Here’s the second of two GF book club posts about Sorcerer to the Crown by Zen Cho. You can read the first chapter for free online and check out the first book club post about it. Then proceed — spoilers under the cut!
The votes came in and we decided to read Sorcerer to the Crown by Zen Cho. It’s a fast-moving period fantasy with a bunch of women and people of color, and it’s the first novel by this British-Malaysian author. Come for the dragons and stay for the social justice, or vice versa! You can read the first chapter for free online. Spoilers under the cut!
If you care about the parent nonprofit organizations of Archive of Our Own and WisCon, you might want to vote in their upcoming elections, and registration deadlines are coming up fast – in one case, today.
The Organization for Transformative Works registration deadline is the end of today, October 6, 2015. (To become a voting member, you must have donated at least USD$10 within the last year.) I believe the deadline is “11:59pm in your timezone” or “11:59pm Eastern Time in the US” since I just donated here in New York City and my receipt is dated October 6th around 8:40pm. Edited 1:52am UTC to add: The deadline is 2am UTC, or, in about 8 minutes.
Voting in the upcoming election for OTW’s Board takes place November 6-November 9. OTW supports the journal Transformative Works and Cultures, the Archive of Our Own fanwork archive, legal advocacy, the Fanlore wiki, and related activities. Here’s an unofficial roundup of how and why to vote, from an unofficial Tumblr following the election.
The Society for the Furtherance and Study of Fantasy and Science Fiction, or SF3, is the nonprofit parent org for the annual feminist scifi convention WisCon (which is nearly 40 years old). SF3’s annual meeting is scheduled for Sunday, October 18, 2015, at 11:30am (US Central time; link to time converter). Members can attend in person or via phone. The annual meeting includes an election to fill open officer positions and votes on proposed bylaw revisions and grant requests. To vote at the annual meeting, you must be an SF3 member by the time the meeting starts. SF3 offers three annual membership tiers, ranging from USD$9 to USD$24.
Apologies for being pretty late in signal-boosting this.
I’ve donated and registered to become a member of both organizations, and will be interested in learning more so I can be an informed voter!
Attention constant readers! It’s time to choose our next book!
Here are three candidates, two fiction novels and one research paper:
will be published 6 October 2015; 368 pages
I’ve pre-ordered this final book in the Ancillaryverse trilogy and will be eager to talk about it with other geek feminists starting, probably, on October 7th. Protagonist Breq used to be a starship, connected instantly to multiple bodies, and hasn’t quite gotten used to being singly embodied. I think the first book in the trilogy, Ancillary Justice, integrated fist-punching-related adventure with flashbacks and thinky conversations and interstellar intrigue and music really well. It’s about power and institutions, about the lived difference between true mutual aid and imperialism, and about how to be loyal to imperfect institutions and imperfect people. And explosions.
Ancillary Sword, the middle book, shifted settings to concentrate on one spaceship near one station orbiting one planet, helping us compare societies that are functional, dysfunctional, and broken. Leckie compares othering, oppression, and possibilities for resistance across urban and plantation settings. And I utterly bawled at one character’s soliloquy on the way to her doom, and at tiny hopeful steps of mutual understanding and community empowerment. Also, again, explosions.
The Ancillaryverse is scifi that argues with other scifi; you can see the Radchaai as Borg (ancillaries), or as Federation (per the “root beer” and Eddington/Maquis critiques from Deep Space Nine), and you can see Justice of Toren as literally the ship who sang (see the comments in Leckie’s post here, around the novels’ feminist lineage). I’m looking forward to seeing more of Leckie’s conversation with other speculative fiction, to more critiques, and more explosions.
published 1991; about 31 pages
Sociologist, psychologist, and technology researcher Turkle authored this paper with constructionist education researcher Papert, and reading it gave me new language for thinking about me as a programmer:
Here we address sources of exclusion determined not by rules that keep women out, but by ways of thinking that make them reluctant to join in. Our central thesis is that equal access to even the most basic elements of computation requires an epistemological pluralism, accepting the validity of multiple ways of knowing and thinking….
