Monthly Archives: June 2009

“Real” Butch

(This is a part of a longer, ongoing work in progress about this transition from feminine straight girl to butch dyke to femme…)

I’ve been defending you a lot recently in ways I never would have back when I was you. You never used the term Real Butch, hated that essentializing, that narrowing of focus, that erasure of all the other queer possibilities of the masculine gendering the female flesh. Nowadays, now and again, I tell the ones who ask me, OK, yeah, I was a Real Butch.

They can’t hear the “but…”         but you do, I know it, I can feel you peeling behind my teeth, wanting to push out the whole story, wanting me to keep on telling it like it was—and is—how there’s no such goddamn thing as a real butch and butch is as ze says it is, whoever’s wearing the skin on that body, but we both know that’s always in question, right?

The truth is I’m still grateful to you for the ways you made me know I could be safe in the world and although just recently we, you and me, got told that we had a privileged coming out because there was the semblance of a community at school when I put 2 and 2 together and got gay and because I came out into a place where gayness was relatively acceptable—we both remember that there was not much safe about my life then and your hands had had to go places they were never meant to visit and you carried all the heavy boxes of our terror and you opened the doors for our future possibility – all the things, yes, that a goddamn real butch is supposed to do. You found a way to fit this me, now, into your curvature and flank, into your faggy footwork on the dance floor under the smoke machine’s smog and the one starry sad set of flashing red green and gold lights at the local bar.

And here’s what I want you to know now: I’m sorry we didn’t make it out any deeper before my plumage and finery found its way back out again, before the girl was made possible again and you had to slide that fine black leather motorcycle jacket off your shoulders for the last time – it just doesn’t fit now; I’d wear it for you if it could. But I mean, I’m sorry that we never found those bars, those old smoky hinges of solidarity where you could have shaped and strapped the hard gear of your masculine future, where you could have butted heads with other women willing to ride the hard truth of this existence; goddamnit, I mean I’m sorry you never got to be a real butch with other real butches, be looked upon as something or someone right not just novel or different or brave or odd or whatever. Not as just a shield, but as a real self.

I want you to know I believed in you and needed you in those years, and, of course, it’s not like I can’t feel how you shaped my walk, or how you get me in trouble still, assuming I can make eye contact with anyone on the street and have it be the right safe thing to do.

Here’s what I mean to say – that there’s never anything false about us when one identity shifts and slides into another. We both know that girl wasn’t a safe place to be all those years and you stepped up like a butch does and you made a handful of things a little safer. I know I’m not supposed to say these things: we spent so much time pulling up the roots of our history to find the nascent butch inside and just look, just look where we are now—

Don’t forget! June ERC is TOMORROW, 6/24, 7:30, at the CSC! Bring those stories of your, ahem, liberation: http://ping.fm/kAUAM

We are family?

Thursday night at the phenomenal Girl Talk: A Cis & Trans Woman Dialogue, curated by Julia Serano and Gina de Vries, Ryka Aoki de la Cruz talked about family, about how if we’re family how can we ‘outreach’ to each other? Families who’ve been separated have reunions, not outreach — it was brilliant (as were each of the other performances shared at that show) and of course there were many more points she made and images she shared in her piece…

And this one, though, sticks in me — sticks in my troubles — the way performers talk about family sometimes, how we should treat each other more like family, meaning we should treat each other better, more kindly, with more open hearts, right? I guess that’s how my inside hopeful heartsick places interpret that phrase.

But I think we do treat each other like family, already, unfortunately. ‘Cause what are our experiences of family? We drop one another when it’s expedient, we shut each other out and off. We take sexual advantage and then turn our backs. Isn’t that family?

