October 24, 2018 Arts & Culture “Why Do You Write Political Stories?” By Nana Kwame Adjei-Brenyah I was in college when Trayvon Martin was murdered. I created an anonymous pamphlet, an artistic response to the atrocity. His killing deserved our outrage. Late one night, I scattered five hundred copies of the pamphlet around campus. I went to bed expecting unrest, a revival, a conversation, anything. When I got up later that day, nothing happened. That summer, I was at a barbecue in Riverside Park when Trayvon’s murderer was acquitted. I remember getting the notification on my phone. I felt exposed, fragile. I had been partying just a minute before. Years later, writing “The Finkelstein 5,” the story that now opens my first book, Friday Black, I tried to translate the ways in which the justice system is often a cruel joke for black Americans. I wanted to express the feeling of always being perceived as a threat by so many. The completion of this story was the closest I’ve ever come to a breakthrough. It was the second time I felt that I wanted people to read what I’d written, even if my name was not attached. I’m interested in the ways we dehumanize each other. I’m interested in our capacity for good, despite the insidious hatred and fear all around us. All the stories in Friday Black, including “The Finkelstein 5,” were tough to write. And yet, in that space of difficulty and fear, I found necessity and purpose. Read More
October 24, 2018 Arts & Culture Fighting with Czesław Miłosz By Anthony Madrid Czesław Miłosz. It is a blessing for a poet to have a Great Poet to fight with, forever. I don’t mean a Great Poet one merely despises. That’s nothing. It has to be someone you partly love, partly revere, but who lets you down over and over and over and makes you want to scream. The Great Poet has to be one from whom you are continuously learning, even if most of the time what you’re getting is a kind of cautionary tale. He or she has to be someone you can never get rid of. You keep going back. Does everybody remember Ezra Pound’s little epigram about his deal with Walt Whitman? Here, I can do it from memory: A Pact I make a pact with you, Walt Whitman. I have detested you long enough. I come to you like a grown child Who has had a pigheaded father. I am old enough now to make friends. It was you that broke the new wood; Now is a time for carving. We have one sap and one root: Let there be commerce between us. Get it? Pound couldn’t shake Whitman. Whitman got on his nerves, and that was never gonna change. But yer daddy is yer daddy. Maybe he and you can team up, after all, as long as everybody understands the new terms … Read More
October 23, 2018 Arts & Culture Toward Creating a Trans Literary Canon By RL Goldberg This fall, I’m teaching a course titled “Masculinity in Literature.” The small seminar is attended by men, all in their twenties, earning their college degrees while incarcerated. Before we began our discussion of Leslie Feinberg’s Stone Butch Blues—perhaps the only “canonical” trans book, if such a thing as a trans canon can be said to exist—we generated a partial list of gender terminology: transgender, transsexual, agender, two-spirit, trans woman, bigender, trans man, FTM, MTF, boi, femme, soft butch, cisgender. The students already knew, at least in rough contours, how these terms were used. They weren’t contentious. What was contentious: man and woman, and the course’s undergirding premise that reading texts about masculinity that have nothing to do with cisgender, heterosexual, white men can teach us a good deal about masculinities. As the discussion progressed, our collective sense of what determines “masculinity” and “maleness” decalcified. One student grew impatient. “Words have to mean something,” he said. “Being a man means something.” He wasn’t frustrated with the abstract possibilities of fluidity, with the notion that some people are trans, or with the idea that identification is not a given. Rather, his concern was that, if gender identity is mutable for others, then what does that mean for him, an adult man who has never questioned his gender? That is, if we refuse the idea of biological essentialism—if “men” and “women” are more than the sum of genitals, secondary sex characteristics, and chromosomes—what does that do to the definition of his own maleness? On October 21, the New York Times published a piece titled, “‘Transgender’ Could Be Defined Out of Existence Under Trump Administration.” The thrust of the article: the Trump administration may move toward defining gender as biological, immutable, and essentially determined by genitalia at birth, and transgender people could face a terrifying curtailing of civil protections and recognition as a result. As many people have said, such a move misunderstands the distinctions between gender and sex, and is viciously mean-spirited, a pathetic attempt to shore up support from a base whose hatred of “identity politics” manifests, paradoxically, as the inability to disconnect from them. In some ways, the redefinition under consideration by the Trump administration is what my student was arguing for: a coherent, unswerving, unshakable definition of gender that leaves no room for debate or deviance. You’re either a girl or you’re a boy, and how