April Links Roundup: Noli Me Tangere

Happy Easter! No, I’m not late. Episcopalians celebrate the liturgical season of Easter for 50 days. That’s a lot of Cadbury Creme Eggs.

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No one out-femmes me.

The post-resurrection wounds of Jesus have long been precious to me as a symbol of new life after trauma–a kind of healing that doesn’t mean forgetting. One of the most beautiful examples is this Easter meditation, “The Scars”, from the post-evangelical feminist blog Tell Me Why the World is Weird. What an original and poignant interpretation of Christ’s words to Mary Magdalene, “Touch me not.”

There was so much to do! Forty more days on earth- he would need to talk with all of his followers. And he suspected the first one would be Mary Magdalene.

And there she was. The first to visit the tomb. She stood with her head down, crying. With one hand she held the bag of spices she had prepared for his body.

He walked closer to her and said “hello.”

She didn’t look up. “Please sir. They’ve taken my Lord away… sir could you tell me… tell me where they’ve put him and I’ll go get him.”

“Mary.”

“Rabboni!” she cried, and ran at him with outstretched arms.

OH NO NO NO, he thought. Oh geez no touching. He froze. He couldn’t think. He tried to make words, to say something that would stop her. No touching. “Do not hold on to me!” he blurted out, and Mary backed away. Oh, thank goodness. Okay, try to play it off cool, say something profound. He looked at her and took a deep breath. “… for I have not yet returned to my father. Go to my disciples and tell them.”

She wiped tears from her eyes. “Yes, Lord,” she said.

“I have to go. You go tell them, okay?”

Before I figured out where the story was headed, this Jesus reminded me of someone with autism or sensory processing disorder, who might be distressed by all the hugging that Christians are supposed to do in church. I believe the Incarnation gives us permission to imagine the Jesus we need, a divine being who fully participates in human experience–not some supposedly universal experience, but the distinct reality of each person, including neurodiversity.

Do you know why it took me 8 years to write the Endless Novel? Not just because I was simultaneously leaving my abusive parent, changing my belief system, adopting a child, and writing poetry books. Without Julian (the novel’s hero), I couldn’t have done any of those things. In fact, I was stuck because I was afraid God was angry at me for how much I loved Julian. Every time I hit a rough patch in the writing, I thought God was withdrawing the mandate of heaven from me, like King Saul. Libby Anne, an atheist raised in a fundamentalist homeschooled family, explains why in this post at her blog Love, Joy, Feminism: “Do You Love God More than You Love Your Children?”

[T]his is actually fairly standard evangelical teaching. The idea is that we all have things in our life that we risk loving or valuing more than we love and value God, and that that’s a problem. Our pastors, youth group leaders, parents, and Bible study material used the story of Isaac to teach us that we needed to be willing to sacrifice—or give up—whatever we valued more than God.

The reference, of course, is a Bible story in which God commanded Abraham to kill his beloved son, Isaac, as a human sacrifice, and Abraham obeyed God but was stopped by an Angel at the last moment…

…No parent should have to worry that their love for their children might get in the way of their love for God. No spouse should have to worry that, no child, no friend. Love should not be a thing to be afraid of, and we should not have to fear valuing others.

As a parent, I love seeing my children work together and value each other. I love seeing them show love for each other. When they fight, it makes me sad, because I love them both and I want them to love each other too. Why would I, as a parent, be jealous of my children’s love for each other? Why would I worry that their love for each other would in some way compromise their love for me? If I told them that they had to love me more than they loved each other, or that they had to be willing to sacrifice their feelings for each other if those feelings got in the way of their feelings for me, I would be abusive and manipulative to the extreme.

And yet, that is what I was taught God does.

Imagine a boyfriend telling his girlfriend that she has to love him more than her parents, or her friends. Imagine him jealously watching her actions for any signs that she might value those others more than she values him. Imagine him shaming her if she spends what he considers too much time with her friends. We would term this abuse without qualm or reservation. Love for family or friends does not have to have any negative impact on love for a partner, and in a healthy relationship love is given and accepted freely, not under terms of guilt and coercion.

Please “Like” Julian on Facebook and follow his fashion picks on Pinterest. It’s not a sin!

At the Little Red Tarot blog, my favorite source for queer and alternative Tarot interpretations, co-editor Andi Grace interviews Tarot reader and zine writer Maranda Elizabeth about trauma, disability justice, “madness”, and poverty as themes of her spiritual practice.

Because trauma, madness, chronic illness, and disability are core pieces of who I am, it would be completely impossible for my Tarot practice not to be influenced by them. When I draw cards, I don’t get to escape my traumas or illnesses; I don’t get to set my diagnoses aside each time I shuffle a deck. Nor would I wish to! Trauma recovery dares me to learn new methods of being, and so does Tarot.

I think about how one effect of trauma can be to damage one’s imagination and creativity – the fight-flight-freeze responses can become so ingrained – not to mention the realities of coping with pain and poverty – that it’s hard to imagine being able to live a more fulfilling, magical, and dreamy life. And while trauma is real, and oppression is real, and poverty is real, Tarot is one way to (re-)develop the imagination and creativity that may have been injured due to traumatic upbringings and experiences.

Madness, illness, creativity, and spirituality are continually invalidated parts of my life, and yet they are the most crucial – they are my entire being. While I’m often quiet about my spiritual practices (I’m a solitary, and I think about, “to know / to will / to dare / to keep silent” a whole lot), I also feel the need to connect magic and trauma, and to talk about healing as a non-linear, unending process – I will always be healing, not healed, recovering, not recovered. Sometimes I get sick of talking about trauma, but it continues to permeate everything, so I have little choice.

