July 23, 1982 (Day Five)

Mar. 11th, 2026 10:53 am
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= July 23, 1982 (Day Five) =



Today’s AA meeting revolves around the first of the twelve steps, “admitting that we are powerless over alcohol.” Gary Stevens wants to define my disinclination to make such an admission as a case of me being in denial about it. This was predictable. If I’m surprised about anything it’s that they’re only starting in with me about it now.

I’m glad I got Mark Raybourne for individual counseling and not Gary; Mark certainly has his shortcomings but Gary annoys me more. I think he does it on purpose, in fact: irritating the clientele as a method of prompting them to change their position or behavior. Gary has light brown hair and a beak of a nose; he’s strutting around in an unbuttoned dress shirt like a rooster: behold, I have a chest!

“Wake up and smell the coffee”, Gary tells me. “We’ve all been right where you’re at, saying we don’t see ourselves as alcoholics, don’t hear what people are telling us about our drinking, and refusing to say it. Just like the three monkeys, you know? See no evil, hear no evil, speak no evil. But you know that’s not gonna fly here.”

“I understand why this is the first step for an alcoholic coming to terms with their drinking problem”, I reply. “You can’t address a problem until you can acknowledge that you’ve got it. But that doesn’t mean that everyone who doesn’t acknowledge having such a problem is actually someone who does, but who hasn’t yet made that first step.”

“Talk plainly”, Gary Stevens urges me. “Don’t be playing word games with us here.”

“I thought I was being plain. Let’s try again, shall we? All alcoholics who don’t recognize that they’re alcoholics are in denial. But not all people who don’t consider themselves alcoholics are alcoholics in denial.”

“Are you talking about yourself?”

“I haven’t gotten that far yet. I’m talking in the abstract.”

“Well don’t talk in the abstract. Talk about yourself.”

“Hi, I’m Derek, and I’m not an alcoholic.” Pause. “This is where you all say ‘Hello, Derek’; that was your cue. I have never experienced myself as powerless over alcohol because I haven’t made an effort to quit drinking and then failed to do so. I haven’t made any effort to modify my alcohol consumption behaviors. You’re welcome to make the case that I should, but you don’t even know what they are yet. It’s not currently a concern of mine, though, and you don’t get to define my concerns. If I had decided that I should modify my drinking habits, and then found that I couldn’t, then it would make sense to consider that I was powerless over alcohol.”

“You’re very clever”, Emily pronounces, “but you’re pointing out something that we’ve all heard and most of us have said, and it doesn’t mean your drinking isn’t a problem.”

Party line. Just on the verge of exaggeration. I still can’t tell if she’s into this or if she’s making fun of them.





* * *



“All right”, I tell my psychodrama group, “Here’s the scene I came up with. I’ll need one person to play my dad and one to be my mom. I’m going to propose that y’all buy me a piano, since you’ve spent a lot more than that sending me to college and other schools which didn’t work out, and I think this might work out. And you argue that I’m being self-centered and irresponsible to think you owe me that after you’ve wasted so much money sending me to college and other schools and it didn’t work out. And then I’ll say I could have a career as a musician and you say that’s not practical and it’s just a hobby, and we can probably improvise from there.”

“Oh, that sounds good”, Marie says, clapping her hands. “Yeah, so a little bit about what your parents are like. Is he loud? Is he one of those ‘my way or the highway’ dads? Your mom, is she going to be worried you’re making a mistake?”

“She’s worried and hurt, for sure, but also the one more likely to make an absolute statement right off the bat. He’s all about showing he’s really listening and really cares, as long as I eventually accept his conclusions. No yelling. If they can make me yell, then I lose for acting immature. We’re southern, but we kind of act like yankees from those black and white movies from the fifties. No one gets to yell or stomp feet when we argue.”

Jeremy makes a deep appreciative nod. “Oh, that tells me a lot about you. Yeah, I can see that, that perfectly fits you. All right, Ronald, you want to take a go at being Derek’s dad? Noelle, you up for playing the mom?”

As typical of psychodrama, after running the scenario, I, as “director”, coach Noelle and Ronald towards some modifications in how they portray my folks; Marie and Jeremy and the other participating patients all make comments and suggestions. I am shooting for more accuracy; they, of course, are seeing what’s hitting my buttons and evoking a response from me playing myself, and trying to flush more of that out. Then we run it again with the changes.

After that comes the feedback section —

“I gotta say, I have to side with your folks”, Jake says. “I mean, it’s their money and you don’t get to tell them how to spend it. It’s like if I buy you a Christmas present. You can’t say ‘No, you have to get me this instead’, right?”

“Well, I agree with that”, I reply. “I’m an adult. I don’t seem to be very good at it, but I’m past the age of being entitled to support from them. So it’s not that they owe me. But it’s very frustrating that when it was their idea they were all for paying for me to get a future, and I tried their idea; but it didn’t work out. So I see a direction I want to try, I think I can write music and play it on the piano and sing, and a piano is a lot cheaper than a college tuition. But that they won’t pay for.”

“So you do think they owe you”, April says. “You’re saying since they paid for college they owe you a piano. You know, dude, that doesn’t make a whole lotta sense.”

I need to pause and run that through a few times. I know it looks like April’s got me quite stuck, but never mind that. I’m occasionally making ‘please wait’ gestures to them all. Finally —

“It’s really not about them owing me, but how it feels, the emotional side, is a lot the same as that of being owed something. Something like ‘I wanted something better out of this, and I expected better from you’. I’m disappointed in them. Oh, and it’s mutual. What I get from them is ‘We’re so disappointed, we had such high hopes’. I’m owed something more abstract than a piano. They feel like they’re owed something too.”

“Okay, I hear you”, April answers. And other people in the room are exchanging the kind of glance I associate with Whoa, Derek just made sense. I often don’t, to people, but I do land one occasionally.

“Derek”, Marie suggests, “I want you to say something to your parents here. Take some time, but say what you’d actually say to them if you had them here to listen.”

Following Marie’s advice, I do take a moment to assemble my thoughts into words. Then —

“You get worried and disappointed whenever these plans for my future don’t work out, so having a plan that works is very important to you. And you want me to take it seriously, so that, ideally, having one that works is very important to me, too. But you mostly haven’t included me in the planning before the ‘pick from these options’ stage. The one major exception was me saying I wanted to learn auto mechanics at vo-tech instead of going to college, and that’s the one course of study I finished successfully. The jobs I could find weren’t enough to let me move out on my own, but it wasn’t a failed career yet and still you pitched to me to go back and try college again, that was your idea...

“Sorry”, I interrupt myself, “ I’ve gone off on a tangent. I want to go back to the being worried and disappointed thing. That’s really what I want to talk about. I’m doing my most focused thinking about what I actually should be doing with myself, I’m taking it very seriously. And you addressing me like I’m irresponsible and unconcerned about my future is getting to be annoying. Not everything that hasn’t worked out pleasantly in my life is my fault. That doesn’t necessarily make it somebody else’s fault, but it’s still true.”





* * *



There was that moment in the psychodrama when I’d had that feeling of connection to the roomful of people I was speaking to. When I say making sense, I don’t mean “Hello, my name is Derek” or “Well, if you want to get on Interstate 40, take Interstate 25 south until you get to Albuquerque”, those things make sense, but they’re not new thoughts, they’re familiar patterns; I’m really talking about expressing something that they’ve never heard put into words before, but talking about everyday familiar life and its aspects, so there’s both a spark of surprise and a spark of recognition.

