Oh dear James, what a sad little life.

It’s been over a year, I was thinking about the people I used to talk to and slog through conversations with in the struggle to not be single and find a serious and committed relationship. I thought about this a while ago and I couldn’t remember this one dude, like all I remember is him talking about Dolly Alderton and us meeting at a very cool cafe which I liked a lot but I think my life was falling apart so I was a little distracted. Then I remembered, I don’t know how, and I looked at his story. like weeks ago, and then you know how Instagram does that thing where you searched for one person now they always come up? Yeah it did that and I had a mooch. Nothin much was adoin’, I knew whose profile I was looking at. Go figure. Anyway this elbow crease messages me and whatever I’ll just post the conversation. I posted it wrong no one reads this anyway but the messages are backwards. second one is first.

  1. Sir, you are 42, I need you to calm down.
  2. Bit entitled ennit bab.
  3. I honestly don’t know why I thought I’d extend the courtesy of being nice to you, especially after you were particularly inflammatory and reactionary when you caught any wiff of my political inclinations. But I was nice, I don’t have anything against you. To be honest I probably felt a bit bad for you.
  4. This is why women don’t owe niceness to anyone, because niceness doesn’t save you.
  5. I wish that being a stalker didn’t mean a death sentence for women but here we are, being flippant and arrogant. I’m going to quote my friend J here who said “White women can call themselves nosey because they don’t have a habit of stabbing their targets to death like white men do.” And again just for emphasis, I watched your story. Once, maybe? Obviously now I’m doing it to annoy you. I’m gonna go out of my way to remind you that I exist.
  6. Bit presumptuous ay it? Just because I have watched your Instagram story my (serious and committed) relationship is on the rocks.
  7. You think I’d come to you, my relationship is on the rocks and it’s you that I’d come crawling back to. You, the middle age white man with a peppered beard with the personality of a self-entitled mop. Oh yes! James! James! We went on maybe two dates? I say maybe because they are so unforgettable! The chemistry, the conversation it was so off the wall!! I can barely contain myself thinking about that god awful kiss we had I think once where I literally had to leave because I felt sick at the thought of doing it again. Yes, James, it’s you!!!! All this time, all this distance between us (stay in London you absolute unsalted stick of butter) made no difference! I WANT YOU! I NEED YOU! Oh baby, it’s always been you, man I have met maybe three times. I honestly can’t remember, I was fucking someone else and that took up a lot of my time.
  8. You started the conversation, you fucking incel.
  9. If conversation equals wanting to fuck, then you a grossly misled on the ways of the world and I pray for literally any womxn you encounter.
  10. This is the guy who told me not to see another guy because he was older (same age – 42) and was taking advantage of me. Is it because you’re jealous the other guy actually had a career? One that involved fame and touring the world not just your fetishised version of Asia? What is it, dear? I’d like to know. (I wouldn’t, fuck off.)

January 2019 – Diary of a full-time fun gyal – entry #1.

It’s Mary’s birthday so I decide to stick to the tradition of making God-awful Moonpig cards, referencing one of our outdated and overplayed in-jokes EVERYONE but us is sick of. I’m looking through our old chat, scrolling through the media when I find the first picture I ever sent her. Before I hit the unmistakable features of the driver of the Groove Express, Bruce Breakey. I end up scrolling through a slew of unedited outtakes from our Crystal Bats photoshoot.

 

The last time I was in London, studying for my master’s degree at SOAS, I met someone who I fell arse over tit for. He has bleach blonde hair, cool blue eyes and pale skin; some called him The White Prince because of his tasteless moustache, others said he looked like a glossy bow-legged Bowie (or one of the spiders from Mars), I just called him the rockstar.

 

About eight months into seeing him casually (even though I obviously and therefore desperately wanted more) he asked Mary and I to model his t-shirts for his band. We were featured as babes of the week and under the hashtag CRYSTALBABES (which Mary and Icoined!!)

 

I laughed hysterically, walking over to the 33 year old (and balding) over-grown fuqboi of a chef, showing him pictures of me straddling a champagne bottle and grinning madly at the camera. I found it particular funny because I hadn’t yet gotten my face fillers and my fringe was crudely cut into the 2017 Alt Gurrrl-Daddy-Issues-Galore signature haircut.  Also, they’re a joke.

 

I, in all earnest, had forgotten they existed (not that it happened). So, I posted them to my story in jest. The reasons being, FIRSTLY, that of course I’m going to brag about modelling for a band, especially the band of someone who I was fucking ritualistically and SECONDLY, because in my new found Fun gyal trope, I wove into the very fabric of my persona my affiliation with this band, however trifling and irrelevant, and THIRD, because it’s funny. It’s funny, ok? I’m self-aware and it’s just a funny picture, I’m straddling a champagne bottle! Whatever.

 

I post it. I think NOTHING of it. THE LAST THING I EXPECT IS TO SEE THAT HE HAS VIEWED MY STORY BUT OH MY GOD. I just came fresh out of my filler appointment, when I scroll through nonchalantly, to see his undeniable icon and story; OH GOD WHY!?!

 

He thinks I’m obsessed and he already thought I was CRA-ZY. I mean, I was, I didn’t exactly act like myself at that point tbh and yeah I totally messaged his ex asking if they were fucking but like who wouldn’t? They were! I’m crazy not dumb. I was (Crystal) Bat Shit insane for the lad. All this guy sees, after two years of static, is me…in THEIR T shirts, semi-bragging, still stuck as a self-proclaimed groupie of the neo-synth wave punk rockers.

 

WHY?!

WHY?! I, of course, immediately messaged Mary with a screenshot to tell her.

 

So, after my shift, I opened up my dating apps to scour the ever ragged sea of fuqboiz, softboiz and generally undeniable arseholes crawling the streets of London to find Perry.

Oh, Perry! My first ever fuqboi I hooked up with when I arrived in London had swiped me on Hinge. I HAD to laugh.

 

My first thoughts were the same I’ve always had about London, that this city is too small for the likes of us troublemakers. Then I laughed; maybe, just maybe this circular motion would break the curse of fuqbois placed on my love life. It’s slowly becoming a full circle. Sleeping with Perry again would without a doubt, break the curse, and I would be free yet again to pursue love with hope and earnest. It would end this horrid slew of abusive, manipulative and skeezy balding fuqboiz and I would be a free woman! Either that or I’d start on a similar due course of hedonism and self-destruction. Either one is chill.

 

Then, last night, another musician of a lover (My Baby! Not bragging – but I’m totally bragging they’re from Amsterdam, are well off, have a MASSIVE cock and paid for all my drinks, tickets and hotel rooms) messaged me saying: Missed you.

 

What has happened in the last 24 hours? I swear these boys can smell it. The scent of a woman flirting with an aforementioned fuqboi, the musky hilarity of it all, and they come crawling in their one-man wolf-packs, sniffing you out. I have come to the conclusion that they are homosocial/sexual creatures, not so much drawn to you as they are each other. One could argue they are drawn to the idea of pissing all over you and marking their territory, rather than you. One could argue that when given even a hint of not being interested in them, that is when they crawl back into the woodwork. I’m not quite sure, my theory is underdeveloped and greatly requires further field research. I’ll get back to you on that one soon my darlings, tah tah!

