experiment 626

coffee and ink

Let the whole world crumble, so long as I can read another page. And then another after that. And then a hundred more.

--Michael Dirda, Readings

Missed train because got departure time wrong by expedient of not looking at my ticket once today. Is past normal business travel time. Next train not for two hours. Did not sleep at all last night. Want bed. Arriving in New York 2am. Googled directions to new apartment because lack faith in cabbies' ability to navigate Queens.

Finally sleepy. Losing pronouns. Soon capitalization will go. May sleep on train with alarm set on phone to avoid waking up in DC.

Found copy of Patricia J. Williams' The Alchemy of Race & Rights for $1 and Susan Stryker's Transgender History for $7.

Feel railway stations would be vastly improved by addition of rentacots. Am disappointed in failure of American entrepreneurship.

Con reports eventually.

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John Clute, Canary Fever: Reviews

Paul Kincaid, What It Is We Do When We Read Science Fiction

Cat Rambo, Eyes Like Sky and Coal and Moonlight (This is a terrible title, but I am hoping I like some of the stories as much as I like The Dead Girl's Wedding March, which is one of my favorite short stories of the past few years.)

Michael Swanwick, Hope-in-the-Mist: The Extraordinary Career and Mysterious Life of Hope Mirrlees

Science fiction con dealers' rooms make me a little sad now, because I hardly ever see anything I want anymore. Either I already have it or I have already decided I am not willing to pay the asking price. This time I wasn't even able to matchmake books to other people. Of my best prospects for the pulp space opera version of the Kalevala for $1.50, one thought she might already have a copy and the other was determined to eat lunch the next day. I am forlorn.

I may hit a few bookstores in Boston tomorrow, or I may just catch an early train home. More reports on panels and the con in general eventually.

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Or not Readercon Friday, mostly. I got in too late for most of the programming, so [info]veejane took me out for Vietnamese food. I had these yummy glutinous steamed rolls with little crispy vegetable bits inside and grilled pork and scallions on top and then on the way to the car I stopped off at a Chinese bakery so I could get red bean cakes because I love them.

Registration was closed when we got to the hotel, so we sat in the lobby and talked with [info - personal]kate_nepveu and [info - personal]ckd and [info - personal]ktempest and [info - personal]grahamsleight and a woman whose name I forget, and then later on [info - personal]oracne. (It is possible that our fond reminscences of 80s cartoons and [info - personal]ktempest's detailed recollection of 80s boyband lyrics have scarred Graham for life.) We stayed for Meet the Prose, where I braved the crowds to look for [info]rushthatspeaks. Chatted for a while and then was overwhelmed by PEOPLE PEOPLE PEOPLE and left. Veejane and I were going to get alcohol, because it's a con, even if we had resorted to a con of two, and also I was excited by the prospect of cider options broader than Woodchuck or Magner's or often, sadly, just Woodchuck (oh, Massachusetts!), but we could not find an open liquor store (oh, Massachusetts).

The Readercon hotel charges for wireless access. I am not impressed.

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I am going to Readercon for the first time this year! Therefore, a poll! )

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Margaret Mahy's The Tricksters is one of my very favorite books in the entire world, so it is with great sadness that I report that The Magician of Hoad has some wonderful bits and some very good bits and some really not at all wonderful bits that all add up to, well, not adding up in the end. It has one of those endings where a character has to explain everything that just happened to the audience, which is almost always a bad sign, and where large chunks of the plot happen because a mysterious past or future self or prophecy says they have to happen that way even though that is not a sensible way to happen, which also is almost always a bad sign, and when you put the two of these things together, it is addition rather than multiplication, which is to say that rather than the two negatives canceling each other out and creating a postive, you just get a bigger negative number, or, in the case of books rather than equations, a bigger plotting problem.

The Magician of Hoad starts off with a young boy named Heriot who is growing up happily in a farmhouse in a long-conquered country ruled by the Secondcomers. Heriot's people all have brown skin and black hair, so I thought they were probably Maori despite having Old English names, because Margaret Mahy is from New Zealand, but maybe they are Picts. It's hard to tell. The Secondcomers also have English names but are all blonde. Heriot's family seems to be a loose matriarchy, although that may just be an effect of all the adult men having been recruited by the Secondcomer lords and killed off in a recent war. Heriot has seizures and visions and loves working in the garden and hero-worshipping his older brother Radley and arguing with his middle siblings and is quite happy in his backwoods home until the local lord, Glass, notices he has visions and decides to recruit him as the King's magician. Heriot runs away to avoid this, but is not very good at geography, since he ends up running straight to the King's city, where he bumps into the King's youngest son and becomes the King's magician after all.

