#Jack halberstam

[fleshadept]

female masculinity by jack halberstam is a very interesting book. dense but i accidentally got like 40% through it in one evening. very illuminating about how there were distinct subcultures of masculine women and women who slept together for at least the past 200 years, enough so that there are a multitude of stories of women having loads of female partners. i knew that these women existed, but halberstam makes a convincing case for prominent cohesive subcultures with their own signifiers and ways of knowing and identifying each other as far back as the early 1800s. also a fascinating look at the range of relationships women have had with masculinity and their own womanhood or non-womanhood. definitely a necessary documentation

[queeraroace]

Some of my favorite pictures from The Drag King Book by Del LaGrace Volcano and J. Jack Halberstam

[honeysound]

Snow and desire.

Ink-Light - Natalie Diaz // Simon Beck // Female Masculinity - Jack Halberstam // Lovers Walking in the Snow (Crow and Heron) - Suzuki Harunobu // Snow - Mary Ruefle

[magicspeedwagon7]

of course there's a difference between historical terfs (cf. janice raymond and friends) and the professional transphobes funded by christians nationalists that we have today but don't act like there was no correlation at all and dworkin and rich would be trans allies nowadays. you're embarrassing yourself...

radfems been calling butch lesbians and transmasc people "self-hating women" since radical feminism existed. search "sex wars" on google scholar. this sex-negative and anti-butch period of radical feminism is well documented by Jack Halberstam ('Female Masculinity' (1998)), Pat Califa (cf 'Public Sex: The radical culture of radical sex' (1994)) and Gayle Rubin. like, in general, listen to transmasc people who've been there back in the days.

[cock-holliday]

"Tomboys" from Female Masculinity (1998) by Jack Halberstam

[haveyoureadthisbook-poll]

[fanboy-feminist]

Here are some of my favorite graphics from the new Contrapoints video

[honeythispodcast]

we're back & we are literally laying in the foundations of decay & y'all don't even CARE......

ep 3, It's Queer Time! is live NOW on Spotify & Apple Podcasts & we're chatting everything about MCR & Legacy. legacy: what is that. listen to us figure it out. more links in our carrd you know the drill

topics include: eddie munson, afterlives, cheers-thanks for the venom, Hanif Abdurraqib, basting the rotisserie chicken of my chemical romance, the AIDS crisis and cancer, how Mama made us transgender, our steadfast refusal to talk about Millions, myth building in the age of the internet, Don't Ask Don't Tell, the stomp-claps, RRRATS, apocalypse, God's divine plan for bullets, and basic American geography

[fourdramas]

hm, i think a lot of the kink-discoursers on here could benefit from reading j. halberstams essay on homosexuality and fascism, “the killer in me is the killer in you”. halberstam asks the question why we cannot tolerate the linking of our desire to politics that disturb us and then comtemplates over this theme.

[librinudi]

Jack Halberstam L'ARTE QUEER DEL FALLIMENTO 2022 Minimum Fax

[sontagspdf]

you know, a lot of the book female masculinity is outdated (mostly in language) but it’s such a careful considerate and lovely in depth analysis of masculine women

[sophiaphile]

"Any book that begins with a quote from SpongeBob SquarePants and is motored by wisdom gleaned from Fantastic Mr. Fox, Chicken Run, and Finding Nemo, among other animated guides to life, runs the risk of not being taken seriously. Yet this is my goal. Being taken seriously means missing out on the chance to be frivolous, promiscuous, and irrelevant. The desire to be taken seriously is precisely what compels people to follow the tried and true paths of knowledge production around which I would like to map a few detours."

—Jack Halberstam, The Queer Art of Failure

[certainwoman]

"I suggest that represented violence takes many forms and some still have the power to produce change. Conventional TV and movie violence, of course, consists of violence perpetrated by powerful white men often against women or people of color. Such violence is a standard feature of the action genre, of the rock video, of almost every popular form of entertainment, and to a degree it is so expected that audiences may even be immune to it.

On the other hand, violence against white men perpetrated by women or people of color disrupts the logic of represented violence so thoroughly that (at least for a while) the emergence of such unsanctioned violence has an unpredictable power. In recent years, popular texts that prominently feature violence against white men have been thoroughly analyzed by the popular media. So, for example, Ridley Scott’s Thelma and Louise created an unprecedented wave of discussions around the issue of violence and women. Suddenly, violence, and particularly female revenge fantasy violence, was tagged as “immoral,” “extravagant,” “excessive,” or simply “toxic feminism.” Debates raged about whether we really want to condone a kind of role reversal that now pits female aggressors against male victims. But role reversal never simply replicates the terms of an equation. The depiction of women committing acts of violence against men does not simply use “male” tactics of aggression for other ends; in fact, female violence transforms the symbolic function of the feminine within popular narratives and simultaneously challenges the hegemonic insistence upon the linking of might and right under the sign of masculinity. Women with guns confronting rapists has the potential to intervene in popular imaginings of violence and gender by resisting the (liberal) moral imperative to not fight violence with violence. Films like Thelma and Louise suggest, therefore, not that we all pick up guns, but that we allow ourselves to imagine the possibilities of fighting violencewith violence. Women, in other words, long identified as victims rather than perpetrators of violence, have much to gain from new and different configurations of violence, terror, and fantasy."

Jack Halberstam, Imagined Violence/Queer Violence

[dwellordream]

Jack Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters

[cock-holliday]

"Precisely because nobody fits the definitions of male and female, these categories gain power and currency from their impossibility."

-Female Masculinity (1998) by Jack Halberstam

So many cishet perisex people who wouldn't consider themselves GNC may fall outside of someone's perception of what a "man" or "woman" ""should"" be. Because gender is a spectrum, extending between man and woman and beyond, people of any label can fall anywhere on the spectrum. Long hair? Beard? Tall? Broad? High voice? Anyone can have any number of "conflicting" or "complimentary" characteristics and still be deemed "not enough" of something or "too much" of something else to be perceived as their gender.

Mix in things like race and culture, and "clear-cut" ideas of any gender becomes even blurrier.

We are so desperate to fit people into one of two rigid boxes, when almost no one--trans, cis, gay, straight--fits perfectly.

[fanboy-feminist]

The Queer Art of Failure to Read the Fucking Room, more like.