 

 

A lesson in acceptance

This title is so tone-deaf. Read the room, Natalie, people are dying. Some of them are your relatives. Economic uncertainty ensues, capitalism waits for no-one, etc.

I suppose this is me coming to grip with the reality we are faced with; I feel oddly calm. I could attribute it to not being around negative environment – I could chalk it down to some GCSE grade psychology that implies I am used to chaos and uncertainty – the fact remains the same. I feel at peace with myself, I feel centred in a way I haven’t for a while.

My therapist and I talked about it: these things happen for whatever reason and you have to accept it. Accepting it is so very hard when it feels like you have such pig-shit luck, it feels worse when you’ve started to believe (with a lifetime of reasons) that you aren’t getting access to opportunities because you aren’t male or middle-class. That very well may be the case, in fact, I’m sure these factors come into the equation more than some people would like to admit (equality often feels like oppression when you are accustomed to privilege). But these things still happen, it’s how we react to it that matters.

This vacuum in time has allowed time for reflection, analysis, grounding. It has led me from a series of near misses and mishaps to a place called acceptance. Do I think that my fridge broke sooner than most peoples because most people can afford a nicer, and therefore more reliable product? Yes. Does that change the fact it broke? No. Change the word “car” for fridge and repeat the process. These things have happened, and whilst I don’t understand why they continued happening, they still happened. I needed to accept that.

Acceptance is a practice and it does no use to dwell on things that don’t work out, or pick up the pieces and try and figure out why – it never did (see University depression). This is something I learnt a long time ago, but after life happens, it’s something you need to continually practice. This is more of a note to myself ‘cos I know no one fucking reads this.

This whole pandemic has forced me to stop and re-evaluate, it is giving me space and time to explore more rewarding avenues. It’s not the best, but I don’t hate it. It just is. you could even say I’ve accepted it.

 

Looking for The Good Place

It’s been really liberating for me, separating myself from environments in which I do not thrive; the constant policing of my femininity (“What have you done to your hair?”), the underhand comments (“Try not to fuck it up”), the passive-aggressive behaviours ( “Oh, he’s still with you?!”) and frankly petty dramas akin to that of high school has been a breath of fresh air. My self-esteem has had a wondrous recovery and my mental health feels steady, I would even go so far as to say improved.

 

Just dwelling on it fuelled this horrid energy (I think it’s called resentment) is something I don’t feel anymore, it’s something I never wanted to feel. I watched The Good Place, and one quote that has always stuck with me is that “The point is: People improve when they get external love and support”, and it’s true, for the longest time I’ve felt stuck, unheard,  and yes, I resented it. I’m angry that things I have worked so so hard for were not recognised, and I was not given equal access to opportunities my peers had. (I’m working on it in therapy.)

 

Withdrawing my energy from spaces in which I do not get energy or equal amounts of respect reciprocated has given me space to breathe, and time to spend with those who do reciprocate it. When talking to my therapist, she asked me what I ever got from these interactions? Love? Support? Did they accommodate my class different, taking into account the dramatic economic background between us? Did they even ask how they could adapt situations to make sure I can partake in them?

 

The answer to all of the above is no.

 

So, I’ve muted a lot of people. Not having to come face to face with tone-deaf messages of my middle-class peers has been a breath of relief. It hasn’t put me in a space where I get infuriated by their ignorance as they complain about their skiing holiday being taken cancelled.

 

This reminds me of a friend who first picked me up from London, and we were good friends, but we don’t speak anymore. He began to separate himself from spaces that didn’t serve him or reciprocate his idea of friendship. At first, I chastised it, I don’t think I “got it”. Now, I understand exactly what he was doing and really respect him for it. I wish I’d cottoned on sooner. It’s not that he didn’t like or love us a lot, but it’s that this particular space with these particular people were not right for him anymore, they didn’t allow him to grow. I was one of those people, and that’s something I quickly learnt to accept.

 

Returning home gave me immediate relief from the embarrassment of errors I made with intention, I fucked up with meaning. I didn’t apologise for it, I didn’t back down when I could have, instead I lit a match and watched the bridges that didn’t serve me burn. No one won, exactly, but I got to walk away and I made sure they heard me singing as I did. I won’t apologise for doing what I thought was right. I won’t apologise for anything, but that doesn’t mean I’m not still embarrassed by how I acted.

 

My full-time fun girl persona started to bleed into reality, the tragedy of this persona became an everyday presence. I didn’t enjoy being a shitshow, but people enjoyed reducing me to it. When you become the image you portray, it doesn’t do anyone any favours. That, among other things, was why I came home. I felt like I’d exhausted all outlets. I had. Or I burnt them down. I’m not sure. I had become someone I didn’t know; people say that’s why you get anxiety, because your actions aren’t in line with who you really are, they don’t resonate with your innate sense of self. This sentiment quickly collided with returning and entering a place that is stunted and this sense of resentment resurfaced.

 

The social lives of my peers here similarly don’t hold similar values to me; returning gave me safety, love, a loose sense of friendship until with the seasons they retreated into their nuclear normality I don’t fall into. Once you find your people, it’s easy to spot those that aren’t. Similarly, when you spot your people, you see traits in others that are similar to them, and try and carve out a space for people that nearly fit it. Sometimes you find they do, but not quite, and other times you feel as though they were pretending. I guess what I’m saying is you should trust your intuition. Listen to your energy after you leave people.

 

Yesterday I spoke to my best friend for two hours, and I was smiling for the rest of the day. A week prior I was talking to three of my close friends from University who became scattered to the wind and I found myself laughing with unabashed joy as I felt heard, and seen and experienced a collective joy. Those people breathe life and light into my life and I hope that I can find more people like that.

 

I think that was the lure of London, the improbable off-chance you will bump into one of your own and find a kinship based in the vacuum of the capital.  I’m not saying I didn’t feel lonely in London, it’s a big grey city and you can easily get lost in the big smoke. I’m not saying I don’t feel lonely now, I do. But I know where my people are, and this time away from exhaustible spaces has given me opportunity to reflect, to let myself gravitate towards spaces that do allow me growth. It’s given me time to cultivate good energy and re-focus where I need to be by showing me exactly where I don’t.

 

Maybe I’m tone deaf, but I’m just trying to find an upside in this working class mire of financial insecurity and moment of great uncertainty. Reflecting is something I feel I can do now safely, with the help of my therapist, it’s allowing me to analyse my own behaviours and try and bring back that soft sense of kindness and lust for life I have, but sometimes can’t feel under the muck of the everyday. I hope this time brings you some sense of relief, or peace, or invaluable time to dedicate to whatever.you.want.
Stay safe and sane my cool cats and kittens,

xoxo,

natty

 

The Last Targaryen.

16.05.19

 

The last female characters in the show have essentially been reduced to three houses; Stark, Baratheon, Targaryen. These houses hold considerable power by themselves, coupled with their remaining matriarchs (because let’s face it, Jon isn’t running anything other than away from his feelings) they’re a pretty formidable bunch.

Disregarding the pitting of powerful women against each other in a totalitarian struggle for the throne in the vein of oh so trendy, female power, this week’s episode was rife with misguided notions of women, power and madness. Patriarchal tropes clung to the once fierce and pragmatic women, altogether terrifying and brilliant, and reduced them to poor plot twists and insanity.