I don't think this spoils anything important but you may disagree )

There are long subplots about the King's third son, who appears to be mad because Heriot has been appearing to him in visions while Heriot has seizures, in order to create a bond of friendship between the two that isn't particularly evidenced elsewhere in the book, and about the relationship between the King's third son and a noble girl who will eventually rescue him from durance vile, and about Heriot's friendship with a mad beggar child of mysterious origin, and the thing is, that while each of these subplots has its own beauties and well-done bits, there is no reason for any of them to be in the same book as another, and they don't so much combine to come to a grander conclusion as just act as delaying tactics for Heriot's realization about what it means to be a magician, and also for his divided soul -- which he visualizes as an outside occupant, like a little alien telling him to do things -- to heal over time. This means that many important decisions are made not by Heriot, but by the occupant, as if the entire book were Dr. Watson telling us about his medical practice and occasionally mentioning in asides that his friend Sherlock Holmes had solved some crime or the other and also saved the British Empire, and meanwhile, time to order some more bandages. That is, important things happen, and sometimes they even happen on screen, but they so seldom happen to our POV characters.

Miscellaneous things that are good: I quite liked the way the women in the story were active and determined and frequently saved their men, although this never managed to get them positions of power. I also liked the way sexuality is seen as part of adulthood, sex is seen as knowledge and power, and this does carry on through the rest of the book -- I read it, deliberately or not, as a response to Phillip Pullman, where sex is Big and Important and Good and Full of Huge Symbolic Weight and in terms of the plot means the book is over and the people who have had sex will never see each other again and will go off and dedicate themselves to politics or the dissolution of the Catholic Church or something. Counteracting this, unfortunately, is that one of the major villains is a Gay Nihilist. I mean, really, that is his entire characterization, he is gay and he is unhappy that the world means nothing and he's going to make the rest of the world unhappy about it, too. Also, he is gay. Have I mentioned he is gay in this paragraph? I had better mention it again, just to make sure! Gay! And a villain! A villain! And gay! We're all clear on that, right? It's very important we're all clear on that and that there are no other gay characters in the book, except his lover who is exiled and has no lines of dialogue.

I loved the bits about Heriot's magic, and I wish we'd gotten the book that was actually about him growing up into a magician, instead of the book that's mostly about him hanging around on this plane of existence where somewhere else his occupant is growing up into a magician. The glimpses we get of this book are gorgeous and too few:

There were no words in the language of Hoad for the layers of cells or the busy, inner life of the tree, but [Heriot] could make others feel, as he felt, that each tree was not only a changing object, but a process of spirit. At that moment he could make each blade of grass live, each leaf, each root hair reveal itself as both one and many[....]

Trees so tall their tops were now lost in distance, smooth trunks brocaded with tiny luminous mosses, shed tears of gold that ran down the bark and then fell, burning harmlessly, into the perpetual twilight under their branches, while the forest retreated without visible end. The space between the tables, between the people sitting at them, grew vast beyond understanding. Each man and woman in the hall was alone with the trees. A wind composed of light and the breath of dragons beat through the company, rustling careful clothes and tangling hair, and there in the dimenss Heriot began to shine, the broad planes of cheek and forehead remaining dark, the lines from nose to mouth, the creases of his eyelids etched on the night with fine lines of fire, each hair a thread of silver lifting with reluctant grace when the wind blew. He appeared to be not so much contained by the air as embroidered on it.


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Because I love books about cities, Maggie Helwig* recommended this to me, and she was right:

Have you ever smelled this city at the beginning of spring? Dead winter circling still, it smells of eagerness and embarrassment and, most of all, longing. Garbage, buried under snowbanks for months, gradually reappears like old habits--plastic bags, pop cans--the alleyways are cluttered in a mess of bottles and old shoes and thrown-away beds. People look as if they're unraveling. They're on their last nerves. They're suddenly eager for human touch. People will walk up to perfect strangers and tell them anything.