“Hard thinking” has been used to define logical thinking. And logical thinking has been given a privileged status that can be challenged only by developing a respectful understanding of other styles where logic is seen as a powerful instrument of thought but not as the “law of thought.” In this view, “logic is on tap, not on top.”….
The negotiational and contextual element, which we call bricolage….
Our culture tends to equate soft with feminine and feminine with unscientific and undisciplined. Why use a term, soft, that may begin the discussion of difference with a devaluation? Because to refuse the word would be to accept the devaluation. Soft is a good word for a flexible and nonhierarchical style, open to the experience of a close connection with the object of study. Using it goes along with insisting on negotiation, relationship, and attachment as cognitive virtues….
I appreciated the case studies of programmers and their approaches and frustrations, the frameworks analyzed and suggested (e.g., relational and environmental), and the connections to other feminist researchers such as Carol Gilligan. If you feel like your approach to engineering makes you countercultural, you might like this piece too. Here’s a plain HTML version of the paper, and here’s a PDF of the paper as originally typeset and footnoted.
published 1 September 2015; 384 pages
Author Zen Cho’s speculative and historical fiction foregrounds the perspective of women of color, specifically the Malaysian diaspora; she has non-US-centric views on diversity which I find both disorienting and refreshing to read! You can read the first chapter of her first novel, Sorcerer to the Crown, for free online. It’s a fast-moving period fantasy with a bunch of women and people of color. The blurb:
Zacharias Wythe, England’s first African Sorcerer Royal, is contending with attempts to depose him, rumours that he murdered his predecessor, and an alarming decline in England’s magical stocks. But his troubles are multiplied when he encounters runaway orphan Prunella Gentleman, who has just stumbled upon English magic’s greatest discovery in centuries.
I’d love to discuss themes in this feminist Malaysian-British author’s work with other geek feminists. In her postcolonial historical romance novella The Perilous Life of Jade Yeo, her short story collection Spirits Abroad, and in Sorcerer to the Crown, Cho depicts adventurous, mercenary, or blasé women who use, disregard, or otherwise play with expectations of femininity. She illustrates how both mundane and magical institutions use gatekeeping to prop up their own status hierarchies, and how that affects people trying to make their way in. Intersectionality, diaspora and immigration, the culture of British education, and queer relationships also appear in Cho’s stories over and over.
if you read The Perilous Life of Jade Yeo then you might be forewarned of the kind of genre switchup Cho is doing — I definitely see Prunella Gentleman prefigured in Jade Yeo. I particularly like that, in Sorcerer to the Crown, Cho writes in a genre that often has kind of a slow tempo, and moves the speed up so there are more exciting plot developments per page, and adds more Wodehouse-y shenanigans and off-the-rails conversations, without ever sliding into unbelievable-silly-farce-romp or territory. And there’s a spoiler I badly want to talk about with other people of color!
Something else altogether
You tell me! Let’s try to wrap up voting by Wednesday October 7th.
On Friday, I interviewed feminist technologists at a demo showcase in New York City. (Thanks to NYC Media Lab (a higher education-city government-industry partnership) for giving me a press pass to their 2015 annual summit.)
Ms. Fleurantin, (MPS ’15, NYU ITP), discussed her design with me, explaining that instead of being a phallic accessory like a lot of other erotic devices, Patchworked Venus emphasizes other erogenous zones. Her artist’s statement asks:
How can an erotic device become a tool for body modification: an extension of the user rather than a facsimile of an external, imagined person? And what then becomes of this augmented wearer, specifically when her body is not raceless like those present in dominant representations of the cyborg?
Patchworked Venus explores these questions by casting an intimate experience within the context of dress as performance.
The garment, in contrast to conventional vibrators, is meant to be worn, and uses heat, compression, and touch on the wearer’s back, inner thighs, and nipples. A warm circuit provides heat over the breast, motors like those used for haptic response in mobile phones give the user a sensation of touch on the back and the inner thighs, and an inflatable jacket and hood literally embrace the wearer with a pneumatic actuating system, providing a pleasant feeling of compression and constriction. She “designed and milled breakout boards for use with the Adafruit Flora” (from her “About” page). Ms. Fleurantin also considered using soft robotics and lithography to give the wearer a sensation of breath on the skin, but decided against it since that with that approach You need a 12 volt air compressor.
