Showing posts with label Harper's Magazine. Show all posts
Showing posts with label Harper's Magazine. Show all posts
Sunday, March 25, 2018
Now We Are Become the Suits
I just finished, for about the third time, The Future of Queer: A Manifesto by Fenton Johnson in the January 2018 edition of Harper's Magazine.
It implicates me, as a queer white woman aspiring to relative comfort. A selfish part of me bubbled up, indignant as I read the manifesto: "It took me long enough to find my love, don't I deserve to enjoy it?"
To hear Johnson tell it, I don't.
On the one hand are the far left queers, including all out trans people, who are activists and teachers who fight daily, not for the right to marry or anything so conventional, but for the right to completely deconstruct the way society thinks about family and community. And build something more beautiful in its place.
It was the kind of fantasy I certainly had as a bisexual in my twenties -- a commune-style space where relationships are communal rather than transactional and there are plenty of old folks around to care for the children that come up.
On the other hand we have, though a I am loathe to admit it, me and most of my friends. Increasingly, I know almost no single people. The lesbians and queers among us are building our comfortable lives in the image of our straight-couple friends, buying houses and marrying and having babies.
"Now to be LGB (T remains beyond the pale)," Johnson writes, "is no longer to be forced to look outside the norms, since our largely white, entirely prosperous leadership has so enthusiastically embraced the norms. Now we can forget AIDS. Now we can get married. Now we are become the suits."
It stings, but he's right. There are no lesbian or queer couples I know of who will decline the right to marry. In most cases, we point to children as the reason. If Sonia is the birth mother, I have more rights if we are married before she gets pregnant. The reason that most of us marry is to keep our children inside our chosen clan -- so they don't end up with their evangelical grandparents or a cousin in a distant city, far from the community that raised them.
For Johnson, the idea that we marry to manage these kinds of relationships under the keen eye of the state is part of the problem. It's a cop-out, and it's opposed to the early queer communities that may very well have been stronger because they had to navigate the messiness of these relationships on their own. Or maybe they just grew closer together because their children were more often taken away.
Johnson, a professor, activist and survivor of the AIDS era now teaching somewhat reluctantly at the Koch-funded University of Arizona, tells the story like this. "The assimilationists have won, with state-sanctioned marriage as the very mortar cementing the bricks of the wall of convention that separates us from ourselves, from one another, from all that is unfamiliar, strange, challenging and thus from learning and growth."
He goes on, "state-sanctioned marriage is precisely analogous to gentrification -- the creative outliers do the heavy lifting, and when a certain level of safety has been achieved, the assimilationists move in, raise prices, and force out the agents of change."
And on (he's a beautiful writer), "Because our salvation, our literal salvation in the here and now, in this nation, on this planet requires our abandoning those ancient clan divisions in favor of the understanding that we are all one. As the Buddha abandoned his family to undertake the search that led to enlightenment, so Jesus, that communitarian photo-feminist celibate bachelor Jew, rejected the ancient clan divisions in favor of a new order."
Johnson might be a gay man, but he knew how to strike an arrow right to my heart with a sexy and original description of Jesus.
I want a new order, too! I want to wander the countryside in sandals with twelve women! I want to occasionally settle, all together in a house, and plant a garden! I'm grateful to be reminded of all this, but of all of the battles that I choose in this life, I'm not sure this societal restructure will be one of them. I'm 36, I've found someone to love and I'd like to have a baby soon.
"And so what defines queer, finally," Johnson writes, "is not what one does in bed but one's stance toward the ancient régime, the status quo, the way things have always been done, the dominant mode, capitalism."
While I'm sure I'd disappoint Johnson with my comparative lack of revolutionary spirit, I will continue to define my life in small ways against capitalism: taking care of my mind and body, shopping at the co-op and abstaining from the pervasive impulse to buy and consume. Such simple steps can be incredibly difficult for those of us who were raised in a strongly mainstream and consumer culture.
Difficult on any given day, and still not enough. But I am grateful for the worthy struggle, and for Johnson's resounding wakeup call.
Labels:
AIDS,
Buddha,
Buddhism,
Christianity,
family structure,
Fenton Johnson,
gentrification,
Harper's Magazine,
Jesus,
lesbian,
LGBTQ,
mainstream culture,
marriage,
queer,
revolution
Tuesday, September 6, 2016
Why I Began Watching Transparent (Finally)
I've read a few back issues of Harper's Magazine while watching the still lake waters last week. In the April 2016 issue, a review of Transparent by Emily Witt spoke directly to the world I want to see: a post-religious world in which individuals must come to terms with identity and sexuality (their own and other people's) based on personal, owned values.
That world doesn't look as idyllic as we might hope.
Witt writes, "If Maura is an exemplar of self-actualization -- the person who, after suffering for so long, finally expresses her true self -- her children represent the dark side of a world in which existential decisions are no longer scripted by religious doctrine and social custom but must be discerned through personal exploration."
