Queerly Ever After

Queerly Ever After

A review of Ricky Lima’s Happily Ever Aftr (Lime Press, 2018).

By Derek Newman-Stille

She grew up in a kingdom filled with toxic masculinity… perhaps that’s why she thought she could make a princess love her by kidnapping her.

Happily Ever Aftr explores the traditional fairy tale motif of a princess locked in a tower… but adds a twist. The princess is imprisoned by another princess. Princess Gretchen grew up in Castle Grimhold as part of a family line of kings who have kidnapped princesses to be their brides. So, what else was there for her to do but carry on the family tradition and kidnap a princess to be her bride. Once Gretchen reveals that her intention is to marry Princess Emily, her family takes issue not with the kidnapping, but with Gretchen’s desire to have a bride instead of a groom. Gretchen begins to learn ideas of consent from Emily and explores her own identity and its relationship to her role as the princess of Grimhold.

Ricky Lima uses the image of cell phone dating apps and texting to shape his tale of princesses in love (or captured by love), exploring ideas of princes who believe that they are entitled to women’s bodies and perceive princesses as objects and damsels in distress. With this use of dating apps as text, Lima makes a parallel between antiquated notions of masculinity and femininity and how these are played out on dating apps. Happily Ever Aftr uses a magical, fantasy setting to point out realities of how men objectify women on dating apps and the toxicity of “bro culture”.

Although Princess Emily keeps asking for suitors to rescue her, she is more than able to save herself through her own quick wit and tough attitude, but first goes through numerous suitors who are beheaded trying to rescue her. It is only when she encounters a prince who needs her to rescue him that she is able to finally express her own power.

Happily Ever Aftr calls into question the many “happily ever after”s offered by many traditional fairy tales that portray a passive princess being rescued by a prince and marrying in perpetual heterosexuality. Instead, the comic plays with assumptions about gender, assumptions about power, and assumptions about sexuality.

To discover more about Happily Ever Aftr, visit https://www.limepressonline.com/product/happily-ever-aftr

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Magical Autobio

Magical Autobio

A review of Ronnie Ritchie’s “Star Kid” in We’re Still Here: An All Trans Comic Anthology (Stacked Deck Press, 2018)

By Derek Newman-Stille

In the comic “Star Kid”, Ronnie Ritchie intertwines autobiography and ideas of magic. They use ideas of astology to understand themself, sharing their early fascination with sun and moon symbolism and the relationship between these celestial symbols and gender (since the sun and moon are gendered in many European cultures).

Ritchie explores their love of stars from an early age as a symbol that is often seen alongside the sun and moon, but also the power of the star to separate them from the gendered characteristics of the sun and moon. Despite their love of astrology and stars, they describe the challenge of growing up in an Evangelical home where astrology was considered evil, and their subversive claiming of the star symbol. They use the artistic medium of the comic to illustrate their love of illustrations, showing the way they combined sun, moon, and star symbols together in their early art.

Stars, suns, and moons became metaphors for gender for them in their exploration of their own gendered identity and they frequently drew characteristics of gender and characteristics of the sun and moon together, realizing that these descriptions were too limited to capture the complexity of their identity. Being a nonbinary person, they discovered the potential of being outside the orbit of the gendered sun and moon in a space they created – The Star. They illustrate that the symbol of the star allowed them to find a symbol of joy, happiness, and cuteness (they make sure to distinguish the marshmellowy stars in their art from the actual huge balls of nuclear fire).

Ritchie cleverly combines autobiography with hints of the speculative and the magical, pointing out that we often explore complex ideas through symbols. People have been exploring their identities through astrology for a long period of time, and Ritchie’s use of astrological symbolism in understanding their gendered identity takes the astrological into a new sphere of contemplation. They illustrate that the symbolic is still an important realm for contemplating identity, particularly since so many of our social symbols are gendered.

To find out more about We’re Still Here: An All Trans Comic Anthology, visit Stacked Deck Press at https://stackeddeckpress.com/product/were-still-here-an-all-trans-comics-anthology/

To find out more about Ronnie Ritchie, visit their website at https://www.rritchiearts.com

A Green Monster Who Isn’t Envy

A Green Monster Who Isn’t Envy

A review of Morgan Sea’s “Abominatrix” in We’re Still Here: An All-Trans Comic Anthology (Stacked Deck Press, 2018)

By Derek Newman-Stille

In “Abominatrix”, Morgan Sea plays with the notion of Marvel Comics’ She Hulk and produces another gamma powered superhero. Sea’s hero is a Trans woman who adores She Hulk, and decides to take a shot of gamma infused chemicals as part of her transition. Instead of ending up looking like She Hulk – a green-skinned, powerful, beautiful woman, she ends up looking more like the Hulk villain, the Abomination. Instead of becoming a villain as Marvel comics characters tend to do when they have lived a life of oppression and don’t become beautiful superheroines, Trixie tries to live her life as she always has. She reminds herself “They’ve always treated you like a monster. They’ve always wanted you to hide”, so she decides to practice radical self love instead. While out on the streets, she continues to be subject to social violence – insulted by passers by, having drinks thrown at her. While being subjected to violence, she has to constantly reassure other people that they are safe from her instead of being concerned about her own safety. Even when she wants to use the washroom, she is told that she would need to use the men’s toilets instead of women’s toilets.