It was predictable, and awful, highly entertaining and I hated it. I hated it because this has a massive audience that has huge influence on Western society, it should be commented on, especially when the fanbase is so intelligent and loyal and when it’s such a huge part of our soecity (Sorry, it is.)

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Originally posted by sansadaily

𝔩𝔦𝔱𝔱𝔩𝔢 𝔡𝔬𝔳𝔢

I’m gonna get right into it. Full fledged, partially feminist but mostly just pissed off review of this episode and continuing storyline for The Mother of Dragons.

Sansa and Ayra are the only two female leads left unscathed by bouts of madness. They remain in the show, they are quiet and astute, or emotionally void and impossibly silent. Above all else the crucial performance of their femininity is intact, they are well-mannered and unobtrusive and that is seemingly why they are still there. Some of their power steams from utilizing the tropes of femininity to ensure they have stability and respect and maintain the little power they have.

Sansa is not only playing the Game of Thrones but the tiresome Game of Patriarchy. Seemingly internalising her struggles and extending gratitude to traumatic abuse as a means of betterment seems, at the least, in poor taste and at most, horrifically ignorant and damaging. The implications are that because of what a man did to her, she is a better person for it. I think she is better, and not “still a little bird”, only because of what the show keeps telling us is that she’s smart now, not showing us. You might even go so far as to say that Sansa is only granted trust and smarts because she learnt it from a male peer.

Sansa Stark has swallowed internalised misogyny down with her favoured lemon cakes; yes, she has learnt how to manipulate those around her and use her strengths to gain favour, all whilst being very pretty and very quiet. Except when it allows heror her family more access to power. You all know what I’m talking about – snitches get stitches, little dove. All the while claiming The Dragon Queen is an untrustworthy threat (Jon asked you to keep how many secrets? One? The same one your Father kept for…how many years? Oh. Yeah. In the words of Sandor Cleagane, fuck off.)

Thus, leading me – a rabid feminist and Targaryen loyalist – to believe that unless you play by the rules in Westeros, whatever you want is unattainable and you are unworthy and frankly, too damn emotional. The only way for these characters to survive is to shut up and play along.

And let’s keep in mind that all of these characters are white, the people of colour on the show can be the sweetest, most benevolent characters in the universe and they still get decapitated. Characters who aren’t “nice” or “good” and are people of colour are portrayed as savages, emotionless killing robots that are above all dispensable and grateful to their white saviour. Someone who spoke about this more eloquently and in depth is Raine (SP – my apologise I can only guess at it based on phonetics), who wrote into the Pod-Cast: A Cast of Kings (S8E5, 7 minutes in.)

Dany simply doesn’t play by these rules.

Being a Targaryen at heart, I wondered what it was that Dany was doing so differently to be considered such a threat, or a borderline mad queen, chasing after the impossible affections of the inhabitants of Westeros. Dany plays by Targaryen rules, she plays with fire and blood. Their trump card of entitlement (a hereditary bloodline that has mostly held male monarchs) that condemns her as power-hungry but serves male claimants as entitled.

Her overt assertions and unfiltered desire to reclaim this birth right, as many before her have, is suddenly chased by the idea of being deserving, a prerequisite that eludes the patriarchal figures in her family. This leads me to think it’s not what she’s asking for that is so unconceivable, but howshe’s asking for it that is so outrageous. Apparently, even Khaleesi can face issues of likeability[i].

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Originally posted by erysdaen

𝔱𝔥𝔢 𝔱𝔬𝔰𝔰 𝔬𝔣 𝔞 𝔠𝔬𝔦𝔫

These rejections of arguably patriarchal rules and the strong emotions of a woman are tediously wrapped up with notions of madness and hysteria, and prove disappointing for one of the most well written female characters in fantasy.

While we have to take into account the budget and time of the show, it feels breathless. The otherwise thoughtful and complex plotlines have been twisted to deliver shocking twists with little substance.

Dany’s previous actions in the show haven’t led to the web of whispers surrounding her, there is no reason for people to expect her to act like a mad queen up until this very last moment. To deny these people were doing so and lying to her face about it would be further gaslighting, so Tryion, in my book, did the right thing. Dany’s decisions have constantly been ridiculed, along with her sanity and emotional state.

In a defence of her actions, she has fought endlessly, scraped her way to the throne, sacrificed her time, her armies and her children to find herself left alone at the last moment? (Who can relate?) Her powerful allies have fallen, and those that claimed they would serve her do very little of what she asks. Seriously. Jon, you just couldn’t shut the fuck up for a second?! Starks and their honour, SMH. It is maddening.

Aside from it making no narrative sense (she has always avoided bloodshed and taken warnings about the mad king, her father, to heart) it just sucks seeing two of the best women reduced to Motherless tropes. Because Seven Hells, what is a woman if she is not reproducing? Insane!

As if the coin had been tossed and landed face down – Dany loses it within a split second. Hats off to Emilia Clarke because she sold it and the storm of emotions that ran across her face in milliseconds. This black and white contrast seems unfitting for a character that has faced each loss, personal and political, with tenacity, she has learnt from each of these losses. D&D have taken a survivor that has been gaslit, abused, groomed and baited and “made her mad with ambition.”

Additionally, it lends to the idea that women’s emotions are incomprehensible and irrational. We are told that in expressing anger we are inhibiting the ability to be heard – hello tone policing. This bout of madness is signalling her downfall, her failure to comply with a more docile femininity. Any woman with too much power will not be able to handle it and if she can she is mad and must be stopped. Period.

They failed to give her the credit she so deserved as she tried (and arguably failed) to grasp the politics of war. Worst of all, the scene played out so poorly that the audience had to be told this was her moment of “choosing violence,” like Cersei. The only way this was credible was thanks to Emilia’s performance and explanation in behind the scenes footage.

She explains how hurt Dany is, how angry and alone she is, and these feelings have culminated at a time she has gotten exactly what she wanted, and realised it’s not what she thought it would be. With liminal time, Dany grieves. Her grief is sorrow turned anger, anger turned dragon fire, dragon fire turned ash. It looks different to any other characters on the show and she has allowed it to kill her. And when you put it like that, it’s fucking traumatic.

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Originally posted by bbatbitch

It’s not like it’s nothing that pushes her over the edge, but in diagnosing Dany with madness, her agency is stripped from her. Dismissing her actions by saying it’s in her blood is implying it’s inevitable despite the great character growth and progress she has made. While the books clearly hint at this, the show does not…well, not successfully. It’s feasible and I’m not at all against the idea of her going mad, but the connotations of it seem reductive.

Daenerys could have been the most beautiful mad queen we’ve seen since Maleficent, reigning her vengeance on us with fire and blood, but D&D wrote off her brilliance with 30 minutes of relentless slaughter. Her power has always been something to fear, she plays the game she need not play to gain favour and credibility as a leader, and when playing by their rules fails her and she doesn’t feel like playing anymore (as it’s gotten her nowhere – does this remind you of anything? Patriarchy? Internalising misogyny?) she’s crazy.