Check out her ten-minute thesis presentation for more on the Erotic Haptic Device and Patchworked Venus. In it, Ms. Fleurantin discusses her influences and process, including her upbringing as a black woman, learning from her mother how important self-presentation, grooming, and clothing were. I noted down some names and links from that presentation and from my conversation with her on Friday:
- Kate Hartman of the OCAD Social Body Lab, who’s also creating garments and wearables that express something about our emotions or environment
- Lea Albaugh’s Clothing for Moderns work at Carnegie Mellon (Adafruit coverage) – not a direct influence, but in the same discourse/conversation as Ms. Fleurantin
- Donna Haraway, “A Cyborg Manifesto”
- Derica Shields’s RHIZOME talk about black women as cyborgs in 1990s music videos
- “Venus in Two Acts” by Saidiya Hartman, on Venus as a historical trope regarding the Atlantic slave trade and white perspectives on black women’s bodies
- On black women’s bodies and sexuality: “The problem with Beyhive Bottom Bitch Feminism”, Real Colored Girls
- “My placement of the circuits were based on the work of Dr. Betty Dodson and the first ever study on erogenous zones Reports of Intimate Touch (conducted in 2013!) by Turnbull, Lovett, Chaldecott, and Lucas.”
(I had previously known Ms. Fleurantin because of her work on user research for the Mozilla wiki; I’ll be curious to see her next project as well!)
I spoke with Lucy M. Bonner and tried out her immersive harassment simulator “Compliment”. Ms. Bonner (MFA Design and Technology ’16, Parsons the New School for Design) developed “Compliment,” a virtual reality experience using the Oculus Rift, and you can see a demo video on YouTube if you sign in.
From her artist’s statement:
Compliment is an immersive experience of street harassment designed and created for the Oculus Rift. It demonstrates the fact that harassment creates an atmosphere of intimidation and tension for women on a daily basis, that it is not ok, and that it is not a compliment. Compliment conveys the forceful intrusion and violation of space and attention that makes a woman feel vulnerable, angry, and silenced in order to raise awareness and effect change.
Ms. Bonner received much more street harassment when she moved from Houston to New York City, and used those catcalls she heard in real life to populate the set of harassing comments that simulated harassers say to the player. She appreciates how virtual reality lets her offer, say, a 6-foot-2-inches man a way to experience the world as a shorter, more vulnerable person. “Many of the harassers in the experience are much larger than the player, which creates part of the sense of danger and intrusion in confrontations.” Also: “Players are unable to respond, as in the real world with concern for safety, and are forced to constantly hear and dodge unwanted attention.”
I mentioned to Ms. Bonner a truism I’ve heard (via Adria Richards or Lukas Blakk, I believe) that men tend to use augmented reality experiences like Google Glass to more powerfully navigate the world, while women tend to use them to document their experience in the world. Ms. Bonner wouldn’t put “Compliment” in that latter category, and not just because VR and augmented reality are different approaches; she considers “Compliment” more outwardly focused, showing other people what her experience is like rather than concentrating on gathering proof of the experience itself. “Compliment” conveys, as she puts it, the “cumulative atmosphere of silencing and objectification”.
Ms. Chin said that it’s been nice to be able to use things guys have said to her, and that hearing or seeing new annoying messages, she figures, it’s going into the pot. (This includes a comment a guy said to her during fair setup, just before I arrived.) You can also click the “Feed Me” button to add something a guy has said to you, if you’d like to add more quotes to the database.
Mr. Collinsworth hopes d.Bot will help men experience what women experience, both online and in the physical world; any one guy saying uncreative things doesn’t experience what it’s like to hear those same comments frequently and en masse. In that vein, he suggested that perhaps Tinder could show users an originality score as they type messages to other users, flagging likely boring messages and discouraging users from sending them.
Ms. Chin said that she’s seen other critique of boring or harassing men (street harassers and OKCupid and Tinder users) that’s more in a name-and-shame mode, and that she wonders whether a critique in the form of humor around originality and creativity would be more likely to change the player’s behavior, as opposed to dinging a user and saying “you’re a bad person”. For her and for other d.Bot users, the bot is also a fun way to vent — she said she’s seen women happy to finally have a chance to talk back to these messages in a safe, consequence-free sandbox.
