Review | Gender Failure, Rae Spoon and Ivan E. Coyote

18406194Gender Failure is a beautiful, candid, moving account of Rae Spoon and Ivan E. Coyote’s “failure” to fit into the traditional gender binary. Its roots as a stage production are evident — the tone is conversational, even intimate, and you can almost imagine the authors telling you these stories in person. Photos from the show are interspersed throughout, and I wish I’d seen the production live, as it must have been an even more powerful experience than reading it on the page.

The casual tone of the narration belies the depths of emotion that Spoon and Coyote express. Spoon recounts the experience of a man approaching them after a show and laughing because he’d originally thought Spoon was “a dude,” until they started singing and he then “knew you were a chick.” The man appeared to expect Spoon to share in this hilarity, even grabbing them by the arm in a show of comradeship. Spoon’s response struck me: they walked away, and only then corrected the man that he’d been mistaken both times. The need to walk away before correcting the misconception speaks to Spoon’s awareness of their vulnerability. Not only do they experience “a feeling that I have failed to be seen” every time they are misgendered, they are also all too aware of the dangers in revealing themselves as trans.

Both Spoon and Coyote share their fear of public washrooms. Coyote writes about developing the skill to hold their pee for hours, in the hopes that they may not need to use the wheelchair-accessible gender-neutral stall and potentially inconvenience someone with mobility issues. “[Women] are afraid of men in a women’s washroom, because of what may happen,” Spoon says. “I am afraid of women in a women’s washroom because of what happens to be all the time.” Experiences include being assaulted with a handbag and being dragged out from a stall by security guards, not to mention the less physical but no less violent experience of being glared at in disgust. Spoon’s frustration is evident when they say that they can’t even react in anger, “because if I get angry, then I am seen as even more of a threat. Then it’s all my fault, isn’t it? Because then there is a man in the ladies’ room, and for some reason, he’s angry.”

Coyote writes about their difficulty in trying to get medical approval to have their top surgery funded. Ironically, their difficulty lay in finding a psychologist who could provide an unbiased assessment on whether Coyote was “trans enough” for the procedure, because most of the psychologists had studied Coyote’s work when training to make such assessments. They also speak about the intrusive questions people feel entitled to ask. In one interview, for example, the reporter tried to be coy around the question of sex assignment surgery, and when Coyote told her to just come right out and ask the question, they realized that the reporter didn’t even know what sex Coyote had been assigned at birth. “She couldn’t even be sure what I might want removed or added on to me,” Coyote says. “But still. She had to know. She just had to ask.”

The section about the Trans Day of Remembrance is especially moving. The event honours those who have died by reading their names aloud, but as Coyote notes,

What will be missing are these women’s stories… What will also be missing is a discussion about the difference between excluding someone and actively including them, and intentionally making space. And the day after we are suppose to remember, most of this will be forgotten.

In particular, Coyote remembers their friend Rosie, a trans woman who left town and is presumed dead, and whom Coyote memorializes in this book. “I refuse to reduce her life to nothing more than a name on a list of the deceased,” they say. “I will remember so much more about Rosie than just her absence from my life.”

Gender Failure is such a powerful, beautiful book. Spoon and Coyote have moved me, and I can only imagine the impact their stories can have on transgendered readers, particularly those who are young and still trying to figure things out. I cannot recommend this book enough, and I’ll just end this here, with Coyote’s words:

I realize that the English language is sadly devoid of names for people like me. I try to cut the world some slack for this every day. All day. And the day after that, too. But the truth is that every time I am misgendered, a tiny little sliver of me disappears, A tiny little sliver of me is reminded that I do not fit … I remember that the truth of me is invisible, and a tiny little sliver of me disappears. Just a sliver, razored from the surface of my very thick skin most days, but other times right from my soul, sometimes felt so deep and other days simply shrugged off, but still. All those slivers add up to something much harder to pretend around.

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Thank you to Arsenal Pulp Press for a copy of this book in exchange for an honest review.

Review | When Everything Feels like the Movies, Raziel Reid

24043806When Everything Feels like the Movies is an unbelievably raw, powerful book. Reading this book is a visceral experience, and I almost didn’t write this review because there is no way I can express the power of Raziel Reid’s writing. He plunges us deep into the mind and heart of his narrator Jude, and creates such a rich, textured voice for his character that Jude will stay with you long after you turn the last page.