The most irritating aspect of this all is that it has been written to further the narrative of do-gooder MoodiBoi of Westeros, Jon Snow. To add insult to injury, her sacrifices are motive for madness while Jon’s make him a martyr; an unwilling hero bound by the same strain of honour that has gotten both him and his uncle killed. Like, I’m bored?

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Originally posted by milkovich-swagg

𝔱𝔥𝔢 𝔴𝔬𝔩𝔣 𝔞𝔫𝔡 𝔱𝔥𝔢 𝔡𝔯𝔞𝔤𝔬𝔫

It’s undeniable, Ayra is a badass. She killed the fucking Night King. But for some reason, Daenerys isn’t granted the same nuance she is. Ayra is unforgiving and gritty, she is cloaked in darkness and weaponry and this darkness is welcomed. While Dany’s darkness is terrifying – perhaps simply due to the scale of devastation she is capable of – whereas Ayra’s is welcomed and accepted. Maybe it’s just too easy for Dany to sit the throne with dragons and is considered unfair? Like, I dunno, any white-het-cis man trying to attain a position of power and control.

Perhaps it is because Ayra’s power is overtly masculine, her power is demonstrated solely in her physical skills and capabilities, whereas Dany’s overt power is dragon fire, and flows, sometimes in reverse, between decision making, politics, emotions, bloodlines and betrayals. This is a character arc, it isn’t a clean narrative and that is why it’s so compelling. (Sidenote: let’s not disregard the ability to raise, bond with and fly fatherfucking dragons.)

Ayra undergoes numerous inescapable traumas, all early in life, but so does our darling Dany. The only difference is Dany strays from physical demonstrations of power. Her focus is not individualised, it’s pinpointed to political hotspots.

No, not all female characters have to express their power and emotions in the same way, nor should all female characters be powerful, but in a show with dragons, is it so far-fetched to have more than one successful female ruler?

image

Originally posted by hvitstark

𝔄𝔷𝔬𝔯-𝔞𝔥𝔟𝔶𝔢

It seems as though the show has room for only one type of ‘empowered’ woman: the power hungry one. Whether she uses cunning, childless violence or fire and blood, they all seek power. Enough to hold what they consider their claim, two of them have already paid with their lives for their loud and unrelenting anger, the third is most likely going to sit the throne, quietly, thankful for the years of gaslighting and abuse. Looking at you, Sansa Snarky.

The only praise I can sing is that this is actually a testament to her power and great restraint, it has taken 8 seasons of abuse, disbelief, dehumanising, control and betrayal for her to reach this point and use this force that she could have used moons ago. Which, judging by everyone’s shitty ideas and plans, she should have done anyway.

While Daenerys Stormborn isn’t perfect (er, hello white saviour/messiah complex) she is compelling and pivotal in the series. This woman isn’t inherently good or bad. The character is made of grey, shifting uncertainties and wavering moral, struck by tragedy and bloodlines – she is simply made of magic – Dany is, after all, the Mother of Dragons, and she deserved better.

𝔯𝔢𝔣𝔢𝔯𝔢𝔫𝔠𝔢𝔰

1] Likeability: I define Likeability as a set of performances that are highly gendered, and ensure the maintenance of the feminine by condemning behaviours exerted by non-males; typically being loud, having a sexuality (lol seriously) opinionated, successful and ambitious. I believe likeability sits on the axis of heteronormativity and femininity; or rather within the heterosexual matrix. They rely on each other for their respective maintenance. The highly feminine woman is more respected and well liked. It is a social currency women have to pay in order to attain certain things, such as respect or power.

2] https://www.bitchmedia.org/article/its-time-embrace-feminisms-anger

3] https://www.theatlantic.com/entertainment/archive/2016/09/how-pop-culture-tells-women-to-shut-up/502187/

4] A Cast of Kings: Available on all streaming sites. S8EP5 Review.

Orange juice and good luck.

09.03.19

 

‘They’ say that your body knows when you don’t want a baby, for me, I felt like mine did. But nonetheless, I drank excessive amounts of orange juice and took vitamins in hopes that the vitamin C would turn my womb from a welcoming incubator to an inhospitable wasteland. (This is because Vitamin C has the ability to weaken the bond between the wall of the uterus and the egg.) 

I woke up the day my period was due, knowing that its habitual crimson should be staining my inner thighs to find only my skin, white and laced in stretch marks. My Mother worked in a clinic for a few years, and, assumedly knowing that I was in my early 20’s I was sexually active, kept condoms and pregnancy tests in the bathroom for me and my friends, if ever we needed them.

That day I picked up the thin pink metallic foil, and gingerly peeled it open. It wasn’t a long, thick stick like the ones in movies, it was the small, very thin one you get at the doctors when they pop it in that vile of urine. I went to the bathroom, I peed on the stick, I waited.

It didn’t take long for it to mark as positive.

Immediately a gut punch of dread hit me and I began to sob. The initial panic lasted about half an hour, I paced, still sniffing, calling my long-distance boyfriend to tell him what happened.

I’m debating whether or not his reaction was important, but I suppose we’d been on the same page all along. I doubt I would have changed my mind regardless of his reaction, I think I would have just been made to feel bad about it. In this sense, and many others, I’m very lucky. Quite simply, his reaction was a heart wrenching “shit.” Full of guilt and remorse and regret. We had never wanted children.  We weren’t financially stable, we were so young, we barely in love at this point and a list of other arbitrary reasons that piled underneath the most domineering: I didn’t want a baby.

Before we fully talked it through I knew what I was going to do. As my Mother worked in a clinic she often worked with the neighbouring clinic that specialised in testing and (in hushed tones) abortions. I was grateful for those in-car whispers, and although whispering might have implied shame, there was nothing to be ashamed or embarrassed by.

As soon as I hung up I arranged an appointment. I’m sure it felt like I had to wait forever. Initially during the process, I was upset, particularly when talking about it to a nurse – who, along with all staff members were incredibly kind to me – not because I felt bad for “killing” off something in me, but for having put myself under so much strain that could have been avoided. For hosting the last remaining spec of love in my relationship that was soon to be no more. It was all such a tragic, beautiful metaphor.

I was so early releasing I was pregnant that it wouldn’t show up on a scan, and I had to wait another two weeks for a procedure to even be carried out. Because I was so early it also meant that I got the pill and not the machine. I understand how vastly different these procedures are and I can’t imagine how it felt for those who had endured such stress, to say the least. In this sense I am lucky; I had been spared the vicious claws of the machine.

Weeks passed, I waited endlessly. On days, I knew I refused to be weighed down by the literal weight and exhaustion that my body suddenly carried; I worked out with my friends but resigned to bed for hours. My kitten, Binx, slept on my lower stomach…she knew. She comforted me as we slept aside one another.

For me, it was exhausting: debilitating is often the word I use to describe it. It felt so physically restrictive that I could barely do anything; my mom blamed it on my recent travels, she wasn’t to know until a few years later. The odd thing is she went through a similar experience at 22, but that’s her story to tell, not mine.

Because when I returned for the final scan before the procedure, the nurses informed me that the collection of bean shaped cells hadn’t grown, and that there was a good chance that it wouldn’t make it. Kindly, the choice of “naturally” letting it pass and me, actively making it pass were given to me. They said they understood the importance to some to let it occur without interference. I was steadfast on actively ensuring that it wouldn’t stick, tethered by the fear of having to become a mother, to carry a child.

