical theology with all of Christianity. But why not also talk to exvangelicals of color, like the above-mentioned Douglass, who is a podcaster and antiracist educator? Or perhaps interview Scott Okamoto, a Japanese-American Gen-Xer and podcaster who spent over a decade teaching at an evangelical university in southern California? After trying and failing to fight racism and queerphobia there, he eventually lost his faith and leaned into both his Asian and nonbelieving identities. In the process, Okamoto found community outside the university he gave so much to, leaving that world behind. He tells his remarkable story in Asian American Apostate: Losing Religion and Finding Myself at an Evangelical University (Lake Drive Books, 2023), a by turns enraging, laugh out loud funny, and deeply moving memoir. (Full disclosure: David Morris, who owns the small press Lake Drive Books and Hyponomous Consulting, is representing me on a book project that is in progress.)

I would also recommend a recent queer exvangelical memoir, Amber Cantorna-Wylde’s Out of Focus: My Story of Sexuality, Shame, and Toxic Evangelicalism (Westminster John Knox Press, 2023). Wylde describes growing up in Colorado Springs, an epicenter of American evangelicalism from the early 1990s. She also grew up as the daughter of an executive at Focus on the Family, the notorious anti-LGBTQ organization founded by James Dobson, a psychologist influenced by eugenics who built a media empire around offering authoritarian Christian parenting advice over the radio. Cantorna-Wylde’s father produced FOTF’s Adventures in Odyssey radio show for evangelical children, and Cantorna-Wylde herself voiced one of the main characters. As a result of this upbringing, self-acceptance as a lesbian was difficult for her, as she had to forgo the support of parents who remain unwilling to accept her. The trauma has left her with chronic pain, but her memoir is still somehow hopeful, and powerful, as it recounts her journey of self-acceptance and finding support outside the evangelical community.

To be sure, there are some (often cishet) exvangelicals whose journey out of high-control Christianity was largely intellectual, at least at first. One such story is recounted in Karie Luidens’ genre-defying In the End: A Memoir about Faith and a Novel about Doubt (Leftfield 2024), and there are other examples in the 2019 essay collection I coedited with Lauren O’Neal, Empty the Pews: Stories of Leaving the Church. These stories often end in agnosticism and atheism, as one might expect, but it’s worth noting that there are other paths to secularism and that narratives of doubt don’t always end there. Importantly, contrary to what most of the burgeoning literature suggests, these stories indicate the exvangelical movement as such is not dedicated to “saving” Jesus or Christianity, and recognizes that some people who leave high control Christianity behind will find a healthier path in atheism or agnosticism, while others will embrace progressive and inclusive faiths of varying kinds.

But of course, none of these books got the same attention that McCammon’s did. Moving forward, I hope to see exvangelical literature queered, vocally angrier, and more inclusive of BIPOC and atheist and agnostic former evangelicals, because evangelicalism—a form of Christianity whose adherents uphold white, cisgender, heterosexual patriarchal and anti-pluralist values —has no tolerance for those of us who exist outside of these realities. I also hope that those who have read or plan to read McCammon will not stop there, but will check out other authors like Okamoto, Wylde, and Chastain.

Exvangelical Americans and others who have been harmed by high-control religion deserve a seat at the table, especially when the religious communities we come out of still have such immense political power. There are many stories to tell, and my hope is that McCammon’s deserved success will push more publishers to print ever braver stories, reaching wider audiences. These stories might just help bring about a more functional, pluralist, and inclusive future, and not just for exvangelicals.

[post_title] => What Mainstream Exvangelical Books Leave Out [post_excerpt] => There's much to celebrate in the rise of exvangelical literature. But why isn't there more focus on the people evangelicalism hurts most? [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => exvangelicals-evangelicalism-church-christianity-religion-books-blake-chastain-sarah-mccammon-memoir-abuse [to_ping] => [pinged] => [post_modified] => 2024-10-30 20:30:31 [post_modified_gmt] => 2024-10-30 20:30:31 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=7373 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
The word "exvangelicalism" stamped over and over beneath itself, with slight overlap, losing ink with each word.

What Mainstream Exvangelical Books Leave Out

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From Joni Mitchell to nuclear apocalypse and everything in between.

The cover for Nuclear War: A Scenario by Annie Jacobsen. It shows a photo of a mushroom cloud with big white text over it.

Nuclear War: A Scenario by Annie Jacobsen

This is, without a doubt, one of the scariest books I've ever read, and one I haven't stopped thinking about since I finished reading it. Told in astonishing detail (the majority of the book takes place over the course of an hour), Nuclear War posits a play-by-play of what would happen in the immediate aftermath of a nuclear strike on the United States. In Jacobsen's hypothetical, the ensuing fallout is swift and apocalyptic; something made all the more vivid by her astonishing reporting. Early in the book, I gained a newfound understanding of doomsday preppers, and became convinced that I, too, should start stockpiling drinking water and saving up money for an underground bunker. By the end, I'd given up on the idea entirely, because of how fruitless my preparations would be against the reality of nuclear war. Both are a testament to Jacobsen's incredible work, which so deftly shows the precariousness of nuclear deterrence and the unimaginable horror (and stupidity) of mutually assured destruction.

—Gina Mei

Brother of the More Famous Jack by Barbara Trapido

First published in 1982, it's a delightful, irreverent coming of age novel about falling in love—with a boy, but more so with his family. Importantly, it's a refreshing change of speed from some of the heavier news of late. 

—Anna Lind-Guzik

The cover for Brother of the More Famous Jack by Barbara Trapido. It has an illustration of the back of a person wearing a black turtleneck, mini skirt, and stockings, holding their heels in their hand.
The book cove for New York, My Village by Uwem Akpan. On a yellow background, it has a painting of a colorful book with the title on it. In front of the book is a fork.

New York, My Village by Uwen Akpan

After being on my bookshelf for the last two years, I finally decided to read New York, My Village by Uwen Akpan three years after it was published; I wish I'd read it sooner. In a fictional narrative, a Nigerian editor, Ekong, of the Anaang people—a minority group from the Niger Delta—visits New York City as a publishing house fellow while also working on a Biafra War anthology. For a subject as sensitive as the Biafra War, the author manages to be be both bold and funny in his rendition of how Nigerian ethnic minorities have viewed the war—often overlooked entirely—while demonstrating how his home country's divisions and differences on race, immigration, and history are not too dissimilar from what he experiences in New York. At times, especially in the middle chapters, the dialogue and plot can take rather far-fetched turns, but perhaps part of the amusement of Ekong's story is that they do. I originally picked it up because I think the subject of the Biafra War is difficult to discuss, whether as fiction or nonfiction, and so many perspectives are often lacking the dimension of minority viewpoints that Ekong and his cast of characters engage in, unashamedly. For that reason alone, it was a refreshing read for me personally, even considering the hyperbole that the read accompanied.

—Kovie Biakolo

Traveling: On The Path of Joni Mitchell by Ann Powers

The new book about Joni Mitchell from NPR Music critic Ann Powers goes far beyond mere biography; it's also a reflection on how our culture defines "genius" (and how gendered that term can be!), and how our own individual perspectives influence our devotion to the artists we love. Powers' depth of research makes the book thrilling for longtime Joni aficionados, and her approach—a genuine but circumspect curiosity about this much-vaunted and perhaps misunderstood artist—welcomes newer fans to the fold, too.

—Marissa Lorusso

The book cover for Traveling by Ann Powers. It has a black and white photo of Joni Mitchell playing an acoustic guitar on a bright orange background, with the words Traveling in yellow repeated over it, getting more faded with each.
The cover for In Limbo by Deb J. J. Lee. It has an illustration of a young Korean American adolescent seemingly floating in water, colorful from the reflection of everything around it.

In Limbo by Deb J.J. Lee

This graphic novels follows the ups and downs of being a Korean-American teenager, with moving commentary on mental health and strained parental relationships. Although my upbringing differed from Lee’s, I saw so much of myself in their story. Beyond the touching narrative, the illustrations are insane. The level of detail is so intricate and intimate. It’s easy to get lost in every page.

—Kiera Wright-Ruiz

[post_title] => What We're Reading This Fall [post_excerpt] => From Joni Mitchell to nuclear apocalypse and everything in between. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => fall-reads-2024-books-nuclear-war-joni-mitchell-new-york-my-village-in-limbo-novels-nonfiction [to_ping] => [pinged] => [post_modified] => 2025-02-11 18:21:04 [post_modified_gmt] => 2025-02-11 18:21:04 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=7205 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )

What We’re Reading This Fall

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In her new memoir "Rebel Girl," riot grrrl pioneer Kathleen Hanna reckons with her mistakes.

When I first saw Bikini Kill perform live in 2022, it felt like a long time coming. The groundbreaking feminist punk band hadn’t toured in two decades, and in the intervening years, legions of listeners like me had become devout fans, and frontwoman Kathleen Hanna something of an unwitting feminist icon. Most of us figured we’d never actually get the chance to see her, Kathi Wilcox, Billy Karren, and Tobi Vail together on stage again—at least, not like in the band’s heyday. Bikini Kill’s live shows were the stuff of legends: brash refutations of macho-dude punks, where the band tore through fierce odes to feminist solidarity, and Hanna yelled into the mic about wanting “revolution, girl-style, now”—famously demanding, at every show, that the crowd make space for young women to come up to the front of the room. 

But that was 20 years ago. The three women I watched on stage in New York (Karren didn’t join the reunion tour) were not the same young punks who’d played in grungy basements in the ’90s. They were a couple decades older and wiser; still committed to their feminist principles, but changed, years of experience and new perspectives now coloring their rallying cries. At the show I saw, Hanna’s slogan—“Girls to the front!”—got an overdue, if slightly clunky, corrective. It wasn’t just girls who deserved space at these shows, Hanna explained. Nonbinary people deserved to occupy that space, too, as did trans men—anyone who usually got shoved aside. It made sense to me that Hanna would reject—or at least reframe—her original sentiment, even if it temporarily robbed the iconic phrase of some of its power. The context around Hanna had changed, and punk had, too: Where she used to look out from the stage and see only a handful of young women, their views blocked by a moshpit of guys, she now saw a respectful, diverse crowd who didn’t have to be asked to make space for each other, because they’d already done it themselves.  

I thought about this shift in punk feminism while reading Rebel Girl, Hanna’s new memoir, released last month. It’s a dense, often chaotic book that careens through Hanna’s fascinating life: her difficult childhood, her entrée into the punk scene, her early days on tour with Bikini Kill, then later as a solo artist and with Le Tigre and The Julie Ruin. Throughout, Hanna grapples with what it means to be an artist and an activist, and how the sexist conditions for women in rock music have—and haven’t—changed since she first started making music. Hanna makes it clear that she never set out to become a feminist icon (she started a band, she writes, simply because she wanted “to be heard”), and that riot grrrl was always intended to be an anti-hierarchical movement, without a clear, singular leader. Maybe this is why what struck me most while reading Rebel Girl wasn’t Hanna’s righteousness, or her many triumphs, but the way she acknowledged her shortcomings—and the failures of the riot grrrl movement she helped pioneer. 

With startling honesty, Hanna reflects over and over on the ignorance afforded to her by her privilege, a rare thing to witness from a celebrity of her magnitude. In one incident, she writes about offending Kurt Cobain, whom she’d initially befriended over their shared feminist politics. He’d gotten icy after she gifted him a copy of an inflammatory manifesto, and Hanna realized he may have felt like she was lording her expensive college education over him—“acting like Ms. Smarty Pants College Girl who had come to educate dumb working-class Kurt,” as she puts it, despite having worked as a stripper to make ends meet when she was a student. It was a crucial moment in her early understanding of intersectionality. “Being constantly put down as a woman,” she writes, “had blinded me to my own power to hurt people.” 

Eventually, she’d witness this same lack of awareness in her peers. On one occasion, she writes about organizing a workshop called “Unlearning Racism” at a riot grrrl conference, and quickly realizing how few of her fellow white feminists had begun to think about—never mind concretely take action against—the intersecting oppressions women of color faced within the punk scene and more generally. Again, Hanna acknowledges her ignorance. “I realized that day that many BIPOC women were as disappointed in white punk feminists as I’d been by white male punks,” she writes. “And that was the problem…I hadn’t seen how so much of our punk feminism was really just white feminism.” 

It’s not an entirely self-recriminating book. Hanna, too, has suffered plenty under the patriarchy, and more than anything else, her main nemesis throughout Rebel Girl is the unending violence she’s experienced at the hands of men: the abusive behavior of her father, betrayal and assault from trusted friends, and all manner of stalkers, creepy sound guys, and violent showgoers on tour. The book, too, is filled with moments of joy: Hanna finding her voice as a singer, witnessing her music connect with young women around the world, falling in love, starting a family. Hanna has long sat among my personal pantheon of feminist heroes, and it was enthralling to encounter the magic and power of her art throughout the book, and to peek behind the curtain of a creative life I’ve long admired. 

But it’s the moments of tension, disappointment, and misjudgment in Rebel Girl that I still keep returning to. When I first fell in love with the moral certitude of Bikini Kill’s lyrics, it was easy to assume a certain kind of ethical perfection on the part of their author. These stories—laced with choices I didn’t always agree with—reveal a bigger, more complicated picture, one that was deeply humanizing and, in its own way, comforting to me as a reader. Over the years, I’ve loved Hanna’s creative output and been inspired by her commitment to feminism. But like her, I’ve made plenty of my own mistakes and failed to live up to my values innumerable times. Rather than absolution, Hanna’s confessions function as an honest acknowledgement of an uncomfortable truth: staying true to your values in a world that doesn’t always align with them means constantly making hard decisions. By her own admission, she didn’t always get it right. 

When I finished reading Rebel Girl, I thought again about that moment when Hanna talked about “girls to the front” in New York. The fact that times have changed doesn’t mean the slogan had been unimpeachable in the ’90s; if anything, Hanna’s relatively tame qualifiers of today would have been far more punk if she’d said them then. But just because her rallying cry wasn't perfect doesn’t take away from the many people it inspired—and just because Hanna didn’t notice its limits then doesn’t disqualify her from seeing them and changing things now. Riot grrrl was a flawed movement, and Hanna a flawed person. Any version of history that ignores that fact erases the reality of what the feminist struggle actually looks like: exhilarating and empowering, yes, but also messy and filled with mistakes, both individual and collective. Rebel Girl feels all the more encouraging for its admissions of imperfection, as a humanizing reminder that even the most luminous icons have their flaws, and that striving for perfection at any cost can grind momentum to a halt. Instead, maybe it’s more powerful to take the mic when we have it, admit when we didn’t get things right, and make our way to the front, where we all belong.

Rebel Girl: My Life as a Feminist Punk by Kathleen Hanna is available now.
[post_title] => Imperfect Feminists to the Front [post_excerpt] => In her new memoir “Rebel Girl,” riot grrrl pioneer Kathleen Hanna reckons with her mistakes. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => kathleen-hanna-rebel-girl-my-life-as-a-feminist-punk-memoir-review-bikini-kill-riot-grrrl [to_ping] => [pinged] => [post_modified] => 2024-08-28 21:15:10 [post_modified_gmt] => 2024-08-28 21:15:10 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=6971 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
2TDF8H6 KATHLEEN HANNA, BIKINI KILL, NEWPORT TJS, 1993: Kathleen Hanna the singer of Bikini Kill playing at the Legendary TJs in Newport, Wales, UK on 8 March 1993. This Bikini Kill/Huggy Bear Tour came at the peak of the Riot Grrrl scene and was to promote the two bands combined 1993 album Yeah Yeah Yeah Yeah (Kill Rock Stars). The gig started with a music workshop for women only. It is a black and white film photo, with Kathleen Hanna wearing a mesh white button down over a black bra. Her dark hair is cut short with bangs, and she's holding a microphone slightly to the side, looking up to the ceiling. Behind her, a few fans watch. They appear to be underground.

Imperfect Feminists to the Front

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An exclusive excerpt from "The Weird Sister Collection," edited by Marisa Crawford.

