A Fantasy Trans Memoir

A Fantasy Trans Memoir

A review of Kai Cheng Thom’s Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir (Metonymy Press, 2016).

By Derek Newman-Stille

Kai Cheng Thom decided to include the word “Memoir” in the title of her book Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir, yet she also cleverly weaves fantasy elements into her text, telling stories about the death of the last of the mermaids, the mythic First Femme, ghosts, and a magical Trans woman who casts spells on her sisters. She weaves fairy tales into her “memoir”, revealing the problems of Cinderella narratives for Trans women, discussing doctors who are so unlike fairy godmothers (always wanting something in return for their transformations), telling tales of goddesses, escapees from towers that trap them, and the magic of the everyday.

Kai Cheng Thom’s Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir is meant to complicate the idea of memoir itself, and especially the tropes of the “Trans Girl Memoir”, which is so often about a person discovering that they are Trans, leaving her home and ending up suffering on the street, becoming the victim of abuse. Thom’s Trans memoir is one filled with magic, but it is also about fighting back – about never being a victim and about coming together as a community to protect each other. Her tale evokes the magic of connections with other Femmes.

She tells her tale through prose and poetry, through letters and dramatic scripts, and through sharing the histories of other Trans women on the street (often narrated by someone else). Her narrator is someone who hungers for their stories like we do as the reader, but she also filters those stories through her own knowledge, her own craving for a place to belong and a people to belong with. Yet, despite her craving for belonging, we are told that the narrator is an escape artist, and, perhaps she even escapes from the text in a way, leaping from the simple veracity of the mundane world and into a space where fantasy is a more powerful truth than Truth.

This is not a Trans woman’s memoir. This is a story about stories… about our need for stories. Its a story about the fact that there are stories behind the stories that are told. It is a collection of myths from the street, urban myths. It is a collection of truths. Kai Cheng Thom complicates the idea of Truth in Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir, teaching us that some fictions speak greater truths than works that claim to be collections of truth. She teaches us that in the act of storytelling, we transform ourselves, and in the act of hearing, we create community. She shares her love of storytelling with us as readers, reminding us that the veracity of a story doesn’t matter so long as it shares and tells us truths about ourselves through the act of reading.

Kai Cheng Thom uses the word “Memoir” in her title to complicate memoirs – to illustrate to us that there are no simple truths and that truths are always shifting, changing, and transforming. She illustrates that life is a fantasy made up of our collective stories interweaving with each other and creating magic.

Thom’s narrator tells us “Someday, I’m going to gather up all of the stories in my head. All the things that happened to me and all the things I wish had happened. I’m going to write them all down one after the other, and I’ll publish a famous best-selling book and let history decide what’s real and what’s not.” This is a tale that invites the reader into the process of truth-making, using the term “memoir” to invite questions about what is true and to whom.

To discover more about Kai Cheng Thom, visit her website at https://kaichengthom.wordpress.com

To discover more about Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir, visit https://metonymypress.com/product/fierce-femmes-notorious-liars-dangerous-trans-girls-confabulous-memoir/

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The Teaching Rocks

The Teaching Rocks

A review of Drew Hayden Taylor’s “Petropaths” in Take Us To Your Chief (Douglas &McIntyre, 2016)

By Derek Newman-Stille

Drew Hayden Taylor’s “Petropaths” is a tale of the ongoing nature of colonial violence, centred on the exploration of the way that this continued assault has created a generation of indigenous youth who are, as he suggests “stuck between the past and the future”. He points out a need for youth to connect to their past and to create a future, something that colonialism has sought to deny indigenous peoples by erasing the past and presenting imagery of a white future. It is significant that Hayden Taylor uses science fiction as a genre of critique when exploring the issue of most science fictional texts presenting a very white future that portrays an absence of indigenous people. Hayden Taylor uses science fiction and a time-travel narrative to explore the idea of temporal uncertainty, but also calls attention to the problematic way that indigenous people are portrayed in most time travel narratives.

Hayden Taylor centralizes elders in “Petropaths”, pointing out their role in providing educational opportunities for youth that ground them in the ongoing practice of engaging with teachings. The narrator, an elder, explains to his grandson along with the other elders that “he need to know who he was, where he came from and what his path was”. Elders in this tale are situated not only as guardians of the past (as they are in many narratives that feature ageing), but also as guides to the future, having a role that subtends time.