Brand centers her story on Tuyen, who makes art out of the scraps she finds on the street, and whose family still mourns Quy, the son they lost while fleeing Vietnam in the 70s. Tuyen longs for family approval, family disapproval, the love of her best friend Carla, who will sometimes make out with her and sometimes not. Carla loves and despairs of her younger brother Jamal, her charge, slipping away from her into carelessness and criminal activity. The women's other closest friends also slip between friendship and romance: Oku, living in his parents' basement, half dropped out of college because of the indifference of courses that do not acknowledge his existence, ever (poet Oku, reading literature and history and book upon book upon book of white men), in love with fashionista boutique owner Jackie, who is dating a white boy.

Brand excels at the complex multiplicitous interactions of city life, of personal history and public event, of a city made by the interactions of people of color and then flashing, in an instant, a terrible a hostile face, of a city that belongs to the people who live and work in it but also and simultaneously never belongs to them at all: the body is the battleground, the city claimed by the body (Jackie's parents, gone from Jamaica to provinces to Toronto, claiming the city in dance clubs, clubs busted up by white cops), the body not even owned (Oku's and Jamal's different but equally desperate reactions to bodies that can be claimed, judged, abused, touched, beaten by white cops at any time).

The story, though, seems strangely imbalanced, not certain whether it revolves around the connection between the four friends or around Tuyen's family drama; first-person chapters from the POV of a Vietnamese refugee named Quy, who may be Tuyen's lost brother, intrude oddly, and finally become part of the Toronto story in a melodramatic outburst, extremely violent and strangely coincidental. Such an odd place to end the book: I feel like that was only the halfway point, not the ending; or else the book needed to be reworked, rebalanced, more explicitly focused on the painful negotiations between bonds of birth and bonds of choice and all the connections and disruptions of love.

* Her Girls Fall Down is another gorgeous Toronto novel that explores the profound connections between city and body.

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Right now I am sipping lemonade and admiring the new book I rushed out to buy* when I saw it was finally in stock and also, I am online on the tiny laptop. This still makes me feel very 21st-century.

Now I am heading out to the farmers' market, where I will get bread and perhaps some onions. Oh, and peas! Peas are in season. I am impatient for tomatoes and peaches.


*New Megan Abbott! ♥ Here is the first paragraph:

Thrill parties every night over on Hussel Street. That tiny house, why, it's 600 square feet of percolating, Wurlitzering sin. Those girls with their young skin, tight and glamorous, their rimy lungs and scratchy voices, one cheek flush and c'mon boys and the other, so accomodating, even with lil' wrists and ankles stripped to pearly bone by sickness. They lay there on their daybed, men all standing round, fingering pocket chains and hands curled about gin bottle necks. The girls lay there on plump pillows piled high with soft fringes, twirling between delicate fingers, their lips wet with syrups, tonics, sticky with balms, their faces freshly powdered, arching up, waiting to be attended to by men, our men, the city's men. What do you do about girls like that?


It is luscious like peaches.

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J., young, jaded, successful, is an African-American journalist ("journalist") who's gunning for the record, the most days ever spent living off the List, a mythic list of invites to marketing galas and extravaganzas. How many days, weeks, months can a man go eating banquet food, putting every drink and taxi receipt on expense account, spending nothing to receive--what looks like something, anyway, material success? J.'s current junket is the John Henry Days celebration, launched by one of the towns that has a claim to be the place where John Henry the iron-working man died, in order to bring in visitors to comemorate a series of John Henry stamps. Interspersed with J.'s story are other stories, John Henry stories: a mentally retarded man who hides the hammer (anyway it's supposed to be the hammer); a postal worker who's about to go postal; an elderly man who neglected his family in order to create the world's largest collection of John Henry paraphrenalia; his embittered daughter who is planning to donate his collection to a museum; a Jewish song writer nursing his baby daughter and reworking a Negro song he heard on the streets for popular (white) consumption; an old blues singer picking up women and recording the song for a race music label; and other participants in and creators of the myth of John Henry, not least John Henry himself, newly freed, working the railroad line.

