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@exitrows
I think about this image a lot. This is an image from the Aurat March (Women's March) in Karachi, Pakistan, on International Women's Day 2018. The women in the picture are Pakistani trans women, aka khwaja siras or hijras; one is a friend of a close friend of mine.
In the eyes of the Pakistani government and anthropologists, they're a "third gender." They're denied access to many resources that are available to cis women. Trans women in Pakistan didn't decide to be third-gendered; cis people force it on them whether they like it or not.
Western anthropologists are keen on seeing non-Western trans women as culturally constructed third genders, "neither male nor female," and often contrast them (a "legitimate" third gender accepted in its culture) with Western trans women (horrific parodies of female stereotypes).
There's a lot of smoke and mirrors and jargon used to obscure the fact that while each culture's trans women are treated as a single culturally constructed identity separate from all other trans women, cis women are treated as a universal category that can just be called "women."
Even though Pakistani aurat and German Frauen and Guatemalan mujer will generally lead extraordinarily different lives due to the differences in culture, they are universally recognized as women.
The transmisogynist will say, "Yes, but we can't ignore the way gender is culturally constructed, and hijras aren't trans women, they're a third gender. Now let's worry less about trans people and more about the rights of women in Burkina Faso."
In other words, to the transmisogynist, all cis women are women, and all trans women are something else.
"But Kat, you're not Indian or Pakistani. You're not a hijra or khwaja sira, why is this so important to you?"
Have you ever heard of the Neapolitan third gender "femminiello"? It's the term my moniker "The Femme in Yellow" is derived from, and yes, I'm Neapolitan. Shut up.
I'm going to tell you a little bit about the femminielli, and I want you to see if any of this sounds familiar. Femminielli are a third gender in Neapolitan culture of people assigned male at birth who have a feminine gender expression.
They are lauded and respected in the local culture, considered to be good omens and bringers of good luck. At festivals you'd bring a femminiello with you to go gambling, and often they would be brought in to give blessings to newborns. Noticing anything familiar yet?
Oh and also they were largely relegated to begging and sex work and were not allowed to be educated and many were homeless and lived in the back alleys of Naples, but you know we don't really like to mention that part because it sounds a lot less romantic and mystical.
And if you're sitting there, asking yourself why a an accurate description of femminiello sounds almost note for note like the same way hijras get described and talked about, then you can start to understand why that picture at the start of this post has so much meaning for me.
And you can also start to understand why I get so frustrated when I see other queer people buy into this fool notion that for some reason the transes from different cultures must never mix.
That friend I mentioned earlier is a white American trans woman. She spent years living in India, and as I recal the story the family she was staying with saw her as a white, foreign hijra and she was asked to use her magic hijra powers to bless the house she was staying in.
So when it comes to various cultural trans identities there are two ways we can look at this. We can look at things from a standpoint of expressed identity, in which case we have to preferentially choose to translate one word for the local word, or to leave it untranslated.
If we translate it, people will say we're artificially imposing an outside category (so long as it's not cis people, that's fine). If we don't, what we're implying, is that this concept doesn't exist in the target language, which suggests that it's fundamentally a different thing
A concrete example is that Serena Nanda in her 1990 and 2000 books, bent over backwards to say that Hijras are categorically NOT trans women. Lots of them are!
And Don Kulick bent over backwards in his 1998 book to say that travesti are categorically NOT trans women, even though some of the ones he cited were then and are now trans women.
The other option, is to look at practice, and talk about a community of practice of people who are AMAB, who wear women's clothing, take women's names, fulfill women's social roles, use women's language and mannerisms, etc WITHIN THEIR OWN CULTURAL CONTEXT.
This community of practice, whatever we want to call it - trans woman, hijra, transfeminine, femminiello, fairy, queen, to name just a few - can then be seen to CLEARLY be trans-national and trans-cultural in a way that is not clearly evident in the other way of looking at things.
And this is important, in my mind, because it is this axis of similarity that is serving as the basis for a growing transnational transgender rights movement, particularly in South Asia. It's why you see pictures like this one taken at the 2018 Aurat March in Karachi, Pakistan.
And it also groups rather than splits, pointing out not only points of continuity in the practices of western trans women and fa'afafines, but also between trans women in South Asia outside the hijra community, and members of the hijra community both trans women and not.
To be blunt, I'm not all that interested in the word trans woman, or the word hijra. I'm not interested in the word femminiello or the word fa'afafine.
I'm interested in the fact that when I visit India, and I meet hijras (or trans women, self-expressed) and I say I'm a trans woman, we suddenly sit together, talk about life, they ask to see American hormones and compare them to Indian hormones.
There is a shared community of practice that creates a bond between us that cis people don't have. That's not to say that we all have the exact same internal sense of self, but for the most part, we belong to the same community of practice based on life histories and behavior.
I think that's something cis people have absolutely missed - largely in an effort to artificially isolate trans women. This practice of arguing about whether a particular "third gender" label = trans women or not, also tends to artificially homogenize trans women as a group.
You see this in Kulick and Nanda, where if you read them, you could be forgiven for thinking all American trans women are white, middle class, middle-aged, and college-educated, who all follow rigid codes of behavior and surgical schedules prescribed by male physicians.