I didn't deign to call myself a feminist until I was nineteen years old, in my second year of college. Before then, I just wanted to be a writer. Reading Judy Blume and the Baby-Sitters Club books obsessively as a kid, I decided I wanted to be an “author” when I grew up, and started writing my own poems and young adult novels in fourth grade (a baby poet at heart, I could never get past chapter two). “Feminist” was a word I rarely heard growing up. If I did, it was mentioned with suspicion at best and disdain at worst. My first encounter with feminism as not purely negative came at fourteen, when my friend’s dad took us to a feminist vegetarian bookstore and restaurant in Bridgeport, Connecticut, called Bloodroot (it’s still there; please go). There, customers brought their own used dishes up to the counter in an apparent rejection of female subserviency that set off a little spark in my brain about the roles of women in the world around me, even if we sort of made fun of it after we left. I bought a bumper sticker that said “Vegetarians Taste Better,” uncertain if the sexual undertone was intended. I also bought a book of poems called Used to the Dark by Vicky Edmonds, a totally obscure small-press work, but the sole example I had at the time of what might be called feminist poetry. Of course, I wouldn’t have used that shameful word, “feminist,” to describe Edmonds’s book—maybe “writing by a woman about the dark parts of how it feels to be a woman,” like so much of my favorite music was? Weird, outspoken women artists like Tori Amos and Ani DiFranco and Courtney Love, who all my boyfriends and boy friends made fun of.

In college when I finally started calling myself a feminist—after meeting cool feminist friends who were nothing like the humorless stereotypes I had been warned about, and who told me I needed to throw out my bleached tampons and listen to Le Tigre and take women’s studies classes—I wanted desperately to make up for lost time, realizing that my whole life had been missing this essential perspective. So I read any and all feminist media I could get my hands on: I borrowed Inga Muscio’s book Cunt from a friend and read it along with every issue of Bitch magazine. I declared a minor in women’s studies and took classes where I learned about intersectionality, agency, privilege. 

In my creative writing classes, we never talked about those things; in my first workshop that same year, the MFA student instructor was so infectious in his excitement about literature that I didn’t even notice the syllabus he handed out had zero women writers on it until another female student in the class pointed it out—I was too busy becoming obsessed with Frank O’Hara’s Lunch Poems. Slowly I learned about feminism on a parallel path just next to the one where I was learning about how to be a writer. But I couldn’t quite figure out how these two spaces could coexist, let alone collide, and how on earth to go about building my own life within that collision.

~

Years later, I started the blog Weird Sister in 2014 because these two worlds—the feminist world that was incisive and inclusive, and the literary world that was performative, tongue-in-cheek, and experimental—still felt far too separate to me, even as I entered my thirties. In college, I’d started to see glimpses of the intersections between them: in women’s lit courses where we read Jamaica Kincaid, Toni Morrison, Maxine Hong Kingston, June Jordan, Gloria Anzaldúa. I went to see Eileen Myles read for extra class credit. I found Arielle Greenberg’s Small Press Traffic talk “On the Gurlesque” on the internet one night. Each piece of the feminist literary puzzle I learned about blew my mind all over again, and it occurred to me that there was not just one right way but many, many ways to be a feminist writer.

All these rich lineages of literary work and activism were out there, but where were the spaces outside of academia for people to come together to think and talk about them? From the mid-2000s into the 2010s, the blogosphere was where people talked about things. After college, I discovered the blog Feministing and made it my computer’s homepage so I wouldn’t forget to read it every day. That blog—along with other feminist blogs of that era like Crunk Feminist Collective, Everyday Feminism, Black Girl Dangerous, Tiger Beatdown, Racialicious, and the Women’s Media Center blog—offered supersmart, inclusive takes on politics and pop culture in an accessible, conversational tone that helped me and so many other young people better understand the world. But they didn’t often include literary content—how could they, strapped as they were with the task of breaking down the entire world for young feminists, and payment-free at that? When these spaces did cover books, they were more commercial publications, not the niche within-a-niche world of experimental poetry where I had found my home as a writer. 

At the same time—but in a separate sphere—lit blogs were where my particular literary world found community and dialogue on the internet. On blogs like HTMLGiant, Coldfront, The Rumpus, and We Who Are About To Die, poets and experimental writers wrote and read about the small poetry presses and underground literary culture that rarely got covered in larger venues. I remember reading some posts that addressed feminist issues by writers like Roxane Gay and Melissa Broder, then still aspiring writers themselves, but more often I read a lot of posts by cis white men that were interesting, insightful, and funny but lacked the political analysis I was looking for about how poetry related to gender and race and the other aspects of identity and power that mattered most when it came to living in the world.

These indie lit blogs were mostly edited by men and featured long rosters of mostly male contributors, mirroring the gender disparities of more mainstream literary publishing outlets and gatekeepers of the time. Of course there were, thankfully, some exceptions. Pussipo (later renamed HemPo), a collective of 160 feminist poets, started the blog Delirious Hem in 2006, which featured feminist poetics forums, roundtables with feminist small presses, feminist poets writing about everything from rape culture to movies, fashion, and fitness (“It’s a blog, it’s a poetics journal, it’s a platform. From time to time, a post will appear,” reads the description on the now archived Blogspot website). In 2009 I was forwarded a mass email from poet and professor Cate Marvin called “Women’s Writing Now!” which began “Dear Female Writer.” The email—which explained that Marvin’s panel proposal on Contemporary Women’s Poetry had been rejected by the annual writing conference AWP, while the conference regularly accepted proposals on topics unrelated to women (Birds in Poetry, for example, stands out in the mind from my own years of attending)—was a rallying call for the creation of a whole new organization dedicated exclusively to women’s writing. As a result, Marvin, along with Erin Belieu and Ann Townsend, soon founded VIDA: Women in Literary Arts, and in 2010 the organization began, among other vital literary projects, their annual VIDA Count to draw attention to gender disparities in publishing. With the Count, VIDA was not just critiquing inequities in literary culture but also holding institutions and gatekeepers accountable to do better in a very clear, measurable way.

But as Christopher Soto writes in his piece “The Limits of Representation” (page 113), equity in numbers, while hugely important, is only one measure of progress. I still longed for an intentional, energetic, creative, and community-building space to fill in even just some of the lack of feminist literary commentary online, to bridge a bit of the gap between these two distinct worlds I inhabited, and to disrupt the white male lit-blog industrial complex with an explicitly feminist Blog of One’s Own. Boosted by the encouragement of a girl gang of feminist poet friends (special shout-out to Becca Klaver for helping me get the blog off the ground), I bought a web domain, went into a temporary and never-to-be-replicated fugue state wherein I designed a website, and asked a roster of the smartest, coolest feminist writers I knew to join me in launching Weird Sister

~

I wanted Weird Sister to be a space for talking about the feminist poems and books that inspired us, the contemporary literature that was doing interesting work around gender and other aspects of identity, the sexist shit that happened in the literary world but that nobody talked about publicly, how the established canon we all learned in school upheld what bell hooks calls the white supremacist capitalist patriarchy, the exciting readings and events going on, and the pop culture we consumed alongside it all with glasses of wine or Dr. Pepper—because we were not, after all, monoliths who existed only within the literary world. Like Becca Klaver writes in her piece about Bernadette Mayer’s poetics of “radical inclusiveness” (page 74), it felt feminist and unapologetic to show ourselves as full people who were not just poets and literary critics but also nostalgists and reality TV watchers and record collectors and parents and teachers and people working to survive in the world. 

With Weird Sister, I wanted to create an online platform that was filled with serious ideas, but didn’t feel stuffy and exclusionary like poetry criticism so often can. Emulating the chatty, conversational tone of my favorite feminist blogs, Weird Sister aimed to be open and unpretentious. Vernacular language and oft-ridiculed traditionally feminine speech patterns like saying “like” too much were welcomed and encouraged. And, as on the best lit blogs, conventional criticism, creative forms, and personal elements could all, like, blend together. It was a space to celebrate and encourage dialogue between seemingly divergent aspects of culture, both “highbrow” (poetry, film, visual art, politics) and “lowbrow” (pop music, nostalgia, TV, celebrity gossip), and to take to task those supposed cultural distinctions with a glitter-nail-polished middle finger held high.

When it came to the blog’s name, I wanted to invoke the ineffable, the interplanetary; the glittery liminal spaces that art comes from. The “Weird Sisters” are the three witches in Shakespeare’s Macbeth, double double-ing and leading the play’s hero to his demise. They’re prophets, goddesses, bearded hags stirring a glowing cauldron. A weird sister is also an outcast, a goth girl, a nerd, a poet. Her existence is a disruption to the status quo. In my own family, I always felt like the weird one—sandwiched between my two sisters, the art-y and sensitive one traced in heavy black eyeliner. Seeing other “weird” girls and women and femmes in pop culture growing up made me feel seen and inspired. 

Weird Sister emerged as a space where we and others like us could see ourselves reflected back, and where we could hang out together and talk and write and multiply; a weird sister to both the more journalistic feminist blogs and the less feminist lit blogs that came before us. A platform and community of feminist poets and creative writers, many of whom were trying out writing critically for the first time in a collaborative blog space, all of whom have gone on to do so many incredible things in the literary world.

~

I didn't realize it at the time, but in 2014 we were on the precipice of a cultural sea change. When Beyoncé performed at the VMAs the next year alongside a giant glowing “FEMINIST” sign and a sample from Chimamanda Ngozi Adichie’s TED Talk “We Should All Be Feminists,” it made me wonder if a column debunking stereotypes about feminist poetry was even still necessary. In a turn toward what writer Andi Zeisler calls “marketplace feminism,” everywhere you looked people were suddenly wearing feminist T-shirts bought from indie retailers or from H&M, drinking from feminist mugs, meeting at feminist co-working spaces. There was also a huge influx of mainstream, corporate-funded feminist publications and content popping up online. Broadly, VICE’s women’s imprint, launched in 2015. (I both was miffed by their tagline, “Women’s news you thought would exist by now,” and longed for them to hire me.) Lena Dunham and Jenni Konner teamed up to create Lenny Letter that same year. Bustle, Rookie, and xoJane had all launched a few years earlier, and the media landscape was suddenly flooded with women’s personal stories and lists of “ten feminist novels to read this summer.” Most of these publications folded by 2019—a testament to the tumult of the industry, but also to the fleeting nature of corporate interests in feminism as a cultural fad. Many of the original trailblazing feminist blogs and magazines of the 1990s and early 2000s—like Bitch and Feministing—have also since folded, a testament to the difficulty of sustaining an independent feminist project without sufficient funding. 

But of course the cultural and social activism of the mid-2010s was about much more than just corporate co-opting of feminism, something that’s been happening since the dawn of the women’s movement itself. Between 2013 and 2015, in response to non-indictments of the murderers of Trayvon Martin and Michael Brown, the #BlackLivesMatter hashtag created by Alicia Garza, Patrisse Cullors, and Opal Tometi became recognized as a protest movement on a global scale. And #MeToo, the campaign started by Tarana Burke in 2006 to draw attention to sexual assault, was popularized as a viral hashtag in 2017. Around this time, my own writing community also began having vital conversations about inclusion, abuse, race, and gender on a scale I had never seen before. In 2015, for example, Marcelo Hernandez Castillo, Javier Zamora, and Christopher Soto founded the Undocupoets Campaign—and later a fellowship with the same name—to protest the discriminatory rules of many first-book publishing contests in poetry, which prohibited undocumented poets from applying. And after several high-profile conceptual poets were called out for racist performances, an anonymous collective of poets called the Mongrel Coalition Against Gringpo began sharing online manifestos lambasting what they saw as the white supremacist project of conceptual poetry (or “conpo”). When a number of instances of sexual misconduct came to light in the poetry and Alt Lit worlds, a proto–#MeToo movement, started by feminist poets including myself in cities across the US and beyond, undertook efforts to dismantle a widespread culture of sexual abuse and harassment in poetry and Alt Lit. Jennif(f)er Tamayo, whose literary activism was instrumental during this time in organizing “Enough Is Enough” meetings and discussions on sexism and accountability in the New York poetry community, writes about their commitment to “Being Unreasonable” as a locus for resisting entrenched forms of oppression in our particular literary communities (page 129). Weird Sister was created to encourage dialogue at the intersections of literature, culture, and social justice, and during this transformative moment it served as a space to document some of these conversations as they were happening in literary communities.

A feminist lit blog was never enough, would never be enough, to eradicate the world’s injustices, but being one small piece of the puzzle trying to change things for the better was all we could ever really hope to be. Writing this in 2023, I can’t say that I feel particularly hopeful about the state of the world. But I think about an interview with Jia Tolentino in 2022 where she says that she can accept hopelessness as a feeling, but never as a political standpoint, and I feel inspired by the continued work of all the writers gathered in this book and at work beyond it—all those “humorless” and hilarious and smart and radical and messy and groundbreaking literary activists that paved the way for us and continue to do so.

When I first launched Weird Sister, I loved the feeling of running a vibrant space where vital conversations about feminism, poetry, and pop culture could flourish. I stayed up late each night working on it between days at my copywriting job—high on the blend of excitement and anxiety—but naturally it was impossible for me and for all of the Weird Sister team to keep doing this work, at this rate, sustainably. And without a model for funding or time to make one, the blog slowly went from a rush to a trickle of occasional content. As Samhita Mukhopadhyay, former executive editor of Feministing, wrote for Barnard College’s 2012 #FemFuture conference on the future of online feminism, “Blogging has become the third shift. You do your activist work, you have a job to make money and then you blog on top of that. It’s completely unsupported.” The feminist blogosphere that Mukhopadhyay refers to is widely considered the hallmark of a whole “wave” of feminism, but—like so much activist work throughout history— it’s had virtually no financial support. Still, in spite of the challenges that came with Weird Sister, it’s amazing to look back on the vast and mind-blowing array of writing that came out of planting this weird little seed on the internet. I hear there’s a movie about baseball where they say, “If you build it, they will come.” I built Weird Sister, and out came all the feminist weirdos with their brilliant minds, and this incredible collaboration and community was born. 

~

The Weird Sister Collection brings together some of the most popular, insightful, LOL-funny, moving, and unforgettable posts from the blog between 2014 and 2022, along with some new work highlighting essential perspectives, figures, moments, and movements in feminist literary history. The book pulls out natural themes that emerged from the blog’s eclectic archive: from bringing a contemporary feminist lens to historical literature and paying homage to the iconic writers that came before us, to shining light on current books, events, organizations, and conversations. And, of course, it includes writing about pop culture, both nostalgic and present-day. While never exhaustive, this book hopes to offer a snapshot of some of the vital conversations and commentary surrounding feminism, literature, and pop culture from the last decade, and those that led up to it. 

Weird Sister was born out of a love for feminist books, from my longing for feminist books to exist, to line the walls; to read them all, to write them. So it makes sense that it is now a feminist book too. I want feminist literary writing to take up more and more space, both on the internet and in the physical world, on bookshelves where a teenager at a feminist bookstore café might stumble upon them, goddess willing, after bringing her tray up to the counter. And I hope that putting Weird Sister’s contents in a book will allow future generations to learn about the early twenty-first-century feminist blogosphere in a format that gives it the same legitimacy as the white male literary canon; the same weight as the copy of On the Road that my high school English teacher handed me because she thought I might like weird, emotional, experimental prose, and assumed, correctly, that I would ignore how it treated women. The impulse that propelled feminist bloggers in the first place was an interest in creating our own media, holding it up, declaring it real and legitimate and important amid a patriarchal culture that devalued it and gatekept it away. So this book is a reminder that Weird Sister happened, and of the powerful, cool shit you can do together as a creative community. It’s proof that all these feminist writers read books by all these other feminist writers and wrote about them—and about music and movies and TV and art—and then became the feminist writers that others will write about someday. And actually, people are writing about them right now—go read it. Go write it. It’s a never-ending cycle of influence, admiration, and creation. I hope that you find it weird and inspiring.

From “The Weird Sister Collection:Writing at the Intersections of Feminism, Literature, and Pop Culture,” edited by Marisa Crawford. Excerpted with permission of Feminist Press. Copyright 2024 Marisa Crawford.

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The cover of "The Weird Sister Collection" tiled on a light pink background.

How a Feminist Blog is Born

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(For you to add to your 2024 TBR pile.)

Book cover for Hamnet by Maggie O'Farrell.