Tarot helps me cope. It helps me access internal resources, acts as a healing tool and writing prompt, and shows me where I have agency in my life. Tarot works against existential despair and hopelessness, and connects me to something else. It helps me find magic in the mundane. Tarot helps me resist meaninglessness, worthlessness, and hopelessness. Also, I feel like it gives me permission to be a weirdo, to be kind of a fuck-up, and to find meaning that way.

Read an extended discussion of these subjects on Maranda’s blog and put some money in her tip jar.

The Dark Door: C.M. Royer’s Spiritual Abuse Survivor Memoir

I owe Caleigh Royer a debt of gratitude because her blog inspired me to start studying Tarot last year. I found her online some years ago through one of the spiritual abuse survivor blogs for ex-fundamentalist Christians, probably No Longer Quivering or Love, Joy, Feminism. When I saw on her Facebook page that she was writing a memoir about her journey to independence, I eagerly pre-ordered the e-book of The Dark Door, and was not disappointed. In fact, though I thought I’d worked through most of those old memories of my oppressive upbringing, Royer’s sincere, vulnerable storytelling went straight to my heart and reminded me of the pain and fear of living with narcissistic parents.

Royer is only in her mid-20s but she is strong and wise beyond her years. The Dark Door recounts her break for independence at age 18 when she dared to fall in love with and marry a young man against her parents’ wishes, and her subsequent de-conversion from Christianity as she processed the ways that religion had been used to keep her under her abusive father’s thumb. Unlike some of the other bloggers in this genre, she did not become a rationalist or atheist, but instead is developing a personal spiritual practice based on psychic intuition, spirit guides, Tarot, and universal values of love and fairness.

What’s striking is how much our stories have in common, despite the different religious backgrounds. Abusive families are depressingly alike, regardless of ideology, and a dysfunctional religious community is just the family system writ large.

Caleigh grew up in a fundamentalist subculture where fathers had spiritual “headship” over their families. A girl could not spend time with, let alone date or marry, a boy unless her father gave permission. As the oldest daughter in a large family, she was pressed into the role of caretaker and disciplinarian for her siblings. It didn’t matter what her own dreams and interests were. Because of their patriarchal belief system, the church elders gave the family no support in dealing with her father’s violence and pornography addiction. Caleigh was required to submit to his will no matter what. When she fell in love with a young man from their church, she was in for the fight of her life–which she won, at the price of severing ties with her biological family. It didn’t seem that her father had any basis for objecting to her engagement to Phil; the man simply craved total control over his child’s life, which was threatened when she found another object for her affections. This reminded me of how it drove my bio mom completely mad when I found the man I would marry, and later when we planned to have a child. Narcissists hate competition.

After she and Phil succeeded in getting married, with his parents’ support, the honeymoon period was overshadowed by her chronic illness (eventually diagnosed as fibromyalgia) and depression in the aftermath of trauma. She was insightful and brave enough to realize that she needed therapy to change the bad patterns she’d learned at home. Reading this part, I thought of the brilliant closing moments of the film The Graduate, where Elaine and Ben’s elation at pulling off their romantic escape from her mother turns to shell-shock and withdrawal from one another. Once the adrenaline rush of battle subsides, perhaps they start to doubt whether they can break their parents’ pattern and have a happy marriage, and the programmed guilt of filial disloyalty kicks in. All of this happened to me as a new bride.

I can also relate to the heartbreak of her realization that the religion that had sustained her in the depths of her abuse was no longer the right place for her to continue her healing. She went through guilt, bereavement, fear of the unknown, and fear of disappointing and losing her friends, but never stopped testing the evidence and logic for Bible-based Christianity as she’d always understood it. Ultimately she concluded that for her, the Christian God was too intertwined with the image of her earthly father and the male religious authorities who’d justified his abuse. That isn’t really my issue, but some of her other reasons completely hit home for me. Trauma healing for both of us has meant valuing ourselves and trusting our personal experience, which puts us in conflict with the authority-based, self-sacrificing worldview of historic Christianity.

“There was no place for a story that ends badly in Christianity,” Royer observes, recounting how her church small groups couldn’t handle her abuse narrative. It posed too much of a challenge to their sentimental ideal of family. After she de-converted, she felt relief that “I no longer felt any obligation to apologize for being angry. I could be angry at my parents and their abuse without being reminded to forgive ‘as God has forgiven you.’ I was free to take responsibility for my own thoughts and actions and I had no fear of offending an unseen God.”

A little further on in this account, she says that “To trust my gut was the least Christian thing I could do. I was told it was trusting myself instead of God.” One can certainly see how predators could deploy this doctrine to suppress their victims’ warning signals. In my progressive church culture, I haven’t found such a stark opposition between revealed and empirical knowledge, but to my mind we emphasize external political or charitable activities at the expense of teaching people to cultivate their spiritual discernment. Mystical intuition is not denigrated so much as neglected, and somewhat limited by what can be plausibly squared with the Bible. I’m with Caleigh when she says, “Reaching into Tarot has healed the distrust I had in myself.”

Royer is a young self-taught author whose style is simple and direct. The memoir had some recurring grammatical errors and typos, which one more round of copy-editing would have cured. But if this story resonates with you at all, you won’t mind the rough patches. Get yourself a copy today.

“Two Natures” Cover Reveal!

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Many thanks to Don Mitchell at Saddle Road Press for creating this gorgeous photo montage and patiently working with me through a dozen revisions.

