Monthly Archives: April 2010

Bearing my chest to the mouth of the world

The prompt was “a love letter to the body.” Folks can interpret this all sorts of ways — I often find myself offering these letters to one part of my body or another, usually some part that I feel (especially) complicated about. This time, well, I think you can pretty quickly tell which part I’m needing to send some love to.

It’s true that I have been grateful for your heft and weight ever since you had any heft and weight. I should apologize now for those months, just as you were budding, that I squeezed you (well, us) into two sizes too-small tube tops (wasn’t that one kind of a grassy green, and ribbed or ruffly or something?) in front of the full-length mirror in the basement of mom’s duplex apartment on California Street — you were all stifled, unable to breathe, but I puffed you out and paraded like a girl was supposed to, bent my arms back like not-yet-broken wings and posed for the dank and empty room while little sqares of sunlight flowed in from the small windows high up on the cement wall. I was trying to hurry you along, wanted the big, full curves of Farrah Fawcett, maybe, or HotLips Houlihan, or, yeah, Daisy Duke — who else would I/we have been inspired by back then? Maybe elementary school teachers, and a couple of classmates whose development had already, well, developed. We didn’t have anything especial to show the world for some time, though, did we? Just a flush roundness that seemed small compared to everything we noted, the girls who wore tight t-shirts, the porn underneath my parent’s bed.

When did you flesh out so nice for me? By the time I was in college, I was cupping you in fine fake lace (remember that one green bra? a grown up version of that tube top, now with something to form itself around) and offering you more readily to others’ eyes. We wore frills under leather jackets or oxford shirts and admired the contrast. I was just learning how to appreciate all the curves I’d longed for back a decade earlier, but then it became much safer to flatten you down beneath sports bras, to clothe my own self in boy garb and butch realness, though even then I just couldn’t cotton to how the guys wanted to do away with their girl bits, from their tits on down, the guys who’d been horrified at how girl developed over and onto their bodies, the bodies they’d just learned to be comfortable in as little boys — but not me, remember? This was something I kept my mouth closed about, lest I reveal myself (even further) as not a real butch: I adored my breasts. Even as I reached out toward transitioning, set my safety against the idea of walking in the world only as male, what stopped me was this: how could I give you up? I cupped my hands around you, when I was alone, and couldn’t reconcile these realities.

You put up with this hemming in and hewing out, how I lavished attention on you during sex (wither alone or with others), but otherwise kept you battened down like all the rest of my hatches. You showed me off to be a girl, I suppose, as breasts are wont to do, and I loved you then as I do now, though I was so scared of what it meant that I was, in fact, a girl (goddamnit).

It took a long time to let you back out again, and one of the first things we did as a way to lay our claim again in girlhood was put aside the smashing-down sports bras and accept ones that showed you as you truly are.

I think sometimes I’m still awful ambivalent about you, not giving you the caressing, the (yes) tongue-baths, the suckling, the snaring and snarling, the pinching and piercing, the laving, the oiling, the tenderness and sweet meanness you deserve because of the nerve memory you still store in your cells, because of the remembering I do every time you’re stroked, because of how his mouth still lives there, always the first.

You remind me now that all of our cells die and are replaced, that every seven years or so we are new — so that you are two and close to three times renewed since the last unasked-for, unwelcomed touch. When will you let me be free, you ask me, and I hold onto the question like something untethered from history, something solely possible, something like bearing my chest to the mouth of the world.

Hello (again!) & welcome

We’ve transitioned from our previous html-based blog to this fancy new wordpress thang!  So excited about the transition — and hopefully this setup will allow you to find the info that you’re looking for more quickly!

Please let me know if anything has gone missing in the transition: jennifer (at) writingourselveswhole (dot) org! — and thanks for your patience!

all best!  :)

Jen

reminder: Queering Sexual Violence submissions due 5/1!

(reposting — and please pass the word! –xox, Jen)

It is getting down to the last few days for submissions, however, I will accept them throughout the month of May. I have some people who needed extensions so I can wait a bit if you need one as well. Also, if you have a piece that has been published before that can be reused that you think might be perfect, please feel free to submit that as well! Hope to get a piece from you!!

Queering Sexual Violence

An anthology of LGBTQ writers, survivors and activists confronting heterosexual privilege and the gender binary system while creating a dialog about the limitations of the anti-sexual violence movement.