Hamnet by Maggie O'Farrell

Before reading this novel, I’d somehow missed that Shakespeare had a child named Hamnet, who died of the plague in 1596 at the age of eleven, four years before Hamlet was written. Seems relevant! Only the bare bones are known about Shakespeare's wife, Agnes/Anne, and their kids, and Hamnet is O'Farrell's lyrical recreation of their 16th century family life in Stratford-upon-Avon. The storytelling is so vivid and captivating, you won’t miss their most famous relation.

Anna Lind-Guzik

The Guest by Emma Cline

Like everyone else in New York, I flew through The Guest when it came out last summer. A story about a woman in her 20s after she's been kicked out of her boyfriend’s house in the Hamptons, she pleases her way through strangers’ homes, grasping onto the life that she once had. She was in no way a relatable character—but it was fascinating to me how this woman could so easily sell a narrative and transform herself into what various people want.

Victoria Rosselli

Book cover for The Guest by Emma Cline.

How Kyoto Breaks Your Heart by Florentyna Leow

My favorite book this year was How Kyoto Breaks Your Heart by Florentyna Leow. It’s a story about women friendships, the heartbreak of breaking up with those close friends, and Kyoto. Throughout the book, Leow weaves their personal experiences, like of being a tour guide and making jam from a thriving persimmon tree, as metaphors on loss and the joy of finding yourself despite it. I have never read a book that so beautifully put the feelings of losing a female friend on a page (including the painful grieving process). Every word felt refreshing and I kept repeating to myself, “This is me.” But as much as it’s about friends, it’s equally about Japan. With every page, I yearned to explore Kyoto and soak up everything it has to offer, even if my heart breaks a little in the process.

Kiera Wright-Ruiz

Shy by Max Porter

If you are interested in how identity and childhood shape our experiences of the world, you will love Max Porter's Shy, a novel that begins with its young protagonist leaving a boarding school for troubled boys in the middle of the night and heading for the river with a backpack full of rocks. What I loved is that Porter continuously disrupted my expectations of what would come next. The author—who holds a masters degree in feminism and performance art—writes about boyhood, toxic masculinity, and the existential crisis of growing up in today's gendered world in a way that incited an emotional and visceral reaction in me, offering the flip side of my own experience growing up as a girl in the US. It made me question and look at things with a new light; and the ending was so cinematic and powerful that I cried in public reading it!

Elyssa Dole

Easy Beauty by Chloé Cooper Jones

I hate to say it, but it's much rarer these days that a book really knocks my socks off. I blame myself for this. My attention span has waned, my burnout has deepened—both things that have made it harder for me to really sink myself into a good book. This was not the case with Easy Beauty. It was kismet: Entirely by chance, I started reading it while in Italy, where a large portion of the memoir takes place, making it an especially vivid read. But even if I'd been in the middle of the Pacific, I would have devoured this gorgeous memoir. Chloé Cooper Jones' writing is just sumptuous; her memoir equal parts sharp, tender, brutal, and funny. A breathtaking exploration of "otherness," and how each of us is complicit in upholding it, even as the "othered"; but likewise how we might be able to push back and subvert the narratives given to us.

Gina Mei

[post_title] => The Best Books We Read in 2023 [post_excerpt] => (For you to add to your 2024 TBR pile.) [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => best-books-read-2023-novel-memoir [to_ping] => [pinged] => [post_modified] => 2024-08-28 21:15:11 [post_modified_gmt] => 2024-08-28 21:15:11 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=6505 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
A tiled grid of books: The Guest by Emma Cline, Shy by Max Porter, How Kyoto Breaks Your Heart by Florentyna Leow, Hamnet by Maggie O'Farrell, and Easy Beauty by Chloe Cooper-Jones.

The Best Books We Read in 2023

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The staff's recommendations for your fall TBR pile.


Book cover for Eleanor Oliphant is Completely Fine by Gail Honeyman

Eleanor Oliphant Is Completely Fine by Gail Honeyman

I enjoyed the audiobook of this weird, charming, and on occasion deeply disturbing novel. Eleanor is a one-of-a-kind protagonist, not easily likable, yet I was immediately invested in her journey. She’ll stretch your imagination in unexpected ways. —Anna Lind-Guzik

The Young Man by Annie Ernaux

If there's a new translation of Annie Ernaux out in the world, you best believe I'm getting my hands on it ASAP. Her first since she won the 2022 Nobel Prize in Literature, this is Ernaux at her best: sexy, a little melancholic, complex, intimate. It's a wonderful meditation on desire, on aging, and on what drives an autobiographical writer to write about themselves. —Gina Mei

So Late in the Day by Claire Keegan

This month I reread a short story by Claire Keegan, "So Late in the Day." I heard of it on the New Yorker Radio Hour; the author George Saunders chose it and thought that Keegan could be compared to Anton Chechov. If that does not get your attention, Saunders also commented on how every line in the story had meaning, so it was worth reading once and then going back to notice its layers.

Keegan had challenged herself to come up with a story that was super tense but where that tension and suspense were not driven by the narrative. What she came up with is a story about misogyny and gender roles in relationships. I'm obsessed with it on so many levels—the writing, the craft, the message. It's a story that stays with you. —Elyssa Dole

Wonderful Ways to Love a Child by Judy Ford

This month, I delved into Wonderful Ways to Love a Child by Judy Ford with the goal of enhancing my relationship and communication with my daughter. This insightful book offers a plethora of practical and creative techniques for building stronger connections with children. Through relatable anecdotes and heartfelt wisdom, Ford underscores the importance of spending quality time, being an attentive listener, and maintaining positive communication to nurturing these essential relationships. Whether you're a parent or caregiver, this book serves as an invaluable guide to enriching the bonds you share with the children in your life. —Loleta Ross

How Far the Light Reaches: A Life in Ten Sea Creatures by Sabrina Imbler

How Far the Light Reaches: A Life in Ten Sea Creatures has been one of the best books I've read this year! Sabrina Imbler explores their queer and cultural identities through shimmery life in the ocean in 10 essays. Once I started to read the first chapter, about how goldfish can actually thrive in wild waters (some growing as heavy as bowling balls!) and how this reflects their experience coming out, I couldn't put it down. This book is a beautiful reflection of life and acts as a reminder that every goldfish has the tenacity to live if only given the chance to escape their small bowl. —Kiera Wright-Ruiz

[post_title] => What We Read in September [post_excerpt] => The staff's recommendations for your fall TBR pile. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => september-staff-book-reads-recommendations-nonfiction-fiction-novels-fall-new-releases [to_ping] => [pinged] => [post_modified] => 2024-08-28 21:15:11 [post_modified_gmt] => 2024-08-28 21:15:11 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=6050 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
A grid of five books repeating in a pattern: The Young Man by Annie Ernaux, How Far the Light Reaches by Sabrina Imbler, Wonderful Ways to Love a Child by Judy Ford, Eleanor Oliphant is Completely Fine by Gail Honeyman, and So Late in the Day by Claire Keegan.

What We Read in September

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An exclusive excerpt from Anne Elizabeth Moore's "Body Horror: Capitalism, Fear, Misogyny, Jokes."

The Coronavirus. People who aren’t worried about the coronavirus. People who are too worried about the coronavirus. The possibility that I am not worried enough about the coronavirus. Case counts. The reliability of case counts. The vaccines. People who aren’t vaccinated. The reasons people aren’t vaccinated. Getting vaccinated. The mRNA vaccines. My thyroid gland, thrown into disarray by the mRNA vaccine and apparently increasing my blood pressure to dangerous levels. Convincing a pharmacist in a rural red county to give me a booster that is not an mRNA vaccine. Convincing a pharmacist in a rural red county to give me a booster at all. Convincing a pharmacist in a rural red county that the coronavirus is real. Convincing a pharmacist in a rural red county to give me a booster as an immunocompromised person. Explaining to a pharmacist in a rural red county what being immunocompromised means. Convincing my doctor that the mRNA vaccine caused my thyroid disruption, the first I’ve experienced in over a decade, occasioned exclusively and to the day by my second mRNA vaccine booster. A new coronavirus strain. The effectiveness of masks. Buying more masks. Masking at outdoor gatherings. Transmission at outdoor gatherings. Outdoor gatherings. Being around other people. Not being around other people. The large and embarrassing zit that emerged on my cheek a few days back despite the fact that I am an adult, wash frequently, and do not consume sugar. My autoimmune diseases. The medications for my autoimmune diseases. The vitamins and supplements I take to counteract the medications for my autoimmune diseases. The likelihood of accruing more autoimmune diseases. The likelihood of accruing other diseases because of my autoimmune diseases. Being immunocompromised during a pandemic. Buying clothes during a pandemic. Going outside during a pandemic. Remaining inside during a pandemic. My left forefinger, currently swollen. My blood pressure, still high. My concentration, largely shot. Oh man, a buncha stuff. So much stuff!

What comes flooding in when I have a moment to breathe. The dead tree outside my window, and the path it will take when it falls. Mowing the lawn. Trimming the lawn. The survival of the monarch butterflies. What will happen to my cat if I don’t take her to the vet soon. What will happen to my cat if she keeps eating leaves from my fig tree. What will happen to my cat if I have a heart attack. Writing a will. Finding someone to sign my will as a witness who won’t freak out about my impending death. Refinishing my furniture in a pleasing enough manner that the beneficiary named in my will won’t just throw it away. The calcium supplements I have been taking, triple the recommended dosage, which turns out to cause high blood pressure. New lab results. More lab tests. Where to drop my sharps container. Paying for lab tests. My dwindling grant funding. Inflation. Winter heating bills. Utilities costs. Author-website maintenance costs. The cost of a new computer. Word processing software subscriptions. Book prices. Food prices. Cat food prices. Finding time to run. How running will affect my achy right knee. How running will affect my left leg. Not finding time to run. Where I can go to swim. Where I can go to swim during a spike in case counts. Focusing on my personal physical health during a global health crisis. Going out to eat with my food restrictions. Going out to eat during a period in American history where setting boundaries around personal health is unwelcome. Cooking for myself, again. Another new coronavirus strain. A new vaccine. Getting the new vaccine. This sore throat. This persistent cough. This fatigue. This diminished capacity to smell. This negative coronavirus-test result. Coughing in public after a negative coronavirus-test result. Coughing in public for any reason. People casually mentioning that they just tested positive for the coronavirus but feel fine. People who would never test for the coronavirus but clearly do not feel fine. This essay. Other essays. Writing. Not writing. Publishing. Not publishing. The publishing industry. The state of this nation’s democracy, such as it is. The avowed white supremacist who lives down the road. The Civil War reenactor up the block. The guy at the edge of the village with the flag outside his house that reads, “TRUMP 2024 FUCK YOUR FEELINGS.” The guy on the internet who tells me my feelings don’t matter. The guy on the internet who tells me I am stupid. The guy on the internet who responds to every post by telling me how hot I am. The guy on the internet who tells me he knows where I live. That my house sits on a hill that is visibly eroding. The oxycodone manufacturing plant in my village. The environmental repercussions of the oxycodone manufacturing plant in my village. The social repercussions of the oxycodone manufacturing plant in my village. The sheer volume of oxycodone that passes through this village. The sheer volume of guns within a five-mile vicinity of my home. How the vast majority of gun owners in this village fundamentally disagree with me on most basic matters. Not owning a gun. Owning a gun. A civil war. The current Democratic president. Any potential future Republican president. My blood pressure, now both too high and too low. Weaning myself off blood pressure medication. Getting enough calcium in my food without consuming dangerous supplements or dairy. The vitamin D supplements I have been taking too frequently, another cause of high blood pressure. How to get more vitamin D without supplements. Finding time to google every single thing I need to know more about just to survive the week. Remembering to google everything I need to know about to survive the week. Google knowing too much about me. Amazon. Amazon’s influence over publishing. Amazon’s move into housing. Amazon’s move into healthcare. That the calcium supplements I was taking at three times the dose I ordered and which substantially contributed to my high blood pressure were due to an Amazon shipping error. My Amazon rankings. Sales numbers of my current book. Sales numbers of this book. Sales numbers of my next book. Finishing my next book. Finishing this book. Writing books. Reading books. The surprise bill I just got for something that should be entirely covered by my insurance. Calling the insurance company, who tells me to call the billing department. Calling the billing department, who demands I call my RN. My RN, who was fired for refusing to get vaccinated against the coronavirus and then rehired after a couple of months out of desperation and who never got vaccinated. Calling back the billing department, who failed to file my paperwork with the insurance company because they were “too busy” and who asks me to file it myself. That my very complicated disease- maintenance program relies entirely on a medical facility who will charge me three hundred dollars for a fully covered five-minute doctor visit because they’re “too busy” to send the same paperwork to someone else. Dobbs v. Jackson. The women I know who will be affected by Dobbs v. Jackson. The nonbinary and trans people I know who will be affected by Dobbs v. Jackson. All the people I will never meet because of how severely their lives will be affected by Dobbs v. Jackson. Whether my political organizing in response to Dobbs v. Jackson will impact my own political career. Whether or not I can have a political career in a world where people with uteruses have no bodily autonomy. Whether or not I want a political career in a world where people with uteruses have no bodily autonomy. Whether or not I want to live in a world where some people have no bodily autonomy. The kind of people who want to live in a world where some people have no bodily autonomy. Republicans. Democrats. Being told to vote in response to bad policy. Being told to vote by a political party that has more money than god. Being told to vote by the people I voted for. Being told to vote in a world where voting rights are being stripped away from increasing numbers of people. That two out of four times I have tried to vote in this village I have been told I could not. This sudden, inexplicable grief that has no identifiable origin and no end, but some days recedes while I am in the shower and stays in the background for a while, perhaps days, but at other times emerges while I am washing dishes or doing yoga or placing a forkful of salad in my mouth and causes intense chest pain and sudden tears and colors everything gray and that no amount of crying or meditating or talking to friends or sitting in the woods can alleviate in any way. Why my sunflowers have not yet opened. What is going on with my beans. The organic content of the soil in my garden. Why my herb bed isn’t filling out. Why my plum trees keep dying. What to do with all this compost. Where to get more raised beds. Wild parsnip. Buying a chain saw. Using a chain saw. Accidentally killing someone with a chain saw. And then wanting to do it again. Purposely murdering someone with a chain saw. Running for elected office. Running for elected office and then having nude pics unearthed on the internet. The kinds of people who run for office. The kinds of people who will never, ever run for office. The weird tendency my left leg has after I’ve been walking for a mile or so to sort of peter out, to stop performing at peak function, to bend less easily and not lift as high with each step, and how this appears to be a neurological, not a physical, symptom of my medications. Any neurological disease or symptom. Long COVID. Catching the coronavirus as an immunocompromised person and passing along a mutated strain. Accidentally killing someone—oh wait, that’s already listed. Mpox. Pretty much all straight white cis men. Straight white cis men who want to play devil’s advocate. Straight white cis men who just want to ask me one question about feminists. Straight white cis men who assure me they’re not racist. Straight white cis men who speak only to other straight white cis men. Introducing straight white cis men to one another in a professional capacity given the likelihood that they will develop some kind of lucrative project together, leaving me out entirely, often forgetting they ever knew me, that I introduced them, that I used to be their friend. Introducing straight white cis men to music I like. When straight white cis men express interest in my work because they are working on a similar subject. People who too aggressively want to befriend me. Obviously also people who have no interest in me. Engaging with elders in the community during a pandemic. Engaging with elders in the community in a collegial manner and immediately being treated as a sycophant. Becoming an elder in the community. Aging. Trying to behave as normal. Behaving as normal. Trying to remember what normal was. What normal was. The inexplicable knot in my stomach when I wake up every day that takes several hours to dissipate but seems really out of place because actually right now everything is fine, you know, relatively speaking. My dreams, which are often just more of the same. Sleeping, therefore. What will happen next. What will not happen next. How we will recover. Who will recover. Who will not recover.

The book cover for Anne Elizabeth Moore's "Body Horror: Capitalism, Fear, Misogyny, Jokes."

From “Body Horror: Capitalism, Fear, Misogyny, Jokes” by Anne Elizabeth Moore. Excerpted with permission of Feminist Press. Copyright 2023 Anne Elizabeth Moore.