From the publisher’s website: “This big, genre-bending, spiritual coming-of-age novel focuses on Julian Selkirk, a young gay fashion photographer in New York City in the early 1990s, at the height of the AIDS epidemic. Vivid social realism, enriched by unforgettable characters, eroticism, and wit, make this a satisfying read of the highest sort.”

Want an advance reading copy? Email me or contact the publisher. Print and Kindle editions available.

March Links Roundup: Sex God

This week I had another lesson with my Tarot teacher, who has also been trained as a Christian spiritual director. We were talking about the ways my community ties have shifted, and sometimes broken, because my writing is up-front about sensitive topics like abuse, queer sexuality, and faith. I’ve been disappointed that even some openly gay writers feel obliged to keep their “brand image” respectable and G-rated. My teacher asked me, “Why do you write about sex?”

Believe me, no one could be more surprised than I am about the changes in my work and worldview. I often joke that my husband and I were the only two non-Orthodox people in Manhattan who saved ourselves for marriage. That was the right choice for us: we needed a sacred boundary around our love to defend it from callous hookup culture and smothering family dynamics. But as I grew up and had genuine friendships with other adults who’d made different choices, I began to doubt the universal rightness of my conservative sexual ethic. People with a more extroverted temperament and different family history might be happier taking risks that I’d avoided. I have the kind of overly porous empath personality that needs to be cautious about intimacy (sexual or otherwise) with new people, but the downside is that I miss out on the carefree enjoyment of trusting my fellow humans.

I sensed that the fearful and judgmental notes in my sexual ethic were becoming too dominant, so I set out to write fiction about someone completely different from me: Julian, a handsome man with great social skills, who could pursue ecstasy and intimacy without fear of rape culture, pregnancy, or being laughed at because of his wobbly thighs. I took seriously C.S. Lewis’s observation that the sins of sensual excess may be more innocent than the cold pride of the ascetic. The former person is at least seeking the good things of God, love and beauty, albeit in a lower form, while the latter shuts himself off from the life force entirely. I discovered that Julian’s resilient courage to love and love again was a better definition of holiness than “thou shalt not taste, thou shalt not touch”.

Writing about sex as a path to Spirit put me in touch with the life force in my body in a new way. I gradually realized how disconnected I had been from my sensual power. As I’ve written here before, affirming the truth of my embodied experience in arguments with anti-gay Christians primed me to notice that I’d been gaslighted about my experience of abuse, too.

Moreover, in researching Julian’s novel, I met spiritually mature and committed gay male couples who were in open relationships, a common reality that is still a bridge too far for the liberal church’s vision of gay Christian marriage. A new friend of mine, who is a genderqueer Christian, noted wryly that the Trinitarian God is in a plural intimate relationship with Godself that invites everyone in the world to join–talk about polyamory! (See my 2009 post, “I’m in an Open Relationship with Jesus”.)

Sex, like every other interpersonal activity, needs healthy boundaries, compassion, and self-awareness. But we often set those boundaries unconsciously and rigidly, based on bad theology that may be distorting many other areas of our lives as well. I write about sex to start a better conversation about these issues. And because it’s fun, of course.

This leads me into the link that inspired this post. (You were wondering when we were going to get there, already?) KC Slack, a Unitarian Universalist ministry student, shares this lively and provocative essay on Harlot Media: “I Love God and I Love Fucking”. She talks about why she sees no contradiction between her faith and her queer, womanist, polyamorous sexuality. As I said, it probably wouldn’t be the best way for me to live, but these passages were a perfect answer to my Tarot director’s question:

In almost the exact opposite way that many take on a practice of meditation to free themselves from their physical body to find something beyond, I like to sink in to my experience. To find what’s transcendent in the particulars of here and now, of my body and of physical sensations…

…My theology is focused on the particular, on the experience of being in the world, on the margins. In theology we talk about the Wesleyan Quadrilateral: a methodological approach to theological reflection that understands all theological work to have four sources: scripture, tradition, reason, and experience. Most of the time this quadrilateral is understood to be in order of importance–I strive to flip that. Experience of the world, of God, and of God in the world is the primary source for my theology and my faith.

I experience the world from my particular, then I reason and read others’ experiences and contextualize, then I consider tradition and scripture in light of what my body and my life know.

God is important to me and I believe that if I wish to know God, I need to really know myself and know other people in a variety of contexts. Connection is important; even the most casual sex is a type of connection. That window of knowing other people is special, not just in the moments of discussion afterwards, but in each moment.

People feel, smell, taste, act, look different from one another; sex can be a way to experience people in a level of detail we otherwise aren’t privy to. I’m interested in sex as a particular way of knowing; in fucking as both pleasurable experience and a way of deepening my connection to the world. Each partner is a new perspective, a new approach to connection that lets me know more about connection as a concept.

Turning to a less fun but equally taboo topic, I appreciated this article on the literary denigration of writing about trauma. On Brevity Magazine’s blog, award-winning essayist Kelly Sundberg asks rhetorically, “Can Confessional Writing Be Literary?” The answer seems to depend on whether the gatekeepers of “literary” prestige are willing to step outside their privilege or self-protective denial, and believe women’s stories of gendered violence. Sundberg also gives good advice about transforming a difficult personal story into something universal or educational for the reader.