I have a lot of stuff I want to talk about that I think could hit people that way. Comedians do that. Tickling that spark of recognition, you know? I’m all serious and pompously full of intentions and I wouldn’t make a good comedian, but I want to hit people that way too. I came here hoping to sharpen this, so show me how to reach people in such a way that I can make that happen more often.

You want to know what I want to do with my life, Daddy, Mama? I want to be a political social activist. I want to start a movement. But I don’t know how.

Because a lot of the time when I try to talk to people about this stuff, those sparks don’t happen. People think I’m trying to be interesting to make myself popular. Some of them think I’m trying to be interesting and failing rather badly at it. Others assume I want to prompt a debate, and the ideas are just startup fodder to fuel a good debate. And a whole lot of people just think I don’t make any sense.



So yes...I had a good experience in psychodrama. I felt heard, but I also got challenged, I mean a legitimate challenge to my own way of looking at something personal. For all that Elk Meadow is frustrating, I could actually get something real out of this, something that I need.

I walk to the short hall with the little piano and sit down. The bench creaks. Piano is a Yamaha, a popular practice-room spinet, glossy black, straight lines, functional. I take out a pen and some scratch paper — the back side of someone’s discarded Elk Meadow schedule filched from the trash can — and shake the pen vigorously to get it to flow more evenly. An hour later I have four verses and a piano part for a new song called “Waves.” It’s specifically about being here, and the challenge to stay vulnerable enough to get something out of it while simultaneously being tough enough to engage with it and not be controlled by the people who like to push other folks’ buttons a little more than they should.

Another half-hour later, I’m singing it and playing it and totally getting into it. It’s got passion and fragility, intensity belted out on the high notes in places and in other spots the piano ringing a suspended chord and the voice part shimmery and delicate on top of it. I picked well when I chose the key of A major, I sound damn good on those high E’s.

I once again get the sense that there is another person standing behind me. The way the hallway is set up, anyone from our unit walking past the piano comes from behind and to the right of it. So anyone coming to hear would come up from behind me.

Perhaps me becoming aware of her is expressed in some way that she picks up on; Ellen steps forward. Green and white cotton shirt, sash tied around the waist, arms loosely crossed. I pause, and she speaks. “You wrote a song about being in here.”

“Yeah, I did.”

“I thought you hated it here”, she says, glaring at me suspiciously.

“It’s complicated. I could get some good help here and really grow, but the stakes are high and they’re my stakes. I’m here for a consult and some help but I’m in charge. I’m not turning my mind or my life over to anyone else.”

“Everyone wants to take over mine. I mostly don’t let them but I fuck everything up when I’m in control.”

“Do they fuck things up for you any less when you do let them?”

“No. I just sometimes get tired of fighting, and fine, you steer, I don’t really care. It’s better in here.” With that, Ellen nods and walks back down the hall. It’s the least hostile she’s ever spoken to me.

I return to working on my new piece.





* * *



“What do we think of Derek’s growth and progress at this point?”, Irma asks the full community group. I am this evening’s subject matter because there were complaints about the “cram” posters still being on my door, and then other people (Jake, April, Noelle) actually rose to my defense, saying I was participating here in earnest and not just insulting everyone.

My counselor Mark is recognized and stands, looking contemplative. “Derek has reached some real important understandings, and I think we would all acknowledge that. His biggest barrier is that he intellectualizes and avoids his personal issues a lot of the time.”

Gary Stevens seconds all of that and adds, “He hides behind a lot of ten dollar words and ivory tower blather when he wants to avoid addressing things that others have brought to his attention.”

George is the first resident to speak. He states, “I think Derek is coming around, but he still, his first instinct is to bullshit, and he still goes with that a lot of the time.” George, a Black man probably in his upper twenties from the look of him, always seems a bit amused. I remember him saying the other day that maybe Ellen doesn’t like me because of my sexual orientation, spoken with the same sardonic smile.

Joanne’s take on me is, “I think Derek really likes to hold himself apart. He’s afraid of not being accepted so he holds back and says ‘I’m not really one of you’, and also I think he’s very unhappy with himself’.

Jeremy from psychodrama says, “Derek has a lot of courage, and he’s very smart. Some of what comes off as intellectualizing is him processing. I think he gets there eventually and sees what he needs to see, but like anyone, it’s hard going at first.”

Emily is recognized and states, “Derek distracts from his own issues by talking about social causes and politics. It’s a fancy way of saying everything is somebody else’s fault. That’s not him processing, that’s him refusing to process and I think we should call him on it more often.”



I have had the opportunity on previous occasions to see other residents put on the hot seat in community group. Ellen. Ronald. There seems to be a sort of script for how this goes: the mostly critical comments eventually make the targeted person angry in places where they feel like somebody has misrepresented how things are, and they start defending themselves, then they get piled on for being defensive and get pushed to admit they’re guarding themselves against the truth, after which there’s a sort of reconciliation and it gets called a growth moment.

I can look out of one cynical eyeball and one earnestly trusting one and see the same thing in stereoscopic vision: it isn’t good to respond until I’ve heard everything these people have to say and given it thoughtful consideration. There might be truth, partial or otherwise, in some of these observations. But it also makes sense to thwart the script and not rise to the bait and put a bunch of defensiveness on display.

There are a few more people who add their agreement to the notion that I intellectualize, and seconding what Emily had said about me invoking social and political situations when talking about my stuff, that doing that was a way of not dealing with my issues. I nod occasionally to show I’ve been listening.

It winds down. No one seems to have anything else to add.

Dr. Barnes asks, “Well, Derek, do you have any response to all this feedback? I know you have some thoughts to share with us.” Slow and deliberate, he sounds like he’s willing to listen to my side. His hands are open, palms upward, and he spreads them apart from each other in inquiry.

“I think...”, I begin, “... that for everyone, resistance to threatening ideas can take the form of clinging onto ways we’ve already got, ways we’re already comfortable thinking of those matters. And we shove information and experiences into those boxes even when they don’t really fit, to avoid dealing with them. For me, a lot of my familiar boxes are intellectual. I’m sorry if I come across sometimes like some stuffy stilted college professor who thinks he can learn life all from reading books. I don’t think that intellectual concepts are... you know, like ...something’s wrong with them automatically. It’s not that they’re intellectual and use a bunch of complex concepts and, how did Gary put it? ‘Ten dollar words’. That’s not what makes it defensive. It’s the act of not listening. Thinking that if I can put my thoughts into words better than you can, they must be better thoughts. That’s arrogance. And, to make it personal, thinking I’ve already heard what you’re saying before, so I don’t need to listen to all of it. I’ve caught myself doing that a lot. So have some of you, I guess, and you should keep on calling me on it. I’ll try to listen more.

“Now, the thing about bringing up social and political matters when I talk about myself... it’s one thing if somebody says ‘Don’t complain about my temper tantrums and missing work, that asshole Ronald Reagan got elected’, or ‘Why are you after me for my drinking and drug habits, what about the exploitation of South Africa?’, then yeah, that’s deflecting, and I agree it isn’t directly relevant, or not likely to be. But when I bring up political content, it’s almost always because I think it really does matter, and sometimes it does. Like a person being asked why they can’t manage to keep a job might bring up racism, if there’s discrimination and a belief out there that people of their race are the wrong people to give those kinds of jobs to. That doesn’t automatically mean that they’re right, or that you have to agree with them about everything, but it isn’t irrelevant.”

“In here, we want you to focus on you”, Dr. Barnes counters. “You can’t go out and fix the world and solve its problems when you haven’t dealt with the mess in your own life.”