[post_title] => A Partial Recounting of My Current Anxieties [post_excerpt] => An exclusive excerpt from Anne Elizabeth Moore's "Body Horror: Capitalism, Fear, Misogyny, Jokes." [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => a-partial-recounting-of-my-current-anxieties [to_ping] => [pinged] => [post_modified] => 2024-08-28 21:15:11 [post_modified_gmt] => 2024-08-28 21:15:11 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=5919 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
The book cover for Anne Elizabeth Moore's "Body Horror: Capitalism, Fear, Misogyny, Jokes," on a dark red background.

A Partial Recounting of My Current Anxieties

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    [post_date] => 2023-02-14 13:00:00
    [post_date_gmt] => 2023-02-14 13:00:00
    [post_content] => 

Over 20 years after the first "Princess Diaries," the writer is still sticking up for romance.

In the opening scene of 1999's cinematic classic 10 Things I Hate About You, guidance counselor Ms. Perky (Allison Janney) sits pert in her cardigan and pearls, tip-tapping away at her computer. "I'll be right with you," she tells a student, turning back to her PowerPC…on which she is crafting a magnum opus of a romance novel. In the film, Ms. Perky’s novel is played for laughs—a running joke, with key words like “pulsating” and “bratwurst” used to portray the luridity of her side hustle. But around that same time, in real life, an administrator at a New York University dormitory was living out a similar scene: tucked away in her office, tapping away at romance novels in between wrangling angsty students. Only this time, she was the main character. 

Her name was Meg Cabot. 

"It was exactly like that," Cabot told The Conversationalist shortly before Thanksgiving. Over Zoom from her longtime home in Key West, Florida, she talked a mile a minute, the charming, real-life embodiment of the chatty early-aughts heroine she's most known for: The Princess Diaries’ Mia Thermopolis. "All the kids in the dorm knew that was exactly what I was doing. I'd be on my computer when they would come in and they'd be like, 'I don't want to interrupt you, but there's a fire.'" 

Cabot would put out the fires, of course. It was from that desk, though, in her tiny corner of NYU, that she'd write her first "ten or eleven" novels. At the age of 31, she’d begin publishing steamy, “pulsating” adult historical romance, before breaking into the public consciousness in 2000 with the back-to-back publication of her first young adult novels, The Princess Diaries and The Mediator: Shadowland. The rest is history. Following Disney’s smash hit movie adaptation of The Princess Diaries, Cabot's name fast became synonymous with the fun, romantic "chick lit" of the time. You an Anne Hathaway fan? You also have Meg Cabot to thank for her breakthrough role.

More than twenty years (and over 80 published novels) later, and with another Princess Diaries book and movie on the way, Cabot remains a powerhouse. That's not just because she's more prolific than Stephen King, who's published a comparatively paltry 65 novels in more than twice the amount of time. And it’s not just because The Princess Diaries still makes headlines. It’s because she created something that made waves for an entire generation. For those who came of age during the early 2000s, Cabot helped redefine what books for girls and women could look like: She wrote them funny, messy—and so horny they're still getting soft-banned all over the country. 

To get there, though, Cabot had to push past the judgment that's long hovered like a cloud over women's literature. At Indiana University in the 1980s, while working towards her degree in studio art, Cabot started taking creative writing classes, where professors and peers alike passed judgment on the topics she was interested in writing about. "People really looked down on romance," Cabot said. "I was writing commercial genre fiction and [my classmates] were writing literary fiction. Theirs had a lot of suicide and mine had lots of going to the mall and meeting boys." Now, she jokes that those who once mocked her choice of genre were just jealous: The kind of books she'd been working on forever turned out to be lucrative. But at the time, their response was frustrating.

The reaction, though, was nothing new. For as long as there's been literature marketed towards women, there've been people looking down on it. Because of this, Cabot kept her work to herself for years. Her first published novel, a steamy adult romance called Where Roses Grow Wild, came out in 1998 under a pen name: Patricia Cabot. She’d go on to write seven more under the same name. "I was worried about the smut factor and my grandma finding out," she remembers. From the start, Cabot proved expert in writing women and girls who were not just strong, but varied and complex; which was precisely what drew her to the genre in the first place. "Romance novels have really strong female characters, and that was hard to find [for a long time],” she said. But her entry into life as a romance author proved revelatory. Unlike those college classmates, romance readers and writers welcomed her with open arms. "It was really fun, such a supportive community," Cabot said. "That was where I belonged."  

Her grandmother did eventually find out about her secret second career, too, but the smut didn't bother her. "She loved it," Cabot recalled. 

For a long while, Cabot kept her day job at NYU. It was stable, and offered health insurance. She made great friends, many of whom she's still tight with to this day. Then, right as the century turned, The Princess Diaries changed everything: When Disney came knocking, Cabot knew it was her chance to jump full-time into life as an author. She took it.

"There still weren't a whole lot of funny books for girls," Cabot said about the late '90s, when she first started writing for teens. She name-checked exceptions, like Judy Blume, and Cabot's contemporary Louise Rennison, whose hilarious Angus, Thongs, and Full-Frontal Snogging came out in '99. But at the time, she says that most of the genre “was very message-y”: "There really wasn't this idea that YA could just be for entertainment and be fun." Cabot saw an opportunity to help shift that. Her characters weren't without morality: Cabot's books contained messages, in that they had characters with a point of view. At the same time, though, those characters got to be awkward, swoony, and feminist as fuck, too. Her characters felt real. 

Cabot's adult work is well worth exploring—sharp, comedic, with a deep love of banter—but it’s her first works in YA where she really found her stride. It's also where she's had the most impact, acting as millions of millennial readers' introduction to romantic comedy, many of them through Mia Thermopolis. In The Princess Diaries series, Mia is a teen outcast who finds out she's heir to the throne of a small country called Genovia. The character went mainstream in 2001, when the Disney adaptation introduced the world to Anne Hathaway’s portrayal of her as a dorky and sweet girl just trying to survive high school. But while the movie version of the character is rightfully beloved, it's worth remembering how Cabot originally crafted her. In the books, Mia is a sunny bleeding heart, who only agrees to undergo "princess lessons" after the monarchal side of her family agrees to donate $36,500 a year to Greenpeace. The Mia of the books is progressive, a kid with a massive political streak, whose big desire—aside from kissing Michael Moscovitz—is how badly she wants to help push the world into a better place. 

But while Mia had staunch political values, The Princess Diaries was never about them. Mia was just a girl flailing her way into adulthood. Just like her readers, she was deeply insecure. She was also chaotic, and yearny, and horny as hell—a wonderful throughline for many of Cabot's most memorable characters. There’s ballsy psychic Jessica Mastriani, who works with hot, motorcycle-riding bad boy Rob to track down missing children in 1-800-WHERE-R-U. In Cabot’s popular The Mediator series, we’re introduced to tough, leather-clad Suze Simon as she solves murders while flirting with the 19th Century ghost haunting her bedroom. There's also Katie Ellison in Pants On Fire, so-titled because its heroine 1) can't stop lying, and 2) can't stop cheating on her boyfriend to make out with new boys. 

Cabot’s most sexually liberated YA novel, though, is Ready Or Not, the sequel to All-American Girl, in which a teen girl named Sam Madison saves the president from an attempted assassination. She falls for the president's son, and in the sequel, they decide to have sex. The book follows Sam on her path to readiness—including securing contraceptives and learning to masturbate with the bathtub faucet. 

"Still to this day, All-American Girl and Ready Or Not are my most-banned books, because they deal with sex very frankly," Cabot said. "It's surprising to me, because my mom was a Planned Parenthood volunteer. In my house it was very open." Sexuality, after all, is part of every coming of age in one way or another. And who in this world is juggling those thoughts more than a teenager? 

Of course, the now-56-year-old wasn't the first in YA to portray horny teen girls. "If you read Judy Blume, you know that's been going on for years and years," she said. But Judy Blume’s books also weren’t adapted into blockbuster movies by Disney, and part of the backlash for Cabot may have come from how ubiquitous she was for romance-loving teens of the early 2000s. The Princess Diaries adaptation became an instant classic, funneling an eager audience towards her books. 

"People started buying the books expecting them to be G-rated like the movie," Cabot recalls. They were not—and some parents didn't love that the book version of The Princess Diaries' first scene involved kissing. 

Still, for plenty of young girls, Cabot's work was (and continues to be) vital and illuminating. Her novels are chatty and personable, her characters flawed, and her stories casually sex-positive. Even when her young characters weren't actually having sex, the acknowledgement of desire affirmed something bigger, something deep inside. A feeling that her readers, like her characters, were still exploring. And if those readers were so inclined, Cabot's adult novels were right there, full of the "smut" she once feared would disappoint her grandmother—but also so much more. 

Romance is often written off as empty-headed porn for women, a stereotype Cabot wholeheartedly rejects: What the form's critics ignore is everything that surrounds the lust. Romance is about yearning, sure. About sex. Cabot's books, though, are also about dynamic friendships. About history—she's written plenty of historical fiction—and mystery. About the way women and girls are seen by their society, and the effects that has on them. Ultimately, all of Cabot's novels are also about the inner lives of interesting young women navigating challenging times in their lives. 

This is something Cabot knows intimately. Though her family home growing up was frank about sex, in other aspects, her childhood was "very dark." Her father was an alcoholic, and to escape, she buried herself in books. "There were many times I felt there was no hope," Cabot recalled. "Romance was always where I could turn to. Those books, where there was an empowered woman who got what she wanted in the end, guaranteed."

"That's what pulled me out of despair," she continued. "Knowing I can put that out there for someone else is the greatest thing." To Cabot, writing is the skill she has that she can share with people. “I'm not going to be a brain surgeon,” she joked. 

But even if her books were just a horny escape, wouldn't that be OK, too? "It's just misogyny," Cabot exclaimed when asked about naysayers of her genre. "People look down on anything that women like, and anything involving women." 

For her younger readers, Cabot's work was an education—not just in sex, but in how rewarding it can be for readers when an author is skilled at seamlessly blending genre. Wrapped in a shiny "chick lit" package—books more recently known as "beach reads" because, well, the former had been so dragged through the sexist mud that it needed a rebrand—Cabot’s work is multi-faceted and wide-ranging. She’s written epistolary novels, murder mysteries, sci-fi, fantasy, middle-grade, YA, adult, historical fiction, and more. Fittingly, she has no patience for those who try to one-dimensionalize her corner of women's fiction. She often hears from readers afraid to be seen reading "chick lit" in the office because coworkers make fun of them. "I tell them to tell their coworkers to go fuck themselves," Cabot said. "Those people have clearly never read it."

These days, Cabot and fellow children's and young adult author Rachel Vail challenge each other to write five pages a day. The stakes of failure keep them going: If they don't hit their page count, they're forced to donate $5 to Donald Trump. "It's very motivating," Cabot said. Like her most famous character, Cabot is disturbed by the current state of the world. She’s even contemplating leaving Key West, where she's resided with her husband and cats for almost twenty years. She loves her town, and often blogs about her life there, but has been turned off by Florida’s ongoing political turmoil. 

It’s there, too, that Cabot's born witness to a new wave of challenges levied against authors and readers alike: angry right-wing parents for whom the problems don't stop at french kissing. “It's a very small percentage of the population, but they're very loud,” she said. It's a nation-wide issue: The New York Times reported in January that parents hell-bent on banning books have become "more organized, well-funded" and "effective" in recent years. The Guardian characterized the efforts as "moral militancy." 

"They don't want any reference to sex, race, gender fluidity…," Cabot said of recent attempts to pull books from the library system. "It might challenge the very Christian, neofascist way they want to raise their children.”

Pushback to the kind of books that have defined her career hasn't stopped Cabot in the slightest, though. Most recently, Cabot has published the Little Bridge Island series, an adult series set in her community of Key West, and next up is a new, COVID-set Princess Diaries book, as well as a lot more children's and middle-grade fiction. (Proceeds for The Quarantine Princess Diaries will go to VOW For Girls, a charity aimed at ending child marriage.) 

And thank goodness for Meg Cabot. Her naysayers—whether politically lecherous or simply snobby—have no real way to stop the flow of stories from Cabot's brain to readers' hands. Cabot doesn’t take her role lightly. A cornerstone of young adult fiction, she’s no stranger to the pressures of shaping young minds. It's impossible to calculate, in 2023, just how many authors coming up today have been influenced by her work. It’s even more impossible to calculate how many women and girls have become voracious writers and readers as a result of her work. And twenty-five years on from her debut novel, both Cabot and her books remain chatty and cheerful, effervescent and gutsy—an escape from a hellish world, just as she intended. Given all that's happened in the interim, that's certainly a crowning achievement.

[post_title] => Thank Goodness for Meg Cabot [post_excerpt] => Over 20 years after the first "Princess Diaries," the writer is still sticking up for romance. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => profile-meg-cabot-princess-diaries-romance-ya-books-interview [to_ping] => [pinged] => [post_modified] => 2024-08-28 21:15:11 [post_modified_gmt] => 2024-08-28 21:15:11 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=5603 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
A colorful, illustrated portrait of Meg Cabot. She's smiling wide, with shoulder-length wavy brown hair. She's wearing black, rectangular glasses; has a red and gold crown on her head with blue jewels; and an ermine draped over her shoulders. Her face is framed by a mustard yellow sun-shape, and behind that, bright panels of blue, pink, and red.

Thank Goodness for Meg Cabot

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    [post_date] => 2023-02-07 09:31:00
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    [post_content] => 

Nothing bristles against whorephobia and class shame like a bunch of fierce strippers unionizing a strip club and then becoming a union collective.

"You live through that little piece of time that is yours, but that piece of time is not only your own life, it is the summing-up of all the other lives that are simultaneous with yours. It is, in other words, History, and what you are is an expression of History."

—Robert Penn Warren

I stripped in nude clubs before I could legally drink. It was the early nineties, in San Francisco, and my friends were unkempt, chain-smoking queer punks who wore beat-to-shit ripped slips that looked like they were stolen from some grandma’s dumpster. I wasn’t chic grunge like Courtney Love, who stripped on Hollywood Boulevard at Jumbo’s Clown room back then. I was broke. I was undone. I worked at a used clothing store on Haight Street for minimum wage, which, in 1992, was $4.25 an hour. I spent my lunch break selling T-shirts I found in trash piles on put-out night, hoping to make enough for a burrito next door. If I lucked out, I scored a burrito and bus fare. When I couldn’t afford bus fare, I walked straight to the Century, a grubby nude club where drugs were plentiful and twenty-dollar bills were rare. 

Some of the strippers at the Century gave grand performances, with boas and whips and choreographed moves like in Fame. I merely darted to the dressing room before my stage set to put on something I could take off. The dressing room was down many narrow steps and through a low door, a smoker’s basement with a dirt floor that we called “the Crypt.” Luscious, Micky, Destiny, and I ashed our cigarettes on loose planks of wood. I was addicted to meth, but heroin was big then. My coworkers slid in the dark theater from lap to lap, or nodded off, or went to law school. 

The Century was where I fell for stripping. Stripping is a hard, taxing job. It entails waiting, hustling, and negotiating personal physical boundaries in a place where strangers assume access to your body. As an art form, stripping is joyful, magical, and adrenaline-inducing. But it was also emotionally and politically confusing. Stripping contained that tension for me and has held me in its grip for twenty-nine years. 

On the one hand, stripping was a public-facing revolt against demure femininity and heterosexual norms. Monetizing straight desire and performing as patriarchy’s plaything was fun and lucrative; lap dancing was fast money earned in the dark. At the time, feminist performance artists like Karen Finley, Laurie Anderson, Diamanda Galás, and Lydia Lunch challenged second-wave feminist ideals by performing desire and rage as a poetic disruption. They used their bodies as a site of protest against sexual shame, misogyny, and homophobia. 

