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successfully speech-checked my roommate into getting out of bed after she had just gotten in bed so that she can come with me to the twenty-four hour white castle
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If you can understand why texting and driving is dangerous and you shouldn't do it, then you should also be able to understand why applying makeup while driving is dangerous and you shouldn't do it
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But no, seriously. This is one of the biggest things that pits people against each other in fandom spaces.
You’ve got people who need stories where men get to have completely platonic deep friendships with other men, need stories where men can be affectionate and support each other emotionally without it having to be romance. You’ve also got people who need stories about men being romantic with men. Both of these are valid. Whether either is canon doesn’t really matter because transformative works are allowed to be transformative and transformative works are works in their own right. It’s right there in the name.
But because there can only be One True Fanon, instead of acknowledging that different people have different needs and taking a live-and-let-live approach, you usually end up with both groups fighting to throw the other one under the bus first for trying to “steal” their representation.
Please no Oppression Olympics clowning on this post. Everyone needs stories. It’s an immutable part of the human condition.
the only thing I disagree with in this post is “you’ve heard of competing access needs”, because in my experience, approximately nobody has, and most of the people who have are themselves disabled
(so nobody leaves this post without knowing what competing access needs are: the thing where movie subtitles are important for people with hearing loss or auditory processing issues, useless to people with vision loss, and can easily distract other people from the action. the thing where movie descriptive audio is important for people with vision loss, useless to people with hearing loss or auditory processing issues, and can easily distract other people from the action. et cetera and so forth.)
the other thing that worries me about both groups you describe is, zero of these people seem able to enjoy stories that aren’t entirely for them, which is sad, and zero of these people seem to know where to find the back button should they happen upon a fic that turns out to be really not for them, which is aggravating to everyone else and can’t be much fun for them either
and the crowd that first goes “if you want stories with [thing they don’t like], write your own”, then turns up when their addressees do in fact write their own just to say “ew, why is this so [thing they don’t like]”, can fuck altogether the fuck off
Competing access needs are also why it’s important to have a bunch of different kinds of things. Like, a building that only has stairs is going to be inaccessible to a lot of people. But if it has stairs, a ramp, escalators, and an elevator (depending on the size of the building), so many more people will have access. I’ve always had a major fear of elevators, and I often find myself using the stairs even when my body can’t take it, so an escalator would give me better access. However, someone in a wheelchair would likely take the elevator instead of the escalator because it fits their chair better. The more options there are available, the more people are going to be able to access something: our competing needs shouldn’t mean that only one of us gets to exist. It should mean we expand the possibilities so we all get to be in the building, even if we take different paths to move through it.
Why shouldn’t we expect that in media? The answer to “we need representation” shouldn’t be “only perfect representation [which is very subjective, with everyone having a different definition of what that would even be] is allowed. Everything else is offensive.” It should instead be “more representation means more aspects of our experiences are shown.”
The “oh no I definitely can’t be gay, it’s time for some self-loathing” story is real for a lot of people, and can be very important to see represented. But I don’t want it to be all the stories I see. The “I’ve always known I was gay and I’ve never had a problem with it” story is real for a lot of people, and can be very important to see represented. But I don’t want it to be all the stories I see.
The more kinds of stories we let people tell, the more we will be able to find ourselves represented
19th-century vis-à-vis conversation chair from France. Two back-to-back seats angled face to face so people could talk close up without turning their bodies or messing up their posture. A Victorian-era favorite for fancy parlors. Let bourgeois folks chat, flirt a little, all while staying proper on those stiff sofas. Solid wood frame, deep cushions, carved details. Total parlor game-changer back then. Still looks sharp today.
I am reblogging this chair because it shows up on my dash approximately three times a day. I don’t know why Tumblr thinks I need to see this chair when it rarely shows me posts from my mutuals, and maybe by giving in, I will now only see chairs.
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Also, if you are a non-disabled person reading this, please help advocate for accessibility. It gets tiring being the only person fighting for basic access rights.
If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
Naomi Kritzer's Obstetrix is a new, tense thriller in the mode of Atwood's Handmaid's Tale and Alderman's The Power; it's a beautifully turned, claustrophobic horror novel about an obstetrician who's been kidnapped by a Christian cult obsessed with fertility:
Kritzer is a master of building scenarios that require her characters to express and resolve a wide variety of complex and contradictory emotions. Her breakout novel, Catfishing on the CatNet is a charming and deceptively goofy story about an AI trained on the impeccable vibes in a really solid groupchat becoming sentient and demanding…cat pictures. This is the setup for a warm (but intense) novel of internet-mediated friendship and IRL mutual aid:
Then there's her incredibly prescient 2015 story "So Much Cooking," about people in lockdown during a pandemic. For obvious reasons, it enjoyed an revival in 2020, with Kritzer penning an excellent essay reflecting on what it means to have thought through the implications of a disaster that is now upon us:
In 2023, Kritzer published one of the most memorable YA novels I've read, Liberty's Daughter, which is set on a libertarian seastead and told from the point of view of the daughter of the cult's founder:
Liberty's Daughter is basically what you'd get if you rewrote a Heinlein YA novel from the perspective of one of the kids, who had to live with a Heinlein-type dad (Heinlein was childless and had some of the most batshit child-rearing ideas, which he managed to make sound bizarrely plausible). There's a lot of sf that is "in dialogue" with Heinlein (including some of mine), but no one nailed RAH like Kritzer.
Then there's Obstetrix; it's got one of those admirably propulsive setups. Doctor Elizabeth Gwynn is an obstetrician who performed an abortion to save her patient's life, only to be dragged into the culture wars by North Dakota's crusading attorney general, who charged her with felony murder and offered to let her plead out if she would admit that she was wrong to do it, as an example to other OBs who might be tempted. Now, Dr Liz lives in Minneapolis, where her savings are running out and no one wants to hire an obstetrician who's done time.
Then, Dr Liz gets a cold-call from a midwifing service that wants to hire her as an on-call doc. It's a weird offer from out of the blue, but Dr Liz can't afford to pass up a chance at steady work. She finds herself in a residence that the midwives work out of, and the nice woman there offers her a cup of tea. That's when the world fades to black, as the drugs in the tea take hold.
Liz sporadically regains consciousness in a van during a multi-day drive, and already she is thinking about her escape – even as she is becoming increasingly aware of how truly terrible her situation is. When she finally arrives at the cult's remote compound, frozen and isolated, she learns that she has been kidnapped because the fertility-obsessed cult needs an OB, especially since the daughter of the cult's founder, the "pastor," is carrying a high-risk pregnancy.
All that is in the first few pages, which leaves plenty of room for an expertly spun second act in which we get Kritzer's trademark interpersonal work, where carefully chosen and smartly wrought small details flesh out a picture of the complex dynamics of life inside a "high-demand" cult, from the way that members are manipulated into policing each other's compliance to the internal processes that keep members cowed even when they're unobserved by others. It's a brilliant work of sociological speculation and the engine that drives it is a series of maneuvers and gambits whereby Dr Liz hopes to make her way to safety.
I won't spoil the end, except to say that it is exciting, satisfying, and has a sweet denouement that does real justice to the whole book. All told, this is a read-in-one-sitting thriller that does as much to illuminate the workings and dynamics of patriarchy and religion as any gender studies class. It's peak Kritzer (so far), and that's saying something.
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