Edited by Jennifer Patterson

Queering Sexual Violence seeks 20- 25 LGBTQ writers who are interested in submitting pieces that confront the current state of our anti- sexual violence climate. Part memoir/ part criticism/ part call to action, this anthology seeks to address the limitations of a society that is not only unequipped to deal with rape culture but also unable to look at it without the lens of heterosexual privilege and through the interests of a gender binary system. The anthology seeks to address the holes in anti- sexual violence prevention, organizing and recovery work while motivating the community to embrace a more radical perspective, in order to foster sustainable change.

For general purposes, the definition of Sexual Violence defined in this anthology is as follows:

Sexual Violence is an unwanted or non- consensual act, whether completed or not, that is sexual in nature and violates a person physically, emotionally, spiritually and/or politically.

To be more clear, Sexual Violence can be a range of non-consensual sexual exchanges, from unwanted interactions on the street, to rape (from either a stranger or within a relationship) to incest to invasive sexually based comments in regards to ones gender presentation or identity, among many other things.

The pieces submitted should be of the writer’s personal experience and explore the intersections of ability, sexuality, race, class, religion, citizenship, gender identity, sex, age, ethnicity and how these either magnify or minimize your experience/ work and your history with sexual violence.

I believe that organizing from the center of our many different and overlapping marginalized communities could do nothing but improve the current anti- sexual violence movement.

Possible Ideas for Pieces:

What does consent mean to you and how do you explore it in your sexual experiences? Has your experience shaped the ways in which you navigate your present relationships?

Did you come out after you experienced sexual violence? What kind of impact did this have on your future relationships or anti-sexual violence work?

How do you think transphobia and homophobia play out in sexual violence and what kind of impact does this have on mainstream organizing?

Do people often attribute your queer identity to the fact that you have experienced sexual violence or abuse before coming out? Or has it never been an issue? How can we begin to have conversations that include primary prevention for people of queer identity that allow them to claim their identity separate from sexual violence?

How does your expression of gender being questioned or threatened lead to feeling sexually violated?

Have you worked in anti- sexual violence organizing? What kind of experience was it for you and did you feel you were able to be both queer and an active participant? Did you feel welcomed and/ or valued in the process?

Have you experienced more “casual”, day to day sexual violations that have been threatening because of your sexual orientation or because you don’t fit traditional gender roles?

How does your race complicate your role as a survivor and/or community organizer? Where do you feel most at home?

What do you imagine is necessary for the future of anti- sexual violence work? What needs to change in the language, direction of prevention etc. in order for the work to be more inclusive and queer issues to be more centralized?

Do you find yourself drawn to larger non- profit organizations or grassroots efforts? Will we be able to create widespread change through one of the other more effectively?

When do you feel burnt out? When do you quit? And how do you start again?

I am looking for pieces 1200- 2000 words, Times New Roman Size 12, double-spaced in length. Upon publication, I will supply moderate compensation for pieces picked. Also, please provide a short bio (150 words or less) with your submission.

Please send submissions and/ or questions to queeringsexualviolence@gmail.com by May 1, 2010. For extension requests, please write.

Please also repost and circulate widely.

“pierce”

Sometimes at the end of the workshop, we have time for one more short-short write, a stream-of-consciousness free-association write, a pour-it-out-on-the-page-as-fast-as-you-can-cause-we’ve-only-got-2.5-minutes write — usually I just throw out a word or a short phrase, and then we *go* into it, whatever pops into our heads. This is what came for me in response to the word ‘pierce’ at the end of Tuesday’s Declaring Our Erotic workshop:

pierce: stick the needles just under the skin / there/ where no color or sharp is supposed to be and / run your tender weaponry there against the swell of flesh / staining me with ache and art / asking for my steadiness in the face of assault / and in return you offer me the glory of your creation / but before that art has healed / while it is still coming hard on my canvass / you’ll pause / lift the device / you’ll spray me with cool water and you’ll brush away the blood / you’ll wash me with adrenaline and tell me how good I’m being / and I’ll / then / I’ll want / I’ll want to open my legs and my / every bit of my / self / to you, a blessing for the stopping / the starting again / of such a wash of pain

Putting words where her body ought to be able to be

This is a write from last night’s workshop — we were responding to one of the following fragments:
- back she went to her own country
- it is the thing you do
- I put my body where my words are (Luisa Valenzuela)