There are trans women who think of themselves as separate from cis women, as literally another kind of thing, there are trans women who think of themselves as coterminous with cis women, there are trans women who think of themselves as anything under the sun you want to imagine.
The problem is that historically, cis people have gone to tremendous lengths to destroy points of continuity in the transgender community (see everything I've cited and more), and particularly this has been an exercise in transmisogyny of grotesque levels.
The question is do you want to talk about culturally different ways of being trans, or do you want to try to create as many neatly-boxed third genders as you can to prop up transphobic theoretical frameworks? To date, people have done the latter. I'm interested in the former.
I guess what I'm really trying to say with all of this is that we're all family y'all.
i will never stop thinking about this poem my greek professor showed us
“This is the year you begin. Slip into the sweet mud. Get dirty. Stay dirty. There is nothing to forgive”
— Jeremy Radin, ‘Pipe Organ Owl Mansion’ (via soracities)
If anyone has any experience with anything or knows anything please let me know 🙏
on loving someone who has passed
a self portrait in letters by anne sexton / poem by louise glück / achilles and patroclus by @maieste / all about love by bell hooks / blue sun by nina mouawad / albert camus correspondance to maria casarès / un homme et une femme by stephan sinding / the gods show up by michael kinnucan / the chronology of water: a memoir by lidia yuknavitch
Miroslav Holub, Conversation about Poetry with a Young One (tr. Stuart Friebert and Dana Hábová)
the hungers of hadewijch and eckhart, donald f. duclow // stigmata: escaping texts, hélène cixous // you are in a hotel room, joan tierney // the notebooks of malte laurids brigge, rainer maria rilke // great expectations, kathy acker // hot-hand fallacy, jasmine gibson // erotism: death and sensuality, georges bataille // cain, josé saramago // love in the time of monsters, emily palermo // a curious night for a double eclipse, j. karl bogartte.
Susan Sontag, As Consciousness Is Harnessed to Flesh: Journals and Notebooks, 1964-1980
Valzhyna Mort, from Music for the Dead and Resurrected: Poems; “Genesis”
Text ID: I’ve always preferred Cain. / His angry / loneliness, his / lack of mother’s / love, his Christian / sarcasm: “Am I / my brother’s keeper?” / asks his brother’s murderer. / Aren’t we indeed / the keepers of our dead?
“Never mind. I invented you. I invented you, as far as my purposes go. I invented loving you and I invented your death. I have my tricks and my trap doors, too.”
— Alice Munro, from Collected Stories; “Tell me Yes or No,” (via violentwavesofemotion)
Vicente Aleixandre, from Sound of the War; A Longing for the Light: Selected Poems, 1979
beautiful world, where are you, by sally rooney
In the early stages of writing the novel, I became kind of fascinated with what is called the “ubi sunt” motif in literature—meditations on decay, ruin, and the transience of beauty. In Latin poetry, in the writings of the Anglo-Saxons, in the literature of industrial-era Europe, there is this recurrent sense of a beautiful world passing away. Writing in the eighteenth century, in what is now Germany, Friedrich Schiller locates the beautiful world in Ancient Greece. But it seems to me that it can be located in almost any particular civilization as long as it is definitively gone forever.
Our present sense of a beautiful world passing away can feel quite new and unprecedented, because of our political moment and because of the climate crisis. But our cultural terminology for this experience long pre-exists our present circumstances. Obviously that isn’t to compare contemporary climate anxiety to (e.g.) medieval apocalypticism. The ability of our planet to support human life is very genuinely in serious danger. What interests me is that we have to find some way to express this anxiety using (at least to some extent) our existing vocabulary and cultural forms.
In The Gods of Greece, of course, as in the “ubi sunt” tradition more generally, Schiller has already located the beautiful world in a specific place and time. I don’t do that in the novel. And out of context, the title of the book might even sound vaguely hopeful and forward-looking, as if the beautiful world might be right around the next corner. It’s probably not. But while the characters in this book are certainly disillusioned, maybe even embittered, they haven’t entirely lost hope. And most of the time, neither have I.
Sally Rooney, interviewed by Rosa Lyster for Hazlitt
“Can anyone deny that we are haunted? What is it that crouches under the myths we have made? Always the physical presence of something split off.”
— Jeanette Winterson, Gut Symmetries
Mothers & Fathers
@heavensghost | Jasmine R., “Untitled” | Berthe Morisot, “The Cradle” | @honeytuesday | Unknown | Alain de Botton | Léon Lucien Goupil, “Motherhood” | Chen Chen, “Poplar Street” | Ella Wilson, “Take Care: Mothers, Daughters, and Inheriting Self-Hatred” | @maiabaia | Kazuya Akimoto, “Mother and a Child in the Mirror” | Li-Young Lee, “Folding a Five-Cornered Star so the Corners Meet” | Aaron Smith, “Primer” | Catherine Lacey, “Cut” | futngina | Jules David, “Vice and Virtue: Misery” | Rupi Kaur, “The Sun and Her Flowers”
Things do not “get better” they “go on” dancing
( it is my fear (of death ( what will be willed in ( passing? ( Next (
— Kamden Ishmael Hilliard, from “TODAY IS OKAY BUT THEN THERE’S CAPITALISM AGAINNNNNN,” MissSettl