John Henry Days is more expansive and more diffuse than the other Whitehead novels I've read (The Intuitionist and Apex Hides the Hurt), each of which focuses on a single character -- indeed a single character solving or resolving a mystery, although not always one they're aware of in the beginning. The mystery driving John Henry Days for me was not "What happened?" or (as the structure invites by setting up a shooting whose victims are unknown) "What's going to happen?" but "Why are all these stories the same story?" Or, to be more precise, why is J.'s story the story that pulls it all together? Why is J. the center of the book, and not John Henry?

Thematic spoilers )

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I just finished watching Constantine, on which my deep thoughts are (a) Keanu Reeves is still very pretty and (b) I don't understand why Eric Kripke is so set on stealing from this movie. You are supposed to steal from the best, not from the mediocre. (I had had the impression it was a bad movie, but it is not bad, it is just mediocre. It was vaguely enjoyable in some places, especially as long as we pass over the horrible racist undertones of the nameless Latino plot device who exists solely to assault a white woman at the climax, in favor of focusing on Tilda Swinton as the archangel Gabriel. I had forgotten how much I loved Tilda Swinton. She and Keanu Reeves are like these strange, tall, inhumanly beautiful aliens. Or maybe they are elves. I think she is probably not as inhumanly beautiful as Keanu Reeves, but she is an inhumanly brilliant actor and Keanu, not so much.)

So, yes, Constantine and Supernatural. Sprinklers full of holy water. Genevieve Cortese vaguely resembles Rachel Weisz from some angles. Alastair is played quite a lot like Lucifer, and the first actor for Alastair resembles the Lucifer actor.

Anyway! This has reminded me that I never wrote up my rant on Ruby in Supernatural 4x21-4x22, basically because it was too obvious and too disgusting to describe, but then I ranted at [info]hederahelix and [info]coniraya about it at Wiscon anyway, so I might as well write it up.

I am cutting for the three people on the planet who haven't seen the finale yet and also care )

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Please note that I ask commenters to avoid ableist language--that is, language that conflates physical or mental disability with immorality or inhumanity--while commenting.

I'm mentioning this specifically, as opposed to the other kinds of discriminatory speech, because this is a change. I myself have used almost all of the terms below in the past. I haven't always been aware of the problems with this language, and when made aware, I have reacted defensively and unhelpfully. I apologize to the people I've insulted, offended, or injured.

In particular, please do not use the following as insults or metaphorical descriptions in my space:


  • Retarded
  • Lame
  • Crippled
  • Blind
  • Deaf
  • Autistic


There are occasions where I think that "crippled" is an appropriate metaphor for how something affects us, but frequently it is used, not to convey a limitation on ability, but a sense of contempt for the person affected. Using it to convey contempt is not acceptable in this space.

I am more conflicted about "crazy." Sometimes, when I use the term "crazy," I do indeed mean "seems incapable of recognizing reality." Sometimes, from painful and intimate awareness of mental illness, particularly clinical depression, I do recognize--or think I recognize--the signs of biochemical disorder making it almost or actually impossible for someone to recognize the issues with their own behavior. However, a lot of the time I've used it as a shorthand for behaviors or attitudes which an individual can control, or simply as an insult, and I do not wish to stigmatize mental illness by associating it with moral unfitness or, again, by implying that the appropriate reaction to illness is contempt.

So I am not putting "crazy" on the forbidden list yet, but I do ask people to think twice before using it, and may warn or ban people for its abuse.

Thanks for reading.

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The Hazards of Love is a not-quite-a-musical, a concept album that's half English ballads and half rock opera. The band performs against a silk screen backdrop patterned with shapes something like birch trees and something like bones; lit forest-green, snow-white, blood-red. Maid Margaret is in white, like a bride or a ghost, with a veil flung back over her long yellow hair; the Queen of the Forest wears a black tunic and gold stockings and leaps like Rumpelstiltskin, demented with rage, not as dignified as her magnificent, commanding voice. Colin Meloy's in black fiddler's weeds, playing guitar (playing three separate guitars) like a mad man, singing narration, hero, villain, the voice of the drowning waves.

There's a girl, in a story, in a forest, in a tower, who finds a fawn or a faun or a man, and a man who's a deer or a faun or a dead baby brought up by the jealous Queen of the Forest. They fall in love, they flee, they have a baby in a sweet Victorian vaudeville who's never heard of again (maybe it's buried in another clay cradle, maybe it's another forest son), they are parted by trials and tribulations, they triumph or they die. There's a rake wandered in from Hogarth or Edward Gorey, who tells his inglorious story Gashley Crumb Tiny-style (“Charlotte I buried after feeding her foxglove; Dawn was easy, drowned in the bath; Isaiah fought but was easily bested; Burned his body for incurring wrath”), a river hungry for men's bones, towers in which pretty maids live or die. Waves are water, are night, are desire; everyone drowns.