“My own life isn’t just me by myself. When someone asks me to describe how things are for me, they mean my situation. Me in a context, me in an environment, with other people and what they expect and how I deal with them — which might be badly, it might be stuff I need to work on, but that’s social and political right there, the expectations and the roles and how things are set up.”

“I think Derek is intellectualizing again, don’t you?”, Barnes responds.

“If I am”, I retort, “I’m doing so relevantly, and calling it intellectualizing doesn’t make it wrong. Or defensive, or avoiding or whatever.”

“I think you’re just afraid to confront your own worst enemy, because unfortunately he isn’t out there with expectations and roles, he’s right there where you are.”

“And I think you and your staff like to ask us where we’re at, and I’ll give an answer like ‘I am a male nursing student on a medical floor in Athens Georgia’ and you’ll say, ‘No, don’t talk about that outside stuff, we want to know where you are at’, so I’ll say ‘I am a lonely shy stubborn sissy person trying to cope with a world I find strange’, and you say, ‘No, don’t talk about the strange world and how you’re different or special, we want to know where you are at’... so I’m reduced to saying ‘Well, I’m directly above the center of the earth, with my head in the air and my feet on the ground’. Even that includes context. The only me that there is is in a context. It’s the only where that I’ve got to offer you, and that’s where I’m at!”

“Derek...you think you know everything and have nothing to learn from anybody, because you’re used to spewing that intellectual nonsense and having everyone accept it and ignore that it doesn’t make any sense.” Dr. Barnes pauses to spread his arms, as if to gather and embrace the room. “You need to learn when you aren’t the expert. You are in Elk Meadow Clinical Retreat, which is a state-of-the-art recovery and rehabilitation facility, and I have advanced degrees and the advantages of years of practice. You aren’t the first person to come in here and try to snow us with a stream of pseudo-educated word soup.

“Now I suggest you listen to the people in this room. Many of us are experts at this, and others are your own colleagues and fellow sufferers, and yet you’d rather stuff your fingers in your ears. You haven’t solved your problems so far, so, since you’ve opted to be here, why don’t you let us take a crack at it? You know, I have an international reputation for the work I’ve done in my field, and people come from all over to listen to my lectures. Or to apply to be in this facility. We save people here. Let us help you.”

I shake my head, disappointed that Barnes isn’t actually listening to me. Guess he just likes to adopt a pose that comes across as thoughtful and sincere. I tell him, “I’m here to listen and consider what you and anyone else here has to say, but the name of my treatment team leader is Derek Turner. The final decisions about what’s in my best interests, therapeutic or otherwise, are mine. I can’t take responsibility for my life if I don’t have authority over it, because responsibility and authority are two words for the same thing.”

“Oh, listen to...”

“You’re!!” — I actually manage to cut him off —  “used to controlling people in here with reward and punishment. You’ve learned how to isolate us so that the only sources of approval or disapproval are people who are all afraid to express anything that you haven’t ratified. Your tiers of privilege are all about residents proving that they can be an obedient part of Dr. Barnes’ echo chamber. Anyone who doesn’t echo doesn’t advance to the higher levels. It’s how dogs and rats are trained, with rewards and withholding of rewards and penalties and so on. Well guess what? I do need approval and acceptance eventually, from someone, but I don’t need it today, and I don’t need it from you. Or from anyone else whose strings you’re pulling.”



After that, there comes a long queue of people, primarily but not limited to staffers, taking their turns describing all of what I’d just said as a continuation of my stubborn denial of my own issues, and a typical example of me intellectualizing.

I listen patiently and smile a lot and reply seldom, occasionally stating that I’ll give what they just said all the attention that it deserves.

I do see a few people sitting more quietly and looking thoughtful. I might be making sense to someone.





* * *



After group, I walk past Dr. Barnes’ office door and read the black nameplate on his door. “Dr. James F. Barnes, M.D., Pc.”

Then I go into my room, take out a sheet of typing paper and a standard black ink pen and write “Derek S. Turner, H.B., Pt.” in hollow outlined letters, and fill in all around outside the letter borders with the black ink to the approximate dimensions of a nameplate. I then cut out that black rectangle with its white letters and carefully tape it to the door below my “cram” posters.


————

I'm seeking feedback on my book Within the Box right here, one chapter at a time.

I'm hoping people will read it and comment on it as I go. I'm hoping that if they like it, they'll spread the word.

When I get to the end, I'll start over with the first chapter, by which point I'll no doubt have made changes.

Meanwhile, I'll keep querying lit agents, because why not? But this way I'm not postponing the experience of having readers.



—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.




Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on Substack and LiveJournal. Please friend/link me from any of those environments on which you have an account.

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Heir


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The protocol for entering the palace changes from time to time, so I can only offer a general outline. If your business is with the court or council, you should present yourself and your credentials to the guards at the southern gate of the outer wall of the palace. It is best to arrange beforehand for your visit. If this not possible, or if you cannot provide an exact time for your arrival, expect to wait as your credentials are sent into the palace to be checked.

Normally, you will be provided with an escort into the palace. If you arrive at a time before the palace begins its day, you will be expected to make your own way to the eastern gate of the inner wall. There your credentials will be inspected again, along with any document that the palace has sent out, permitting your entrance. You will then be allowed to enter the inner wall and make your approach to the palace itself.

The palace being located atop a high hill, you will find yourself faced with the steepest and longest set of stairs in the world. Pace yourself. You may wish to bring refreshments to partake of at the halfway mark.

At the top of the stairs, once you have recovered your breath, you should show your credentials and palace document to the guards at the gate, holding them up for inspection. The guards may not appear to look at you or even notice you. Do not be deceived. Those are real spears they are holding across the doorway.

If the guards grant you entrance, they will lift the spears. If they do not, you must retreat to the palace's inner wall and determine there what the problem is.

Assuming you manage to pass all these barriers, you will find yourself in the entryway to the palace. You will be guided at this point through the remaining stages of reception, which vary according to your rank and status. At some point, however, you will be let loose from Emor's protocol and permitted to take your own path. Let us start with a general introduction to the Chara's palace.


[Translator's note: This breathtakingly long procedure can be cut short if you possess the right credentials, as can be seen in Breached Boundaries.]

july 22, 1982 (Day Four)

Mar. 4th, 2026 11:43 am
ahunter3: (Default)
[personal profile] ahunter3
= July 22, 1982 (Day Four) =



I slip off by myself after breakfast and find my way back to that little piano I’d seen. I sit down with my morning coffee in my left hand and play some gentle running chords, arpeggios and such, with my right. It has a nice sound for its size. Maybe I’ll come back here later and play for real. At the moment I’m feeling a little bit fragile and shy. It would be one thing if people basically left me alone and let me play, or came by to listen and said nice things. It would be something else if someone told me to stop making noise or said something hostile while I was playing.





* * *





In the same room as yesterday evening’s Alcoholics Anonymous, I now get introduced to its younger sibling. Narcotics Anonymous.

“Yeah, it’s the same twelve steps, but there are some things that got added by people coming from a place of drug addiction, like ‘Stick with winners’, where we’ve learned that you can’t get clean and stay clean and still hang out with people who are still getting wasted”, George informs me.

A woman I’d seen but hadn’t been introduced to yet scrapes her chair, pivoting it to face me. “You can’t make amends to all the people you’ve hurt as long as you’re still blaming most of them. Lots of us here, we practically had needles with us in our cribs. Like here’s Sesame Street and today Mr. Muppet is going to teach us how to freebase.”