When I sit down to write literary writing about my trauma, I am a writer first, and a trauma survivor second, but I am not ever not a trauma survivor, and as such, I am often interested in examining the roots and effects of my own trauma. Sometimes, I am interested in examining these effects in ways that might be considered therapeutic—that dastardly term that literary nonfiction writers hate. As a result, I have created a separate writing space—my blog—where the writing is not about my craft, but rather, about my story. The blog is where I talk about my journey of recovery, and the blog frees up my emotional space and intellect, so that I can approach my literary writing with more remove and thoughtfulness. Like most literary writers, I do not believe that literary writing should be therapeutic. When I teach creative nonfiction workshops, I tell my students that the therapy needs to come before the writing.

Describing feedback she received when shopping her memoir of surviving domestic abuse, Sundberg laments the pressure to give such tales a “redemptive ending”–a cliché move that may make them more palatable to the average book-buyer but ironically threatens their literary status. She objects to the backlash that accuses trauma memoir writers of attention-seeking. (As I’ve found with my writing about sex, people love to project bad motives onto an author who raises a topic they’d like to ignore.) Sundberg replies:

…I am not grateful for my wounds…I am also not redeemed by them. My wounds are simply a part of my existence. Still, because I am interested in an examination of the self, my wounds have, naturally, become a subject of my writing.

…The story is important, but it must also be written with craft, and with nuance. I have no desire to always write about trauma, nor have I always written about trauma, but I am fatigued by the notion that narratives of trauma are rewarded simply on the merits of the struggle that one has endured. I had a traumatic experience, and perhaps that did gain me entrance into a club—a club of women’s pain—but that traumatic experience did not make me a literary writer. My hard work and my craft are what have, hopefully, made me into a literary writer.

Look for her memoir, Goodbye Sweet Girl, from HarperCollins in 2017.

Poetry by David Kherdian: “I didn’t want to protect myself”

Armenian-American poet David Kherdian has written over 70 books and edited three major anthologies of ethnic American literature. His most recent publications are the memoir Root River Return (Beech Hill Publishing, 2015) and Living in Quiet: New and Selected Poems (Deerbrook Editions, 2013). Reviewer Ricker Windsor said of Kherdian’s work: “He grasps and is able to express the most important feelings, those that constantly escape the net of expression…David Kherdian’s poetry is evocative of past time, of a simpler world, of memory we can taste”.

This poem speaks to me of how I would like to live, if I had the courage: with an open heart, gratitude, and faith. At a time when complex creeds leave me cold, these are words to refresh my soul. David has kindly given me permission to share it here.

I didn’t want to protect myself

I didn’t want to protect myself
by seeking perfection against the
accidental onslaughts of time–
but instead to move imperfectly
through it all, not to be the best
or the only, or the one to watch,
but rather the beggar of mercy
and grace, finding new hope
in each disappointment
believing against reason
(against what the senses
said could not be) that there
was an order beyond this
disorder, that there was
a truth beyond this lie:
and that I was included
in its design,
that could not be seen
or named
but could be believed in,
if one believed that one
was loved.

 

Reading “The Lorax” in Lent

To my relief, this month the Young Master has moved on from conformist 1940s Little Golden Books to another genre of indoctrination more congenial to his Gen-X progressive parents. I’m talking about Dr. Seuss. Shane’s current favorite is The Lorax, a still-timely 1971 environmentalist cautionary tale about a greedy manufacturer, the Once-ler, who destroys a pastoral paradise. (I hope our boy remembers this when he finds out that we spent his college fund on litigation to save our neighborhood’s wetlands…)

dr-seuss-lorax-thneeds_510On about the tenth re-read, Shane asked me why the Once-ler is only ever shown as a pair of green hands. This is actually pretty unusual for Dr. Seuss, who never seemed to run out of ideas for depicting unique creatures. Shane thought maybe the Once-ler had no head, but some of the other pictures show his eyes peeking out through the slats of his abandoned workshop. So I brainstormed other possibilities. A 4-year-old’s “Why?” will lead you somewhere deep if you let it!

I said maybe the Once-ler did not feel connected to anything around him. He just made things without listening to his head or his heart, or paying attention to his environment. He didn’t take responsibility for what his hands were doing. He let himself become part of the machine of consuming, producing, and selling.

But I sensed that the alienation of the worker under capitalism was still too abstract a concept for the Young Master. So I tried again. “Maybe he doesn’t show the Once-ler’s face because the Once-ler could be all of us. We all have to be careful not to do what he does, not to be greedy and chop down too many trees and make the animals sick.”

As I spoke, I heard the echoes of a troubling concept we’d discussed in our church small group. We’ve started a video series by an evangelical pastor on the last words of Christ from the cross. That first week, we talked about “Father, forgive them, for they know not what they do.” Explaining the traditional doctrine of the atonement, the pastor said that “We are the ‘them'”. Past, present, and future are all one to God. Each of us, because of our sinful nature, crucified Christ and is forgiven by him from the cross.

That formulation no longer sits well with me, for two reasons. One is that I don’t think guilt feelings are the most skillful motivator for turning our lives around. Hopefully we feel bad enough about our actual sins without adding a cosmic crime on top of them–and if we don’t, there’s a good chance that the extra load of guilt for Christ’s death will only harden our ego-defenses. The second reason is that I’m looking to move away from theologies that romanticize scapegoating, because on some level they validate an abuser’s belief that splitting off her shadow side onto a victim is effective. During the time when I most fervently defended this atonement theory, I couldn’t have conceived that the universe could operate any other way; I was just grateful for Christ to take the hit on my behalf, like Winston in Orwell’s 1984 begging the torturer to hurt his girlfriend instead of him. I don’t believe in a totalitarian cosmos anymore, because I have a different kind of family now.