Afterwards, an hour of older songs, the audience often invited in. We sang the last verse of “Sons and Daughters” like it was a spell for world peace.

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If you have a blog or (especially) a Twitter feed that allows you to set local time, setting it to the time zone of Tehran (UMT+3.30) makes it harder for censors and police to identify and shut down the people in Iran protesting the election results.

[info]bellacrow has frequent news updates.

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Things that are bad

  1. Men who come into discussions of rape to explain how the women in the discussion are holding the discussion all wrong. I could do "How to Suppress Discussions of Rape," but I am tired, tired, tired of it all, and also no longer have a scanner with which to transmit my stick figure illustrations for you.
  2. People who mention in comments that they are there via a friend's post, when the post in question was locked or filtered. Double-check the security, people! This situation is embarrassing for everyone.


Things that are painful but necessary
I have seen a few comments from marginalized women (women of color, poor women, disabled women, women who were harassed or abused by other women, women who belong to more than one of these categories) about how the usual feminist discourse on rape makes it difficult for them to speak about their experiences. I am fumbling around this and trying to figure out how to speak better, or when to be silent, to enable a better conversation. I don't want to push anyone to speak if they don't want to, but I wanted to let you know that I am seeking out alternative accounts and trying to listen when people bring the subject up.

This is so hard! I don't want to make people who have spoken feel like, "Oh, your rape wasn't bad enough," or that it doesn't count, or that it's not important to speak about the harassment that enables rape, that affects our feelings about rape, about our bodies and selves and sexualities, or that I haven't been grateful to all the survivors who've commented so far. Because I am so grateful to you for having the strength to speak up, against all the voices internal and external who tell you to be silent. I just want more people to feel comfortable doing so.

Over the past year, I've kept returning to L. Timmel Duchamp's Wiscon Guest of Honor Speech from last year, The Matter of Tongues (PDF), in many different situations, because its explanation of how culture and context shape our vocabulary and our grammar and limit our ability to communicate about lives outside the normative is so clear, and because its central image is so compelling:

Earlier this month, when I was almost finished writing this speech, I dreamed a dream. In this dream, I was wandering about in an arcade, searching for a restroom. I really needed it, though not for the usual reason. As often happens in dreams, though I went to the place where I knew one to be, it was closed. I was desperate to find it, because I needed to get rid of the thick wad of tongues crowding my mouth. Not only because I had an appointment, but because the feel of them in my mouth was disgusting. But I couldn’t find an open restroom. So finally I grabbed a handful of napkins from an espresso cart and tried as discreetly as possible to remove the tongues and slipped them into my pocket for later retrieval (since obviously I’d want them back again). I then looked around, trying to discover if anyone had seen me, when I realized I still had too many tongues in my mouth. I hated to be doing this in public; it felt indecent. But I couldn’t locate the restroom, and the tongues really had to come out. So again I held a sheaf of napkins to my mouth and pulled out the excess tongues, and put them in my other pocket. And so it went, until finally I woke up.


This image resonates so much for me. Too many tongues. Too much body, too much excess, too much hunger, too much hunger to speak, too much to say, too much to spit out. Speech is indecent, in public, because what we want to say is what should not be said. We pluck out our tongues, we mutilate our voices, we cripple our music, to say the one note we know how to say or the one note our audiences know how to hear.

Thank you for speaking. I'll keep trying to learn how to hear you.

Some links:


  • {via [info]onceupon} elle, It Does Matter:

    . Keyshia's sister, Neffie, was speaking to a group of black girls who were pregnant and possibly had high risk exposure to STDs. Neffie shared the story of her own repeated sexual abuse and assault that had begun when she was nine, then encouraged the girls to value their bodies and their sexuality.

    One of the girls asked, "What do a female supposed to think, if they've already been touched by eight different people, so it don't matter if I have sex?"

    That question, for me, embodied a number of issues, primarily the fetishization of virginity and the horrible silence surrounding the sexual assault of black women.