Jude is a hilarious narrator whose humour belies the depth of his experiences and pain. A young teen bullied for being gay, Jude copes by imagining himself a movie star. Boys chase him and call him Judy because they are rabid fans. Graffiti about him on bathroom doors are notes from secret admirers. Classmates stare at his outfits and made-up face because the school hallways are actually red carpet premieres and he’s the star. It’s a comforting fiction that crumbles with the first punch, even as he desperately attempts to cling to it. In a particularly heart-wrenching moment, he scrambles to his feet and races away from a group of bullies, describing all the while how he is really acting out a lush, beautiful scene from a movie.

The reason this book is so powerful is the language. Take this passage about bathroom graffiti for example:

They made portraits of me, too. They were my graffiti tabloids. I was totally famous. I’d imagine that the drawing in the handicap stall of my alleged crotch with “Hermafrodite Jude/Judy” scribbled next to it was the cover of the National Enquirer. Misspelled headline included. I was addicted to them. I’d look all over the bathroom and on all the walls in the hallway, and if there wasn’t one waiting for me on my locker for Jim to paint over at the end of the day, I was crushed. I wanted them to hate me; hate was as close to love as I thought I’d ever be. [p. 18]

Passages like that just blow me away. I mean, wow. The studied casualness of stating a desire for this graffiti, contrasted with the subtle dig at the spelling error, and then wrapped up at the end with an almost off-hand remark. Reid manages to pack more sincerity in that final sentence than in the rest of the paragraph, yet the emotion in that last line can be felt throughout, even as Jude pretends otherwise. Bravo, Raziel Reid, is all I can say.

Then Jude falls in love, with a popular boy who happens to be straight. If you know the author’s inspiration for this story, then you already know how that turns out. If you don’t, then I urge you to avoid spoilers at all costs. The ending seemed sudden to me and I thought it came out of nowhere. But I can imagine that’s how it would have seemed in real life as well, especially as Reid keeps us firmly locked within Jude’s perspective.

The controversy around the content of this book has brought it to the attention of many more readers, but it has also almost eclipsed discussion about the book itself, which I think is a shame. Read it to take a stand against censorship, if you like, but also read it just because it’s a very, very good book. Jude is a star, and his story will pull you right in and never let you go.

Review | Blue is the Warmest Colour, Julie Maroh

9781551525143_BlueIsTheWarmestColorJulie Maroh’s Blue is the Warmest Colour is a sensitive, beautifully illustrated lesbian coming out story set in France in the 1990s. High school junior Clementine falls in love with Emma, a punkish, confident girl with blue hair. We know from the first page that the story won’t end well — the novel begins with Emma visiting Clementine’s parents after Clementine’s death. As we later then view their relationship unfold through Clementine’s journals, there is a bittersweet tinge throughout. We see Clementine’s first, confused, feelings of sexual attraction, and we see Emma’s reading and responding to these words.

Their romance is itself rather bittersweet. Emma has a jealous girlfriend at the time, and Clementine has been drilled to believe that homosexuality is wrong. And even when Clementine feels ready to take the plunge, Emma is hesitant to risk it. The conservatism of Clementine’s family takes a disheartening turn, and the story leaps forward several years, presenting a rather bleak picture that sadly feels realistic. The ending felt rather unnecessarily dramatic, but the rest of the story is told with such subtlety and grace that the novel as a whole is still really strong.

Maroh’s storytelling is subtle and her illustrations graceful and lovingly rendered. Even her sexually explicit scenes are more about making love than having sex. Her decision to render everything in shades of gray with accents of blue gives the story a dreamy feel; the treatment almost feels like music.

In a Q&A with the publisher, Maroh points out that even though the book is first set in 1994, the climate for queer youth in France still hasn’t improved much. She says, “The best thing this book could do is help queer youth, somewhere, somehow.” Indeed.

The live-action French film version of this novel was the winner of the Palme D’or at Cannes 2013. It will be released in North America in Fall 2013 through Sundance Selects/IFC Films (USA) and Mongrel Media (Canada). Given how musical the story felt even on the page, I can’t wait to see it translated on the screen.

International trailer with English subtitles below:

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Thank you to Arsenal Pulp Press for a copy of this book in exchange for an honest review.