“Noelle’s right”, Valerie tells me. “But some of us didn’t get into it until later in life. They give you stuff in hospitals for pain, like if you wipe out skiing and your leg is in pieces, or you get kidney stones so bad they have to bust them up with a supersonic hammer.” She glances over at Ellen momentarilly, then back and continues. “So you find out that you like it. And when you get out you can get more. At least for awhile. Then when they won’t refill your scrip anymore, you ask around and your friends have leftovers, or their cousin’s doctor keeps on refilling and we can buy some off of him.”

“And nobody says you’re a junkie, not then”, Ellen remarks. “Junkies shoot up in phone booths and buy drugs in the park after dark. But as long as you got what you’re using from a prescription pad, you’re just doing what the doctor told you to.”

“Well, that’s getting awfully close to blaming other people again”, Gary Stevens corrects her. “But yeah, narcotics isn’t just heroin. People get strung out on dilaudid, demerol, vicodin, morphine, codeine... ”

I nod. “I’m familiar with those from nurse’s training. I’ve even administered some of them.”

Gary smiles. “How often did you end up on the receiving end of your ‘administrations’?”

“Never did. I never stole or used any hospital medication and I’ve actually never even injected myself, although in nursing school we had to inject each other once with plain saline.”

“Aww, c’mon, man”, George protests, “it’s just us here. What got you into this fancy resort?”

Ellen is saying something more derogatory under her breath, from the tone of it; but I can’t catch it.

“You folks want to know what drugs I made use of before coming to this place.” I make it a statement. I tick them off on my fingers. “I smoke pot. I drop acid a few times a year. I’ve smoked hash now and then. I’ve taken mescaline once or twice. Never managed to score any peyote, but I’ve done mushrooms a few times. Going tripping.” I switch to the fingers of the other hand. “Several times people have tried to turn me on to cocaine, but all it ever does is make my nose go numb, so I don’t get what that’s all about. Let’s see... one time I tried something that was supposed to be MDA, I don’t know if it was or not, it turned me into a total zombie, I had to crawl out of that party, couldn’t stand up. Codeine... my mom had some codeine capsules, and twice in junior high I swiped about four of them, but after that they were so low I knew she’d notice, and she never got a refill. I can see why opiates are addictive, it’s probably a good thing I didn’t run into more of it. Umm...oh yeah, once I tried swallowing a whole lot of ground nutmeg because I’d been told it was psychedelic in large quantities, but all it did was make me really irritated at everything. That’s all I can think of.” It actually sounds like a pretty hardcore list to me.

“Bullshit!!”, Jake says, scowling. “I thought you were seriously on the up and up, man, I really did. How you gonna work on yourself when you can’t stop lying to yourself and us even when you know that lie’s not gonna fly. There’s no way you end up in a place like this for smoking some joints and going tripping on weekends!”

“I’m not bullshitting you. I told y’all that I don’t think of myself as having a drug or alcohol problem. I may have other problems getting in my way, and yeah my parents think so, they’d think anyone who drinks more than two beers at a time or drinks every weekend has a drinking problem, and their attitude to pot is straight out of Reefer Madness.”

“Hold out your arms”, April challenges.

I do. Several people peer at the crease of my elbows. Jake and April exchange dubious glances.

“That don’t mean shit”, Jake proclaims. “He’s in nursing school, I’m sure he knows how to sterilize a needle. Or he could be shooting between his toes for all we know.”

“To start out with?”, April replies. She holds out her own arms wordlessly. White spiderwebs trace patterns. Jake and George display their own histories.

“Okay”, Jake concedes, “so maybe cocaine then. Ronald did most of his up his nose.”

“I told you”, I argue, “I’ve tried it, I dunno, maybe five or six times, always some friend or the good buddy of a friend going to introduce me to the best experience of my life, and they’d lay down these tracks and give me the straw, and I’d shnurff the stuff up my nose... and they’d be staring at me like ‘Wow, right? Isn’t that the most fucking fantastic feeling ever?’, and I’d be like, ‘Dude, my nose is numb, this is like going to the dentist and getting novocaine, when does this shit wear off’...?”

Incredulous stares all around.

“I get a better buzz off of coffee. I don’t know why, that’s just how it is.”





* * *





“Hey, Derek”, Emily greets me at mid-corridor. “Do you feel like you’re settling in and getting used to the place?”

“Well, somewhat. And vice versa. Still a lot of wariness on both sides of the equation but not too bad.”

“It does seem like you’ve opened yourself more to the community lately”, she agrees, “and that’s a good start. It might be a good idea for you to begin thinking in terms of your progress. As you know, we have four tiers of achievement, starting with Level Four, which you earn just for getting yourself here and recognizing you need to work on your issues. With each new level that you bring yourself to, you are trusted with more privileges and you play more of a role in assisting other people in their own climb. You reach Level One and you’re a candidate for discharge, and they place you, they help you find jobs.”

“Who makes the progress assessment? Does each patient make their own, or Dr. Barnes, or our individual counselors, or what?”

“The community as a whole discusses it in group. Dr. Barnes has the final say, of course, but it’s all of us together.” She shifts the notebook she was carrying to the other arm and shoots me a small smile and gives my shoulder a gentle squeeze.

“Aah, I see. And let’s say someone wasn’t regarded as making progress but they were satisfied with how they were doing. How does that play out?”

“Well... that would usually be a sign that they’re stuck in a place where they aren’t seeing their own issues as clearly... I mean you have to let them go at their own pace, I guess, but the path to graduating out and rejoining the larger community is up the tiers. They’re not going to put a person who’s at Level Three back into the world and set them up for failure.”

“It was my understanding that a person could leave at any time if they decided this place wasn’t working for them, though...?”

“Well, yeah, I mean if someone was signing out of the program. Then they’re on their own.” She shrugs and looks back at me a bit sorrowfully.





* * *







“Cast Iron Window” is an instrumental piece I composed while I was living in Athens. I had found several places nearby where I could get access to a piano, to make up for the lack of one at my grandparents’ house. Composed a lot of pieces in youth centers and churches and schools.

“Cast Iron Window” is a piledriver of a piece, more the kind of rock you expect to be driven by a bass player, with the left hand oscillating a fast staccato pattern way down in the cellar of the keyboard, while the right hand smashes slow emphatic chords like the power chords on a lead electric guitar.

The piano is situated in a small alcove at one end of a fairly short corridor that people make use of to get out to recreational activities. The sound is good from where I’m sitting, but I think it probably isn’t overwhelming anyone out beyond this hallway.

Deep into the piece, around the point where it finally resolves into a coda section, I become aware of a presence, someone standing behind me watching and listening.

I build the melange of overlapping chords then simultaneously release the damper and lift my fingers while holding down the sostenuto pedal, and let the sound echo in the hall.

“How do you do that?” It’s Noelle, the short-haired patient I met in Narcotics earlier. Valerie with her. “How are you making the piano sound like that? I used to play piano some but you’re getting a different sound out of it somehow, like you got a distortion pedal or something.”

“Yeah”, Valerie adds, “that was actually pretty awesome.”

“Wow, thanks. Well, for one thing, I’m pounding a lot of very low notes, so they resonate all up through the strings up above them, and with the damper pedal down most of the time it really lets overtones build. I’m also using a trick with the middle pedal, on these little spinets they do this thing where the dampers lift completely from the lower harp but just lightly touch on the upper strings — that lets me bang out short sharp notes and chords, they don’t sustain like the low notes, but they still ring more from overtones than if you weren’t using the pedal. It’s different from what a real sostenuto pedal does if you’ve got a grand, but it’s useful for certain effects.”