Nonetheless, these two myths, the gospel and Seuss, converge in reminding us of our universal temptation to sin and our interdependent responsibility for the kind of world we make. When we see a tree cut down, or an innocent man hung on one, none of us can stand apart and say “That’s not my problem.”

Valentine’s Day “Special of the Day” Poetry by Donal Mahoney

I celebrated Shrove Tuesday, a/k/a Mardi Gras, in traditional Episcopalian fashion yesterday with amazing chocolate chip pancakes at Miss Florence Diner. The waitress in this Valentine’s Day poem from Donal Mahoney would be right at home there. And in case you’re wondering, I still observe Lent, and this year I’m giving up self-doubt about my writing and skepticism about my spiritual practices. Let the magic begin.

Special of the Day

It’s Rocky’s Diner
but it’s Brenda’s counter,
been that way for 10 years.
Brenda has her regulars
who want the Special of the Day.
They know the week is over

when it’s perch on Friday.
Her drifters don’t care about
the Special of the Day.
They want Brenda instead
but she’s made it clear
she’s not available.

Her regular customers tip well.
Long ago, they gave up
trying to see her after work.
After awhile her drifters go
to the diner down the street
to see if the waitress there

is any more hospitable.
Brenda’s regulars don’t know
she has three kids her mother
watched every day until Brenda
took a vacation out of town,
then came back and helped her

mother find a place of her own.
Now Brenda’s back at the diner,
serving her regulars and
discouraging her drifters,
while Marsha, her bride,
watches the kids.

My Debut Novel “Two Natures” Accepted by Saddle Road Press

Friends of Julian, rejoice! Two Natures, my debut novel, will be published this September by Saddle Road Press, an independent literary press in Hawaii. Stay tuned for cover reveal, reading dates, book excerpts, giveaways and more.

Set in New York City in the early 1990s, Two Natures is the coming-of-age story of Julian Selkirk, a fashion photographer who struggles to reconcile his Southern Baptist upbringing with his love for other men. Yearning for new ideals to anchor him after his loss of faith, Julian seeks his identity through love affairs with three very different men: tough but childish Phil Shanahan, a personal trainer who takes a dangerous shortcut to success; enigmatic, cosmopolitan Richard Molineux, the fashion magazine editor who gives him his first big break; and Peter Edelman, an earnest left-wing activist with a secret life. Amid the devastation of the AIDS epidemic and the racial tensions of New York politics, Julian learns to see beyond surface attractions and short-term desires, and to use his art to serve his community.

Please enjoy my interview about the novel at David Alan Binder’s blog, which features conversations with published authors. An excerpt:

Why did you start writing?

To cheat death and make something productive out of my incorrigible daydreaming habit.

What is the most important thing that you have learned in your writing experience, so far?

The only way to find the truth is to make my own mistakes.

What would you say is your most interesting writing quirk?

I talk to, and about, some of my fictional characters as though they were real people—to the point where my friends will ask me, quite seriously, “How are you? And how’s Julian?”…

…Where do you get your information or ideas for your books?

The spark for my novel came from these characters who appeared in my imagination and would not let me alone. Its theme arose from the ongoing conflict in contemporary Christianity over recognizing the equal dignity and sacredness of same-sex love relationships. I belong to the Episcopal Church, which has been at the forefront of this debate since we ordained an openly gay bishop, Gene Robinson, in 2004. As of this writing, the American church has been put on probation by the Worldwide Anglican Communion for authorizing same-sex marriage rites. I was raised by two moms, so I know where I stand, but the issue tore apart some of my Christian friendships and prayer circles.

For research into the fashions and politics of the 1990s, the time period of Two Natures, I consulted the Sexual Minorities Archives (formerly in Northampton, now in nearby Holyoke) and the Conde Nast Library in New York City, as well as many books on the art and business of fashion photography. My friend John Ollom of Ollom Movement Art read the manuscript for accuracy concerning the gay male culture of our generation. John does through dance what I hope to do with my writing: help people integrate their “shadow side” by overcoming shame-based divisions between sex and spirit.

February Links Roundup: I Am Whatever I Say I Am

Happy February, readers! It’s a leap year, so we get an “extra” day. For hard-headed moderns, it’s only a bureaucratic quirk of the calendar, a minor annoyance to remember to write February 29 instead of March 1 on our checks. For the magically minded, it could be an opportunity to step out of chronos into kairos, an auspicious day to envision goals and abilities beyond our here-and-now limitations, and maybe do a ritual to support that intention. For me, it’ll probably mean a day’s reprieve from the negative self-talk: “It’s already March and I haven’t [cleaned my office, finished my short story collection, won the Pulitzer Prize]!!”

In reality, we have as much time as we have, no matter how we divide up the calendar. Nowadays I’m constantly balancing how much time to give my own writing versus time to read and support other writers. Sometimes I’m fortunate to come across articles that not only educate and entertain me, but re-equip me to do my own work with more self-acceptance and insight. Let me share a couple of those with you.

Ozy’s blog Thing of Things offers a unique perspective on neurodiversity, sexuality and gender, and utilitarian ethics. With a fine-tuned analytical mind and humble self-aware humor, Ozy picks out the inconsistencies and complex side effects of our ideologies, yet adopts a “live and let live” attitude to everyone’s imperfect efforts to discover what happiness means to them.

One interesting fact I learned from Ozy is that there are people who identify as “otherkin”: they believe they are part animal, analogous to a genderqueer person believing they are partially male and partially female. In their January 25 post, “On Otherkin and Trans People”, Ozy disputes the argument that otherkin make transgender people seem less credible. I love this post because it basically sums up my philosophy of respecting people to be the authority on their own experience. Ozy’s logic also applies to those who disbelieve trauma survivors because their stories are not perfect in every factual detail, or because their reported experience sounds too grotesque and extreme to be true. (Boldface below is mine.)