I get tired (and by tired I mean heartbroken-sad) of hearing about family like it should be understandable, like by referencing family as a metaphor for unconditional-yet-complicated love and acceptance, I will understand what that means. But I don’t. My history of family is retracted love, pure and unabashed abandonment, extremely painful attempts at reconnection across severed ties — and now we’re supposed to make family together, you and me, we in these queer communities, and family, to me, looks like the horrifying inbred, yes, incestuous (and I use that metaphor deliberately) difficult raw puritanical stuff we have created and find ourselves struggling against.

‘Cause I understand what she’s talking about (how we don’t outreach to family — so how are you going to talk about ‘outreaching’ to queer folks of color, for example, to transwomen, to the others who are ‘underrepresented’ at the mainstream white queer gatherings that many of us find ourselves participating in), and I love it with all the inside webs of my heart.

But/And, also — we need a different word.

I understand about needing replacements, about using and reclaiming ‘family’ to mean queer sisterbrothers and brothersisters, but we bring with that word all the baggage that shaped us crooked and raw and bent and ashamed and scarred. We carry into that word, and this new collection of people we’re trying to connect with, all the pain that that word learned to bear, all the while we were learning to keep ourselves alive within its bounds, until it was gone.

How do we make ‘family’ good? How can we engender that word into something worthwhile, settle into it with a sense of hope instead of trepidation? You say we are family — to me that means there is no hope between us, no common language, a warped tongue, an indelible severing. That’s where I grow out of.

Not outreach but reunion. Maybe this truth of family is the way of all of us, and reunion will be painful alongside possible, as much as when I return to my blood family and see the shapes that crafted me and feel cup around my face each pair of arms and every set of hands that released me into the grip of a monster. Is that how we feel each other — that we sisters and brothers and others haven’t stood up for each other enough, haven’t protected each other enough, haven’t sent enough letters or enough I Miss You cards, or called enough to hear how your life is, to hear how he blessedness flows and hear how the hurts hit you and how can I share in both?

I don’t do those parts very well, I’ll admit it, the reaching out. She says we don’t outreach to family, and I get her meaning, and and and — I always feel like it’s an outreach when I try to touch anyone with a tie to my insides: old friends, blood family — a tentative feeling those lines: Are we still connected? Have you dropped me yet?

More and more thinking on this to come … so many thanks to you, Ryka, for these considerations, this possibility, your words!

raw and possible

061509

Initially I see these two wiry bony consecrated hands, sharp-tipped and skinny, long fingers with severely, gorgeously articulated joints, reaching down into a throat, through mouth, beyond lips and teeth and tongue, past the epiglottis, I think, past uvula and gag reflex and there is no hope of vomiting because this is going down. I see them inside, the two hands, the fingers catching hold of a wizened greenish-greying mass, this sticky dripping lump, something squeamish, tender, almost furry or corrugated, entirely encapsulated in slime — something like a hairball or a carcass, the body of an alien life form, but without tendrils or tentacles — something without hope or fever or mental status.

Something incoherent. Or inchoate. Or both.

The hands pull it out of its lodging the way you yank something nearly rotted and festering out of the disposal chamber in your sink — gingerly, quick, with steady pressure, hoping your fist will fit on the way back out with you holding to the pile of not yet decomposed foodstuffs mixed with peach bits or bones or a spoon, all of which is tangling up the blades of your disposal — I mean your throat.

It’s become its own colony, this amalgamation: collecting every loop that got slipped around your neck, every swallowed I said no thank you, every murmured Please stop , every unspoken I wish you would, every clenched teeth mumbled Jesus Christ will you just get the fuck away from me, every Gosh I don’t know that issued from between your lips instead of the facts that gathered boom like metal to magnet         on the other side of the gathering storm in your throat. Numbers, equations, dates, names, places, hopes, longings, dreams: all tangled together, knotted and nearly putrid         but not quite         just like the compost can be. You know it’s all good stuff in there, even if it has been left all on its own to fester and decompose

The fingers begin to pick and pull at the mass, brushing away green slime         saliva and more caught for so many years, what got washed down your gullet — and your throat is bone sore, stretched and aching, wheezing empty with sound         cavernous, open, raw and possible

wearing nothing but my words

061609

I met her at the door wearing nothing: wearing, I guess I should say, nothing but my words.