I asked for her thoughts on feminist dating apps like Bumble, and we discussed the possibility that Bumble (in which women can and men cannot initiate conversation) is just moving the problem a little further down the road; instead of screening out men at the stage of initial online conversation, het women might find that they go on more dates with men who don’t interact well.
Ms. Raffaelli (MS Integrated Digital Media ’16, NYU Polytechnic School of Engineering) and I spoke a little on Friday, and then she answered my questions on SHVRK, her influences, and her feminism via email:
There are apps for women to track women’s cycles, and there are apps for men to track what they don’t like about women’s cycles. The former often have pastel palettes, cute logos, and an emphasis on fertility and pregnancy. The latter have a handful of angry responses from the feminist community.
As long as bodily fluids and excretions are taboo, periods will be taboo. The app was never meant to change anybody’s views of leftover uterine lining. That said, the divisive nature of the current apps on the market doesn’t offer many people the opportunity to level the playing field. What we need is an app with an interface with universal appeal. We need an app that doesn’t perpetuate traditional stereotypes, but educates and facilitates. We need an app that makes the monthly inconvenience a little more convenient.
I’ve tried apps with features I didn’t need. I don’t need help getting pregnant, I don’t need to share my uterine woes with a community of empathetic blood sisters, and I don’t need cute puppies to guide me through reminders to hydrate. What I do need is an app that alerts my man to the state of my hormones. What about the men who don’t care about the difference between pads and tampons, ovulation versus menstruation, or what PMS really stands for? Well, I don’t blame themI’m not sure I would care for the details either if I didn’t go through it monthly.
The first steps were figuring out what would make a man WANT to use the same period app as a woman. My favorite answers were from the “make me a sandwich” types of guys. If this could get you laid, would you use the app? But of course.
Who is this app for? This is for women who like men, men who like women, and women who like women. This is for the monogamous and polyamorous. This is for the people with a sense of humor. This app is for those who say “I don’t trust anything that bleeds for a week and doesn’t die.” This is for anybody who has ever been cockblocked by a period.
“…why you made SHVRK (including your dissatisfactions with other services and apps)…”
My shark week isn’t a big deal. In fact, I usually forget about it, and that’s why I started to use the apps. These would give me a heads up, and I realized, you know who else could use these updates? My boyfriend. When the conversation comes up, he tries to either be understanding or a comedian. He cares, but he’ll never really get it. Why not give him just the information he needs without framing it in etiquette and small talk?
My research showed that there were tons of apps for men. They seemed to have exploded between 2008 and 2010, and most of them enraged the feminist community. Could it be possible to make one app that could appeal to those menstruating as well as those not menstruating?
“…what technologies you used to make it…”
The graphite pencil. Illustrator, After Effects, and the rest of the Adobe suite. Started playing around with a bit of this and that for the final product, from PHP to Swift… This is a lot of learning as I go.
“…what some next steps are…”
Step 1: iOS or Android? Step 2: Launch.
“…your feminism and the ways in which the project is feminist…”
Feminism can be a scary word. Every female in this society develops a relationship with it, and that makes it a weighty, frustrating, and complex matter. Feminism is a spectrum. We might avoid it all costs, or we embrace our own definition, or we embody someone else’s interpretation without realizing it. That’s about all I can say about ‘feminism’.
I want to bid farewell to manbashing and figurative braburning. There are too many women in the world with no access to proper hygiene products and women who are cast out of their homes during that time of the month, but there are also too many manbashers and braburners here fighting a fight that’s been fought here. What if we take another approach to understanding the difference between men and women in the little world of people with smartphones and access to clean running water?
In April, Leslee Udwin visited NYU for a special screening of her film India’s Daughter. There are two relevant memorable moments from that night. The first was when Leslee Udwin said she set out to answer ‘why men rape’. The second was when I asked if she had found her answer, and she responded that she expected the men she interviewed to be monsters. She expected them to be textbook psychopaths. What she found was that they were just humans like you and me. They were not ‘bad apples’ spoiling the barrel. The barrel was bad.