As an advocate for the rights of trans people and neurodivergent people, I think the world would be a better place if we all collectively adopted this rule: if someone is being kinda weird, but they are not causing direct, measurable harm to anyone else, leave them alone and move on with your life.

Imagine if instead of harassing trans women on the street, people said, “well, that outfit’s rather odd, but it’s really none of my business.” Imagine if instead of discriminating against trans people in housing or the workplace, people said, “well, I can’t imagine why a man would want to be a woman, but she does good work and pays her rent on time and that’s what matters.” Imagine if no one ever wrote a long screed explaining why you are secretly a girl pretending to be a boy because of your traumatic past, your internalized homophobia, or your deep-seated desire to be Special.

Furthermore, I think we should all adopt the rule: if someone is describing an experience that is really fucking weird, your default assumption should be that they aren’t making it up.

Of course, that doesn’t mean they’re describing their experiences accurately, or their explanation of why they feel the way they do is worth a pound of dog shit, or that no one ever makes anything up. But start from the assumption that– however distorted– the person is doing their best to describe something that is actually happening in their lives, and that if you’re going to keep interacting with them, you should listen.

I mean, shit, if people responded to gender dysphoria with “I don’t get it, huh, brains are weird” rather than “I don’t get it, you must be faking and I am going to come up with all kinds of elaborate reasons to explain why”, transphobia would basically be solved.

Consider the costs and benefits of these rules. If otherkin is not a real thing and you leave them alone, then you weren’t a dick to someone who’s going to feel really silly in a couple of years. If otherkin is not a real thing and you listen, then you didn’t make them become defensive or feel like they couldn’t question their identity without being attacked, and maybe you helped them come to the realization that it isn’t real. If otherkin is a real thing and you don’t follow my rules, then you took someone going through a tremendously painful experience and made it worse for no reason.

Continuing on the theme of identity and inclusion, progressive theologian and seminary student Daniel José Camacho finds an ethic of radical welcome in the description of the Trinitarian Logos in the first chapter of the Gospel of John. In this January 5 article from The Christian Century, “John’s prologue and God’s rejected children”, Camacho finds it significant that “in the midst of rejection, the text also speaks about this rejected one giving power to people to become children of God on a basis that transcends biology and purity.”

The borderless nature of God’s manifestation in Jesus helped Camacho make sense of his hybrid identity as a second-generation Afro-Colombian immigrant, and become an ally to LGBTQ Christians whose families rejected them for so-called Biblical reasons. “While the text was saying that being a child of God was based on faith and not based on blood or procreation, I saw many churches basing faithful Christian identity precisely on biology, on heteronormativity, on the ability to procreate in a ‘heterosexual’ marriage.”

Later on in the essay, Camacho notes parallels between John’s Holy Spirit and the female-personified Sophia (Wisdom) of Jewish tradition, to suggest that the Logos is genderqueer:

Whether John intended it or not, I see the Logos as enacting a gender-bending performance. The man Jesus Christ who is the eternal Logos was/is also thewoman Sophia. This is a good reminder that God transcends the gender binaries and essentialisms that humans have sharply defined. John’s prologue depicts Jesus as transgressing not only what distinguishes the human and the divine, but transgressing gender norms. As such, I think it is right to see Jesus as a transgressive “border-crosser” in multiple ways. For some time now, feminist scholars such as Elizabeth A. Johnson have highlighted the importance of Sophia in Christological gender-dynamics. Is it a stretch to see the Logos as bending gender? I don’t think so. If we consider the rest of the prologue, the rest of John’s Gospel, and the rest of Jesus’ life, this is consistent. Jesus’ family is non-traditional; it is not based on simple “biology.” Jesus’ life is not necessarily emblematic of a “straight” lifestyle…

Logos Christology needs to be unhooked from the Eurocentric rationality of the West which has sexually, racially, and economically classified people so as to produce and reproduce rejection and inequality.

In the Incarnation, the Word experiences the “No’s” that some of us hear. No, you are not truly American enough. No, you are not Latin American enough. No, you are not sexually normal. No, your societies are not developed. No, your culture/civilization is not rational enough.  Entering into humanity’s rejection of itself, the Word then demolishes the harmful ways in which we have internalized purity, nationalistic and gendered essentialisms, and Eurocentric rationality to define what it means to be human. As such, the Logos is the disordering ordering principle who destabilizes the violent means by which we narrowly define humanity and carry out rejections of our own people and peoples around the world. The Wisdom of God is not the progression of rationality from the Greeks to the Romans to the Europeans to the United States. Sophia is the disordering ordering force of life who deconstructs what we deem “natural” in order to make room for a creation that is different and far richer than we imagined.

At the online magazine Mask, Johanna Hedva’s manifesto “Sick Woman Theory” is a long-read well worth your time. To a lesser degree than the author, I also struggle with chronic disability from endometriosis, compounded by the shame and silence that society wraps around “female troubles”. Hedva re-frames the conversation around disability and political resistance, arguing that the activism of personal survival is as valuable as anything that happens on the barricades. I like how she uses “woman” as a nonbinary symbol of solidarity with all marginalized bodies.