Stripping felt powerful back then, but not every second was an empowering feminist orgy. The job was not something I advertised to my friends or family. Deeply puritanical ideas about sex and class informed our cultural lives and affected dancers’ feminist visions of ourselves as deviants, artists, or societal failures. Among my peers, my life as a queer stripper was considered sleazy, even if it was rebellious. Dykes I dated were skeptical or downright disapproving of the sex industry, and they let me know it. Deep down, they believed the patriarchal party line that sex work was intrinsically wrong, even if they refused to admit it. One of my girlfriends threatened to break up with me if I continued full-contact lap dancing; she preferred my tenure in the live peep show behind glass at the Lusty Lady. She followed through with that promise eventually—but not before I joined a group of startlingly intelligent live nude girls who began unionizing the Lusty Lady in 1996 and eventually became the Exotic Dancers’ Alliance. 

Stripping is a working-class grind. 

Over the next decade, my customers became regulars, which turned me into a professional stripper who had the audacity to keep a schedule. I stripped on holidays, on weekends, and during sports events. I squirreled away cash in envelopes under my bed. My lust for financial security and love for travel led to many road trips on the search for gold mines; I stripped in Las Vegas, Hawaii, and New Orleans with only the tips and tricks of other stripper friends to guide me. This was five years before Facebook and nine years before the creation of the iPhone, which granted every sex worker the ability to screen a client in the palm of their hand. 

I learned everything I know about where and how to strip by talking to seasoned strippers I befriended on the job. Strippers know where to find the money clubs and which shifts are the best ones there. They know how the fees and fines work and which managers to avoid. They know which clients to talk to and who is a time waster. I highly recommend talking to veterans in person, at work, about what they’ve learned. They are a part of my history, just as I am a part of yours. 

Not only did we not text back then, but we also communicated without apps, websites, email, or the terminology strippers now use to accurately discuss the complexity of client relationships that progress outside the strip club. The fact was that I simply trusted certain clients to take me shopping or out to dinner. I indulged some of my clients in their fantasy that I was their girlfriend, their human vacation. And I charged as much as I could while maintaining a straight face. 

When I moved to Los Angeles in 2004, I searched the vast whorescape that is the San Fernando Valley and Hollywood for a strip club to call my home—to no avail. Clubs in Los Angeles County were miserable, empty places with no use for a chubby, tattooed thirty-four-year-old with a women’s studies degree from Mills College. I did strip briefly at Cheetahs, Pleasures, Knockouts, and Nicholas, but the hustle baffled me; Los Angeles clients were cheap, unreliable, and awful. Unlike in San Francisco or New Orleans, where strippers are culturally relevant VIPs, Los Angeles treats non-famous strippers like the least favorite gum grabbed on the way out of the gas station. Perhaps this is due to the cultural prevalence of the porn industry that dominates the field here, rendering strippers an afterthought. 

That same year, my mother was diagnosed with aggressive bile duct cancer. I was panicked and stressed, untethered by her illness. I constantly drove back and forth from LA to where my mother was hospitalized in my hometown. I switched from stripping to other types of sex work that required less of me, timewise and commitment-wise, where I could snatch as much cash as possible and still answer my phone in case my mother called. 

Stripping outside the club entailed risks that were hard to anticipate, like depending on strangers to pay when they say they will and having no security whatsoever from violence. One night I stripped as “Ginger” at a Gilligan’s Island–themed fortieth birthday party. Shit-faced party guests grabbed my friend, a petite, impeccable “Maryanne,” and threw her in the pool, despite her frantic, screaming pleas that she couldn’t swim. I jumped in the pool after her, carried her out fully clothed, and scolded the organizer. I told them the least they could do was pay for her lost contact lenses and vintage clothing. A woman wrote me a check, and we left. But what if my friend had drowned? I had assumed the gig would be an easy one-off. No one knew where I was that night. 

The next day, the check was canceled. 

~

In 2007, at the age of sixty-two, my mother died. That same week, I attended my first class in an MFA program she had encouraged me to apply to before her illness. “Get that degree,” she said. I was heartbroken, and I was alone, but I got my MFA. 

Around this time, the club in Pasadena where I stripped shut down. I was out of options and broke as fuck. My friend Kara told me about her lucrative “massage” hustle. She showed me how to put up photos and ads on sites like Backpage and Eros and—lickety-split—I was a hand job whore. At first, we mostly saw her regulars, like CJ, a chipper guy in his sixties. He’d eat her pussy while I jerked him off, and he always said the same shit: “What exemplary customer service.” Eventually, he gave Kara trichomoniasis. I had to convince her to get tested, which was not  easy, because she believed she was in a constant state of orgasm—sex cult stuff she said she learned from OneTaste, an orgasmic meditation retreat up in San Raphael. It was also not easy to tell my ex, whom I was still fucking, that we had been exposed to trich. Soon after that incident, I saw CJ at Trader Joe’s piling lunch meat into a shopping cart. “Hey,  CJ,” I said, before I could catch myself or think twice.  

Kara had faith in her ability to stack cash safely. I did not, but I didn’t care. Blind faith, dumb luck, good timing, and magical thinking are markers of the sex trade. Similar to gamblers or stand-up comics, sometimes we lucked out. Sometimes we were on fire, sometimes we tanked. Unlike gamblers or stand-up comics, though, sometimes we got arrested. Sometimes we got STIs from our coworkers. Sometimes we got robbed or thrown in a pool. Sometimes we went missing. Sometimes we were murdered. 

Class shame and whorephobia are rampant in our culture. Institutions, banks, and media platforms are denied to sex workers as punishment for trying to survive late capitalism in resourceful, clever ways. Sex workers and strippers themselves are not immune to whorephobia, in the same way that Black folks are not immune to anti-Black racism. I want to communicate the specific ethos of the deeply abusive landscape of strip clubs in order to unlearn it and to stop it. 

Some commonalities in every strip club that I’ve witnessed and/or have experienced directly: the business model of theft, wage theft specifically; tip stealing; the acute lack of safety from violence inside the club; racism; anti-trans antagonism; whorephobia; anti-worker hostility; extortion; coercion; the negligence of any bookkeeping by employers; sexual assault; blame casting; misclassification; drugging of workers; unfair termination; racist hiring and firing policies; harassment. Nothing bristles against whorephobia and class shame like a bunch of fierce strippers unionizing a strip club and then becoming a union collective. The tide changed in 1996, but the labor war has dragged on since we won that battle. 

I haven’t stripped inside a club since 2020; I’ve stepped away due to Covid-19 and the fact that I’m in a PhD program for literature that fills my time and pays me to show up. Clients and friends sometimes ask if I’ve retired, as if I long to quit the one job that has supported my life for nearly thirty years.  

I miss stripping. Not just pole tricks and sliding from lap to lap, but being good at a thing and getting paid well to do it. Watching dancers twirl and fly on the pole like muscular ribbons. Ripping on clients and talking shit. Making money hand over fist, mid-shift. Counting dances and money under my breath while strippers pull customers from their chairs with a yank. Locking eyes with other dancers while they grind and guessing how long they will last on certain laps. I miss the grubby red theater chairs with gum residue, the zigzag carpet. I don’t miss the migraines, the wage theft, or the tired two-hour drive home.

Since April 30, 2018, I’ve been trying to organize strippers, sex workers, and allies from California to New Zealand to fight for safer and more humane working conditions. I will continue to fight for this cause because I answer to my community. My coworkers over the past twenty-nine years are a collection of intersectional, dynamic people, and my life is better for knowing them and their stories. 

I was still in high school when my friend and mentor Lizzie Borden premiered Working Girls, a fictional film that shows the complex relational field sex workers navigate while also exploring class differences and queer relation ships within the industry. When I met Lizzie, in 2015, she mentioned an anthology of memoir pieces she was collecting that centered on strippers. I was delighted that she chose strippers as the group to focus on, because strippers are usually depicted as mere background, as invalids awaiting rescue, or as sociopaths. I think the best stories and films are ones where strippers/sex workers try to do right by one another, which has not happened much since Pretty Woman

The essays and interviews Lizzie Borden has curated and collected here were written with a burning desire to share honestly about the landscape of stripping, the camaraderie and artfulness, without delighting in our demise; to celebrate our small and large triumphs, our rage, our sadness, our hope, and our love for stripping. We are living in the truth of our shared experiences together as strippers. We share that truth, and so we share our stories here. When we share our stories, we build our collective archive. When we share our collective history, we articulate our presence. And when we articulate and assert our presence, we can attempt to change our lives for the better and change the future we create. This is my history, which is part of yours. This is our history.

From “Whorephobia: Strippers on Art, Work, and Life,” edited by Lizzie Borden. Excerpted with permission of Seven Stories Press. Copyright 2022 Antonia Crane.

[post_title] => Stripper Archive [post_excerpt] => Nothing bristles against whorephobia and class shame like a bunch of fierce strippers unionizing a strip club and then becoming a union collective. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => stripper-archive-whorephobia-book-excerpt [to_ping] => [pinged] => [post_modified] => 2024-08-28 21:08:25 [post_modified_gmt] => 2024-08-28 21:08:25 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=5457 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
Book cover for Whorephobia: Strippers on Art, Work, and Life, edited by Lizzie Borden. The cover is a bright pink with an abstract fishnet design in a darker pink, with a fun 70s font on top.

Stripper Archive

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    [post_date] => 2022-10-04 08:00:00
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    [post_content] => 

An exclusive excerpt from "It Came from the Closet: Queer Reflections on Horror."

In My Skin / Dans ma peau

IT WASN’T UNTIL I got pregnant that I finally saw how distant I was from my own body. This was late 2016, early 2017, and I was about to turn thirty-five, a late age for a first baby. I spent half my day reading pregnancy manuals and websites, baffled and embarrassed by their maniacally chipper tone, which seemed to be aimed not at parents of small children but at the actual children themselves: Baby is the size of a grape! A papaya! A spaghetti squash! It’s all right to be nervous. But more all right to be happy! Mom (the pregnant person is always addressed, in these texts, as “Mom”) is getting ready for a big change!

I was not getting ready for a big change, I was in the midst of one. My personality shifted with my hormones, giving me new tastes and interests and a terrifying ability to cry in public. I swelled and rounded, changed shirt sizes and pant sizes and shoe sizes, puffed up at the joints until I had the tree-trunk legs of a brontosaurus. In the more scientific manuals, I learned that my body had doubled its amount of blood; that the baby’s cells were mingling with mine, and would stay there after I gave birth, rendering me a biological chimera; that I was growing a new organ, the placenta, and when I gave birth, I would both expel and (the manuals strongly encouraged) eat it.

The teenage edgelord in me delighted in this information. A parasite turns you into a mutant and forces you to eat your own organs; what’s cooler than that? Yet, when I tried to talk to other people about how disgusting pregnancy was, I was met with baffled politeness, not only from the world at large but from pregnant women. This experience of being lost at sea in my own body, held captive to its processes, seemed to be mine alone. In fact, if the expressions on people’s faces were any indication, it was mildly crazy.

Yet the more I sat with the feeling, the more it seemed to me that my body had never belonged to me. There were whole areas—my hair, my breasts—that I was keeping around primarily because they got a reaction from people. There were processes that had always felt unwelcome; as a teenager, my periods were so distressing that I once passed out in the middle of a McDonalds because I felt one coming on. I could never figure out all the little things women were supposed to do, how it was that they managed to look adult and female and put-together. It seemed easy, or at least manageable; a necessary life skill, like cooking dinner. I just couldn’t do it. My body was something I needed to manipulate, a weird, soft machine I was never quite sure of operating correctly. I fed it like a pet, washed it like a car, exercised it... well, no, I didn’t exercise it, because that would require getting in there and fucking around, and I spent as much time reading or drinking or otherwise getting out of my body as I could.

It never would have occurred to me to call these feelings “dysphoria.” I pushed through them the same way I’d always pushed through the pangs of shame and panic I got when I tried to do girly things or present as convincingly feminine, telling myself it was just internalized misogyny or poor self-esteem. Yet it seems clear to me now that my pregnancy was the beginning of my coming-out process as a nonbinary transmasculine person. It called my body to my attention. It made me realize that I could successfully and intentionally undergo a big change.

Now that I’m out, my former alienation from my body seems normal. I wasn’t “put together” because I was trying to put together the wrong thing. It’s like I bought a coffee table at IKEA and spent thirty-five years trying to assemble a couch with the parts. Frustration was inevitable. Yet in the moment, before I knew any other name for my experiences, my only comparison was body horror—specifically, the body horror movie I loved most in the world, and have loved ever since I saw a crappy VHS copy of it in college: In My Skin, the 2002 independent movie by French writer-director Marina de Van. In My Skin (Dans ma peau) is one of those movies that frequently makes lists of the “most disturbing movies ever” or “toughest horror movies to watch.” The college boyfriend I rented it with noped-out by the second act, telling me he was just too uncomfortable to keep going. I’ve always enjoyed the nerdy flex of watching a horror movie that is too much for some cis guy, and yet it pains me that In My Skin is remembered primarily as a gross-out feature. The violence here is nowhere near as graphic as the average Saw or Hostel movie. In My Skin is scarier than those movies precisely because it reaches the viewer on a level that soulless splatter porn can’t; the injuries feel real and painful because they’re grounded in a frighteningly believable portrait of one woman’s self-destruction.

We open on a heroine, Esther (played by de Van, directing herself), who seems to more or less have her life together: she’s got a job at an advertising firm, with a promotion in the near future; she has a boyfriend who wants to move in together; she’s putting him off, but it seems clear where things are headed. It’s a recognizable white, upper middle-class, postfeminist, heterosexual trajectory. It’s what she’s supposed to want, even if some key elements, like the boyfriend, don’t excite her as much as she’d like.

One night, at a drunken party, Esther manages to rip her calf open on a piece of jagged metal in someone’s yard. Due to some combination of shock and nerve damage and alcohol, Esther doesn’t feel the injury, and goes through the whole night without realizing that her leg is gushing blood. She only sees what’s happened when she goes to the bathroom; she gasps, and fingers the edges of her wound, and begins crying. It’s not clear whether she’s in pain or simply horrified by what she’s seeing.

I mean to say: Esther is betrayed and traumatized to see her body shedding blood from a hole that shouldn’t be there. You can see where the transmasculine viewer might connect. It is also bizarrely relatable to see how Esther tries to deal with the injury, which is, at first, by pretending she doesn’t have one; she goes over to her friends and casually mentions that she might need to go to the hospital, but she wants to stop at a bar for one last drink first. The doctor who eventually stitches Esther up is baffled by her dissociation: “Are you sure it’s your leg?” he jokes.

Esther doesn’t laugh. She also doesn’t answer. Esther becomes obsessed with her injury, and with the numbness that seems to be spreading out over her whole body. She begins trying to re-create the thrill of getting hurt; first pinching and picking at herself, then cutting herself, then doing several things so gross that one hesitates to spoil them, except to say that this one woman somehow becomes both the perpetrator and the victim of an entire Texas Chainsaw Massacre before the credits roll.

The gross-outs are real, but never cheap. Esther’s self-harm addiction mounts slowly and realistically; the brief relief of a cutting session in the break room slowly giving way to more sessions, more extreme injuries, entire weekends spent alone in a hotel room, doing things to yourself that you have to explain later as the result of a car accident. Some scenes are uncomfortable precisely because de Van’s slack-jawed, compulsive pleasure as she works on herself feels like watching someone masturbate. It’s that kind of problem: an urge you can’t get rid of without indulging, a gross but pressing need.

Esther’s self-destruction is a symptom of alienation: from capitalism (during a business dinner, Esther has to forcibly restrain her hand from skittering around the table) or from womanhood (after one cutting session, she watches a female friend apply moisturizer, baffled by the concept of feminine self-care) or from heterosexuality (her boyfriend tries to “cure” her by fucking her while asking if she can feel him; he does not get the answer he’s hoping for). Careful viewers will have noted that de Van’s heroine shares a name with Esther Greenwood, the protagonist of Sylvia Plath’s novel The Bell Jar. Like that other Esther, she self-destructs in part because meeting the expectations placed on women already feels like a kind of self-harm.

Most importantly, though, the cutting is symptomatic of Esther’s alienation from Esther. She doesn’t hate her body, she tells us, but she also doesn’t think of it as her. Her self-injury is exploratory, almost clinical; she’s a scientist, testing the foreign object of her flesh, trying to see what it can do. In fact, there is no part of Esther’s life that is truly hers: her friends are not really her friends, the man she fucks isn’t someone she particularly wants to be fucking, her professional success is maintained at the cost of disappearing into back rooms and wine cellars and coming apart at the seams. She takes her body apart because she is trying to get back inside it. She’s not trying to kill herself. She’s trying to prove she’s alive.