Noelle looks thoughtful. “You wrote that, I mean it’s your own music, isn’t it?”

“Yeah... I discovered a long time ago I could come sit at the piano and, whatever mood I was in, the piano would give me the right kind of company. Like if I was all lonely and sad, I’d touch the keys soft and get plaintive pretty sounds and they’d be like hugs or something, or like the piano was crying for me, and it would make me feel less alone. Or if I’m angry and frustrated, maybe I’d come pound and bang away on it, like what you just heard, and it makes these big powerful sounds, and that would make me feel better, too. I think music has always been my best therapist.”

“That’s cool. Well, we didn’t mean to stop you. Play some more. I mean, if you feel like it.”

I do. I launch into something else. Later, when I glance around, they’re gone, but it doesn’t feel like being deserted or abandoned. It feels like someone came by and heard, even if they weren’t here listening now, and that was nice.



* * *





Mark’s office is one of the most featureless spaces for any kind of personal counseling that I’ve ever seen. The desk is a metal-legged brown-topped box, designed to look like wood but made entirely of metal and plastic, utterly planar and sharply cornered. Mark has a metal file holder with a handful of manila folders about organizational procedures, and a phone, but no personal items or motivational posters or anything like that; the low bookshelf holds dictionaries and a Physician’s Desk Reference and the DSM-III psychiatric diagnostic handbook and other reference materials, very generic.

And yet.

So far, Mark has always come from behind his desk to sit directly across from me and I presume he does so for all of his patients. I guess he doesn’t want the desk to come between. Maybe he hopes it will foster trust and a sense of equality. I appreciate that.

“The selling point that really pushed me towards coming to Elk Meadow was communications skills and strategies”, I tell him. “That’s where I think I have the biggest deficits. I didn’t fit in with other kids very well after about third grade. When other boys would hassle me about doing what a girl would do or saying something that sounded to them like what girls would say, or, just in general, you know, being like a girl, ... I mean, when they did that to each other, the boy being called out would usually get all angry and blustery and push that away, you know what I mean? ‘Come over here and say that’, or ‘Prove it, fairy pants’, and I was more like ‘Yeah, so? The girls are doing it right’, and so I didn’t push away from doing or saying things that might get me seen that way because I didn’t care. So after a few years I was mostly off by myself. I didn’t notice right away. I still had some friends who were girls, but it wasn’t as easy as when I was a young kid. A lot of the girls would just view me as different, even if they weren’t often hateful about it the way the boys were. But I still had some girl friends, and there were also a couple friends who were boys who didn’t hate me and think I was weird, and who seemed okay. But not many people. I was pretty isolated, enough for my parents to get worried.”

I stretch and cross the other leg on top and continue. “I think there’s a lot of informal stuff that people with more friends learn without even knowing it, like how to read other people’s expectations and pick up on things that don’t get said out loud. I’m trying to learn that, but growing up I didn’t get as much practice, and I spent a lot more time with my head in a book. In a way, I’m like a foreigner who learned the language but who speaks it kind of formal and stilted, and it’s not how native speakers actually talk. I don’t just mean my actual language, though, that’s just part of it, but, like, I’m comfortable in a classroom but awkward at a party or just hanging out.”

Mark nods. I continue, “I need to be able to reach out to people and make sense to them, but I’m always at a disadvantage. I think people think I’m stuck up in some way, or... I’ve had problems with employers too, I’d show up on time and work as hard as I could and a lot of times they’d say I had some kind of attitude problem. Not the... not the ‘giving you back-talk’ kind of attitude problem, I don’t mean starting arguments or refusing to follow the boss’s orders, but something that they don’t like.”

Mark holds his chin in his hand, listening. He nods again. “So... you do accept that it’s likely that you have your own internal blocks, your own resistances to changing this pattern that you might have to cope with in order to make any progress with this?”

“Yeah, I think that’s very possible. I have my patterns, my ways of doing and saying things, which I’m used to, and I’m also afraid of any kind of reaching out to other people and ending up caring a lot about the outcome, and then failing. Or not being able to get to the point that I’m any good at it. I have stuff in my head, ideas that I think need to have an impact on the world, but they aren’t doing any good while they’re stuck here in my head.”

I sigh. “Honestly, if it were just me, fitting in or not fitting in, me having friends or not having friends, it’s enough now, I don’t have to fit in everywhere and I don’t need everyone as a friend, so I don’t need to care about the rest, about everyone else, where I don’t fit in. But now since I want a receptive audience, I need something from people, from practically everyone. I’m asking for their attention. I don’t much care for that situation, so it’s likely that I do close my eyes to stuff.”

“Well, I think it’s a real breakthrough that you’ve come to this realization so quickly. It’s definitely an encouraging sign of your progress here. I’ll talk with the rest of your treatment team about you being interested in pursuing that.”

I don’t contradict Mark on that, and we conclude our session.

I didn’t just come to this realization, though. It’s been flickering around in my head over the last two years of reading pieces I’d written at open-mike events and watching my supposedly provocative and insightful thoughts fall out of the PA system speakers and die quietly on the floor. It’s on my mind whenever I sit on my bed at home in frustration, trying to figure out what to try next.

But if the Elk Meadow personnel want to think they’ve led me to this new self-awareness, it makes sense to let them. It might ameliorate their sense that I’m resisting their help, and with any luck we can move past this adversarial standoff and focus on changes I actually want to look into making.

If they don’t want their patients reacting with distrust, they shouldn’t make the experience feel so much like being in a cage. The oh-so-enlightened egalitarian approach touted in their literature that impressed my mom and my dad looks mostly like window dressing at close range. Yes, the staff and the patients wear street clothes, but everyone still knows who is a patient and who is on staff. They’re the ones with the keys in their pockets, the ones who can open the doors. No, it’s not a gothic horror house like Mountain View in Albuquerque, with its barred prison-like windows and straitjackets and seclusion rooms, but they don’t actually need bars in our windows; those aren’t normal residential screens in our windows, our screens are made of steel mesh of a gauge that you wouldn’t be able to put your foot through, or even easily hurl a chair through. Thanks, Ken Kesey. And although nobody chases me around with a loaded Thorazine needle or a canvas restraint, the intense attention — with clinical expertise assumed on their side and pathology assumed to exist on mine — feels like a threat.

The majority of the staff seem at least to be well-intentioned, in all fairness, but they are all really oblivious to stuff like this.



* * *





I have a book with me at supper, and so after I finish eating I stay in the cafeteria, reading. I do understand what Emily was driving at, that some of us introverted and self-absorbed people would benefit from interacting instead of just whining about how bad we are at interacting. Reading my book makes me unobtrusive but present, and the cafeteria’s the most likely public space.

Over at the next table, Noelle and Valerie have been hanging out since finishing dinner. I’m not exactly with them and not exactly not with them. I’m in their vicinity. April meanders in from the hallway, I assume she’s returning after having eaten earlier She’s got on a shiny blue top that looks sort of Asian, maybe Indian. Jake comes in from the other hallway with a cup of coffee in his hand. Jake sits at my table. April remains standing. She seems to me to be trying on faces, looking off into the distance in a way that makes me think she’s framing whatever it is she wants to say.