Maura (Jeffrey Tambour) is the main character, a father of three named Mort when we first meet her. Each of her three children have their own sexual awakenings on the horizon.
Sarah (Amy Landecker), a mother of two, leaves her husband within the first few episodes, to reignite a flame with her college girlfriend. We learn that Josh (Jay Duplass) is still in a relationship with his babysitter from childhood, although the family doesn't seem to know it. Ali (Gaby Hoffman) has an interest in sexual escapades, mostly with men so far, that I suspect serve as a distraction to some deeper desire or knowledge.
While the world without religious doctrine and social custom is still an imaginary future world for me (and most Americans born outside of our major cities), I believe it exists. Seeing Maura's secular children playing out their existential woes in the face of their parent's transition, however, isn't pretty.
Where religious doctrine may condemn and social custom may shame, the secular response seems to be a dive deep into personal neuroses.
Without religion to lean on, I'd hoped their wrestling would be more nuanced, vulnerable and insightful. There's still time for that.
I'll be tuning in for the characters -- they're likable even when they're careless or clueless.
I'll also be tuning in to watch the characters' relationship to religion. The characters are Jewish and there's an emerging rabbi character (Kathryn Hahn), who is present immediately following Josh's discovery of Maura's true identity.
If there's any religion that can overcome the desire to oppress, perhaps it's Judaism. Witt writes, "Now that we are all free to be you and me, [the director] Soloway suggests, perhaps it is worth consulting religion, which may have more than oppression to offer."
I'll try to keep that in mind on Saturday, when Sonia and I will sit through my cousin's Catholic wedding with full mass. It will be the first time I've brought Sonia to a formal event, although she went to a picnic with most of these folks last summer.
The event snuck up on me. We just got back from vacation; there hasn't been time to send off the "We've moved in!" postcards as I'd hoped, so we're going in armed only with one another and the power of repetition.
When I told one of my aunts that my girlfriend, Sonia, and I had moved in a few months back she asked, "Oh, into a two bedroom?" Her voice was hopeful, as though she could still call Sonia my roommate, if only I answered "yes."
"Nope," I replied. "Just a one bedroom. She's my girlfriend."
Such is the power of religious doctrine and social custom. Anything that doesn't fit, does not compute.
My cousin has promised, unsolicited, that we will not be the only gay couple at the wedding. As my brother would say, "If the kids are okay, then the old ones have done enough." Let's hope so.
That world doesn't look as idyllic as we might hope.
Witt writes, "If Maura is an exemplar of self-actualization -- the person who, after suffering for so long, finally expresses her true self -- her children represent the dark side of a world in which existential decisions are no longer scripted by religious doctrine and social custom but must be discerned through personal exploration."
Maura (Jeffrey Tambour) is the main character, a father of three named Mort when we first meet her. Each of her three children have their own sexual awakenings on the horizon.
Sarah (Amy Landecker), a mother of two, leaves her husband within the first few episodes, to reignite a flame with her college girlfriend. We learn that Josh (Jay Duplass) is still in a relationship with his babysitter from childhood, although the family doesn't seem to know it. Ali (Gaby Hoffman) has an interest in sexual escapades, mostly with men so far, that I suspect serve as a distraction to some deeper desire or knowledge.
While the world without religious doctrine and social custom is still an imaginary future world for me (and most Americans born outside of our major cities), I believe it exists. Seeing Maura's secular children playing out their existential woes in the face of their parent's transition, however, isn't pretty.
Where religious doctrine may condemn and social custom may shame, the secular response seems to be a dive deep into personal neuroses.
Without religion to lean on, I'd hoped their wrestling would be more nuanced, vulnerable and insightful. There's still time for that.
I'll be tuning in for the characters -- they're likable even when they're careless or clueless.
I'll also be tuning in to watch the characters' relationship to religion. The characters are Jewish and there's an emerging rabbi character (Kathryn Hahn), who is present immediately following Josh's discovery of Maura's true identity.
If there's any religion that can overcome the desire to oppress, perhaps it's Judaism. Witt writes, "Now that we are all free to be you and me, [the director] Soloway suggests, perhaps it is worth consulting religion, which may have more than oppression to offer."
I'll try to keep that in mind on Saturday, when Sonia and I will sit through my cousin's Catholic wedding with full mass. It will be the first time I've brought Sonia to a formal event, although she went to a picnic with most of these folks last summer.
The event snuck up on me. We just got back from vacation; there hasn't been time to send off the "We've moved in!" postcards as I'd hoped, so we're going in armed only with one another and the power of repetition.
"Nope," I replied. "Just a one bedroom. She's my girlfriend."
Such is the power of religious doctrine and social custom. Anything that doesn't fit, does not compute.
My cousin has promised, unsolicited, that we will not be the only gay couple at the wedding. As my brother would say, "If the kids are okay, then the old ones have done enough." Let's hope so.
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