~

It’s dangerous, I know, to connect transmasculinity or gender dysphoria with a movie about female self-mutilation. The idea that transmasculine people are self-harming “women” is currently one of the main talking points TERFs (trans-exclusionary radical feminists) use to try to argue us out of existence.

As I write this, the number one book result on Amazon for “trans men” is a book called Irreversible Damage. The title is splashed across the page in big, bloodred letters, with a subtitle promising to expose the “Transgender Craze That’s Seducing Our Daughters” in the same tone 1950s horror movie posters used to advertise a “Terrifying Monster of the Ages!” or some “Students Made Victims of Terror-Beast!” Beneath the titles, there’s an illustration of a little girl, or possibly a baby doll, who is still alive and conscious despite the gigantic, red-rimmed, perfectly circular hole scooped out of her stomach.

The message is clear: transmasculinity is body horror. The average trans boy, according to Irreversible Damage author Abigail Shrier, is “psychologically alienated from her [sic] own body, and headed toward medical self-harm;” she predicts that medical transition will leave such a boy “angry, regretful, maimed, and sterile.” Give or take a “sterile,” he sounds very much like Esther from In My Skin.

Other TERFs have resorted to putting transmasculine bodies on display, hoping that the supposed freakishness of top surgery scars or testosterone-squared jawlines will scare the public away from supporting us. Photographer Laura Dodsworth has published an entire series of seminude portraits of “detransitioners,” women who formerly identified as transmasculine. Dodsworth was inspired, she says, by the horror she feels when she thinks about trans men’s bodies: “For me, the idea of having my breasts, ovaries, and womb removed, and then wanting them back, creates a feeling so unnerving that I cannot occupy it for long.”

She can, however, ask other people to occupy it in front of her while she takes pictures. It’s not clear whether Dodsworth informed her subjects that she would accompany the photos of their naked bodies with commentary on how scary and disgusting they are; nor is it clear how Dodsworth’s “unnerved” feeling is different from the pleasurable disgust carnival-goers feel at freak shows.

First things first: The posttransition body is not a mutilated body. It’s a healed body. Transition is not a symptom of psychological distress but a means to cure it. That “unnerving” feeling Dodsworth imagines—the horror of looking down at a body you don’t recognize, one which can’t do what you want or need it to do—is already felt by many people who are uncomfortable in their assigned genders, and it is spectacularly cruel for someone to use her own imaginary dysphoria as an excuse to deny transpeople treatment for theirs.

Yet the rubbernecking dread transphobic “feminists” have for trans bodies—Shrier, or Dodsworth, or J. K. Rowling, for whom trans boys are merely psychologically damaged and self-hating “girls” who’ve succumbed to the “allure of escaping womanhood”—is not unfamiliar to me as a horror fan. Whether these women know it or not, they’re talking about transpeople in the same way that sexist men have historically talked about the bodies of cis women.

The body horror genre is deeply rooted in cis men’s fear of femininity, and considers cis female bodies to be inherently freakish, flawed, and deformed. In particular, body horror often focuses an obsessive disgust on cis women’s reproductive cycle, either in a sideways fashion—like the exceptionally vaginal face-hugger in Alien, or that franchise’s many chest-bursting images of “child-birth”—or directly, as in David Lynch’s Eraserhead, where a woman’s fertility dooms her man to a life of tending the foul horror she’s produced. Body horror king David Cronenberg spent much of the ’80s explaining why he was scared of vaginas. There was the pulsating external uterus of The Brood, where a (cis) woman’s capacity to reproduce without a man led to countless hammer-based murders, or the “mutant women” of Dead Ringers, with their insatiable sexual needs and triple-headed Cerberus vaginas. Both movies feature a woman chewing through an umbilical cord with her teeth, I guess because no one told Cronenberg about the placenta thing.

This is how horror is used by the dominant culture: to justify fear and violence toward the Other, the Alien, the Mutant—and in a patriarchy, that title will always belong primarily to people who aren’t white cis men. Whether it’s David Cronenberg’s umbilical phobia, Laura Dodsworth’s close-ups of top-surgery scars, or the countless ways that cis-directed comedies and slasher movies have trained us to fear the bodies of trans women, horror is always located outside, in the marginalized person, in the body that doesn’t look like the person behind the camera.

I’m not interested in this type of horror, to put it mildly. Yet I still describe my own experiences in terms of body horror, because I am my own person to describe. I still hold out hope for body horror stories told by marginalized people, stories that are not about demonizing or destroying the Other but confronting the least comfortable parts of yourself. (It’s significant that when David Cronenberg discovered male anal penetration in the ’90s—Naked Lunch, eXistenZ—his gross-outs were improved.) There is a difference between feeling uncomfortable with your own body and having others proclaim how uncomfortable they are with you, between the horror felt by a person and the horror caused by a monster. Few movies understand this as well as In My Skin.

Marina de Van spends a lot of time naked in her own movie. Esther is perpetually taking clothes off, putting them on, hanging out at home in her underwear, taking showers. The camera encourages us to study her body in detail; here are her hands, here are her legs, here’s the odd fold of skin gathered at her right hip. The nudity has a strange dissociative effect, like catching your reflection unexpectedly in a mirror—de Van is both the object of our gaze and the subject directing it, somehow behind the camera and in front of it at the same time. All this serves a very practical purpose: de Van wants us to understand the architecture of Esther’s body before she destroys it. She’s laying out the parameters of the crime scene, giving us a tour of the house before she tears it down.

These points were missed by the film’s early (and nearly all male) critics, who invariably took the sight of a woman’s body on screen as an invitation to rate her looks: “Ms. de Van, who resembles a feral, gap-toothed version of the young Leslie Caron, is at once beautiful and ugly,” runs a representative assessment from Stephen Holden’s New York Times review. Dennis Lim at the Village Voice praised her “arresting screen presence” while also calling her “pale, flared-nostriled, and gap-toothed.” There are just so many more interesting things you could say about Marina de Van’s teeth in this movie—like, for instance, the fact that she uses them to eat her own leg like a chicken wing. Even in a movie about how women’s bodies are treated like meat, these men can’t help but leave three-star Yelp reviews for hers.

Cis men seemed incapable of understanding that a woman’s body could be put on screen for reasons other than objectification. We’re not meant to want Esther—we’re meant to be her. The movie is effective precisely because de Van blurs the boundaries between inside and outside, self and other, person and object, audience and action; when viewers of In My Skin scream or flinch at some gruesome injury, it’s because we’re so connected to Esther’s body that it feels like we are being injured. In the moment, as he squirms and averts his eyes from the bloody screen, the cis male viewer of In My Skin has become the very thing he’s spent his whole life trying not to resemble: a woman.

It’s that invitation to occupy the marginalized and monstrous body, to feel what it feels, that makes In My Skin unique. The power to make our oppressors share our perspective, to make them see the world as we see it—to bring them inside our skin, as de Van puts it—is one of the most potent tools any storyteller has. In My Skin is not an overtly feminist movie, but it makes the still-radical assumption that we will be able to identify with a woman enough to take her suffering as seriously as our own.

It worked. I’m not a woman. I feel my own pain, and Esther’s, when I watch this movie. What I relate to is not the cutting, though; the TERFs are wrong on that. What I relate to is the suffering the cutting is intended to relieve. It’s the baffled sense of being locked out of your own body; unable to connect with the person that is supposed to be you. Esther’s desperate need to get back inside herself, to have even one moment of being fully present in her own life, is something I’ve felt many times. It’s something I stopped feeling only when I transitioned.

I got so used to pushing past discomfort in the first thirty-five years of my life. I maintained my disconnected body in a manner that pleased others, gritted my teeth through periods and pregnancy, suppressed the flashes of anguish and shame and self-disgust that arose at predictable moments, but for no reason I could name. It’s only now, when the discomfort has lifted somewhat, that I realize I was hurting myself every day of my life. The injury was there. I just didn’t let myself feel it. I covered it up, mopped up the blood, went out and asked if anyone wanted to grab a beer.

When we cannot put ourselves together, we tear ourselves apart. This is true no matter who we are, no matter what reason we have for not fitting into the lives we’re given. Esther never explains why she needs to destroy herself, yet the answer is always right there in front of us. Why does any animal chew its own leg off? Because it’s trapped.

From "It Came From the Closet: Queer Reflections on Horror," edited by Joe Vallese. Excerpted with permission of Feminist Press. Copyright 2022 Jude Ellison S. Doyle.

[post_title] => The Healed Body [post_excerpt] => An exclusive excerpt from "It Came from the Closet: Queer Reflections on Horror." [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => it-came-from-the-closet-queer-reflections-on-horror-book-excerpt-in-my-skin [to_ping] => [pinged] => [post_modified] => 2024-08-28 21:15:12 [post_modified_gmt] => 2024-08-28 21:15:12 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=5182 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )

The Healed Body

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A round table with a few members of the Abolitionist Library Association.

In the wake of George Floyd’s murder by then-police officer and now-convicted killer Derek Chauvin in 2020, a large swath of people who’d never paid attention to systemic, anti-Black racism began, for the first time, to acknowledge its existence. Something shifted. Folks who had never spoken out chose to engage; to actually do something. While the Black Lives Matter movement had existed for nearly seven years before Floyd’s death—and abolitionism for many years before that—the widespread protests of 2020 seemed to give these movements new momentum. At the height of a raging pandemic, during a time of mass isolation and fear, hundreds of thousands of people across the world took to the streets, standing up against racist police violence and the prison-industrial complex it fuels.  

In the two years since, the greater outrage has waned. Those privileged enough to not have paid attention before largely went back to not paying attention; while the people who had already been doing the work continued to do the work. But that initial uprising—that newfound awareness, and solidarity, and, in some cases, radicalization—was nonetheless significant, and provided necessary support for longtime activists to realize long-held needs, giving community spaces and organizations more resources to work towards collective liberation and even, perhaps, some policy change. 

One of those spaces was the library. 

In the spring of 2020, the Library Freedom Project published a piece on Medium titled, “It’s not enough to say Black Lives Matter—libraries must divest from the police.” The post set the library world ablaze, and before long, a group of library workers gathered over Zoom to discuss what they could do to further their message and their agenda. From this meeting—and from decades of work before it—the Abolitionist Library Association, or AbLA, was born. 

More than two years after AbLA’s inception, we sat down with four of its members*—Lawrence M. (they/them), Megan R. (she/they), Jen W. (she/they), and Les D. (they/she)—to discuss the intersection between abolitionism and library work, the importance of creating safe public spaces, and the power of the collective. 

*In respect of their privacy both online and off, we’ve opted to include only their first names and last initials. 

~

Gina M.

To kick things off, I feel like an obvious question, but an important one, is: What is an abolitionist library worker? What does that mean, in action? 

Lawrence M.

I think it's important to foreground abolition as a specific political ideology that stems from the Black radical and Black revolutionary tradition. Dr. Joy James talks about the plurality of abolitionism, right? So I'll speak for myself: When I think about abolition, I think about this long tradition that started with the desire and the demand to end Black chattel slavery. Today what that looks like is seeing how carcerality permeates through our social structures here on occupied Turtle Island, or the United States. Abolitionists are committed and dedicated to disrupting and ending the way carcerality works, and really carcerality in general.

Megan R.

That's a really good starting point and really important background that not necessarily everybody is conscious of when they're coming to abolition. Recently, I have been doing a lot of reading around the idea of the carceral habitus, and just the structuring of society in this punitive, carceral way, and how it presents itself as a natural occurrence, or a natural way of being a society when, in fact, it's not. By human nature, we're not necessarily punitive. Our interactions don't have to be based around punishment. So I think that abolition just offers such beautiful possibilities for life outside of this carceral framework, and that's the attitude that I try to bring to my library work. 

Jen W.

Yeah—this is work that Black women have been leading for a very long time, and so all the work of our association is really built on their shoulders. That's important to acknowledge. You also might not necessarily think abolitionist and librarian go together. But the library world is not immune from carcerality. I mean, the stereotypical image of a librarian is literally someone shushing people. And I think that there's a lot of ways that people are policed in library spaces, or that libraries play into the prison-industrial complex. There are very practical issues that come up in all library spaces, not just public libraries, where you'll have a security guard be the first person you see when you walk in. Some libraries have security gates that literally beep if you didn't check out a book.

Megan R. 

I want to really quickly touch back on the archetypal image of the librarian as shushing or performing some sort of policing behavior. Because I really want to emphasize that that archetype, or that archetypal image, is usually a white woman. So it's really crucial to be aware of the history of libraries as institutions that continue to uphold white supremacy through this policing of behaviors, and their role in the Americanization of immigrants and inculcating the youth. Even if you're not necessarily thinking about it in terms of penal abolition, just thinking about the ways in which social reproduction happens in libraries, especially public libraries, and who is allowed to be in those spaces, and what behaviors are allowed to occur in those spaces. 

Gina M.

All of you are touching on something that I was going to ask, which is, if there’s a Venn diagram, right, between library work and library spaces, and abolition work and the prison-industrial complex, what's in the in-between? Libraries, at their best, should be these incredible public spaces and resources for people—but even they have been subjected to the carceral state that we exist in. Which leads very nicely into the origins of AbLA. I would love to hear a little bit more about your origin story. And, out of curiosity, was it a conscious choice to lead with abolitionist in your name? 

Lawrence M.

So, Alison, right?

Jen W.

Yeah. AbLA got started in the wake of the George Floyd uprisings. Alison Macrina and some people from the Library Freedom Project had written a piece that was published on Medium. And that was kind of the birth of this association. The reason that it's the Abolitionist Library Association—as Lawrence said, that's what we want to foreground. And also, a little bit of mockery of ALA [American Library Association]. There's also the fact that the Abolitionist Library Association is more inclusive to library workers who might not necessarily be a degreed librarian.

Megan R.  

Yeah, we actually spent a lot of time trying to figure out what to call ourselves. Because, like Jen mentioned, not everybody who works in the library is a librarian. I tend to use the term library workers, just to be as inclusive as possible. But we also wanted it to be a space where library patrons and community members can get involved, as well. We jokingly called ourselves the "good ALA" for a while, which was not really sustainable—which is how we ended up with AbLA.

Lawrence M.

We still are the good ALA, by the way.

Megan R.  

I feel like maybe [Alison] put out a call on Twitter or something along those lines. I don't remember exactly. But I remember that we all ended up on Zoom.

Jen W.

I think we called it a town hall, to discuss the Medium article, because it had gotten a lot of attention. And there was clearly a need for a space to talk about it.

Lawrence M.

Yeah, no, we can't talk about AbLA without talking about Alison. The call went out on Twitter, and we were looking at this uprising, and everyone was thinking about the field—or, everyone who gave a shit was thinking about the field—and it was like, Okay, well, what the fuck are we going to do? 

And that was the first time we all got together, reviewed the statement, and went from there. But I don't know—there's a part of me, a big part of me, that wants to be like, that first meeting was not so much the origin but the culmination of a lot of things. Gina, you brought up the library being a public space, right? Well, just seeing historically how that public space wasn't available for Black people specifically, and Indigenous and racialized non-white people in general—for me, it was a start, but also the apex of what was going on during spring 2020.

Megan R.  

On that note, I feel like the town hall and then the subsequent meetings that eventually morphed into AbLA, what also facilitated it, in a lot of ways, was COVID forcing everything to be online. So all of these different organizing projects that have been running parallel to each other in a lot of ways—like Cop-Free NYC and things like that—people all had a chance to connect with each other. 

Gina M.

What has the work looked like so far? Or, put another way, what are the biggest goals of AbLA? I’ve read your website, of course, and the four tenets you laid out. But in your own words, what do you hope to accomplish with it? 

Lawrence M.

You know, I think first and foremost, AbLA is rooted in a liberatory ideology. That's in our mission statement, if I'm not mistaken. So off the bat, reforms to liberal approaches to carcerality—I won't say we’ll outright reject, but we'll heavily scrutinize.

Megan R.  