After a pause, she slips onto the bench next to Noelle and across from Jake, facing him. “You said some really strong shit about my mom and me. When I was on the hot seat the other day, I mean. That stuff you said about me blaming her and all, and I get that, but I wanna talk about it the way it looks to me.” April pauses and draws her shoulders in a bit. She pulls her fingers through her hair and takes a breath before continuing. “It’s like shell shock, man. I think I have to be able to be angry at my mom to be able to be angry at how-the-fuck things were. I’m trying to say there’s a difference between ‘I blame mom so it’s her fault’, ...and..., ‘I come to recognize I kind of got messed up, from how things were between my mom and me’. Whatever I was trying to say that all you guys heard as ‘April blames her mom for everything’... I was just trying to say this is where I come from, this me-and-my-mom situation, see? I’m not saying it was all her fault, hey fuck fault, and fuck blame too, just... this is the mess I was in and this is what it was like for me, and it sucked.”

April gives her dark spiky hair a toss. She had been running her fingers through her hair earlier but this is definitely a toss.

Jake continues looking at her, then nods slowly.

But Valerie speaks first. “I get what you’re saying. It’s like you could be using it as an excuse to stay stuck in that, or you could be dealing with it so you can move on.”

“Yeah, it could be that way,” Jake says. “But you got to stay honest with yourself, you know.”

April leans back against the cafeteria table and it squeaks and rolls back a couple inches. She repositions herself and reaches behind to pull the table back.

Noelle adds, “Mark and Gary and Marie and them, they don’t have much truck with excuses. It may seem like everybody come ganging up on you, but you gotta admit, it sounds like you bring up your mom whenever they try to get you to focus on putting your life in order.”

A nod and a lopsided smile from April. “I’m not saying I never used her as an excuse like that. I probably did. But, I mean like what Derek said the other day about being in the basement when the lights go out. I can pick what I think is true about this, and if later it seems like I got it wrong, I can chuck that out and think again, but it seems to me... like maybe I used to only bring up my mom as an excuse, and the rest of the time I never wanted to think about what it all meant, all those years of thinking I was a waste. But now I gotta think about that. It’s a starting point, and everything else came after that.”

“No, I get that”, Jake acknowledges. He’s got his big hands resting on his knees. “I don’t think we can move past the stuff that’s keeping us back without seeing it clearly, or we won’t notice when we start sliding back into it.”

I’m feeling pleased that April cited me, and gratified to be included. I say, “You’re making an important distinction here, between two ways of looking at the same thing, and I think that’s a special skill, because a lot of time once we see something one way, or get told by other folks that that’s how it is, that’s the only way we can look at it.” I wince, thinking I expressed that rather badly. I like writing better than talking, you can edit what you said and say it better. But I’m doing it decently well anyway, at least some of the time.

Noelle says, “April, look, you don’t seem mad, like you’re thinking we dumped on you in psychodrama and you’re pissed about it. This shit isn’t easy to hear, and you took it in. Now you hand this back to us, and it could go down that Gary and them still say you’re still being defensive... but hey, girl, this takes courage too.”



I wonder if staff knows we talk among ourselves like this, whether they’d think that’s good, because it means the things they’ve pushed us to think about are going to carry over into our ongoing thinking. Seems like they should, but back at Mountain View some of the staff acted like us talking with each other and thinking about our issues and progress was going to mess up our therapy, and that we should just park ourselves in front of the TV set and be vegetables between staff-run sessions. Elk Meadow is more sophisticated. I’m still trying to decide if they’re better in a way that truly counts. I wouldn’t be amazed if they’d planned out exactly how much of our day to lock down into a schedule, to leave us with just enough time to repeat the lessons but not quite enough to veer off very far in our own directions with it.

—————


My first book, GenderQueer: A Story From a Different Closet, is published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback, hardback, and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


My second book, That Guy in Our Women's Studies Class, has also now been published by Sunstone Press. It's a sequel to GenderQueer. It is available on Amazon and on Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.




Links to published reviews and comments are listed on my Home Page, for both published books.

———————

This DreamWidth blog is echoed on Substack and LiveJournal. Please friend/link me from any of those environments on which you have an account.

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Index of all Blog Posts

it's spring sale time!

Mar. 1st, 2026 03:44 pm
doodlemancy: a drawing of myself i use as my avatar (Default)
[personal profile] doodlemancy
it's spring. the first day of march is spring (in my hemisphere and in my mind) and i will not hear further arguments about "technically still winter for a while". it is spring. seasonal depresso is canceled. i saw multiple birds today and flowers. i saw the SUN. IT'S SPRING 🌷🌷🌷

anyway. i'm not just having one sale. i'm having TWO sales. and they both go all month, until 11:59 PM March 31st (PST)! i'm having a print sale over on etsy and, to celebrate the 2-year anniversary of Potion Stand Story, the DX version is on sale all month!

poster6 spring-print-sale
alyaza: a gryphon in a nonbinary pride roundel (Default)
[personal profile] alyaza

on the matter of visibility in the furry subculture

Alyaza Birze (March 1, 2026)
There's a lot of unspoken and assumed pressure for furries to be patrons of the arts. This mostly manifests on who wins the lottery for the attention economy on social media. [...] If it isn't a suggesting fursuit photo or cute art, [furries] aren't going to waste their time. This can make it feel like you have to spend money on art/fursuits/etc. to be accepted in the fandom.

But this simply isn't true. You only benefit from those things if you're trying to win a popularity contest in your own mind and become an influencer on social media. Your Twitter follower count isn't your worth to your friends, and if you think that it is, you have the wrong friends.
— Soatok, “Is there extreme classism in the furry fandom?” (17 February 2022)

this is not an essay about whether there is “extreme classism” in furry subculture, a question i find myself uninterested in answering at length because i think the answer is obvious. (yes.) but it is an essay about the language adjacent to this question—about the ‘attention economy,’ about the ‘popularity contest,’ about ‘acceptance in the fandom’ and to what things this is tied. because the truth is this: the subtext that none of this matters if one has the right friends, the right mentality is little more than wishcasting. such a thing can only be true if one believes that furry subculture is in some sense socially meritocratic, a community—to adapt a phrase from Dennis Altman about the gay bathhouse—that is far removed from the “bondage of rank, hierarchy, and competition that characterise much of the outside world.”1 but the subculture is not a meritocracy any more than the gay bathhouse of which Altman spoke was a utopian ‘Whitmanesque democracy.’

one may say with conviction that there is no need to ‘spend money on art/fursuits/etc. to be accepted,’ but this is not really true. the furry without the signifiers of furrydom will probably not get far socially; the furry with money to splurge on these signifiers will probably pay their way to into many social groups. to buy off people is cheap, to buy commodities cheaper still. disposable capital lubricates ownership of the very luxury commodities (art, VR models, fursuits) upon which furry subculture is built, and the ownership of these luxury commodities in kind facilitates the accretion of social capital and attention—visibility, in other words.

indeed, visibility within the subculture is often just a byproduct of what identities are privileged under the existing social order outside it. this dynamic can be felt across many facets of identity, but in furry spaces it most often reflects class hierarchy. the spirit of the ‘suspiciously wealthy furry’ is not an ex nihilo invention; the specter of the furry tech worker, the white-collar wage-earner, looms in almost every furry space. true, these phantasmal furries are over-invoked. (one presumes the median furry cannot be described as any of suspiciously wealthy, or tech-worker, or otherwise white-collar.) but discursive abuse does not really change what these phantasmal furries signify to many: a growing material hierarchy and inequality within the subculture—facilitated through visibility—that cuts against its meritocratic founding mythos.