—–
She wants to put her body where her words are, fully into the flavor of sex, stunned with the liquid of meaning and possibility, and the most hostile vulnerability ever. This is the skin I settle into, the girl behind the screen, the safely ensconced in pixels or pencils / and yes, writing is an embodying affair / it sloshes your stones with hopes / it asks your nerves to show up for the aching / but I can forget how to breathe today / and I would almost always rather write than fuck / because behind the skin of my page I can just be that free woman / the one with no safety dug and scabbed beneath her nails / the one whose triggers are taxidermied and mounted on the wall for all to see / to gnash teeth at / to chuckle over / but they are quiet behind glass when she is writing and cannot startle or snare anybody — not there. There, her triggers become works of art, almost admirable / almost

See, that one looks like her sister’s face cluttered over with fallen feathers, the plucked body of a girlchild / and / that one is a diorama of her high school, cardboard cutouts of her graduating class cluttering the forefront, the teenagers’ faces all stained a kind of rakish purple that meant they had eaten the fruit of tomorrow and lived / (Her face is stained only an off-shore eggshell white with what she had to swallow, and there is no tomorrow for her in that picture) / in this one, the boys are all backhanded, they each have a piece of her virginity poking out of their ragged back pockets, though the full flesh of it lives at her house, in her parents’ room / there’s its carapace, over in the far corner / there are diagrams — this one here, and that one — of the ceilings she shut her eyes to, and then studied and tried to find shapes in

All these pieces so containable when she writes, when she writes about sex, she can shut the door to this exhibition / leave it for the curator and night staff to tend to its reedy exhalations and stains of saliva / when she’s writing sex, she doesn’t feel them on her body / she puts words where her / body / ought to be able to be

After reading Minnie Bruce Pratt’s “Justice, Come Down”

(one of my writes from last Monday’s workshop: the prompt, as mentioned in the post’s title, was a reading of Minnie Bruce Pratt’s poem, “Justice, Come Down.”)

I don’t like to write this story, but this is where I wait, with the blackened ash on the back of my tongue: I’m waiting for someone to look there, for someone to see, I want you to notice what I’ve lost, I want it to be a stain, a smear by degrees on my skin. This is where we weather the battle, but I hate war metaphors — it’s inherent in the word survivor, someone who made it through alive. I want a different word, a different metaphor.

I don’t tell my story, I share the facades and shards, the shelved legalese, the patina of identity markers. Telling the story means drooping into vulnerability, means letting in the possibility that you’ll stagger aside after hearing me and let your eyes drop with pity and disappointment.

This weekend on the planes I read two books that maybe aren’t the best light travel reading: Alicia Seybold’s Lucky, and Cormac McCarthy’s The Road, the latter a nihilistic, post-apocalyptic testimony to father-son love, and the former a stranger-rape story.

I read rape stories because I think they will show me how to write my own. F! questions me for buying it, as we’re perusing the heavily-politicized shelves at Modern Times (but what bookstore’s shelves aren’t heavily politicized?)– he wants me to get something upbeat. I tense and swallow and explain that these tellings are upbeat for me — even if it’s not in the way he means. H means a story that doesn’t involve violence or rage or depression, though the book that doesn’t contain any of those is not probably a book I would find in my hands.

What I need are examples of how to write a story I can’t remember in a linear way, and so I read trauma narratives. I watch how the writer folded the story into a line for the reader, or I take note of how they don’t try to keep to a straight line at all. I try to determine how they wrangle with what they don’t remember, what they’re ashamed of remembering but tell anyway, what they hate to remember and forget to mention. How much detail to give, and where they keep it sparse.

Seybold’s is the story of the perfect rape victim — the narrator of this piece (Seybold, yes, but now we’re talking about a book) was raped by a stranger at 19, she was a virgin when she was raped, she called the police and told them everything, remembered details like she’d recorded them with a video camera, she testified in court, she wore all the right clothes and did all the right things according to our current legal system — she was the Good Victim, she hadn’t been drinking that night, she became a successful teacher and writer, she got to have her story appear in mainstream print media and then on Oprah.

These perfectly narrated stories (with, granted, details that she took from court transcripts instead of pulling from her memory whole) always make me feel like yanking at my hair a little — I’m left feeling like my own telling is impossible. I understand that her linear, this-then-this-then-this-so-help-me-god kind of memoir is constructed; maybe she doesn’t really remember it that way. But I want to see something different, something much messier and more true to my life, my head, my remembering and un-remembering., more true to the frenetic and discombobulated way memory smacks around the insides of my life.

Maybe that story’s not publishable, wouldn’t sell, who knows. Does that matter? I still have to find a way to gather it together on the page.

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