When Trixie finally decides to act back against all of the social violence she experiences, she ends up fighting another gamma powered hulk and the two of them end up crashing through spaces of oppression like a pharmacy where a doctor is refusing a Trans person their meds, a bank where a Trans person is being denied a loan for their electrolysis machine, and a classroom where a teacher is trying to force children to believe only in binary genders and that gender is unchangeable. This is a comic about smashing heteropatriarchy and Morgan Sea reminds us that we can’t accept violence and sometimes we need to act back to prevent that oppression.

Sea plays with some meta fictional elements of her comic, writing Trixie’s inner dialogue with the awareness that she is a comic character. She uses language like “Just got to take it step by step, day by day, panel by panel” and “See you are almost off this page!” to remind readers that this is a self-aware comic, a comic that is purposely raising questions and critiques about the mainstream comic industry. “Abominatrix” invites us to ask questions about the absence of Trans characters in most superhero comics (where Trans characters often only appear as villains) and asks us to question the portrayal in comics of a character who is done being subjected to violence and decides to speak back. As I mentioned above, the characters who act back against social violence in comics are generally treated as villains and the role of heroes is often to reinforce the status quo. Sea’s comic is about challenging the simple narrative of mainstream superhero comics and inviting an awareness of the absences and vilifying of characters who stand up for social justice. She asks us to think about how we create our monsters and the ideologies that go into producing those monsters.

To find out more about Morgan Sea, visit her website at https://morgansea.wordpress.com

To find out more about We’re Still Here: An All Trans Comics Anthology, go to https://stackeddeckpress.com/product/were-still-here-an-all-trans-comics-anthology/

First Couple of Rows Might Get Glittered

First Couple of Rows Might Get Glittered.

A review of Buffy The Vampire Slayer the Musical: Once More With Feeling at The Theatre on King in Peterborough, Ontario. Produced by Eryn Lidster, directed by Samantha Mansfield.

By Derek Newman-Stille.

I fell in love with the Buffy the Vampire Slayer episode “Once More With Feeling” when I was doing my undergraduate degree. We would gather in the common room and watch Buffy episodes together and the episode Once More With Feeling left us singing for weeks.

I had thought that Buffy was a hallmark of an older generation, so I was extremely excited to see that the Theatre on King brought Buffy right into Peterborough, transforming my town into Sunnydale for a few magical minutes.

When I had first watched “Once More With Feeling” on television, it was aired with an “adult content” warning because of a lesbian kiss, so it was wonderful to see that there was no need for a content warning in the performance at the Theatre on King and there were children in the audience. It is hopeful to see a space where queerness wasn’t censored.

Although presented without the magic of television special effects, the show allowed for some of the magic to be brought close to the audience with glitter, make up, and great performances. The smaller theatre space also allowed for an intimacy with the characters and their experiences that television or even a larger theatre wouldn’t permit. The cast were able to access the power of local theatre and make Buffy’s story their own.

The cast was able to capture the nuances of the original Buffy cast while bringing their own understandings of the characters and their own dynamics to their parts. This was Canadian local theatre at its best and it will leave you singing about demons, witches, and vampire slayers until you burn up with passion and excitement.

To discover more about the Theatre on King, go to http://ttok.ca

WONDERful

Wonderful

A review of Cait Gordon’s A Night at The Rabbit Hole in Alice Unbound: Beyond Wonderland edited by Colleen Anderson (Exile, 2018)

By Derek Newman-Stille

Alice in Wonderland is a story that plays with identity, disrupting the power that normativity has on our society. Cait Gordon has tapped into that power that Wonderland has to resist normativity and creates a GenderQueer Alice who has just come out and taken on their new name and pronouns. It is refreshing to read a story featuring a GenderQueer character that is not about the struggles of occupying their identity. In A Night at The Rabbit Hole, Alice is instantly accepted for their gender and people don’t slip up and refer to them as anything other than “them” after one quick correction.

Gordon uses the Alice in Wonderland text for its power to disrupt power structures that erase identity possibilities and instead writes a story filled with potential and possibility.

A Night at the Rabbit Hole is a tale about a meeting in a dance club where Alice is given a pill that transforms their perspective and gives them an expanded view of the world around them, allowing them to see through human disguises to the creatures beneath. Gordon plays with the question of what could alter someone’s perspective like the “drink me” potion and mushroom that Alice takes in Carroll’s story and ultimately comes up with the connection to club drugs. After Alice took their pill (here called a “tart”), I have to admit that the Jefferson Airplane song White Rabbit was running through my head as Alice’s perspectives were warped, and I think that Gordon intended to plant this trippy tune in the minds of her readers.