The night before I had taken myself out again, finally, to the fancy art supply store in mid-town, the one covered in wacky paint smatterings, asymmetrical sculpture spelling out its name, a forefront of allegiance to the madcap struggling artist but that solidarity ended once the starving reached the store’s front doors — the prices were so high that it was difficult to imagine anyone I knew (all folks trying to stretch ends to meeting) actually being able to afford anything in there.

It was my favorite porn shop.

I’d visit with some guilty regularity, smoothing my hand across the ragged faces of hand-made papers hanging from the rafters and the silk onionskins, pale and aching for a pen’s wet tip to stroke its surface. Then I’d linger, loiter really, in front of all the pens: the multihued variety, the different tips, the fat permanents, the sharp faint fade-able colored pencils, and more and more.

The cute butch thing who worked behind the counter tried to make eyes at me when I came embarassedly sidling in (cuz what if one of my friends saw me in the bougie joint? they’d think I was hiding a trust fund for sure), but I walked fast past her every time, cheeks flushed, hands clasped together at my front on the days I was in poka-dotted tulle skirts, or shoved deep in my pockets when I’d donned the tweed trousers.

She finally figured out the best way (the only way) to get my attention, and started holding back recently-arrived writing merchandise behind her cashier station. She had a vibrating Hello Kitty pen the first day (ballpoint, though, hardly wrote at all, and she shot the half-grin from her face when I handed it back without a single salacious innuendo) and, the next time it was a real Javanese green peacock quill that got dipped into fine ink — but the third, the final, was when she set some of that onionskin out for me, and handed me a just-filled fine-bone fountain pen, and I set it to the page and began to write. The ink flowed like my own thoughts were being exactly gentled directly from brain through blood to words.

My cunt ached a little then, the snap of a throb, and I had to set the pen down and ask her where the bathroom was. She pointed, one eyebrow raised, didn’t follow me. After a few minutes of ministration, I let myself out the shop’s back door, to avoid any inquiries about my flushed face.

So the day I finally got a check from the freelance gig I’d finished several months prior, complete with a bonus for the work finished early (go figure), I knew just what I had to go back for — and what I was going to do with it upon acquisition.

the physicality of it

060209

This is what I love about writing: the physicality of it and the mess, the rush of words and the trying to keep up with the flood         how I got a new pen with fresh ink and so I’m trying to reclaim my wrist         this fat fast smooth ache –

what I love about writing is harnessing what’s intangible, impenetrible, the desperation to get inside         fully         the thing that has no words, not really, the truth is writing is a chase, trying to catch the breath of the words, the thought, the fist thing that flashed across behind the tongue of my imaginings before it’s snipped away by loss or ego or don’t say that or reconstructive tendencies.

What I love is this reaching, teaching myself to breathe, to drink, to eat while I write         keep the wrist aching, move through that burn into the true good stuff, how the words aren’t more important than the race, and they are.

what do I want to tell you in 10 minutes

060109

What do I want to tell you in ten minutes? That I was catapulted into shame-slavery and prosto-destitution is only one strand of this miner’s fabric. There’s the way I used to cuddle and curl under a yew bush (that still today I spell like “ewe,” like mama sheep, and so maybe she was a haven, too, in her funny fur curly like the dark green fronds of the bush)         anyway         how the yew bush grew like a cave up and around space, and I could sweep brush the dirt floor, bring books, shelter myself early from my mother’s storms.

Sheltering self in words, which were always a haven, as far back as I can remember, although I don’t think I can say they’re natural, at least they’re clean.

