Photograph by Juergen Striewski, via Wikimedia Commons. Licensed under CC BY-SA 4.0.

Michelle Tea once described Valencia as “a snapshot, more or less, of my twenty-fifth year on earth, written not how it happened but how I felt it happened.” It feels right, then, in a numerological sense, to be addressing Tea’s classic twenty-five years after its turn-of-the-millennium publication. One way to do so would be to hail Valencia as an exuberant, hilarious record of a truly unprecedented and mutinous time in lesbian/queer history—the San Francisco dyke scene of the nineties—and by lauding its spot-on testimony to the fashions (“I had big purple hair, a green studded collar, and roller skates. I looked insane”), the locales (Mission dive bars and apartments, the Bearded Lady, a whorehouse in the woods of Marin), the drugs (booze, crystal meth, mushrooms that taste like “a trunk of moth-eaten clothes,” Valencia Street coffee), the pre-internet technologies (zines, open mics, personal ads in newspapers, pay phones, latex gloves), the gender vibes (all over the place, but generally still using she/her pronouns), and the kinks (“Petra was really into the knife. I got the sense that I could have been any body beneath her, it was the knife that was the star of the show”). Such a read would underscore Valencia’s status as one of the most vivid, thrilling documents of its time, while also ensuring that the explosive and inventive culture it portrays isn’t lost to history, as so much queer history, especially of the lesbian, poor, and debauched variety, can be.

But here I want to talk about other things that reading Valencia now makes me think and feel. Namely, I want to talk about Valencia’s achievement in transmitting the conjoined rush of being young, being high, being in love, and becoming a writer—and how that rush feels when these things are pursued all at once, with great abandon. Writers often convey this rush in retrospect, after the dust of an era has settled, or after they’ve removed themselves from a scene (and/or from the substances fueling it). That’s its own trick—and one that Tea has pulled off elsewhere, such as in her great 2016 novel Black Wave. Valencia is something else, maybe something more improbable. It’s a missive sent straight from the mayhem. I still don’t know how she did it. Read More

William and Henry James. Marie Leon, bromide print, early 1900s, via Wikimedia Commons. Public domain.

When Henry James decided to come to America in 1904 and 1905, his elder brother, William James, was not immediately pleased. William said that while his wife, Alice, would welcome his visit (she and Henry had a firm bond), he felt “more keenly a good many of the désagréments to which you inevitably will be subjected, and imagine the sort of physical loathing with which many features of our national life will inspire you.” There follows an account of how traveling Americans ate their boiled eggs, presumably in hotels and on trains, “bro’t to them, broken by a negro, two in a cup, and eaten with butter.” As a source of physical loathing, this seems a bit excessive: one might linger over William’s attempts to keep Henry’s visit at bay. William’s letter seems more to the point when he notes: “The vocalization of our countrymen is really, and not conventionally, so ignobly awful … It is simply incredibly loathsome.”

William’s discouragement provoked from Henry a declaration of his determination not to be deterred from coming. “You are very dissuasive,” he wrote to William. Henry, in a plaintive reply, noted that whereas William had traveled much, he had not been able to—he not been able to afford it nor to leave the demands of producing writing for money. It’s as if Henry must plead for his brother’s approval before he can travel back to his native land. And yet the pleading is accompanied by Henry’s self-assertion, he’s thought it through, analyzed the consequences. There is so often in their dialogues this deference of the younger brother to the elder, mixed with self-assertion, an insistence that the pathetic younger brother does know what he’s doing. I suppose we might, in contemporary psychobabble, call Henry’s relation to William passive-aggressive. William’s to Henry, though, has a tinge of sadism that we will see take more overt forms. His response to Henry’s desire to travel home is a strange mixture of welcome and repulse, a recognition of their sibling bonds along with the sense that they bind annoyingly, that he’d rather not have his brother around. Read More