Sick Woman Theory is an insistence that most modes of political protest are internalized, lived, embodied, suffering, and no doubt invisible. Sick Woman Theory redefines existence in a body as something that is primarily and always vulnerable, following from Judith Butler’s work on precarity and resistance. Because the premise insists that a body is defined by its vulnerability, not temporarily affected by it, the implication is that it is continuously reliant on infrastructures of support in order to endure, and so we need to re-shape the world around this fact. Sick Woman Theory maintains that the body and mind are sensitive and reactive to regimes of oppression – particularly our current regime of neoliberal, white-supremacist, imperial-capitalist, cis-hetero-patriarchy. It is that all of our bodies and minds carry the historical trauma of this, that it is the world itself that is making and keeping us sick.

To take the term “woman” as the subject-position of this work is a strategic, all-encompassing embrace and dedication to the particular, rather than the universal. Though the identity of “woman” has erased and excluded many (especially women of color and trans and genderfluid people), I choose to use it because it still represents the un-cared for, the secondary, the oppressed, the non-, the un-, the less-than. The problematics of this term will always require critique, and I hope that Sick Woman Theory can help undo those in its own way. But more than anything, I’m inspired to use the word “woman” because I saw this year how it can still be radical to be a woman in the 21st century. I use it to honor a dear friend of mine who came out as genderfluid last year. For her, what mattered the most was to be able to call herself a “woman,” to use the pronouns “she/her.” She didn’t want surgery or hormones; she loved her body and her big dick and didn’t want to change it – she only wanted the word. That the word itself can be an empowerment is the spirit in which Sick Woman Theory is named.

The Sick Woman is an identity and body that can belong to anyone denied the privileged existence – or the cruelly optimistic promise of such an existence – of the white, straight, healthy, neurotypical, upper and middle-class, cis- and able-bodied man who makes his home in a wealthy country, has never not had health insurance, and whose importance to society is everywhere recognized and made explicit by that society; whose importance and care dominates that society, at the expense of everyone else.

The Sick Woman is anyone who does not have this guarantee of care.

The Sick Woman is told that, to this society, her care, even her survival, does not matter.

The Sick Woman is all of the “dysfunctional,” “dangerous” and “in danger,” “badly behaved,” “crazy,” “incurable,” “traumatized,” “disordered,” “diseased,” “chronic,” “uninsurable,” “wretched,” “undesirable” and altogether “dysfunctional” bodies belonging to women, people of color, poor, ill, neuro-atypical, differently abled, queer, trans, and genderfluid people, who have been historically pathologized, hospitalized, institutionalized, brutalized, rendered “unmanageable,” and therefore made culturally illegitimate and politically invisible.

The Sick Woman is a black trans woman having panic attacks while using a public restroom, in fear of the violence awaiting her.

The Sick Woman is the child of parents whose indigenous histories have been erased, who suffers from the trauma of generations of colonization and violence.

The Sick Woman is a homeless person, especially one with any kind of disease and no access to treatment, and whose only access to mental-health care is a 72-hour hold in the county hospital.

The Sick Woman is a mentally ill black woman whose family called the police for help because she was suffering an episode, and who was murdered in police custody, and whose story was denied by everyone operating under white supremacy. Her name is Tanesha Anderson.

The Sick Woman is a 50-year-old gay man who was raped as a teenager and has remained silent and shamed, believing that men can’t be raped.

The Sick Woman is a disabled person who couldn’t go to the lecture on disability rights because it was held in a venue without accessibility.

The Sick Woman is a white woman with chronic illness rooted in sexual trauma who must take painkillers in order to get out of bed.

The Sick Woman is a straight man with depression who’s been medicated (managed) since early adolescence and now struggles to work the 60 hours per week that his job demands.

The Sick Woman is someone diagnosed with a chronic illness, whose family and friends continually tell them they should exercise more.

The Sick Woman is a queer woman of color whose activism, intellect, rage, and depression are seen by white society as unlikeable attributes of her personality.

The Sick Woman is a black man killed in police custody, and officially said to have severed his own spine. His name is Freddie Gray.

The Sick Woman is a veteran suffering from PTSD on the months-long waiting list to see a doctor at the VA.

The Sick Woman is a single mother, illegally emigrated to the “land of the free,” shuffling between three jobs in order to feed her family, and finding it harder and harder to breathe.

The Sick Woman is the refugee.

The Sick Woman is the abused child.

The Sick Woman is the person with autism whom the world is trying to “cure.”

The Sick Woman is the starving.

The Sick Woman is the dying.

And, crucially: The Sick Woman is who capitalism needs to perpetuate itself.

Why?

Because to stay alive, capitalism cannot be responsible for our care – its logic of exploitation requires that some of us die.

“Sickness” as we speak of it today is a capitalist construct, as is its perceived binary opposite, “wellness.” The “well” person is the person well enough to go to work. The “sick” person is the one who can’t. What is so destructive about conceiving of wellness as the default, as the standard mode of existence, is that it invents illness as temporary. When being sick is an abhorrence to the norm, it allows us to conceive of care and support in the same way.

Care, in this configuration, is only required sometimes. When sickness is temporary, care is not normal.

Here’s an exercise: go to the mirror, look yourself in the face, and say out loud: “To take care of you is not normal. I can only do it temporarily.”

Saying this to yourself will merely be an echo of what the world repeats all the time…

…The most anti-capitalist protest is to care for another and to care for yourself. To take on the historically feminized and therefore invisible practice of nursing, nurturing, caring. To take seriously each other’s vulnerability and fragility and precarity, and to support it, honor it, empower it. To protect each other, to enact and practice community. A radical kinship, an interdependent sociality, a politics of care.