“Petropaths” is a tale about petroglyphs, sacred carvings in rock, and Hayden Taylor situates these rocks as a text that extends through time, connecting the person exploring the texts to the past when they were created, to their presence now, and to the future they will survive into. Hayden Taylor is from Curve Lake First Nation whose territory extends to the petroglyphs frequently called the “Peterborough Petroglyphs”, and often acknowledged as “The Teaching Rocks” by Anishnaabe people. Teaching is central to this tale and the relationship between Hayden Taylor himself and “the teaching rocks” underscores the role of the petroglyphs in his story as storytellers and teachers themselves.

Hayden Taylor illustrates the role of conversation that the petrogyphs represent in his tale when he says “It took me a while to understand these were musings and dreams of our ancestors, the thoughts and history of our people carved into Mother Earth for us to see.” These are not static background images in his tale, but, rather, are centred and engaged in a conversation with the characters. He describes these stones as teaching “a lot more than one of those degrees at university”. These stones are not static, rather they “tell their own story their own way… like a whisper in the wind…. Like it was the Earth telling us a story… or, more accurately… like it was a song waiting to be sung”. The stones are not static background figures, but, rather they are storytellers and teachers, engaged in a process of conversation.

The imagery of stone is not isolated to the petrogyphs, but is also evident in the imagery that Duane’s grandfather ascribes to his dissociation from his emotions. He discusses “the wall he had spent years building, emotional brick by emotional brick”, paralleling and yet also contrasting the petroglyphs, which the story situates as a wall. Yet, although both are walls, the petroglyphs are a living, changing text that speaks and shifts for Duane, and may have the power to disrupt the static wall he has constructed for himself.

“Petropaths” is a story that acknowledges the importance of learning and, especially learning through storytelling. This learning is not individualistic, but, rather, it exists in conversation with petroglyphs, the land, animals, and community elders. It’s a story about taking the time to listen to others, but also to listen to oneself. This community of teachers engaging in storytelling is part of the process of beginning to heal Duane from the colonial violence that he has experienced. Storytelling is not just something that Duane hears, but, rather, Hayden Taylor has him engage in storytelling, adding his stories to others while also becoming part of the story. The past is not something fixed or static in Hayden Taylor’s tale, rather it is something that shifts and changes while bringing new voices into it. Duane’s time travel is part of this conversation with storytelling and his role in becoming part of the story. He is an active participation in the past and Hayden Taylor uses this active participation to illustrate that history is not passive, but, rather, that we are always in conversation with the past and the stories told about the past. As Duane says “History isn’t in books anymore. We can walk through it.”

To discover more about Take Us to Your Chief, visit http://www.drewhaydentaylor.com/books/take-us-to-your-chief/

To find out more about Drew Hayden Taylor, visit http://www.drewhaydentaylor.com

Intertextual

Intertextual

A review of Jeff Lemire’s Black Hammer: Age of Doom Part 1 (Dark Horse, 2019)

By Derek Newman-Stille

Throughout the Black Hammer series, Jeff Lemire has been experimenting with intertextuality, playing with his knowledge of Golden Age comics while adding modern comic sensibilities and skepticism about the genre. In Black Hammer: Age of Doom, Lemire’s superheroes, who have been thrust into a world without superheroes, begin to see the patterns around them slipping. They begin to see through the idyllic world that has been their home since their battle with Anti-God. Their world starts being full of plot holes that, as much as they try to ignore, become far too apparent for them.

Lemire plays with the idea of story itself in Black Hammer: Age of Doom, examining authorial intent and the role of characters in shaping their own narratives. He examines the idea of suspended disbelief, so essential for the superhero genre, but twists it so that his characters themselves are the skeptical readers, reading their own narratives and noticing what is missing. In a powerful meta-narrative that is evocative of the comic Fables, Lemire even has a character enter a world with personifications of types of narratives, having young Black Hammer meet Mystery, Romance, The Editor, Grammar, and The Pagecounter. These are elements of writing made physical and they guide Black Hammer on her narrative. Lemire even plays with his own writing history by having Black Hammer open a doorway into one of his other graphic worlds – that of his book Sweet Tooth.

Lemire points out his love of story in Black Hammer: Age of Doom Part 1, having Mystery tell Black Hammer “It’s all real because stories are real”. In this statement, Lemire blurs the lines between reality and fiction, pointing out that stories have substance, meaning, and that they are important.

To find out more about Black Hammer: Age of Doom Part 1, visit Dark Horse’s website at https://www.darkhorse.com/Comics/3002-552/Black-Hammer-Age-of-Doom-1

To find out more about Jeff Lemire, visit http://jefflemire.blogspot.com