“You sure?!”
I nodded vigorously and shuffled into another room. The nurse gave me a tablet orally and one anally; she administered two pain killers and gave me a wad of pads and paracetamol. The procedure itself was fairly non-invasive and quick. I couldn’t have been in there for more than ten minutes. I was dismissed within ten minutes. My boyfriend quickly came to my side (we thought it would take longer) both eager to get home before the contractions came.

Little to no blood appeared, and I was concerned. I called them up as hours passed and nothing seemed to happen. They assured me it was normal, so I lazed about until a sudden pain pincered my insides; it crushed my womb inwards and I doubled over. I could barely call my boyfriend’s name before I was being sick and shitting with violent convulsions.

“I need you to get me the pain killers? Ok?” I said, wincing and crying as I sat on the loo until the nausea and bowel movements stopped. Everything was liquid anyway.

Soon after he passed me the pills and water through the bathroom door I crawled back into bed, holding myself together as the cramps continued to contract and expel the cells from my womb. I felt breathless, I couldn’t talk. But soon the drugs kicked in, and as the pain ceased a fraction, it was enough to be pulled under by the drugs. I fell asleep for two hours, clammy and restless.

He didn’t hold me. I wish he had.

My experience is an incredibly privileged one. For me, everything went as painlessly as possible. The timeline ran its course without much interruption and little restriction; let’s make it clear, I had just finished my undergraduate degree and was looking for a job, but I had enough from my loan, part time job and my mother (who let me live rent free) to help me get by.

I also knew where to go, I had a (somewhat) supportive partner, access to information and an understanding family and safe practitioners. I was incredibly lucky, I am incredibly lucky to have access to these services, for free nonetheless. I’m white, I can’t imagine or truly understand how difference my experience would have been if I wasn’t. The intersection of race, class and gender politics is so deeply nuanced and complex; that’s not to say I shouldn’t attempt to tackle it.

I thought my mom would be angry, but as always, she was understanding, and she shared with me her experience of a losing, what she considered, a child and holding a sense of great, swelling loss. For me, the gene of motherly love has stuck fast on animals and never shifted to that of children.

I openly shared my experience whenever the opportunity arose, primarily to destigmatise it, to attempt to unravel the patriarchal/societal discourse surrounding it. To unwrap layers of archaic notions of shame, to grate away at the policing of sexualities (that are deemed so horrific the victim blaming attitude of “well what else did you expect?” came to result in carrying a baby you don’t want as punishment for your sexual behaviours) to assert agency and the right to choose, and to normalise a medical procedure that is more often than not, life saving for a multiplicity of reasons.

In short, to reduce it to its sweet simplicity: I have no remorse surrounding my decision to expel a bunch of cells in my body.

As I shared my story I came to find myself in the same space as two other people who had also recently experienced having an abortion. I can’t speak for them, but for me it gave me a sense of solace. I wondered what could happen if we all spoke up, shared our experiences more (in safe spaces and communities – not everything has to be shouted from the rooftops – safety is paramount.) my hope is, than in sharing my experience, I can positively contribute to the discourse surrounding abortion, for all the reasons above and more. I hope that one other person can find comfort, as I did, particularly those who weren’t as lucky as I, doused in orange juice

Verve Poetry: My Valentine

14.02.19

 

The opening night of Verve Poetry Festival was a welcome one, demonstrating with unique, Brummie charm the creativity of the Midlands. A night dedicated to hip hop and rap influenced artists, each poet took to the stage with a piece and two accompanying songs that influence them, or parallel their poetry. It’s inarguably an original idea that not only lends credit to the scene, but to the importance of sharing and community, a feat not many other spaces can boast.

Each poet that performs holds their own; I dont think I need to comment of their immense talents, I think they speak for themselves. What I will say of the festival, and of the Birmingham poetry scene is its unassuming atmosphere. It is refleshingly inclusive, hosting a variety of performers with differing backgrounds, identities and approaches to writing and creating. It is friendly and unpretentious and radiate inclusivity and community without a screaming need, for fear of being labelled exclusionary, like so many other scenes. 0121 hospitality isnt lost on anyone – one of the acts stops and chats to me (an incredibly kind act when you take into account their imminent perfomance.) Unashamedly awestruck I confess I came home to watch their set. I hope they know I truly meant it.

Thats whats so fantastic about being in Brum: everyone talks to each other and honesty is a punctuation mark. This is how they connect and why it is so successful as a scene. To that point, conversation between sets is encouraged and gets me gabbing to folks either side of me. Birmingham has birthed a movement I’m proud and honoured to witness and share, its a movement that will continue to call me home. To quote the Priestnalls performance: I will continue to wear my heart on my sleeve even when it goes out of fashion.” I’m so gutted I had to leave after the first night, but I’m happy I got to experience it. If this is the first night, I can’t imagine what the next few days will hold. You can check out Verve Poetry Festival on Facebook & Instagram. Don’t forget to check out each poet you see and support your local artists!

Filler Queen.

16.11.18

 

I kind of always knew I’d get a lot of cosmetic procedures. To resist the trend of fillers seemed futile, but I swear I tried. I’d already gotten my teeth straightened and whitened (it took a God-awful amount of time) and had been to various clinics to check out their prices and procedures for breast augmentations and rhinoplasty. Fillers seemed very tame in moderation.

This is my choice, but that’s not to say this choice doesn’t come with certain implications. I’m not here to defend my choices regarding cosmetics, I’m here to explore the topic and be honest about what I’ve had done.

These unrealistic standards of beauty can only be dismantled if we’re honest about how they were achieved. I’m not saying that in stating my intention, all systematic bonds and structures of privilege are disintegrated and that all beauty standards are dropped, no, I just want to be honest. As I type this I know how problematic this is.

But, to me it’s like when some people in the fitness industry say they just workout and eat healthy, when the truth is they’re eating two meals a day, smoking instead of eating, and keying coke until 3am so they don’t deal with the calories of alcohol and their appetite is destroyed for the foreseeable future. I don’t have a problem with that – I just wish people were more honest about how those results were achieved.

So, if you didn’t already know, I have lip fillers. As of last Friday, I also have cheek fillers and fillers to erase my frown lines. And you know what? I feel fucking fabulous.


                                  Shame the devil and tell the truth.

When I first got my lips done, I walked into work with bruising and swelling – don’t get me wrong – it didn’t look cute. (In the beginning, I was too scared to ice it, so I took paracetamol and left it to settle. Now I know icing, in moderation, is fine and greatly reduces the swelling.)

My body quickly became a topic of interest, the change in my appearance propelled my body further into public discourse and served as a welcome mat of commentary. Initially, it was just my appearance that came into question. Not only were the questions rude but they were disrespectful; people’s assumptions were that my self-esteem was so low I felt I needed it (which, if that was the case how awful would that have made me feel?!).

“You don’t need it!” Yes, Barbara, I know. I wanted it.

People’s comments were hurtful, designed to keep me from pursing further work to ensure that their male gaze was considered precedent over my agency and their ideals of beauty were kept standardized.