you feel about that is immaterial. Those words, and those roles, are left unexamined. But that’s not how my conversation with this student ended. He didn’t define me out of his reality, or choose to see the inconvenience of my trans body, my self, as a challenge to him and to the way he has, for the last two decades, understood the world. He tried, instead, to work toward a definition of gender by which our different truths wouldn’t invalidate one another. Lately I’ve been thinking about a corpus of texts that centers on trans writing. I’m apprehensive about the limitations inherent in canonization, mainly canon’s inadequate literary representation of difference as tokenism, and the prohibitive inaccessibility for those who can’t afford education at the highest levels. So it’s not a canon exactly, but a corpus. It’s something more like a body: mutable, evolving, flexible, open, exposed, exposing. It’s the opposite of erasure; it’s an inscription. Here are eleven books that have meant a great deal to me as I’ve tried to learn about both my own transness and experiences less familiar to me. I hope they might be recognized, read, and shared—which is to say, never erased. Read More
October 23, 2018 Redux Redux: The Virgin Suicides By The Paris Review Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter. To celebrate the twenty-fifth anniversary of The Virgin Suicides, Emily Nemens will be discussing the book’s legacy with Jeffrey Eugenides in Los Angeles this Friday. In anticipation of the event, we bring you Jeffrey Eugenides’s Art of Fiction interview; the first chapter of The Virgin Suicides, which originally appeared as a short story in the Winter 1990 issue; and Jim Gustafson’s poem “Detroit.” If you enjoy these free interviews, stories, and poems, why not subscribe to read the entire archive? You’ll also get four new issues of the quarterly delivered straight to your door. Read More
October 23, 2018 Arts & Culture The Missing Images of Chinese Immigrants By May-Lee Chai Still from The Curse of Quon Gwon (1917) The first known Chinese woman in America was nineteen-year-old Afong Moy, who arrived in New York City in 1834 on the steamship Washington. Three weeks later, she was put on display as part of an exhibit called the “Chinese Saloon.” For fifty cents, New Yorkers could purchase a ticket to gawk. Afong Moy sat from ten A.M. to two P.M. and then three P.M. to five P.M. daily. She performed for the crowds by using chopsticks and speaking in Chinese. Eventually she toured up and down the East Coast, and by 1848 was performing as part of a P. T. Barnum show. Then, her popularity eventually waned, and by 1850, she’d been replaced. There are no more records of what became of Afong Moy. All that remains is a black-and-white drawing of her performance that appeared in a newspaper. She appears as a tiny, round-faced woman seated on a large chair in the middle of her exhibition space, surrounded by paper lanterns and other artifacts of chinoiserie. Read More
October 22, 2018 On Film Hayao Miyazaki’s Cursed Worlds By Susan Napier © 1997 Studio Ghibli – ND How do you live with a true heart when everything around you is collapsing? —Hayao Miyazaki I brought a friend with me the first time I saw Princess Mononoke in an American movie theater. He had no experience with Miyazaki or with Japanese culture or animation, but he was intrigued to see what promised to be a grand adventure story, especially one that was appearing in the United States under the auspices of Disney. In the middle of watching the movie, however, he started nudging me. “Who’s the good guy?” he hissed irritably. “I can’t tell which is the good guy and which is the bad guy!” “That’s the whole point!” I whispered back. Princess Mononoke inaugurated a new chapter in Miyazakiworld. Ambitious and angry, it expressed the director’s increasingly complex worldview, putting on film the tight intermixture of frustration, brutality, animistic spirituality, and cautious hope that he had honed in his manga Nausicaä of the Valley of the Wind. The film offers a mythic scope, unprecedented depictions of violence and environmental collapse, and a powerful vision of the sublime, all within the director’s first-ever attempt at a jidaigeki, or historical film. It also moves further away from the family fare that had made him a treasured household name in Japan. In the complicated universe of Princess Mononoke, there is no longer room for villains such as Future Boy Conan’s power-hungry Repka, the greedy Count of The Castle of Cagliostro, or the evil Muska of Laputa: Castle in the Sky. Miyazaki instead gives his audiences the ambitious but generous Lady Eboshi and the enigmatic monk Jiko-bō, who insists that we live in a cursed world. Jiko-bō isn’t the only one who thinks this, apparently. In the darkest moments of his tale of humans battling the “wild gods” of the natural world in fourteenth-century Japan, Miyazaki seems to be saying that all the dwellers of this realm, human and nonhuman, are equally cursed. Princess Mononoke raises questions Miyazaki had implicitly asked in the Nausicaä manga: Given what humanity has done to the planet, do we have a right to keep on waging war against the nonhuman other? Is there any way that humans and nonhumans can coexist? Read More