and if visibility is not physical capital—if it does not convert one-to-one into success, or spend one-to-one into popularity or stability—it still greases the wheels much as literal capital would. by its very nature visibility is a form of social capital: it opens doors; creates opportunities; provides chances for things to happen that otherwise would not, just as physical capital can. if our subculture is a lottery of attention, then we neither enter it nor play with equal odds and it debases us to pretend otherwise. hierarchy and inequality reify visibility and always have; one cannot negate material reality by having the ‘right’ friends (as though friendship is fungible or trivial) or by tuning out the ‘popularity contest’ (as if one can simply opt out of the social forces to which they are subject).

of course, i do not want to overstate the case. some level of social hierarchy and therefore inequality is immutable. we cannot redistribute intangibles like attention or visibility on Marxist grounds, nor would such a thing even be desirable anyways. the perception of hierarchy or inequality of social status is also not synonymous with genuine hierarchy or inequality; particularly in online spaces—so manipulated by algorithms and so corrosive to how we relate—one may attain a very warped sense of what one's place ‘should’ be.

but these are complications, not refutations; that we cannot completely level the playing field and might attain a false consciousness of where hierarchy or inequality exists does not invalidate the very real hierarchy and inequality that does exist. if we speak of a world in which ‘[furries] aren't going to waste their time’ unless something is a ‘fursuit photo or cute art’—a luxury commodity—then we are speaking of, resigning ourselves to, a world in which there is a split between those who have and those who have not. we are resigning ourselves to the dichotomy between those whose sole visible representation was bought by the leftover between rent checks; and those whose visibility in art never evokes the cost of living at all. we are resigning ourselves to sociality in which some will never be so fortunate as to ‘be seen’ at even one furry meetup; and some will be able to arrange their lives around these spaces and their social circuits. we are throwing up our hands and allowing some to suffer tremendously at the hands of another for want of visibility; and allowing others to weaponize their visibility in the service of harm. and we are resigning ourselves to a world in which there are those who will, every day, bear the shame of begging others to live because it is what little leverage their visibility allows them; and those who will, each day, never know the indignity of groveling because their visibility has already paid the bills.

what we should—must—speak of, and dream of, is something better. we must embrace politics, and politicization, of our subculture in the service of that something better. because i will not settle in any community, any society, any system for such TINA bullshit—“all is luck; some are rich, some are poor, that is the way the world is... it could be you!”—and you should not either.2

notes

1 Dennis Altman, The Homosexualization of America, The Americanization of the Homosexual (New York: St. Martin’s Press, 1982), pp. 79–80.

2 Martin Jenkins, “Introduction” in The Society of the Spectacle, Guy Debord (Sussex: Soul Bay Press, 2009), 1st ed.

alyaza: a gryphon in a nonbinary pride roundel (Default)
[personal profile] alyaza

a theory on the recurrent furry moral panic

Alyaza Birze (February 28, 2026)
[...]we should note [the public forum's] centrality for political debates where interest groups attempt to bypass the traditional structures of democratic process in order to force the enactment of laws in the name of the "good" of a population which is never actually consulted.
— Simon Watney, Policing Desire: Pornography, AIDS, and the Media (1987), p. 42

why do furries relitigate the same handful of moral panics? this is an interesting question to ponder, and many possibilities present themselves. furries are young and opinionated; furries believe themselves culturally and sexually challenging in a way that invites theorycrafting and moralizing; furry subculture is in many ways a ‘train station’ where people endlessly come and go, so there is never a baseline and never a settled consensus. all quite reasonable, all likely contributors. you may feel though, as i do, that these explanations dance around the core of what is happening here—they justify the recurrence, explain the severity, but do not get at what the purpose is exactly of these feverish bursts of discourse. in this vein i have a simple theory: these are essentially ideological confrontations and should be understood as such.

what validates this simple theory of mine is the pathology of the furry moral panic and how little it diverges from what we see in the real world. just as can be observed of a real world moral panic, we see in the furry moral panic a predictable tendency to “[play] on themes which possess deeper, unconscious resonances” that any decent person ought find monstrous—so against the babyfur one is rattled with the specter of normalized pedophilia and child abuse, and against the feral artist one is assaulted with the prospect of covert zoophilic tendencies or rape of animals. and there is always some moral panic, always some subject who must be driven out of the subculture in the name of ‘standards’ which must be ‘put beyond debate.’

but never is the question evoked by this answered—what standard of decency is being applied, and on whose behalf?—because answering it would reveal ideology, make clear that the furry moral panic acts in reality as a site of struggle between those who demand assimilation and those who do not. the moral panic itself, then, can be understood as a reflection of anxiety about diversity—especially of an avant garde variety—and the inherent difficulty in liquidating this diversity to the desired ‘decency’ and ‘normality.’ furries also seem rather predictable moralizers in this respect; it is typical of those who seek fealty to polite society to frame their desires “in the name of the ‘good’ of a population which is never actually consulted.”

to be clear, i should not be interpreted as suggesting it surprising that furry subculture fails to subvert the totality of one's socialization, or the cultural hegemony of one's media consumption. nevertheless, it makes for a rather schizoid scene (if i may be permitted to use the term) for some to find gratification in ordinary furry porn—much less in transformation, inflation, vore and such—but then turn back on it the moral framework and prescriptions of a society that would struggle to distinguish any of it from actual zoophilic desire. if in the framework of polite society we are all dogfuckers, yet we all know this is false, even from a perspective of bad faith it seems rather worth questioning the value of this framework in making social condemnations of other furries.

certainly you will not manage to become some hypothetical ‘good dogfucker’ by passing such judgements, by attempting to use the logic of the moral panic to browbeat the subculture into your desired form. the audience to whose tune you are ultimately trying to dance already knows what to think of you. they have already devised the moral framework needed to permanently otherize you, and all you have done is internalize their logic to otherize your own acceptable targets. ultimately, to appeal to ‘decency’ can play only to the advantage of one side, and that side is Watney's “imaginary national family unit which is both white and heterosexual” for whom only the total renunciation of queer identity is acceptable. it is, in a sense, an appeal to collaboration.

alyaza: a gryphon in a nonbinary pride roundel (Default)
[personal profile] alyaza

on the tension of furry artistry and high culture

or, the trap of ‘high culture’ and the desert of the future

Alyaza Birze (February 26, 2026)
They just want you to perfume the sewers. They need artists to bring perfume to the terrible stench of their death. It isn’t doing the artist any good. There is no place to go except to the struggle of the people today.
— Meridel Le Sueur, “They Want You to Perfume the Sewers” (1988)

i have a theorem rotating in my mind; perhaps you will agree with it, perhaps not. this theorem is roughly as follows: that high culture—the world of art mediated by the gallery, the curator, the art dealer, the buyer—is the antithesis, co-optation, and ultimate death of “furry art.” that to ever play on this terrain as a furry is (and would be) definitionally a capitulation to polite society, and an irreversible step toward the further class stratification of furry subculture. it is hard for me to explain why exactly i believe this, but i feel it is necessary to attempt such a thing given that the separation between furry art and my concocted definition of high culture is no longer complete.

what i suspect is that the artistic qualia of furry art—its aura (as Walter Benjamin might put it) and the manner in which it acts a reflection of the unique, intrinsic qualities that constitute the furry subculture and our shared understanding of it—is wholly unable to survive contact with the social ideology of high culture. likewise the ‘outsider’ status of those who make such art. in being constituted high culture, furry art is separated and alienated from the very context which made it. the qualia are lost and so is the aura; the artists are brought from the ‘disrepute’ of outsiderness to the ‘respectability’ of the gallery-form. in this respect one might go so far as to say “furry art” elevated by, or created for, high culture is not really furry art at all, nor can it be.