“You look ridiculous” was common. “I don’t like it” was a close runner up. The implications of both were “I don’t find it attractive therefore it’s a waste of money”.

In my opinion, this was a highly narcissistic move; even when my body changed, in commenting on it and their distaste they still managed to make it about them. I wish I could say this was a rare occurrence. It’s funny how no one brings attention to my teeth whitening – perhaps that is exempt from beauty standards or was deemed necessarily by my peers. * Eye roll * Go figure.

In academic discourse, this is familiar ground. Non-male bodies are often considered part of the “public,” a specimen to be controlled, validated only by heteronormativity and the male gaze, critiqued to ensure their standard of beauty was, indeed, still standard.

Suddenly, I had more money than sense and my choices became a great concern of everyone else (because clearly it affected them so deeply and directly.) As if I hadn’t worked hard for my money and wasn’t highly informed on the procedure.

Yes, not only did my economic status come under scrutiny, but so did my intelligence and agency. It was like a highly-educated woman (I have a master’s degree TYVM) couldn’t undertake cosmetic surgery because that would invalidate both her intelligence and her choices. It was as if within fifteen minutes, as the fillers were injected into my lips, every single brain cell died and was replaced by images flickering from The Kardashians, to lip gloss, and high heels. It was almost as if the space where my cells previously lived became inhabited by glitter and cosmopolitans – my eyes glossed over and I became completely vapid – all of my previous education was erased and I was no longer a feminist.

As if. Though, I do thoroughly enjoy a good dose of glitter.

I think the idea that it wasn’t for the male gaze and was just something that I had wantedto try was incomprehensible, hardly anyone could wrap their heads around it. I can only speak for myself, so my choice to have fillers was because I see cosmetic surgery (as this isn’t particularly invasive) as I view make-up: to enhance beauty that is already there, or to create a little more beauty where you feel you’d like it. But, let’s be real, in this day and age most beauty is created. Dita Von Teese has said it time and time again.

Others may do it because they feel insecure, maybe they don’t. I can’t speak for them, but what I can say is that there is no shame in that. In a culture where non-male bodies are criticised for not looking like the common standard of beauty and then in the same breath chastised for trying to obtain that (through, I don’t know, cosmetic surgery for example) there is no shame in pursuing your ideal of beauty. Jillian Michaels often comments that there is no shame in having a little vanity – what is so wrong in taking pride in your appearance? The trendy, counter-culture cynicism against vanity, selfies, avocados and vintage clothing is just that: trendy. It’s the flipside of the same culture, it’s not exactly original.


                                              Feminism and fillers?

When feminism has become such a trendy topic of the last year and empowerment is a buzzword swung around on a rope called capitalism and commodity culture, where is the line between agency and a larger, systematic problem drawn?

In this particular time when choices are lauded as empowering, we must be aware of both the muted conversation surrounding objectification of non-male bodies, as well as the distressing similarity between “celebrating creative agency and denying systematic patterns,”[1]Quite simply, the correlation between womanhood and the desire for beauty has “long been upheld by patriarchal discourses” that resigns them to objects to be viewed, enjoyed and consumed[2].The most recent wave of feminism, whatever you want to call it (maybe even post-feminism) is lauding physical transformation as empowering [3].

That being said, condemning individuals for their choices in a culture they haven’t shaped is also harmful, “even if those decisions are ones we regard as medically unnecessary and politically distasteful,” (Angela Nuesatta.)[4]In this sense, this point adds to a complex, nuanced argument surrounding cosmetics and the non-male body. If these procedures aren’t at one with beauty standards or heteronormative desire, does it make them any more or less on par with feminism and agency?

So, let’s really get into it. I have A LOT of privilege. I’m white, I’m able-bodied, I’m a cisgender woman; these privileges grant me opportunities, whereas others who don’t have those privilege might not (and often don’t.)

More to the point, some argue that being attractive is a form of privilege; research confirms that “attractiveness” creates more opportunities, romantically and economically[5].

I wouldn’t say I’ve necessarily had more success in either of those departments after my filler-fun run, but I have felt more confident. It’s not like I didn’t like the way I looked before – in fact the one thing I’m most insecure about I haven’t undertaken, yet (it’s my nose, I dislike how large it is) – I just enjoy how different I look now. One to me is not better than the other. I don’t feel as though I need these procedures, but I want them, I enjoy their results. Just as much as I enjoyed my face before.

The problem, of course, is that as a white, cisgender, able-bodied woman I am upholding beauty standards that can be reductive. Again, I can only speak for myself and I understand that this is problematic behaviour for those reasons and more.

When I align myself with the third-wave, reclaimational feminist politics[6], myembrace of the femme would mean something completely different than to someone with another positionality. Therefore, it can greatly impact the notion of reclaimational third wave feminism.

Here is where I must acknowledge that the master’s tools will never dismantle the masters house. And I can survive in the master’s house; people who don’t look like me or have my privileges may not.


          Oh my god, you have to give me the name of your surgeon!  

In this particular time, these procedures have become so much more accessible. Nipping in to get your lips done has become the millennial equivalent of popping out for a nail appointment. The procedures that were once only for the rich and famous have become readily available for the everyday, 9-5 worker[7]. In this sense, it gives access and more options to those who may be striving for a visual image that matches their identity. The cost for some maybe off putting or unachievable altogether.

Knowing that I wanted these treatments, I saved up over a few months. Because these fillers last a good 7-9 months, I didn’t necessarily need a top up…but I wanted them. Thinking about it, it wasn’t exactly an extortionate amount of money…to me. My privilege is showing, isn’t it?

My practitioner is Katie Allen. She owns her own company called Alien Aesthetics and if you are looking for work I highly recommend her. Katie has always been welcoming, kind and informative every time I’ve seen her; she has two degrees under her belt and holds down a nursing job at the same time. Balancing the two is no easy feat.

Katie is highly successful, firstly, because she’s amazing at her job, and secondly, because her work ethic is unparalleled. Working with her Mom, Julie and predominantly alongside other women, Katie often stresses the importance of supporting one another in business. Her prices are more than reasonable and she frequently posts cheaper alternatives as part of a modelling deal or prize draw, rewarding her followers and regulars.

The first time I got my lips done, she talked me through everything, the procedure, the aftercare and where to reach her if I needed anything. We started small, 0.5mil. Before each injection she asked me if I was ready, and kept me up to date on where we were during my treatment. She continues to do this even as I approach my 7thor 8thappointment.

Always checking what look I’d like to achieve, we’ll chat, I’ll show her picture references and when I’m frozen, mid-procedure she’ll ask if I’m okay. I’ll try and mumble something that sounds affirmative.

After the numbing cream, it’s not exactly painless but what I’d call uncomfortable. Personally, as long as I don’t look at the needle, I’m fine. It usually takes 15 minutes to sink in and you feel like a bit of a boob sat there with white stuff plastered around your mouth (we’ve all been there, amirite ladies?) But to Katie, it’s second nature, she doesn’t bat and eyelid.

My cheek fillers were a little different, it felt like a liquid pressure was spreading onto my cheek bones. It didn’t hurt, it was initially uncomfortable but soon settled down. They’re still a little sore but look absolutely amazing and, as Katie said, create a more structured, lifted image. She also said they’d look better in two weeks, when the swelling completely settled. If it only gets better I can wait to see what it’s going to look like in two weeks – I already adore them.