I really quickly want to backtrack to AbLA’s origins and mention that the listserv, I think, has been one thing that's really kept momentum going. Like, it's being used in ways that I didn't anticipate, including people sharing job openings and things like that. So that's been really helpful. I like listservs—it's kind of old school, but I think it's helpful. 

Lawrence M.

About AbLA and the listserv, too: We have “Association” in the name, but we're not an association. Like, I think the term that could best describe us is a political formation, and I’m not even loosely using that term, [that’s] as accurate as I can be. And in terms of listservs, I'm typically not a fan of them, but AbLA is the only listserv that I know in which the conversations that are happening on this listserv—I don't see those conversations anywhere else. 

Gina M.  

Your listserv is open to everyone too, right?

Lawrence M.

Yeah, it's open to everyone. 

Megan R.  

Which you know, is a double edged sword in that everything that is happening there is essentially public.

Lawrence M.

It's open to everyone, but not cops. I will say, for sure: If I find out there's a cop on the listserv, they're gone. You can put me on the record for that!

Gina M.  

It sounds like it’s this public resource in itself, the listserv.

Jen W.

The listserv is certainly very active. There are probably like 1000 people on our listserv at this time. And I think the listserv has been a great space for people who are dealing with specific in-the-moment issues with policing, to come to our group and be like, I don't know what to do. I don't know how to get my administration to realize this is bad, and to be able to find support and practical advice for how to divest from policing in our spaces. 

Megan R.  

I mean, this idea of community self determination and working towards liberation is really important. And what goes hand in hand with that for me is rethinking what we mean by public safety in public places. Obviously not just for patrons, but for workers. 

Thinking on the recent news, I don't know if you saw that there was a retired cop that shot and killed a library—what do they call them—a special library police officer, in the DC Public Library during a training yesterday. And I was just seeing so many comments on Twitter, like, Wait, there are cops in libraries? Why are there cops with guns in libraries? And I think it's one of those things that's not even flown under the radar, it's just that, in the United States, the presence of police officers goes so unremarked upon, that trying to foreground the “Abolitionist” in the Abolitionist Library Association is really important in even just becoming aware of the ways in which the carceral has intruded into public space, or shaped public space. 

Jen W.

On a practical level, just to give a general overview of some of what the work has looked like: There were a couple of divestment campaigns that really got off the ground in 2020. And as a group, we were able to support those campaigns throughout the country. And then we also have some specific working groups, [which] will have their own meetings and their own agendas. We have a special collections working group that is very active—you might have seen the Ivy+ divestment statement that came out from there. And then we also have our working group focused on information access for incarcerated people. That group was born out of a specific attempt to ban one of Mariame Kaba's books in Washington, but has since become a place for people who are doing work to make information accessible, to come together and talk about the challenges that they're facing. 

I think the exciting thing about libraries is that we do have the possibility of being liberatory spaces in a way that many spaces don't. But we aren't inherently liberatory spaces. Because we are state institutions under capitalism, we replicate the same oppressive dynamics as other institutions. But having the space where we can come together, and be real about that, and find other people who have the political goal of abolition, to talk about like, Okay, we're doing this work at my library, how do I do it through this lens? I think especially with prison library work, it can be hard, because you're often doing it through the state library, partnering with the state Department of Corrections. And it's like, how do you do that work in a way that is abolitionist? 

Les D.

Speaking to what Jen was saying as far as sharing notes, and that sense of community and support—it especially meant a lot to me when I was in my last position, in western Kentucky. You kind of feel alone out there, and this is a space that I could turn to to get the feedback I was looking for and build some strategies and carry through and such. From my rural organizing background, [I] definitely see the importance of decentralized social spaces on the internet. We have people involved with AbLA who are from all over, and being able to exchange notes has been really crucial. Those of us who've become friends through the work, as well, that's just as important. Because not only are we achieving and winning battles, and pushing for these wins, but we're also supporting one another.

Megan R.  

You're [raising] a good point of not just [providing] mutual support for one another, but the idea of joy and play and friendship in this work, as well, because so much of it is really heavy. And a lot of it is done on our own time, as volunteer work—like those of us who do reference by mail for incarcerated people, that's usually volunteer work with PLSN [Prison Library Support Network]. Just being able to—the work itself isn't necessarily fun all the time, but that you can find joy as a result of it.

Gina M.  

It’s really interesting to hear you talk about the community aspect of it, which feels so essential—being able to be in community with each other, both on the abolitionist side, and on the library work side. Especially because, all of you keep bringing up this idea of the promise of the public space versus the reality of the public space. Lawrence, I think you were saying, traditionally, libraries were not actually that inclusive at all. You could argue a lot of library spaces still aren't, to unhoused people, and to Black and brown and Indigenous people. And in spaces where the work is very heavy and very difficult, there is—to your point, Megan—value in having people who are in the boat with you, and to feeling like you aren't alone in the work. Has that been a driving force for AbLA?

Les D.

I was going to add to that. Like, some of us have pushed back in ways that did put our jobs at risk. I mean, we are fighting for abolition under capitalism, and health care is tied to employment. So we are building power in this formation to be able to push for things, while still balancing [the fact that] we work for the state. And there's a tension there, right? And it's dangerous at times. So to varying levels, there is some risk, and being able to be in relationship with one another in that strategy and building that strategy accordingly has been really powerful.

Megan R.  

Yeah, I think this idea of tension is a really important one, too, because that's working on a lot of different levels. Especially these days, with the current political climate around libraries, and the very real possibility of physical danger, not just job security. Les mentioned the decentralized formation that we use for AbLA. But at the same time, because we have a name now, it validates us [and] our work in a way, in that we have been cited in some academic pieces, or at conferences and things like that. So [there’s] this tension between being a formal organization, but then at the same time, at least for me, this resistance to this formalizing and institutionalizing of the work that's being done. 

Jen W.

I want to piggyback off of that. Because we have built a network, we were able to mobilize to support Amy Dodson, [for example]. She had to go before her library board for a hearing to determine whether or not she was going to lose her job, and we wrote a letter that was presented to the board. And, you know, I don't want to give AbLA too much credit here, but we did a lot to really make sure that there was public outcry and that it was very clear that she had a lot of support, and not just in her county or her state, but nationally. Having been able to have that kind of collective influence was very valuable, and we've been able to replicate that a couple of times. Recently, we had some of our members who put together a statement pushing back on the Michigan Department of Corrections' decision to censor language learning books, and not allow Spanish or Swahili language books to be sent to their prisons. And again, I can't necessarily credit AbLA for reversing it. But I think that we did help to make sure that there was a lot of public attention, and that people across the country saw what they were doing and thought it was bad. Thankfully, the Michigan DOC has also walked back the policy.

Gina M.  

What’s next for AbLA? How do you want to see it grow? What’s the ideal for you of what AbLA can do and what it can become?

Lawrence M.

Ideally, our way of seeing the political structures that reinforce the library becomes the norm, right? Just in my work alone, I'm seeing more and more people who are new to the field, realizing the same shit we've known. And [I want] AbLA to continue to be a space for new library workers to feel welcomed into. But also, I'm going to do what I always do and quote Fred Moten, because once you get rid of the police, you have to take care of policy, because all the police are is just an embodiment of policy. So in terms of growth, that's what I would like: I would like for more and more people to just be like, No, AbLA is the fucking standard. You're getting into this field. You're committed to making things better for everybody except cops and capitalists and fascists. 

Megan R.  

I agree with what Lawrence's saying. Even thinking about policy, within the library world—Emily Drabinski winning the election for ALA president is really exciting. Because she's somebody that I know has done reference work with incarcerated people. She's really strong on labor, which, I feel like you can't really talk about safety and library work without also talking about the labor aspect of it. And I don't know, I feel like a lot of AbLA people—not necessarily in the context of AbLA—were involved in [that] campaign. It's hard to say how that's gonna turn out because ALA is such a large organization and pretty conservative, but building power is important however we can do it right now. 

In terms of where I'd like to see AbLA go, it feels like a lot of people's energy has become focused on their working groups, which is really good, because when we first started having regular meetings, I think people were really fired up and ready to go, but it becomes an issue of sustainability and burnout. And it seems like it's settling more into a place where people have a better understanding of their own capacities, with the work that they can do in a way that is going to keep the work going. For myself, really just focusing more on the information access for incarcerated people working group has felt really sustainable for me, and encouraging other folks to participate in ways that feel sustainable to them is the best way that I would like to see it grow.

Les D.

Yeah, the sustainable engagement is really important, especially to longevity of the movement and actually making sustainable change. That's how it's looked for me, as well. Also doing some research on deescalation tactics in libraries, in order to avoid calling the police—that's something I've been working on. But knowing everyone's out there doing the work, and that solidarity there, is pretty powerful. Having the support and the tools to do that work is really important. More skill sharing, as we have been doing all along, is a key concept, I think.

Jen W.

My answer would probably just echo a lot of what everyone else has said. [But] I also want to say that, I think we're in a moment where, every day, fascism's stronghold is growing. And we're seeing that in libraries a lot, as well. We’ve seen a lot of push for censoring collections; we've seen fucking white supremacist militias showing up to drag queen storytime and interrupting; and people trying to destroy pride displays or make sure that those books aren't available. And ALA is nowhere to be found. 

Often, more bureaucratic or conservative organizations like ALA, or library administrators, the people in power in libraries—their default response to a fascist attack is to be like, Okay, well, we need [more] security, we need police. Like, the answer is basically more fascism. So I hope that AbLA will continue to be a space where people can see that we can push back in ways that are still centering the safety of our Black and brown patrons, that are still keeping libraries a space that is open to everyone, except for cops and Proud Boys. I feel a little corny because everyone quotes Mariame Kaba all the time, but her words are so valuable, and she always reminds us that hope is a discipline. In this day and age, it can be really easy to feel hopeless and to feel like we don't have the power to push back. And having a space that helps us remember that, actually, there is hope, and we can push back, and it doesn’t have to default to carceral solutions—I think that's incredibly valuable. I hope that people will continue to see that value and continue to keep that space alive, so that we can continue to collectively push back.

Gina M.  

How can people who aren’t library workers best support your work? 

Les D.

I can run with this one because this is what my research work is on. As far as just anyone goes, building conflict navigation skills—deescalation skills—are really important. In [the] public library context, what I'm working on is toolkits for library staff to use to not only deescalate a situation where a patron is having a bit of a mental break, and is being loud or argumentative—being able to engage with them in a compassionate way to then bring down the situation and make sure they're taken care of in that moment, as well as deescalate surrounding patrons so they don't react in a way that makes the situation worse and thus more unsafe, all with the intention of discouraging calling police because we know how dangerous police are in mental crisis moments. All that to say, if anyone wants to engage with this work, learning how to do bystander intervention, learning how to even just breathe through a moment, calm down people around you, and approach tension with compassion [and] patience. If everybody in the space can agree, Okay, we're gonna try to get through this as smoothly as possible, that makes it a lot easier for library staff. 

Jen W.

Libraries are institutions that are meant to serve our community. So I think encouraging our community to show up and tell us what they like and what they don't like; white people [especially] have to have a voice in helping us push back on having cops or security in the library. You know, if enough people say, Hey, this doesn't feel great, then maybe administrators will listen and be willing to make a change. Showing up in solidarity—a lot of people have already been doing that—[and] showing that, as a community, we can protect ourselves, we can take care of each other, we don't need the cops. I hope that we, as library workers, can make it clear that the stereotypical power dynamic of that white lady librarian shushing people—that's not how we want to be, that's not what libraries want to be, and we want to know how we can make these spaces better for everyone. We want people's voices to be heard.

Lawrence M.

Yeah, off the top of my head, what can people do? Your library has a Friends of the Library—see what they're up to. If you want to join, it'd be cool to join. I mean, shit, get on the Library Board of Directors, if your library has one. 

Megan R.

Run for your local library board if you can. I know that’s not something that everybody feels comfortable doing but if that’s something in your capacity, go for it! Otherwise even just attending the meetings and letting your library board know that people in the community are invested in what happens with the library is really powerful. And give public comment, if you feel so inclined. But I think probably the most basic is learning about abolition and what that means and what it entails. 

Lawrence M.

The type of person I am, I just want [people to] study. I think analysis is key in this specific historical moment, because what we know, what informs our ideology, affects how we move [and] defines our praxis. Read Angela Y. Davis's Are Prisons Obsolete? Read Mariame Kaba's We Do This Until We Free Us. Specifically looking at abolitionist texts, and committing to an abolitionist praxis, will help people figure out where they best fit in. So you know, the typical person who's reading this, we can always put out great suggestions, but at the end of the day, figure out where you stand politically and who you want to be in this moment, because you, dear reader, are ultimately going to know where you best fit. 

Jen W.

Libraries have lied to you about neutrality being a thing. It's not a thing.

Lawrence M.

Yep. Essentially, pick a side. Going back to the start of our conversation, we are part of a long historical tradition here that is still ongoing. And I think study and analysis is key. 

Gina M.  

And get those books from the library?

Les D.

Yes, please. I was gonna elaborate as far as tactical, action steps, if you can get something submitted—like good feedback that can go on someone's record, in-house—that's a structural way to have our backs. I've been in those situations where the record comes up, and if you've got good marks [as a library worker], then you have a little bit more wiggle room to push back. So giving good feedback about your library, on paper, is a great move for just regular ol' library users, because it does matter. You do have a lot of power as the user in that situation.

Gina M.  

My last question for all of you, just to end things on a joyful note—I imagine you were all drawn to library work for your own personal reasons. I'd love to hear why.

Lawrence M.

I'm just good at it. And I figured I may as well get paid to help people find information. And also, I've seen the consequences. I've seen the consequences when people, especially marginalized people, do not have access to the information that they need. I used to work with teenagers in Long Beach Unified School District, talking about, like, missed deadlines for college applications, or lost opportunities for scholarships. But also, deportations, just because somebody didn't know that ICE needed a warrant to come into somebody's place. I'm good at finding shit (information), and I'm good at communicating it and conveying it to people. So I just figured I should get paid for this. And I am and it's great.

Gina M.  

Do you like the work?

Lawrence M.

Oh, yeah. I mean, what I love most is disrupting fascism. It's great. I sleep comfortably at night, knowing that ICE has a few less people to surveil online.

Gina M.  

Jen? Les? Megan?

Megan R.

I started library school back in 2011, right after undergrad, mostly because I didn’t really know what to do with my Comparative Literature degree. But I dropped out after a quarter, and ended up working for a while, and then went back seven years later—and I’m really glad I waited, because it gave me a lot better of an idea of what I wanted to do with my degree. I just got really interested in precarious labor in libraries and archives. I considered myself an abolitionist prior to library school, [and] I think library work just has so much potential in terms of realizing, or working towards, a more radical, liberatory vision for our communities and collective liberation. And that just feels like the right place for me to be right now. 

Jen W.

So, I don't have my MLIS. I don't even have a bachelor's degree—I'm working on that now. But I tried to get a library job out of high school, because of romanticizing the idea of working at a library. Like Lawrence said, I love information. And once I started working in a library, I realized it was such a perfect intersection of my favorite thing—information—and an opportunity to hate cops. I wanted to stay in it. I've had a lot of jobs, and I always tried to find work that felt like it fit with my values, and was often disappointed. And certainly, libraries can also be disappointing in those ways. But I've been so energized by finding community and having found AbLA because I didn't start working in libraries until 2019. And when I was able to find these like-minded people, that has really kept me wanting to do this work, because it feels like there is possibility—there's opportunity—to transform these spaces. And like Lawrence said, as well, you can really change people's lives by making sure that they have access to information. 

Les D.

I got into library work because it was a part-time summer job, and I fell in love with it, took a break to do community organizing for a bit, got burnout. I did a political campaign in western Kentucky, and that was rough. Working in community organizing nonprofits was like, I'll fight like hell, but it just never ends. The burnout was not manageable. So I ended up coming back to libraries. I ended up in outreach, and I realized I could fight like hell but more subversively, especially being able to call shots on how resources are allocated. One of my favorite projects that I was able to push through with grant funding was our reentry toolkits. It was an expansion on our digital toolkits program, [where] people could check out hotspots and laptops that we reworked to meet the specific needs of people who were coming out of jail. We added a phone, added a resource booklet. And it was mostly just a way to respond to needs in our community, and build up that relationship with folks who were impacted by the carceral state. Even though it's a nightmare at times, especially how entrenched neoliberalism's veins are—it's a good lane to fight in. As Lawrence mentioned, [it’s] the very tangible daily ways that people get their needs met: We can keep them out of ICE's claws, get them fed, get them housing, all those daily things. Just little needs met by the community or for the community really keeps me in the game, and is why I fell in love with it.