The details and rough sketch outline include three houses in and around middle-Eastern Nebraska by the age of 6, and about four more by the age of 10, and then there was only one even if that one didn’t include my father         he had his own home         and it was an hour southwest from The One         down the black ribbon of interstate 80 that cut through dark green cottonwood and oak and tall rushes living the sides of the highway, filled with red-winged blackbirds         cutting across the broad flat damp sandbar of the Platte River and all its attendant mosquitoes and the echoes of sandhill cranes that were never there on the river when we rushed by in Mom’s burgundy-red Mercury Monarch or dad’s too-dull-bright orange and white-capped Volkswagen Van         that road led back and forth to Dad’s house, not grandmother’s (over the river and through those woods)         but slowly the road began to disintegrate, disappear         for lack of use         they’re still rebuilding every time I go back         more construction, more hope

once we entered The One house the last one there wasn’t any room for another         the town was too small for the both of them         and one turned around and let himself out.

Tomales Bay Workshop Registration

Tomales Bay Workshops this Oct — looks pretty amazing! http://ping.fm/flHar

Thanks today…

This morning I’m grateful for the rain-scented just-washed streets of early downtown San Francisco; the quiet resonance in my office after two nights in a row of deep, engaged, risky writing; the view of both the Bay Bridge and the Golden Gate bridge from the BART windows as we approached West Oakland station; the little girl giggling uncontrollably in a packed BART car while she played make-believe hide and seek with her daddy, bringing giggles up to my lips and the lips of other passengers as well, breaking down through some of those early morning pre-caffeinated heading-to-a-day-job-blues sorts of walls…

This is what my story contains

(A write from last night’s workshop — it’s not edited, it’s still raw and heart-beaty. And, too, here’s a general warning that this piece contains some difficult and graphic material. Be easy with yourselves if you read on.)

This is what my story contains: this wreckage that is all of our wreckage, the fragmentary remembering that is never more than anyone else’s remembering but feels like less, necessarily, because of the shroud trauma and loss cast over every indecent obelisk of that reckoning: an ornate crimson tinting, veiling the sharp delineated carve and curvature of breath

the way trauma is constantly whispering in my inside ear, asking Really? Are you sure? Are you sure? Are you sure? Are you sure? like static, that haze freezing the smooth flow of my pen as soon as I drop my hand to the page and begin to write — static, the way a radio tuning goes cloudy sometimes once you remove the antenna your body provides when you pull your hand away and expect the music to keep on flowing smoothly on its own

this metaphor could extend indefinitely, remix with others, entwine, commingle, shadow, stave off — but what’s there is this girl holding a stepfather’s balls in her one hand while his tiny, ostensibly purposefully foreshortened cock (he told her and the rest of them that he had learned an ancient Taoist technique of pulling the base of one’s penis into the body so as to — what? — keep it warm? avoid hurting someone?) shoves rocks pushes in and out of her mouth. The clouds shroud my shoulders as I write the way her mouth clouded, too, eventually, filmy and white, and this was the livingroom couch and she was as worried as he was of getting caught — getting caught — by their (did I say their?) — her mother, his wife, the innkeeper, who was in the kitchen in the bathroom in the office who was keeping to herself after a day of his constant monitoring at the private practice office they shared

the one with the Him on the couch, she’s 16 or 17 or 18 or 19 or 20, this could have been any of those ages, I won’t risk the static return by venturing to guess which one it was exactly. her limbs might have looked long and coltish and adult and her mouth would taste clotted and congealed and congenitaled and corpulent and contained and this moment lives in nobody’s memory of her except his and her own because who can contain this kind of history? The parents and lovers who have heard the stories are longing to be rid of them, to shed their ears of the words as soon as they’re spoken, as soon as the breath around each component syllable has cooled and I write because I don’t want him to be the one still who knows me best in the world, most intimately, who knows all of my most fragmentary and unspeakable secrets.

Vomit up what I’ve told you, if you like. I’d like to. I think it’s the only reason I used to drink to such excess — heaving isn’t something my body does on command. If you can do it, then we can all bear witness to the marshalled splatters, the detailed reserves, our history finally visible for all to see.