I hope I’ve addressed some questions that some of you might have about it. But Katie, obviously, is the person to approach when it comes to these procedures. Pixie is the current admin of their Instagram page and is just as friendly and informative as Katie. (Don’t worry, I gotchu, her company is tagged in this post and will be linked at the bottom.)

I know I don’t have all the answers or the perspectives, I just wanted to share my experience. I don’t mind people asking me questions about the procedures, how I felt, what the process is like, who I go to. I do mind invasive and rude questions that place my self-esteem as frail and my now altered look as unattractive. Because that is invasive and rude, who raised you?

I enjoy the look fillers give me, and, why wouldn’t I? I curated it. So, I’ll say it, I’m a filler queen. I enjoy my treatments and love the results, I don’t see myself stopping them anytime soon and will more than likely begin to explore more invasive procedures (hello, new nose). But, until then, I’ll revel in my swollen cheekbones and lips.

Desperately Wicked: in defence of Laura Albert.

9.8.18

 

Desperately Wicked: In Defence of Laura Albert

[Introduction]

JT LeRoy, the literary “IT” boy of the early noughties; a gender-fluid, gender non-conformist that existed (or exists) between the Southern Gothic and Never Never Land (Bennett: 2016). Riding off the wave of the 90’s punk-rock, D-I-Y sentimentality of celebrity that is arguably still present in 2018. Arguably more so with the surge of internet celebrity that started with MySpace and continues with the self/sponsored insta-fame of now.

The D-I-Y aura surrounding the industries suited Jerimiah to the “T” in “terminator”. It allowed him to waver on enigmatic and shy, magnetic and offbeat, provocative yet child-like in his disposition and correspondence between celebrity, publisher and the public.

For those that aren’t clued in, JT Leroy was dubbed the literary hoax of the 21st century. With three novels under his belt, “Sarah”, “The Heart is Deceitful Above All Things” and “Harold’s End,” a cult following, and a movie starring Asia Argentina, he was a young-20-something, gender outlaw of a writer. He pushed questions of gender presentation, gender performativity, gender passativity and sexuality; as Delaney suggests maybe he prefaced todays more gender-fluid society (2016). His image was that of an effeminate – if not androgynous – small statured blonde that held the same enigmatic and dark energy of his books…Albert’s books.

In 2006 JT’s fictitious status was revealed by Stephen Beachy– Albert was the writer, the creator and in part JT himself (Bennet: 2016). JT was performed by aspiring clothes designer, Knoop, Albert’s sister-in-law. In part, his opposing yet complimentary characteristics were due to the influences surrounding him; firstly, by his given traits, his creator and mother, Laura Albert, and then by his living and breathing host, Savannah Knoop. These factors culminated an emotionally devastated, shy, socially stunted wonder-boy; the kind that Albert knew would be adored, protected, and above all – believed.

The thing is, it’s not like she didn’t try to tell us, to try and break the façade; she outwardly joked she was JT LeRoy – only to be met with mockery and dismissal – which I know would have been different if she were a man…if she looked like JT. She wrote it quote plainly with the quote “The Heart is Deceitful Above All Things” and spoke candidly about the idea of treachery and betrayal, she wrote her own demise; as the Lot Lizards chased JT with pitchforks, celebrity America hunted Albert with hunger and the sting of betrayal in their eyes: she had made them look dumb. Like Langer, who wrote an article on JT in 2013, I (as a reader and fan) divided between my empathy with the characters and all that Albert achieved; both in the literary and literal sense, in JT’s public reception and her public crucifixion (2013). What will follow is an exploration of the JT phenomenon and the defence of the desperately wicked, Laura Albert.

[Part one]

When I first heard of the literary persona, JT Leroy, I was in the car of a psychedelic rock ‘n’ roll vegan, obviously.  To begin with was the concept that initially sparked my interest. A literary hoax?!  Interesting. A literary hoax so successful that a mass of celebrity followers surrounded and worshipped them? Genius!  Someone who convinced the likes of Wynonna Rider and Billy Corgan that this literary persona was real? Hilarious.

But the more I read into it, the more I was drawn to it, the more I felt the weight of JT settle into my psyche and whisper to me that he was real. I read snippets of Sarah when I was incredibly sad – okay, it was because of a hellish comedown that triggered some serious mental health issues – but I felt him, I felt his pain and together we shared our heartache. I knew that with every word I read, every sentence that broke my heart was written by someone who “wasn’t real”. That is to say, he didn’t have a host, a body. He was as Albert described, an avatar. He was fictitious and it plainly stated so on the cover of all the books “fiction” – but that didn’t mean that the pain wasn’t real, that the trauma wasn’t tangible and provocative in the blurring of fantasy and reality, identity and embodiment, “artist and audience” (Langer: 2013).

When writing, Albert states, she was made to use a voice that her gender presented, she was made to write as a woman. That was too painful, “too traumatic” (Bennett: 2016).  Confronted with the binary choices of a male or female voice, Albert chose the former. JT was the voice, the host for her pain and her art, famously quoting him to be like a “pair of asbestos gloves” to process the trauma she was otherwise incapable of handling (Sauvelle: 2016: Out; Brady: 2016: Irish Times).

This came with the weight of shame for Albert, who felt ashamed about her body, the trauma inflicted on her body, gender and sexuality. In fact, the notion of shame is a reoccurring theme, both within her narrative and JT’s; but I think this shame is placed upon her as much as she feels she has it. Albert explicitly understands the connotations of trauma on a non-male, often non-conforming body, as well as the shame associated with mental health and childhood traumas. This for me, resonates on many levels, shame for non-male, non-conforming bodies lies on the grounds of weight, it’s functions (such as periods or lactation) but also the non-male body and trauma in which these experiences are invalidated by reductive, patriarchal terminology.  How many times has any women with mental health issues been dubbed with daddy issues? How many times have women with any hint of emotion been dubbed a crazy bitch?

[Part two]
In stark contrast to our fictitious wonder boy, Albert posed as Speedie, JT’s handler (Rich: 2006: The Paris Review). She was the brazen, bold and loud woman that stood by his side and practiced a “Svengali” like sway over JT. To put it simply, she was too much; too assertive, too much mouth, too much punk rock rage and artistry that is altogether nonsensical and realistic (Delaney: 2016: The Guardian; Handy: 2008: Vanity Fair). The gender roles were reversed, then disregarded all-together and it left people to create polarised impression of the duo. In this sense, I think that Albert does not perform her gender adequately and simply doesn’t want to and, why should she? She’s an artist, a creator, the limits of her self-expression shouldn’t be defined, she is the perfectly complex and enigmatic artist.

Speedie was not to be trusted; even when she out rightly stated she was JT. Even Carrie Fischer, an outspoken woman and advocate for equal rights, thought Speedie was a manipulative coattail rider (Rich: 2006: The Paris Review). I think that this just lends credit to the fact that anyone can be capable of discrediting female agency. The fact that people thought the idea of the hoax itself being poorly constructed is just another way of saying that Albert failed to think of the consequences of her actions, when she knew them, she lives them to this day.