Cait Gordon’s characteristic playfulness comes through in this tale of altered reality and questioned norms and she invites readers to chuckle at clever witticisms at the same time as they speculate about possibilities beyond the simple world that they live in. This is a story that empowers at the same time as it entertains

To discover more about Alice Unbound, go to http://www.exileeditions.com/shop/alice-unbound-beyond-wonderland/

To find out more about Cait Gordon, visit her website at https://caitgordon.com

Pins and Needles

A review of Jerome Stueart’s “How Magnificent is the Universal Donor” in The Angels of Our Better Beasts (ChiZine Publications, 2016).
By Derek Newman-Stille

Ever since the AIDS crisis, we queer people have had a complex relationship to blood, so we are put in an interesting relationship with the fictional figure of the vampire, a figure who can alter what it penetrates, and who both feeds off of blood and often changes those whose blood it comes in contact with. Jerome Stueart’s How Magnificent is the Universal Donor explores the complexities of Queer relationships with blood without making his narrative an AIDS narrative directly. Instead, he creates a new blood-based pathogen called BBD, which spread through 40% of the population and needs to be treated through blood transfusions. 

Stueart explores the idea of medical control around a blood-based pathogen, illustrating that medical professionals and the World Health Organization are able to exert total control over the lives of those it views as medically threatening. But, disease is frequently a method of Othering certain people, casting them as infectious invaders into a normate body. Frequently diseases are traced back to other countries, particularly those with less political power on the global stage, and, in the case of AIDS, there is a narrative that pushes the disease onto the Queer population, and gay men in particular, casting gay men as an infectious population. At the time I am writing this, Canadian Blood Services still won’t allow gay men or anyone who has had sex with a gay man to donate blood (unless they have been celibate for at least 3 years). This targets a specific population and portrays them as inherently infectious. Although Stueart portrays the disease BBD as not connected to any specific population, his use of two gay male narrators brings the reader’s attention to this parallel, inviting us to question why these two men, in particular, are targeted by a medical system that has absolute control over them. Their own narratives are erased in this society in favour of the narratives put over them by doctors. 

“How Magnificent is the Universal Donor” invites critical questions about power and the relationship between medical power and those who are oppressed. Stueart asks us to question who is benefitting from medical practices and medical power and getting us to look at the way that medical practitioners frequently forget how much social and political power they have… and that their practice still shares the same biases as the rest of society. “How Magnificent is the Universal Donor” is a narrative about reclaiming our stories and using these stories to empower us.

To discover more about Angels of Our Better Beasts, visit http://chizinepub.com/the-angels-of-our-better-beasts/

To find out more about Jerome Stueart, visit https://jeromestueart.com

QueerCon During Capital Pride – A Retrospective

Most of the Pride Events that I have attended in the past have tended to privilege events of performance and dancing. Pride parades tend to construct queer bodies as spectacles for straight people to observe. There tend not to be a lot of events for the more geeky queer folk.

 

At the same time, most geeky events (fan conventions) tend to be highly heterosexual and not provide a queer space. When there are queer panels, they tend to be off to the side, leaving queer people feeling as though they were included as an afterthought or part of a diversity checklist.

 

QueerCon, part of Capital Pride in Ottawa, made a safe space to be queer and geeky, to push boundaries and imagine new possibilities. QueerCon provided a space for imagining new possibilities while questioning the structures that tend to erase queerness.

 

QueerCon provided a fun space for opening up questions and critiques and this energy could be seen from the attendees who walked around asking questions about why queer voices don’t appear more often in public spaces. People were excited about new possibilities and new opportunities for imagining spaces where queer people could be comfortable being queer. There was a freedom of expression that is rare in other spaces.

 

The day began with an animation workshop that allowed people to access their creative abilities and express themselves in a new medium. People grouped together in unique ways, using the power of play to question and critique the society that oppresses queer lives.

 

Mariko Tamaki spoke about her inspirations for her comics “Skim” and “This One Summer”, sharing her ideas about expressing queerness through the graphic fiction medium. Sophie Labelle continued this discussion later in the day when she talked about her comic “Assigned Male” and the expression of trans experiences. People who attended these talks were able to imagine new possibilities for expression and the use of creativity. Having comic artists speak allowed QueerCon to bring attention to the way that we can write and produce art creatively in a way that allows us to find and share our voices. Comics have the unique power of intertwining art and word.

 

I spoke on a panel on Diversity and Representation with people from diverse perspectives and diverse engagements with queer geekdom such as Mariko Tamaki (comic book writer and artist), Niq Cosplay (cosplayer), Saffron St. James (burlesque artist), Rhapsody Blue (burlesque artist). This allowed us to explore the diverse ways that we queer geekiness or geek queerness. By combining academic voices with cultural producers, we were able to interrogate the ways that we engage with our communities and how we can bring these communities together.

 

There was plenty of play to be had in addition to the discussions and QueerCon invited people to engage with Geek Trivia and questions about cosplay (the creation and wearing of costumes from popular culture). The discussion of cosplay allowed for the imagination of the ways that we can transform characters from popular culture by wearing their costumes. Essentially, cosplaying bodies can become tapestries for imagining new possibilities.

 

QueerCon was a needed addition to Pride, allowing for new ideas to develop in a safe space where multiplicity of voices was encouraged.

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