This conversation has been edited and condensed for clarity.

*The Footnotes

Editor’s Note: At The Conversationalist, we understand that no story exists in a vacuum, and every story is built on the work of others before us, whether in ways big or small. We are likewise dedicated to spotlighting the voices of those who have been or continue to be oppressed, disregarded, and/or otherwise silenced, in an effort to reverse centuries of often intentional erasure. Because of this, we have opted to include “footnotes” on certain stories to give readers additional context and reading material where it feels relevant and beneficial. 

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A black and white watercolor painting of many hands, lifting up together towards the sun.

Four Abolitionist Library Workers Walk Into a Bar

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Summer doesn't officially end until September 22. Here's what to read before then.

Whether or not it's factually true, I have always been of the belief that September feels like the hottest month of the year. This could be because I live in Los Angeles, where there is rarely a meaningful difference in weather once we cross the threshold of August. (A problem that only gets worse each year.) Or maybe it's just some latent, adolescent part of my brain that associates September with school and, therefore, with fall, thus making the heat feel like a punishment—the sun taunting me, the same 80-degree day sitting differently with my body than it did in July.

Either way, early September has always felt like purgatory to me; and while I like summer just fine, come September 1, I often forget it isn't technically over yet: This year, the fall equinox begins on September 22—another three weeks away. With that in mind, I asked a few cool folks to tell us what they're reading until then. (But I think it's a list worth devouring year-round.)

G.M.

~

Autobiography of Red by Anne Carson

This is my favorite book to bring to the beach. Many books have tackled reimaginings of the classics, and it’s been interesting to see a hearty subgenre emerge within that category of same-sex romance. But for me, Anne Carson did it best with this poetic take on one of the labors of Heracles: Instead of slaying the red monster Geryon, he breaks his heart. 

The story is told from Geryon’s perspective. He is soft, sensitive, and insecure. So, you know. Gay. I found that relatable to begin with. The most beautiful parts to me are the passing mentions of Geryon’s wings, which exist, but most people don’t seem to pay much mind to. Love, flight, Greek mythology, being different, the erotic—it’s all here, rendered so splendidly and with such tenderness. It’s an incredibly quick read. It will only take you an afternoon or so to fall in love.

J.P. Brammer

All This Could Be Different by Sarah Thankam Mathews

I’m a bit burned out on media about women in their early 20s living their messiest lives—but when I started Sarah Thankam Mathew’s debut, I felt excited by its fresh approach. In a coming-of-age that considers capitalism, queerness, and cultural identity, recent graduate Sneha lands in Milwaukee during the Great Recession thanks to a corporate job that offers free rent and enough money to support her family in India. As funny as she is frustrating, with that naive mix of knowing nothing but believing everything deeply, I saw a lot of my younger self in Sneha, and I appreciated the chance to spend a rainy weekend in the world of her and friends, knowing I’d return to the stability of my late 20s after I finished it.

Bettina Makalintal

Misfits: A Personal Manifesto by Michaela Coel

Personally, summer tends to either be a blossoming time of creativity, or I feel like a raisin withering on a vine. The fact that I’ve mostly spent the summer reading screenwriting guides, I can say this one was the former. One memoir has become the center of my practice, however: Misfits: A Personal Manifesto by Michaela Coel. A quick read, Misfits refuses to sit firmly in any genre. Coel shares stories from her life, explores her creative ambitions, and provides guidance for Black people trying to survive in the entertainment industry. Reading about Coel’s process and life has inspired my own work and the risks I take.

Ashley Ray

Counternarratives by John Keene

The linked stories in John Keene’s Counternarratives took me a month to read and will take years, I’m sure, to weave through my thinking. This is the kind of book that makes me return to what Toni Morrison and Stephanie Smallwood have said about imaginative literature as a necessary part of the history of slavery (and, I would add, indigenous genocide and survival). How else? In these pieces of the quilt we have an interior monologue from Huck Finn’s Jim (who now belongs to himself), we have a deckhand from Hispaniola on the uncolonized shores of Manhattan, we have conversos in 17th century Brazil. We have Langston Hughes in bed with his translator, Xavier Villaurrutia. We have so many forms and their wild reformations. I was already a fan after reading John Keene’s experimental memoir Annotations, but now he’s a top five fave. 

Carina del Valle Schorske

People Person by Sam Cottington

I find summers to be catastrophic for reading, but recently it's been a nice salve. Mostly I have a hard time reading when it's too hot, and of course, the world is the hottest it's ever been. The heat in Toronto has broken just a touch, so I can sit in the shade and finally enjoy a few pages. I'm very lucky to be able to get sent novels all the time, and recently I've been reading the novella by Sam Cottington, People Person, and Allie Rowbottom's new novel Aesthetica. If you know me, I am always buying out of print books and trying to find certain titles. I just got the novelization of the film The Way We Were by Arthur Laurents. I think the story of The Way We Were is one of the best portrayals of romance, ever! I'm hoping reading the novel will be instructive...

Marlowe Granados

Anna: The Biography by Amy Odell

When I think biography, I think dense. I was delighted to find Odell's bio of Vogue Editor-In-Chief Anna Wintour to be the opposite. It flows nimbly through decades of media, culture, and fashion history, all told through the lens of one powerful, embattled, iconic, often deeply contradictory woman. Perhaps most impressive is that despite Wintour's fame, Odell manages to neither valorize nor villainize the notorious editor. Her reporting is fair, the book's voice compelling. It's a fascinating look behind the scenes of what makes Wintour a powerhouse—the privilege, the skills, and above all the survival instincts that may make or break her in the years to come.

Alanna Bennett

Patricia Wants to Cuddle by Samantha Allen

I just finished reading Samantha Allen’s Patricia Wants to Cuddle, a novel that somehow manages to pack horror, queer romance, and comedy elements all in one book, perfect for readers who love reality dating shows (whether ironically or not). This fun read follows the contestants—and producers—of a Bachelor-like reality show called The Catch as their experience filming on a remote island in the Pacific Northwest turns more Stephen King than Nora Ephron, all because of an uninvited guest lurking in the background. The relationships between the women vying for the attention of the titular “Catch” created legitimate laugh-out-loud moments, only to be followed by suspenseful twists and turns that kept me turning the page. Those who watch reality TV will truly appreciate the way Allen has written these characters, though you don’t have to be a devotee of dating shows to appreciate this book. It’s honestly just so much fun, and a great summer read.

Rosemary Donahue

Boom Town by Sam Anderson

I must start off this recommendation by admitting that I am not a sports guy in any sense of the word; as a Philadelphian, I will defend the Birds and all of our other rambunctious sports teams until my dying breath, but that is only because to do otherwise would be deeply unwise in terms of my personal safety (and would severely piss off my neighbors, who own a meat smoker and like to share its bounty). However, Sam Anderson's sprawling, ingenious, lovingly crafted narrative nonfiction debut about Oklahoma City, its messy frontier history, and its oft-beleaguered basketball team not only got me to care about sports, it made me want to look up the (living, breathing, balling) characters in his book to find out more about them. It scratched my eternal itch to learn about places that seem overlooked and written off, the way that Oklahoma City and its Midwestern brethren often are; it made me consider listening to the Flaming Lips, and taught me a hell of a lot about tornados and the benign cult of the local weatherman. I really cannot recommend it highly enough. Even if you do not care about any of the things I've listed here, trust me—Sam Anderson will change that, and teach you a thing or two besides.

Kim Kelly

Nevada by Imogen Binnie

A cult book is a bit like a cat, in that it has many lives, and you never know when you might encounter it. For Imogen Binnie’s Nevada—a squirrely novel about a slacker named Maria—a close friend told me it was absolutely her favorite book, then emailed me a PDF. I read it quickly, as one tends to do with anything on their computer screen, and found it to be the rare, actually-funny New York novel, more possessed by the grime of the city than its glitz. But it’s the book’s surprising second act that takes place in the state of—well, you can guess—and the way it swerves past the obvious ending that has stayed with me.

Nevada was reissued this summer by FSG, giving it a new audience and me a reason to read it again. This time, as a handsome paperback, I told myself I would consume it more slowly. No such luck. The book is too funny! I read the whole thing in a single afternoon at the park.

Kevin Nguyen

High-Rise by J.G. Ballard

I just re-read J.G. Ballard’s 1975 novel High-Rise. As the story opens, a hyper-modern tower block welcomes its new tenants. The building offers them every imaginable convenience, from an onsite supermarket and swimming pool to automatic trash chutes and a rooftop children’s garden. Well-heeled women walk pedigreed poodles across the building’s pristine elevator concourses. By the end of the novel their feral husbands are hunting those same dogs for food and roasting them on improvised spits over pyres of burning furniture. The housewives, themselves, have turned to cannibalism. The most alarming thing about this calamitous fall is that absolutely everyone in the building sees it coming—which makes this novel an unsettling read in the early days of our climate apocalypse. It’s easy to call Ballard prophetic, but he was just attuned to the human subconscious and fascinated by the ways in which our desires could be set loose by architecture and technology. In High-Rise, the building itself gives shape to the worst of humanity. I can only hope we imagine some new shapes to avoid such a fate ourselves.

Claire L. Evans

Oh! by Mary Robison

I believe summer reading calls for books that either tap into a refreshing deep freeze or enhance the heat and entropy of the season. Mary Robison’s first novel, Oh!, mixes these effects—it’s the ice in your tea on a blazing afternoon, a pristinely funny account of a Midwestern family, the Clevelands, who seem dysfunctional to outsiders but may be living more authentically than the rest of us. Underneath the booze and bickering is a love strong enough to sustain them through the disasters that, besides the tornados, are mostly of their own making. I felt right at home.

Miles Klee

Homer's The Odyssey, translated by Emily Wilson

I spent the last year researching, writing, and promoting a book. It’s been transformative, exhilarating, and frankly exhausting. My goal this summer was to be as lazy as possible. My tolerance for holding a book, as well as my attention span, are at an all-time low, so I turned to audio books (yes, I realize I am decades behind!). Listening to Emily Wilson’s lively, lean, and rhythmic translation of Homer’s The Odyssey, narrated by Claire Danes, is the perfect soundtrack to lying down, on my bed or warm grass, my preferred summer activities. It’s a fun reminder of the physicality of words and storytelling, and Wilson’s accessible language lets me focus on all the human drama—like I’m eavesdropping on some hot, ancient gossip!

Angela Garbes

Less by Andrew Sean Greer

I feel like I read Andrew Sean Greer’s Less whenever I’m traveling or trying to write—which, I suppose, is all the time. The book follows Arthur Less, a “minor author” and “magniloquent spoony” pushing fifty years old, who skips his ex’s wedding by going on a round-the-world trip where he writes and teaches and meets a sparkling cast of life lessons masquerading as humans. I have four big trips this summer (Manila, London, Sewanee in Tennessee, and Tuscany; writing through all of it), so I’ve kept Greer’s Pulitzer Prize-winning baby in my carry-on this whole time. It’s been nice having a friend with me for the long layovers, for the writer’s blocks, for the reminders that this burning world is something to love.

Matt Ortile

The Morning Star by Karl Ove Knausgård

I regret to open my first ever blurb for this wonderful publication by triple-bypassing its single instruction and recommending a book that I actually read in the dead of winter, but I devoured The Morning Star by Karl Ove Knausgård, and you should, too. I had never read him before but, based on the man’s healthy ego and reputation for excruciating minutiae, I half expected to give up almost immediately. Instead, this haunting, imaginative, at times philosophical, and at times humorous collection of loosely interconnected stories gripped me from the first page. What can I say, Knausgård can write!

Vanessa A. Bee

Ada, or Ardor by Vladimir Nabokov

This is a book about being Vladimir Nabokov and wanting to flex with language. Some would say it’s a book about love, or that it’s a family chronicle, but really it’s Nabokov dancing giddily across the page. There’s wordplay galore, with the title itself being an example—”Ada,” the author notes, when pronounced with a “long, deep Russian a” sounds like “ardor,” and so a person can be construed as a tribulation. 

There’s a plot to be traveled down, should you need one. But the point of reading the book, to me, is to remind the reader that prose can be pursued so rapturously and with such confidence. It’s a great book to read if you’re experiencing writer’s block. Watching Nabokov shape language like a master ceramicist is inspiring, if you can push past the confusing names (there are two different “Van Veen”s) and, well, the incest. There are plenty of beautiful descriptions of bugs to distract you, at least. 

The whole thing also takes place on an entirely alternate Earth called Antiterra, for some reason, which to me gave the austere trappings of the book an alluring sci-fi sheen to it. It’s truly an imagination, run amok. 

J.P.B.

Honey & Spice by Bolu Babalola

This new adult contemporary romance is the debut novel of the author of Love in Colour, a master of the love story. Set at a university in the UK, with an exclusively Black cast of characters, Babalola's crafted a world with such care and attention to detail that it rises from the page to greet the reader. You are invited in, summoned to come play with some of the best romance tropes in existence (Enemies to lovers! Fake dating!), and also to bear witness to their reinvigoration.  

I devoured this book beachside, taken over by rich characters who by book's end settle into your heart like old friends. Most incisive, to me? This book is ultimately about how hard it is to open your heart: the pits that form when you fear hurting or getting hurt, and the rewards that come when you do the work to do better and be open. A tribute to the "babygirls" and "babyghels" of Babalola's life, the novel's a love letter to all kinds of love, not just the romantic.

A.B.

The Hidden Case of Ewan Forbes And the Unwritten History of the Trans Experience By Zoë Playdon

This book is an absolute must for anyone interested in trans history, queer history, or any kind of history at all, really. In 1912, Ewan Forbes was born to an old aristocratic family in Scotland; assigned female at birth, he was nonetheless very clear about his identity from a young age, and that resolve (and his mother's love) led him to seek out an early version of gender affirming care. All Ewan wanted was to become a family man and live a quiet, decent life; he achieved this for a while, until a grasping younger brother came knocking, and Ewan's entire world—and identity—was turned upside down. What happened afterwards led to a pivotal, precedent-setting legal ruling that was summarily buried and kept secret for decades, until now. Ewan's story intersects with many different moments and movements throughout his long and eventful life, and as Playdon deftly illustrates (backed up by years of intensive research), the roots of the UK's current abysmal plague of transphobia do not run nearly as deep as its hateful proponents would like us to think. Her thrilling, warm-hearted excavation of Ewan's life and legal battles unravels a fascinating tale that challenges modern ideas around gender, healthcare, human rights, the British legal system, and even the aristocracy. Read it.

K.K.

How to Read Now by Elaine Castillo


I loved Elaine Castillo’s novel, America Is Not the Heart, but I wasn’t sure what to expect from her first nonfiction release. Ostensibly a critique of reading and how we, as readers, can do it better, it sounded esoteric. But Castillo makes a strong argument that reading isn’t just for books, but also the reading of the world: the broader consideration of other people, and ourselves in relation, using topics like Joan Didion, Watchmen, and the films of Wong Kar-Wai as a lens. Her essays are so honest, funny, and sharp in their criticism that after just a few of them, I felt like some of the stuck gears in my thinking had come loose and I felt immediately motivated to write.

B.M.

When You Get the Chance by Emma Lord

This contemporary young adult novel is a Mamma Mia remix of the finest degree—and it knows it. The book's main character, an eager Manhattan theater kid, makes frequent reference to the musical, but somehow the novel is never bogged down by its origins. It's a fun read, gripping and gratifying. I found myself looking forward to the end of my workday so I could keep going and find out what happens in both the novel's winning romance and in its mystery. And here's a non-spoiler: That end is as gratifying as you'd hope.

A.B.

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What a Bunch of Interesting Humans Are Reading This Summer/Fall Purgatory