 

Blow It Out Your Sinatra: Poems from Paul Fericano’s “The Hollywood Catechism”

The cover of Paul Fericano’s poetry collection The Hollywood Catechism (Silver Birch Press, 2015) shows a smoldering black-and-white movie still of Burt Lancaster as con-artist preacher Elmer Gantry, with his bedroom eyes and well-thumped Bible. This characteristically American blend of flim-flam, movie idols, and popular Christianity sets the tone of this entertaining and original book.

Many of these poems would be considered light verse, like the opening number, “The Actor’s Creed”:

…I believe in the Holy Spielberg,
the holy casting couch,
the communion of press agents,
the forgiveness of Sally Field,
the resurrection of my career,
and life everlasting without Tom Hanks.
Amen.

The real joke is how easily these wisecracks fall into the rhythm of familiar prayers that we repeat without much thought. We might as well be praying to Spielberg–he’s got more money than God, as they say. Like the characters in our childhood Bible stories, celebrities occupy a realm between reality and fantasy. Even when we lose faith in them, they retain some of their glamour, their power to make us nostalgic for the simple joys of worship.

This poignancy gives heft to the book’s most memorable poems, such as the tour de force “Howl of Lon Chaney, Jr.”, a take-off on Allen Ginsberg’s “Howl” in honor of B-movie horror actor Larry Talbot, “the Wolf Man”. Fericano writes compassionately of the dark side of the Hollywood dream, the loneliness of addiction and lost popularity. Substituting “Universal Studios” for “Moloch” in Ginsberg’s version, the meaning is still the same:

Universal the slaughterhouse of essence! Universal the
flesh-grinding boneless junkyard and studio of
terror! Universal whose films are USDA graded!
Universal the meat cleaver of inspection! Universal
the concrete productions!

Universal whose checkbook is bottom line! Universal whose
life is zombie profit! Universal whose thoughts
are small implosions! Universal whose head is a cannabis
fire pit! Universal whose heart is a ticking bomb!

The nyuk-nyuk’s don’t stop with his author bio: “Since 1971 his poetry and prose have appeared, disappeared, and reappeared in various underground and above-ground literary and media outlets… Loading the Revolver with Real Bullets (Second Coming Press, 1977), a collection of his work partly funded by the state of California, achieved notoriety in 1978, when one of its poems, ‘The Three Stooges at a Hollywood Party’, was read on the floor of the California State Senate as a reason to abolish the California Arts Council.”

On a more serious note, Paul is also the director of Instruments of Peace/SafeNet, a nonprofit reconciliation group for survivors of clergy sexual abuse. Visit his blog, A Room with a Pew, to learn about his latest efforts to help victims obtain restitution from the Catholic Church.

Enjoy the poems below, which he has kindly given me permission to reprint.

 

The Three Stooges Meet Charles Bukowski In Heaven

The day is like any other day in Paradise
where angels hang out on street corners in between gigs

smoking filtered cigarettes drinking ginger ale
and swapping stories about the Son of Man.

Everyone has an eye fixed on Jesus.
He’s on his knees in an alley shooting dice

with the Three Stooges
and the poor bastards are losing their shirts.

The Savior of the World is on fire.
In flowing red robe he rattles the bones in his hand

brings them to his ear shakes them like the Second Coming
and blows on them once for luck.

He arcs his fist before release and shouts:
Baby needs a new pair of shoes!

then tosses them with the same force his father summoned
to create the Milky Way.

When he flashes that wide resurrection smile
the one he showed the Romans right before they nailed him,

he scoops up his winnings with a wink and a nod
and everyone knows the Lamb of God is on a roll.

The Stooges are victims of divine intervention.
They make the sign of the cross and Jesus smiles.

I like you guys, he says, slapping their faces affectionately.
And just like that three morons become saints.

Leaning against a wall drinking beer from a bottle
always cold never empty is Charles Bukowski.

He shifts his weight like a man itching to start something
eyeing the action as if he’s writing his last poem.

Jesus stands now and introduces them.
The Stooges pull back unsure of what to expect from a guy

who once threw up on Norman Mailer and just last week
tried to look up the Virgin Mary’s dress.

Bukowski hesitates, too. He remembers almost losing an eye
in a pie fight and watches their fingers closely now

the air so choked with mistrust even the Holy Ghost is scared.
That’s when Jesus stands on his head.

It’s a minor miracle, not like changing a Beatles’ song
into a jingle for running shoes, but it breaks the tension at last.

Sighs of relief rise up like hosannas and everyone laughs,
especially the Son of God who isn’t wearing underpants.

****
Sinatra, Sinatra

Sexual reference:
A protruding sinatra
is often laughed at by serious women.

Medical procedure:
A malignant sinatra
must be cut out by a skilled surgeon.

Violent persuasion:
A sawed-off sinatra
is a dangerous weapon at close range.

Congressional question:
Do you deny the charge of ever being
involved in organized sinatra?

Prepared statement:
Kiss my sinatra.
Blow it out your sinatra.

Financial question:
Will supply-side sinatra halt inflation?

Empty expression:
The sinatra stops here.
The sinatra is quicker than the eye.

Strategic question:
Do you think it’s possible to win
a limited nuclear sinatra?

Stupid assertion:
Eat sinatra.
Hail Mary full of sinatra.

Serious reflection:
Sinatra this, sinatra that.
Sinatra do, sinatra don’t.
Sinatra come, sinatra go.
There’s no sinatra like show sinatra.

Historical question:
Is the poet who wrote this poem still alive?

Biblical fact:
Man does not live by sinatra alone.