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tsuchinoko demiurge

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Eclipse by Hiroshi Nonami

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Here's a key part of the transfemme experience that is very overlooked: when you don't pass, people don't actually see you as a man, or treat you like a man.

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'birds of prey, soho' by joe brocklehurst + 'tomorrow's trannies today: 1995 wigstock festival, nyc' in style surfing: what to wear in the 3rd millennium - ted polhemus (1996)

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"top ten movies about Girlhood" whose girlhood? whose girlhood? what kind of girl are these movies about? answer quickly.

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Winnie A New Character for MY ALPHADAWG Comics line in Near Future.

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if you wanna understand why transmisogyny is so horrifying you have to understand the sorts of social and cultural patterns it takes to abuse someone until they will happily fulfill the role of the fetishized tokenized tranny bc any other option means isolation and death.

patriarchal society needs its sacrificial hypersexualized disgusting living sex-objects, and transmisogyny is how it tries to turn a human into that. i keep thinking abt this 4chan thread i read ~2013 shortly after i came out, in which a chaser talked about how he specifically liked dating trans women because “they have such low self-esteem that you can make them do anything”. he went on to talk about how he specifically looks for trans women with “dead, lifeless eyes” (aka dissociated from ptsd) because “they’re like a doll you can mold into whatever you want, then discard when you’re done, and there will always be more desperate for love”

that’s what transmisogyny is: a systematic pattern of abuse applied to a small sacrificial portion of the population to create a class of women with no claim to community or personhood, who will never be defended or avenged, who can be safely sunk into the attrition of patriarchy’s darker desires to protect the cis women, who after all could one day be mothers or some other kind of person. we are the class sacrificed to men’s violence and cis women’s violence. the socially unimportant. the weird and ugly. the punching bag. the blowup doll that talks. the mad artist that produces something great and then must burn out cause who could support that eccentric through life? the activist who makes huge steps for the better but stumbles on a community that would rather rape and abandon her than admit that it needs her. the queen of the dance who gets beaten with sticks as she’s leaving it and no one helps.

and its easy to do this, by painting the class as predatory, by making us hate and fear our own genitals, by indoctrinating us with an absurd amount of self-hatred, by giving us no out, no safe community, no one we can ever turn to. every cis person becomes a beartrap just waiting to swing shut and take out a chunk of flesh. and with fear and trauma we start to disappear from the world. we commit suicide, we overdose on heroin, we starve quitely in rooms playing videogames, or we become the tranny they want, deadeyed and always compliant and always ready to soak up blame. but whatever happens its the same: over time, we cease to exist. the person we are withdraws from the world until there is little to nothing left.

i don’t know how to stop it, but this has to stop. this is not something anyone ever should have to go through.

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did you seriously just let it linger

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Dissection of the head of a criminal, Seyakuin Kainan Taizōzu, late 18th century

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Sahana Ramakrishnan One Red Blood, 2024 Oil, acrylic, rose gold leaf, graphite and color pencil on wood panel

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Feb 10 2025

Talking to my Black and brown trans sisters, I heard regrets. Some felt their surgeons had made them more womanly in ways that echoed whiteness: smaller noses, pointed chins, almond-shaped eyes. I wondered, what does femininity look like outside of whiteness?

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Peggy Ashcroft as Desdemona and Paul Robeson as Othello at the Savoy theatre in London, 1930. 

Source. 

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Amongst the white Americans, there is this fascinating ritual process they call ‘irony’. In the white American cultural system it is not merely consciously assumed but taken as axiomatic that everyone has not only common knowledge but common experience with developing (vide: Saussure) racist language-games: much of their culture, from popular to elite art, draws on these common experiences. In the late 20th century, with the advent of technology, the old ritual process of localizing these practices within certain spaces engaged the realities of the internet, which resulted in a unique and truly precious concept, white American irony: everyone knows and regularly appreciates racism, it is a constant (as we have shown, somewhere) pressure on all forms of culture, and yet it always appears ‘elsewhere’ in the cultural toolbox. Perhaps this is the American tradition: there’s always a gun, but someone else was holding it when it went off.