maybe such an assertion is an overstatement. but i am reminded here of the words of László Moholy-Nagy, the ‘relentless experimental,’ that “No society can exist without expressing its ideas, and no culture and no ethics can survive without participation of the artist who cannot be bribed.”1 in our life these words invite the question: in a subculture congealed through social stigmatization and radical (sexual) inclusion, would the inherent conservatism of high culture not act as the very mechanism of the bribery—the very thing that would rob furry artistry of its ability to authentically reflect the qualia and aura of the subculture? and the (monied) interests of high culture and its agents especially: how could these not politically and ideologically subvert furry artistry—preclude it from achieving a “secured existence” that is “uncompromising and incorruptible” as implored by Moholy-Nagy?

indeed, we must recognize that high culture is definitionally the culture of the ruling class—an expression and extension of cultural hegemony. and what this high culture asks of its subjects, consciously or otherwise, is to ‘perfume the sewers’—to cover up each desiccating bit of the old with a gloss of the new.2 the essence of high culture is amorphous, co-opting as necessary to maintain itself, cherry-picking from even the most culturally-challenging movements external to itself and rendering them agents of the very hegemony they wish to challenge. to be sure, we might concur with Walter Benjamin that “the [already] conventional is uncritically enjoyed, and the truly new is criticized with aversion”—furry is certainly met with recoil by many—but there is no innate quality of furry art, no level of aversion it can inspire, which prevents its co-optation when it and high culture meet.3 for high culture is the mechanism through which the ‘truly new’ is stripped of its distinguishing qualia and rendered the conventional. as Joseph Heath and Andrew Potter note, “The value of a good,”—and the degree to which it constitutes high culture—“comes from the sense of superiority associated with membership in the club, along with the recognition accorded by fellow members.”4

the question is this: can there be a sort of ‘long march through the institutions’ under which furry art can retain its qualia and aura, by which furry art can challenge the perfuming of the sewers, and through which it can ultimately contest cultural hegemony? i am inclined to think no, certainly not with the absence of politicization and organization that currently characterizes furry subculture. the conundrum of the furry artist and what ought be their relationship with the agents of high culture—gallerist and curator, art dealer and appraiser—is that, in the words of Kyle Chayka, “art becomes retail surprisingly quickly.”5 that which challenges is seldom harder to convert into a commodity; and when art is not merely a product of one's labor but a commodity, class hierarchy and inequality are inexorably bound to follow. but perhaps this is the inevitable course of things in this subculture, so wrought already by the spectre of class division if only you know around which corners to look.

notes

1 László Moholy-Nagy, Vision in motion (1947)

2 Meridel Le Sueur, “They Want You to Perfume the Sewers” (1988)

3 Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936)

4 Joseph Heath and Andrew Potter, The Rebel Sell: Why the Culture Can't Be Jammed (2004), chapter 4

5 Kyle Chayka, The Longing for Less (2020), chapter 2

alyaza: a gryphon in a nonbinary pride roundel (Default)
[personal profile] alyaza

on the matter of the acceptable target

Alyaza Birze (February 25, 2026)
From very early on in the history of the epidemic, Aids has been mobilised to a prior agenda of issues concerning the kind of society we wish to inhabit. [...] Aids is effectively being used as a pretext throughout the West to "justify" calls for increasing legislation and regulation of those who are considered to be socially unacceptable.
— Simon Watney, Policing Desire: Pornography, AIDS, and the Media (1987)

the thing about acceptable targets is that they reflect the hegemony of the ruling class, and nowhere is this so apparent as applied to the queer community. the queer, writes the Mary Nardini Gang, "[has] always been the other, the alien, the criminal. The story of queers in this civilization has always been the narrative of the sexual deviant, the constitutional psychopathic inferior, the traitor, the freak, the moral imbecile."

that being the acceptable target in this manner engenders immense suffering and resentment is obvious; nobody, i presume, takes unconditional joy in being a part of the “resistance to regimes of the normal,” as Michael Warner once put it. there is, within all of us queers, some essence that against our own desire begs to assimilate. to become one with the ruling class. to finally exercise for ourselves the “mechanism of social control” that is inherent to labeling deviancy.1 to—in one punch downward upon another group, particularly one that is ‘immoral’—externalize every second of our suffering and resentment in such a way that someone else can finally understand and feel.

but the assimilationist desire; the attempt to make one's self ‘normal’ and ‘respectable’ in contrast to others; the yearning to use the master's tools ‘for good’—these must always meet the reality of a heteronormative world. deviancy is degeneracy, and degeneracy must be destroyed. we are the subjects, to use a turn of phrase from Simon Watney, of “an imaginary national family unit which is both white and heterosexual” and to whom anything unfamiliar is indecent.2 to this imaginary family—always of the nuclear variety, always the one who holds both discursive and ideological power—nothing besides total renunciation of queer identity, and nothing besides its placing back in the closet, will ever be good enough. the only move that can buy them off is collaboration.

your polyamorous relationship, your furry identity, your therianthropy, your most deeply stigmatized fetish—these will never be made ‘respectable’ to anybody in any position of power through sacrificing the most “undesirable” faggot to the wolves. to believe otherwise is how heteronormative society co-opts those who want to liberate into those who actually collaborate. when you accept that we must throw away certain “undesirables,” must label them “deviants,” what you are accepting is the very ideological and moral foundation upon which heteronormativity is built: only what does not transgress, what does not challenge the sensibilities of straightness, is permissible.

notes

1 Mary McIntosh, “The Homosexual Role” (1968), reprinted in Forms of Desire: Sexual Orientation and the Social Constructionist Controversy, ed. Edward Stein (New York: Routledge, 1992), p. 27.

2 Simon Watney, Policing Desire: Pornography, AIDS, and the Media (1987), p. 43

duskpeterson: The lowercased letters D and P, joined together (Default)
[personal profile] duskpeterson

Before I lead you into the palace (figuratively speaking), I need to emphasize the importance of good behavior.

Bad behavior can get you killed anywhere in the Three Lands, but in the Chara's palace it is also likely to get you tortured for days. This is because the highest penalty for crimes committed in the Chara's palace is death by torture - the so-called "Slave's Death." Although the previous Chara ordered the release of the empire's slaves, bringing to an end the torture of every palace slave condemned to death, traitors are still liable to this penalty.

The definition of "traitor" can be quite broad in the Chara's palace. I recommend that you not test its boundaries.

Some specific advice:

Be on your best behavior. Dress well, and learn the rules of courtesy toward Emorian noblemen and palace officials. When in doubt, bow. Address everyone you meet, whatever his age, as "sir" or by his title. You need not address the Chara by his full title, which is quite long; just "Chara" will do.

The wearing of arms is permitted by law in the Chara's palace if it is your custom in your homeland. However, if you choose to wear arms, you will find that every guard in the palace will leap upon you the moment you take the wrong turn in your path. Your life will be easier if you set aside your weapons during your visit. You are in no danger of being attacked yourself; the Chara's palace is the most heavily guarded building in the world, and visitors are free recipients of that guarding.

Also, be aware that the wearing of hidden weapons in the palace is considered a crime of treachery. Even I don't try to do this, unless I have made prior arrangements with the Chara.


[Translator's note: The Slave's Death is a tender topic for the Ambassador. Just why is explained in Blood Vow.]

December 2024

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