There are bad apple feminists the same way there are bad apple chauvinists. SHVRK is not about redefining ‘man’ or ‘woman’, but about leveling the playing field between unique individuals like you and me, so we don’t have to hear “Are you PMSing? Are you on your period?”
“…and what or who some of your influences are.”
Leslee Udwin is pretty amazing, but here I have to officially say Happenstance. Nothing goes up on a pedestal like happenstance. Letting the cards fall as they may is magical and always a little mysterious. Let it lead the way.
I concentrated in this piece on discussing demos from the summit that particularly spoke to me on a feminist level, but I saw women technologists presenting many projects you might find interesting for other reasons. StackedUp uses AI for investigative reporting. NEW YOARK is an augmented reality mobile app that emphasizes the diversity of languages spoken in New York City. Bullet Pointe Lab designs and makes innovative clothes for ballet dancers, such as shorts with heating elements to help warm hips so they can open more fully. I saw multiple more clothing-related apps, natural language processing research, a tool to help you analyze your own social media activity, and a Twitter bot and collaborative storytelling and coding project telling the stories of people incarcerated at the Rikers Island correctional facility. On my way out the door, I spoke to one of the event staffers, a woman who’s working on Haveyouseenthem.org, a project to use the web and stickers on milk cartons to raise awareness of missing Central American and Mexican migrants.
Thanks again to NYC Media Lab and to the innovators who spoke with me.
Apologies for getting this up late; I’ve been travelling back from WisCon (where I also praised Trade Me at length!).
So as you saw in my April post announcing Courtney Milan’s contemporary romance novel Trade Me as a GF book club topic, I love this book for multiple reasons. From here on out I’ll be indulging in spoilers, so, more after the jump!
As Julie Pagano put it: “So many ‘diversity in tech’ efforts are about getting young women into the pipeline. Ignore the fact that there’s a meat grinder at the end.” So I’ve made a new fanvid (a type of video art piece): “Pipeline”. It’s a little over 3 minutes long and cuts together about 50 different sources over Taylor Swift’s song “Blank Space”. Specifically, this fanvid uses clips from documentaries, glossy Hollywood depictions of hackers, comics, code school ads, and the Geek Feminism wiki’s Timeline of Incidents to critique this dynamic. It just premiered at the WisCon Vid Party a few hours ago.
My launch blog post on Dreamwidth goes into more detail and includes a comprehensive list of video.
Download: on Google Drive (165 MB high-resolution MP4 file, 23 MB low-resolution MP4 file, 98 MB AVI file), or at Critical Commons with login (high- and low-res MP4 and WebM files)
Stream: at Critical Commons (choose View High Quality for best experience)
Lyrics subtitles file: http://www.harihareswara.net/vids/pipeline.srt (you can download this and then ask your video playing app to use it as a subtitles track)
It’s under the license Creative Commons BY-SA; please feel free to redistribute, link, remix, and so on, as long as you attribute me as the vidder, and license your derivative work under the same license. Comments are welcome, though moderated.
This is the second of a two-part post about feminism and the philosophies and vocabularies of “open stuff” (fandom, open source, etc.). Part I is at Crooked Timber, here, and I suggest you read that first.
Recently I was thinking about abstractions we open source software folks might borrow from fandom, particularly the online world of fan fiction and fanvids. I mean, I am already a rather fannish sort of open sourcer — witness when I started a love meme, a.k.a. an appreciation thread, on the MediaWiki developers’ mailing list. But I hadn’t, until recently, taken a systematic look at what models we might be able to translate into the FLOSS world. And sometimes we can more clearly see our own skeletons, and our muscles and weaknesses, by comparison.
Affirmational and transformational
While arguing in December that the adjectives “fan” and “political” don’t contradict each other, I said:
I think calling them fanwork/fanvids is a reasonable way to honor fandom’s both transformative and affirmational heritage
I got that phrasing (“affirmational/transformational”) from RaceFail, which is a word for many interconnected conversations about racism, cultural appropriation, discourse, and fandom that happened in early 2009. (In “Feminist Point of View: A Geek Feminism Retrospective”, Skud discussed how RaceFail influenced the DNA of Geek Feminism (see slide 15).) RaceFail included several discussions that X-rayed fandom and developed new models for understanding it. (And I do mean “discussions” — in many of the Dreamwidth links I’m about to mention, the bulk of thought happens in the comments.)
obsession_inc, in a RaceFail discussion, articulated the difference between “affirmational” and “transformational” fandom. Do you bask in canon, relaxing in the security of a hierarchy, or do you use it, without a clear answer about Who’s In Charge?