    That girl, 18 and pregnant, believed that because she had "been touched," she no longer had the autonomy, the right to say no. Her "value" was significantly lessened because she was not "innocent."

  • [info]maevele, so I'm finally reading the comments here
    right now I feel like I have too many stories and they are not the right ones.

  • BlackAmazon, Late night think rant
    Me this body this skin a CONSTANT reminder of colonialist rape , people like me only come up when it's in relation to THEIR experiences at social events .

  • [info]asim, Take Back the Future
    When you're a black kid growing up in The American South, there's not a lot of mechanisms for talking about these things. My Mother would have flipped, my Dad...wasn't listening, and my Scoutmaster would have told my Mother. My friends...well, let's not go there.

    And I didn't need any of that, or so I thought (and think to this day). I just needed someone to listen to me say how fuckin' scary that was.



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Cereta has 14 pages of comments now, mostly on topic, with a few concern trolls. A few of the accounts of assault and harassment shock me, but they don't surprise me. What surprises me and makes me cry are the comments where someone says, "I told someone about it and they believed me right away."

During the Open Source Boob Project, one prominent male blogger with a young daughter said he saw nothing wrong with [info]theferrett's post. I went blind with rage. I never figured out how to say what I wanted to say as angry as it needed to be, without making it seem like a threat to his daughter: It could be distant to him, because it wouldn't happen to him, because he doesn't see it as happening to her, because he doesn't see it as happening to his wife or his mother or the women he knows. But it does. It has, it will, it does. The boys and men who call "compliments," who touch you, who look at you, who discount you, who see BREASTS and that's all. And you know what? If you're a [cis-gendered] man, you'll never know about it. Your daughter will not tell you about the guys who call her on the street, the boys who throw pebbles at her on the way to the schoolbus, the guy in her class who calls out for her in school and follows her everywhere and breathes on her neck, the guy who looks like he's exposing himself and then follows her for twelve blocks when she runs away until she can duck into a grocery store to lose him, the kids five fucking years younger than her who briefly surround her on the street in broad daylight and grab her breast and laugh and are gone before she can do anything but be afraid. Later on, she will not tell you about the many and varied cases of workplace sexual harassment.

She will not tell you because most of the time, she has no words for this. She will lock the things away in a box and put it in the dark, and it only comes out of the dark when she decides to walk an extra fifteen minutes to avoid the boys with the pebbles, an extra circuit around the school corridor to avoid the boy who touches her with clinging eyes, not to go out at all because it's too late at night. It comes out when she takes the short path anyway, goes out anyway, walks home anyway: as the feeling, unspeakable, and the words My own fault Should have known. She will not tell you because, even years later, even as a feminist, all she hears is everyone in the world telling her This isn't important, this doesn't count, this didn't happen. It's a misunderstanding It's not that bad It's harmless.

Everyone in the world. Especially you.

She will not tell you because nothing happened, after all, she's lucky, she knows what could have happened, she knows people it happened to. ("People." Women. Girls. Occasionally boys. But mostly women and girls.) This is lucky. Rage and shame and fear and pain and no one believing you, not even yourself, that's lucky.

I do wish, honestly, all the girls in the world, all the daughters of all the people reading this, could be lucky enough to be safe. But I already know they can only be as lucky as I've been.

Several people in her comments have accused [info] - personalcereta of hating men, which I think is pretty funny, all told, because she actually has enough faith in men to ask them to act. Me, I don't always have that faith in men. I usually have it in women. This is why I was infuriated by the comments of some audience members at the Safe(r) Space Panel at Wiscon, whose response to discussion of the OSBP was "I was on the Penguincon Concom, and it didn't spread," or "I was involved, it wasn't like that, it wasn't that bad." (This is the same response I keep seeing in white fans to people of color who say they've been harassed at cons or who say that they feel unsafe to speak honestly about racism in sf fandom.) It doesn't matter if it wasn't that bad for you, in your position of social privilege or contextual power. It doesn't matter if you feel safe in that situation. That doesn't make it okay for you to assume that everyone should share your feeling of safety, or to discount or marginalize the statements of others who did not.

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My friends should hurry and catch up with TRC scans so I have someone whose hands I can clutch as we talk excitedly and much too fast about the incredible adorableness of this chapter! It is not as much fun cooing all by myself.

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