...And This Is My House

And if you also hadn't heard of her go read this because uhh... Holy Shit

This story sounds like it could have been a brilliant exploration of gender and warfare and violence but instead it was attacked by people who didn't know how to confront a story that made them uncomfortable, and the author faced horrible consequences.

Holy shit.

Holy shit.

When the detail that the writer was a trans woman (and a specific one people knew) had filtered into common knowledge, the consensus of the vocal detractors was that she had done Nazi actions equivalent to being a Nazi that hurt every trans woman, and it was their responsibility to terrorize her. When she ended up suicidal and swore off writing, that was viewed as a great victory against an enemy of trans women. (Not dissimilar from people harassing Jewish actress Aya Cash for portraying a Nazi on The Boys.)

Also, people like to single out N.K. Jemisin for participating, but she was pretty much doing what people expect of an ally: following the leading voices of the relevant minority, repeating their messages, and using her social capital to boost theirs. The problem was the trans women leading the mob. I find the presence of trans woman author Alexandra Erin more objectionable because she was run off Tumblr for being into vore and bondage and because she liked a post from a black submissive woman showing off a collar, which was framed as her wanting to enslave black people, so you would think she'd be sympathetic to a trans woman author stigmatized for being into edgy humor. Instead, she likened the story to firing randomly in the air and hoping only bad people would be hurt, when it should be clear innocents would likely be hurt, making the whole endeavor harmful. (Like being open about liking controversial fetishes on Tumblr?)

Edgy humor sets off mainstream leftists like Daleks sighting an enemy.

Like, how many times can we see a marginalized creator get torn to bloody shreds by other marginalized people and well intended “Allies” who never actually looked at the evidence themselves and just went off what “the affected group” was saying? The queer experience is subjective as hell, and I can’t imagine any other marginalized experience is different. Maybe we should stop mob harassing people for making something without looking at the thing ourselves.

Because there was little biographical information available about its author, the debate hinged on one question: Who was Isabel Fall? And that question ate her alive. When she emerged from the hospital a few weeks later, the world had moved on, but she was still scarred by what had happened. She decided on something drastic: She would no longer be Isabel Fall. As a trans woman early in transition, Fall had the option of retreating to the relative safety of her legal, masculine identity. That’s what she did, staying out of the limelight and growing ever more frustrated by what had happened to her. She bristles when I ask her in an email if she’s stopped transitioning, but it’s the only phrase I can think of to describe how the situation appears. Isabel Fall was on a path to becoming herself, and then she wasn’t — and all because she published a short story. And then her life fell apart.

...

After she checked out of the hospital, Isabel Fall ceased to be Isabel Fall. “I had a few other stories in the works on similar themes, and I withdrew them; that is the most concrete thing I can say that I stopped doing,” Fall says. “More abstractly, more emotionally, I have stopped trying to believe I am a woman or to work towards womanness. If other people want to put markings on my gender-sphere and decide what I am, fine, let them. It’s not worth fighting.”

That makes me so fucking angry every time I think about it that I want to spit or cry.

I have not been the subject of the level of intense, sudden, overwhelming attention that she has; I have been the target of a lower-volume, sustained campaign, and there is a reason that I call it "the acid fire hose." That shit will strip the fucking flesh from your bones.

So yeah. Of course indie authors flinch.

A fascist might say that a healthy and strong nation is represented by a white traditional family. A liberal will disagree on the surface - they'd be likely to say that gender diversity and cultural diversity are signs of health and strength. But they're still operating under assumption that "nation", "health", and "strength" are neutral or positive political concepts.

And once you start noticing it, you notice it everywhere. People aren't arguing whether sorting people into ranks by quality is acceptable, they're arguing who's the real superman and who's the diseased collection of abnormalities.

That's what I see when someone says politicians are fat and mentally ill, men are dangerous emotion-driven beasts, shaving body hair invites sexual assault of children, and liking blondes is a sign of moral corruption.

The first puzzle piece is that Xena was a syndicated show at the tail end of syndication's total dominance of a distribution model. For those too young to remember a time when ongoing plots and prestige dramas weren't the norm, syndication is big part of why older television shows almost entirely kept plots contained to one or two episodes rather than having them span seasons. See, when a show is syndicated, it is licensed out to individual television stations/affiliates to be aired as reruns. The individual station chooses when to air them and in what order, and whether to just skip episodes they don't like in favor of the ones most likely to draw eyeballs, etc etc. The more a show is licensed, the more money you make on it, so there is an incentive to make each episode standalone to make them appealing to each station by enabling them to toss on whatever episodes they like without it being a problem for the casual viewer. Also, before streaming, easy access to dvds and episode recording, and the like, a show could not assume that even its fans would have necessarily have seen every episode. "Catching up" was not an easy thing, and reserved for the most dedicated, doing shit like physically mailing bootleg tapes! Therefore, shows needed to have a consistent formula that didn't lock out the person who couldn't watch last week for whatever reason. Characters remained within more of a status quo. Xena is a "monster of the week" style show, like X-Files. I mention X-Files intentionally, because it was one of the first to really break that no-ongoing-plots structure, and that shift affected its contemporaries, like Xena, who also started to follow suit.

That alone doesn't account for Xena being so primed to explore those themes, of course. Even staying within the same fictional universe, Hercules (which Xena is a spin-off of) and Young Hercules don't even come close to Xena's complexity on the subject. But that's because Xena's premise is perfectly positioned to interact with those practical constraints for this outcome in a way those shows aren't. The status quo that syndication demands remain mostly in intact is that 1) Xena was evil and really good at it, 2) she is trying to do good in the world now as penance but can never undo what she has done. Every episode is about Xena trying to save people while dealing with the consequences of her actions as a warlord. The fact that she was evil cannot be changed or diluted nor can the fact that she must continue trying to redeem herself, otherwise the show is over or is unrecognizable to the casual viewer. But this is also an action show, sometimes cartoonishly so, so she must also be fighting consistently! The core spectacle is violence and the core story is why violence is often evil. There is an inherent tension there that the writers either needed to interrogate earnestly or ignore, and they chose the honest, interesting route. They gave Xena a costar who is innocent and principled but loves Xena, and had her always asking why and trying to understand how Xena could be that person, while being put under similar pressures herself. They had Xena continue to use the tools she has, including violence, for good ends, and wrestled with the answers as to why that was ok, why the violence she did then and the violence she did now were different—and sometimes decided they weren't. They showed Xena struggling with falling back into those old habits because they are seductive and easy.

If someone asked "are there so many episodes of Xena where you find out someone tried to get her to change her ways many years ago and failed because that is a really great standalone premise, or because violence as a tool and power and vengeance as motivators are corruptive and hard to stop using once you start," the answer is yes. The show is cyclical because violence is. But also because it is syndicated.

Point Reyes, CA

A country where the only place you've been is an airport on a layover, Earth