When we use these terms we’re talking about different modes: different approaches to source texts, to communities, to the Web, to the mass media industries, and to each other. It’s not just about whether you’re into pages of words or audio/video, and it’s not necessarily generational either:
So when I see the assertion that as a group, print-oriented old time fans don’t know how to deal with extensive cross-linked multi-threaded fast-paced discussion, all I can do is cough and mutter “bullshit”.
We have a long-standing heritage of transformational fandom — sometimes it surprises fans to know just how long we’ve been making fanvids, for instance. (What other heritages do I have that I don’t know enough about?)
And I’m mulling over what bits of FLOSS culture feel affirmational to me (e.g., deference to celebrities like Linus Torvalds) or transformational (e.g., the Open Source Bridge session selection process, where everyone can see each other’s proposals and favstar what they like). I’d love to hear more thoughts in the comments.
Expectations around socializing and bug reports
I reread the post and the hundreds of comments at oliviacirce’s “Admitting Impediments: Post-WisCon Posts, Part I, or, That Post I Never Made About RaceFail ’09”, where people talked about questions of power and discourse and expectations. For instance, one assessment of a particular sector of fandom: “non-critical, isolated, and valuing individual competition over hypertext fluency and social interaction.” This struck me as a truth about a divide within open source communities, and between different open source projects.
Jumping off of that came dysprositos’s question, “what expectations do we … have of each other that are not related to fandom but that are not expectations we would have for humanity at large?” (“Inessential weirdness” might be a useful bit of vocabulary here.) In this conversation, vehemently distinguishes between fans who possess “the willingness to be much more openly confrontational of a fannish object’s social defects” vs. those who tend to be “resigned or ironic in their observations of same. I don’t think that’s a difference in analysis, however, but a difference in audiencing, tactics, and intent among the analyzers.” When I saw this I thought of the longtime whisper network among women in open source, women warning each other of sexual abusers, and of the newer willingness to publicly name names. And I thought of how we learn, through explicit teaching and through the models we see in our environment, how to write, read, and respond to bug reports. Are you writing to help someone else understand what needs fixing so they can fix it, or are you primarily concerned with warning other users so they don’t get hurt? Do you care about the author’s feelings when you write a report that she’ll probably read?
Optimizing versus plurality
In fanfic and fanvids, we want more. There is no one true best fic or vid and we celebrate a diverse subjectivity and an ever-growing body of art for everyone to enjoy. We keep making and sharing stuff, delighting in making intricate gifts for each other. In the tech world I have praised !!Con for a similar ethos:
In the best fannish traditions, we see the Other as someone whose fandom we don’t know yet but may soon join. We would rather encourage vulnerability, enthusiasm and play than disrespect anyone; we take very seriously the sin of harshing someone else’s squee.
Sometimes we make new vocabulary to solve problems (“Dead Dove: Do Not Eat”) but sometimes we say it’s okay if the answer to a problem is to have quite a lot of person-to-person conversations. It’s okay if we solve things without focusing first on optimizing, on scaling. And I think the FLOSS world could learn from that. As I said in “Good And Bad Signs For Community Change, And Some Leadership Styles”, in the face of a problem, some people reflexively reach more for “make a process that scales” and some for “have a conversation with ____”. We need both, of course – scale and empathy.
Many of us are in open stuff (fanfic, FLOSS, and all the other nooks and crannies) because we like to make each other happy. And not just in an abstract altrustic way, but because sometimes we get to see someone accomplish something they couldn’t have before, or we get comments full of happy squee when we make a vid that makes someone feel understood. It feels really good when someone notices that I’ve entered a room, remembers that they value me and what I’ve contributed, and greets me with genuine enthusiasm. We could do a lot better in FLOSS if we recognized the value of social grooming and praise — in our practices and in time-consuming conversations, not just in new technical features like a friction-free Thanks button. A Yuletide Treasure gift exchange for code review, testing, and other contributions to underappreciated software projects would succeed best if it went beyond the mere “here’s a site” level, and grew a joyous community of practice around the festival.