When the after-school specials came on, the child who suffered abuse was an angelic, blonde haired, blue eyed boy – either gender of boy or girl were thin – and Albert knew she didn’t fit these moulds (Brady: 2016: Irish Times). These were the children that were believed, these were the children whose pain was validated. More to the point, I believe that as a boy Albert could shrug off some connotations of child abuse that wasn’t immediately reduced somewhere along the lines of the virgin/whore dichotomy and predatory lens of the male gaze. That is not to say child abuse does not happen to boys, but rather that she was able to shake off the connotations associated with her current, adult body that gave her a more direct route of addressing her trauma.

So, this is my problem, when the phenomenon of JT is called a hoax, it completely disregards her pain and implies her intent to deceive, she wasn’t thinking about the literary scene (Langer: 2013). Where some have said it was for fame and money, I remind myself I don’t know any victims of abuse, sexual or otherwise, who have decided to neatly unwrap their trauma and abuse, stare at it and see wads of cash.

[Part three]
The tight weaving of trauma and fiction leaves most dazzled, it’s hard not to be, you’re dipped into the Southern Gothic without warning and left dripping with melancholy heartache. The performance of JT was mostly sustained by his literature and by Knoops performance as JT’s “public self” (Desta: 2016: Vanity Fair). When I read this, I really liked this concept because it carries with it the well-known connotations of having two sides to each person: one we show the world and who we are when no-one is watching. The public side is one that was simply embodied and is arguably a fantastic and compelling piece of performance art, if nothing else.

The problem with the piece is that in creating an avatar who was transgender at the most and gender non-conforming at the least, rumoured to having AIDS, was that this voice overrode those actually situated within those positionalities, it gained so much attention whereas the reality of many non-heterosexual/gender non-conforming writers did not gain the recognition they deserved (Sunderland: 2016: Broadly). This is the one thing that can’t be disputed, but I don’t think it’s actually directly related to Albert, but rather the society to which she was presenting.

It can’t be said that both Albert and Knoop didn’t have oppression, these people were not well off – it was often commented how much food they ordered and took home. Both of their sexualities could arguably be seen as non-straight, but only Savannah even slightly benefited from this in gaining all the gifts, recognition and praise that everyone thought JT deserved; she gained the benefits of a counter narrative whilst being politically, socially and emotionally more stable than that of Laura’s avatar. But that is not to say in enacting and channelling JT, she didn’t bring these issues to light.

The tricky thing here is not to compare oppression (as oppression is incomparable) but to understand that these were not people exactly riddled with privilege. Albert is a Jewish, once very overweight woman who struggled with her gender identity simply because of the gender stereotypes set before her. She could not successfully perform the gender of “woman” and didn’t want to, it did not reflect who she was or how she felt (Sauvelle: 2016: Out). More to the point, do we ever successfully perform gender to the fullest? In a performance that consists of repetitions and exaggerations, are we ever to fulfil a gender norm that is constantly shifting and ultimately, unattainable?

Without sounding like a cliché, I’m here to argue that Albert was before her time – the only difference is that our avatars exist online as the public image we portray via various outlets of social media (Langer: 2013). Laura’s avatar happened to have a host, a living, breathing host with sentient thoughts and similar physical features. We are, as Albert says, “curating another self” (Sunderland: 2016: Broadly; Desta: 2016: Vanity Fair).

Personally, I rather enjoy this process; I project certain images that hold certain connotations and curate an image around the “self.” It gives me a breather from actual gender performativity though (albeit clickbait) media, art, music, literature. It’s a multimedia platform and expression of the self that can be quite liberating. Who in this world isn’t presenting an online image? Celebrities nowadays very carefully curate their image and even, in particular circumstances, outwardly perform this image to the point of performance art – need I say Bowie or Gaga? (Benson: 2006) And dare I ask, is there such a thing as unintentional performance art? And does intention wholly shape the art or can it be, of itself, thought-provoking and challenging?

To circle back, JT was created out of pain; his image was that of the child whose pain is believed, heard and understood. Albert had a very pragmatic understanding that despite her punk-rock, I-don’t-give-a-fxck, “this shouldn’t be the way but it is” attitude, that this boy would be more interesting and compelling than that of a woman in her thirties (Handy: 2008: Vanity Fair). But, as stated before, in Albert’s case the use of an avatar was not merely an act of creation, but that of survival.

Which leads me to the point that the reveal of this “hoax” left Albert’s career in tatters. Those intent on fooling others firstly, know the implications of such a set up, and secondly, have a more succinct plan (Handy: Vanity Fair: 2008). If taking home excessive amounts of food wasn’t a big enough tip-off then the not-so-chronological accounts of JT’s life and fuzzy details should well have been.

[Part four]
For me, one of the most frustrating aspects of the whole story is that is that if she were a man, she would be crowned a gritty literary rock ‘n’ roll outlaw, a controversial cultural icon.  But instead she was vilified and branded a liar. Worst of all she didn’t apologise, she didn’t beg for forgiveness and cry on Oprah, she sank back into anonymity and remained silent (Delaney: 2016: The Guardian). The backlash was bitter and hateful, people felt like they knew the industry and knew themselves enough to know better, many felt like their place in the literary scene had been overwritten by someone who had never experienced the things they wrote about (and in my opinion, rightly so.) As Langer said, maybe it was all inevitable, but it was also unfair (2013).

Let’s just take a (male) gaze into Hollywood and notice that the likes of Johnny Depp or Woodey Allen, intricately separated from their art, escaping deserved persecution. If somehow, these people have separated the person and the product, the personal and the political, then can the same be done for Laura Albert, whose intentions weren’t made of malice, but trauma and a desire to be heard? Whose discourse, however deceitful, has created as space of empathy, trauma and healing? (Bennett: 2016)

For me, JT Leroy is a collective pool of sadness, nostalgic and dizzying sadness and trauma and healing. I feel him when I don’t quite know where I’m going, I feel like he’s sat with me when I lose pieces of myself after drinking too much and not knowing if I’ve said something horrific and unfunny in any circumstance. I can see him crouched in the corner when I sob over a song or lost love and I imagine him coming over to hold me, or to take my hand and walk me down to McDonalds. He’s there, sat in a moody pose on my bed when I listen to Cigarettes After Sex, hovering somewhere in the in-betweens of this world and the next, like Tinkerbell, somewhere between sleep and awake, between here and Neverland.

I think that when Laura quoted that passage of the Jerimiah’s, from the bible, she spoke of the duality of the human soul, conflicting sentient thoughts and emotions. Not just regarding her plain and unintentional deceit, but of our own, how that despite everything, we want to believe he’s real and because of that he is. That we knew it all along, we deceived ourselves into thinking such a boy could have lived, that despite our insistence that gender performativity and presentation is not important it definitely mattered when the gender of the author was revealed. The heart is deceitful; we are deceitful and we fool ourselves into thinking that the human disposition is anything but wicked and selfish, and that we as a society have grown to the point that we can understand it and its conflicting resolutions. The heart is deceitful above all things, and desperately wicked: who can understand it? Maybe it’s not meant to be understood, just acknowledged, accepted, like Albert’s talent and more importantly, her narrative.