I’m only familiar with my corners of fandom and FLOSS, and I would love to hear your thoughts on what models, values, practices, and intellectual frameworks we in open source ought to borrow from fandom. I’m particularly interested in places where pragmatism trumps ideology, in bits of etiquette, and in negotiating the balance between desires for privacy and for publicity.
CBS has just released a “first look” teaser for the new Supergirl TV show, coming this fall. I’ve always frowned at the name “Supergirl” for an adult woman, finding it infantilizing. The teaser tries to address this:
News announcer on television: “Media Magnate Cat Grant, of National City’s new female hero: Supergirl.” (news channel displays “#Supergirl”)
Kara Danvers: “We can’t name her that.”
Cat Grant: “We … didn’t.”
Danvers: “Shouldn’t she be called Super…. woman?”
Grant: “What do you think is so bad about ‘girl’? I’m a girl. And your boss, and powerful, and rich, and hot, and smart. So if you perceive ‘Supergirl’ as anything less than excellent, isn’t the real problem you?”
Calista Flockhart plays an authoritative Cat Grant, a casting choice which itself implies (to me) a defense of the type of femininity Flockhart performed as Ally McBeal in her best-known role to date.
I don’t find Grant’s argument convincing, since my particular beef with the “girl” suffix is around connotations of immaturity, and particularly because we do not tend to call men of similar ages “boys”. That’s unequal. But I appreciate that at least this teaser attempts a defense. And overall I loved the teaser, and it made me cry. Stories of women discovering and claiming our power, in ourselves and to help others, will always get me.
Hello! I’m helping relaunch the Geek Feminism Book Club, with a bit of a tweak in the interests of getting us going again swiftly (details at end). The book is Trade Me, a new contemporary romance novel by Courtney Milan, and we’ll talk about it in a comment thread here on May 28th.
In January, I snarfled up Trade Me. It stars a Chinese-American woman studying computer science at UC Berkeley. It’s about class and classism, deconstructing the Prince Charming/billionaire trope in romantic fiction, a product launch, Bay Area tech, ally fails, how to deal with cops, authenticity and adaptation, safety and freedom, trust, parents, and work. And one of the main secondary characters is trans, and all the physicality in the relationship is super consensual, and there is a kind-of reference to Cake Wrecks, and (maybe only I see it) to Randall Munroe’s “What If?” blog. I link it thematically to Jo Walton’s The Just City, Ellen Ullman’s The Bug, and the good parts of Amy Tan’s The Joy Luck Club. It’s pretty great, and you can read the first chapter for free at Milan’s site. (ROT13’d content warnings that are spoilers: qvfbeqrerq rngvat naq gur arne-qrngu bs n cnerag.)
Overall, Milan’s work is funny and loving and moving and smart. I like how she sets up and calls back to other books within series, I love that The Heiress Effect included an Indian guy, and I’m happy that she depicts queer characters and characters with disabilities. As a woman of color (“half-Chinese” in her words) she’s also especially aware of the importance of writing fictional representations of women of color in STEM, and of fixing broken standards that lead to unequal representation.
And she’s not just a geek, but a geek of my persuasion — specifically, an open source software maker. She wrote and wants people to reuse a chunk of GPL’d software to autogenerate links to a particular book at multiple online bookstores. Also she used to use Gentoo Linux. Of course she gives her readers permission to strip DRM from their copies of her books. Basically I would not be surprised if there is super flirty pair programming or a double entendre in a bash script in a future Milan book.
So this is the book for the next book club; usually we vote on what book to discuss next, but in the interests of getting momentum going again, I figured I’d choose this one by fiat and we’ll vote on the next one. Trade Me costs about USD$5 via any of several ebook retailers, and may be available via your local library‘s ebook lending program as well. Read it sometime in the next month and then come back here and we’ll talk about it!