#craftism

[cruelsister-moved2]

the homestuck space lesbian book keeps gaslighting me due to the amount of like intelligent respectable people who are SO into it that i keep thinking it must be secretly good and im missing something and then i read the free sample chapters just to check and i cry blood on account of the everything

[foragerknits]

The Queer Politics of Craftivism: Crafting Trans Joy Through Quilting 

Right photo by @transjoyquilt, left by @poppythewitch (posted to @transjoyquilt) on IG

This essay was presented by me at a Queer conference at my University, and discusses queer craftivism in a historical context and contemporary one through the work of the Nortfolk Trans Joy Community Quilt. As a fiber artist, getting to talk with my professors and peers about craftivism was a big honor. It also couldn't be done without the publisher of The Norfolk Trans Joy Community Quilt Zine, Common Threads Press. Living in the US and on a time crunch they sent me a digital copy. All references are at the end of the essay, which I absolutely recommend reading, but I'd totally be willing to post other great resources that didn't make it into the final draft but are great works on queer craftivism.

The Queer Politics of Craftivism: Crafting Trans Joy Through Quilting 

“Craftivism,” a term popularized by activist and writer Betsy Greer, is the intersection of “crafting” and “activism.” Trans and queer activists have adopted the term to craft materials to express queer joy and resilient community in the face of abandonment and oppression by the state. Craftivism, while certainly involving anger, centers joy and love for the self and community. One of the most famous queer craftivist projects is the NAMES Project AIDS Memorial Quilt created in 1987 which memorialized thousands of people who died from AIDS and offered a way for the queer community to mourn. In this paper, I want to look at the Norfolk Trans Joy Community quilt to offer a more recent example of craftism that continues the political legacy of the AIDS Memorial Quilt. The Norfolk Trans Joy Community quilt was created earlier this year by trans people and allies in Norwich, England to offer trans people community and to highlight trans joy in a society that is continually working to criminalize the trans body.  

Craftivism has existed long before Betsy Greer popularized the name, and its influence reaches outside of queer circles, however one of the most notable works of craftivism is the NAMES Project AIDS Memorial Quilt. The government response to the AIDS crisis early in the epidemic was incredibly flawed and lacking with Ronald Reagan’s administration staying almost completely silent on AIDS until 1987 their only comments minimizing the scope of the epidemic on the queer community (Oritz 85). Reagan’s administration abandoned queer people to fend for themselves during the AIDS epidemic, needlessly allowing for thousands of people to die. The NAMES Project AIDS Memorial Quilt, created in 1987, was crafted in protest to the government’s abandonment of queer people and to mourn as a community. The quilt initially consisted of 1,920 squares, each memorializing a person who died of AIDS, made by themselves or those who loved them (“The History of the Quilt”). Cleve Jones, the man who conceived the quilt, hoped that it would serve as a communal form of healing in dealing with the great loss the community was feeling, but also to publicly shame the government for their apathy and failure towards the queer community (“AIDS Memorial Quilt”). People combined their anger towards the governent and love and sadness towards losing someone close to them and channeled it into a quilt showcasing their emotions. Scholar Daniel Fountain writes in their essay “‘Queer Quilts’: A Patchworked History,” “Although the blocks can be exhibited independently of one another, the idea is that each panel – each life– would never be isolated or alone, even in death” (qtd in “The Norfolk Trans Joy Community Quilt Zine” 7).  The AIDS quilt simultaneously allowed queer people to come together as a community and mourn those they had lost, while also spotlighting the fact that the government did not acknowledge the scope of the epidemic.  

The conventional definition of “crafting” is gendered as one that is feminine and therefore “lower.” Art forms of knitting, embroidery, quilting, etc., come to mind over the more “masculine” and therefore more legitimate mediums of writing, painting, etc,. Associations with craft and queerness are tied, that they’re both too feminine and not as legitimate than their more recognized counterparts. Artist Ben Cuevas writes of their personal connection to the link of crafting and queerness stating, “by knitting with my male body, and referencing that in my work, I’m queering gendered constructs of craft,” (qtd in Chaich & Oldham 137). Queer people recognize the connection between the connotations of queerness and craft, and use it to materially render queer and trans experiences, including expressing joy and love for their community.  

Crafting, specifically quilting, is used to express queer joy due to the symbolic nature of quilts, and what the gift of a quilt means. The gift of a quilt tells someone that they love and care for them, that in a literal sense you never want them to be cold and alone. Quilting teacher and writer Thomas Knauer in his essay “The Gift of a Quilt is an Act of Love” writes of the symbolism present in giving quilts, “warmth — once a literal protection against the elements — is also a symbolic means of protection, and our desire to protect is a reflection of the love we feel for another.” People make quilts to express love. Furthermore, the gift of a quilt involves incredible amounts of patience and care. Quilts are not really practical as people in modern life have access to cheaper ready-made blankets, yet people spend weeks and months picking out fabric, and cutting and sewing them for another person to show their love. The Norfolk Trans Joy Community Quilt does this for an entire community of people. Individual squares are sewn together to become an entire quilt of trans people expressing their love for themselves and their community, that they do not want themselves or any trans person to be without joy or community. 

Queer craftivism subverts the idea of quilting as a symbol of cis-heteronormativity, instead making it a symbol of community. In their essay “‘Queer Quilts’: A Patchworked History,” Daniel Fountain writes of gendered associations of quilts, saying, “quilts are still largely associated with milestones in cis-heteronormative culture – birth, marriage, and death – and they are typically passed down through generations of biological family members, usually through matrilineality.” (Norfolk Trans Joy Community Quilt Zine 6). However in queer crafting, instead of marriage and family as the sole climactic moment in a person’s life worthy of a quilt, it is the moment in which a person expresses joy in being trans and queer that is worthy of a quilt. Community becomes family, which is important when many trans folks are shunned by their families and the matrilineal line is broken or strained.  

Trans joy is important now more than ever in a world that is increasingly criminalizing the trans body. The media has increasingly portrayed trans people as predators and dangerous, with CPAC speaker Michael Knowles stating earlier this year that “transgenderism must be eradicated from public life entirely,” (qtd in Wade & Reis). Despite the onslaught of cruelty thrown at trans people, craftivism is used a means to express joy and challenge the narratives against them. K, who created a square for the community quilt and was interviewed about it said, “As much as I want to express my anger, trans joy is defiant. It can’t be legislated out of existence, defanged or sold. It doesn’t have one look and it contradicts itself. Its complexity is powerful, trans joy is a protest in itself” (Norfolk Trans Joy Community Quilt Zine 21). Anger is not absent in craftivism, as it is a response to injustice and abandonment of marginalized groups which rightfully sparks outrage, yet joy is present in them as well, which is an important mode of protest against oppression. In other words, joy and anger are not mutually exclusive categories. 

Even when not being portrayed as dangerous, mainstream trans narratives are often filled with the trauma associated with being trans such as the violence inflicted on them, suicide, and survival sex work to name a few. While these are all real issues affecting the trans community, hyperfocusing on these issues in the media creates a false narrative that trans people are joyless, which the Trans Community Quilt hopes to reject. Alex, another person who contributed to the quilt and was interviewed said, “It helps to combat the tragedy of trans lives in lots of mainstream media, even in sympathetic cases.” (The Norfolk Trans Joy Community Quilt Zine 18). Instead of fetishizing trans folks through the lens of traumatic tragedy, the quilt highlights the joy in being transgender. K’s square features a pun which says “Orange you glad trans people exist?” Another square made by a person named Josh is an embroidered rendering of Josh’s chest nine months post top surgery. The quilt rejects the narrative that trans people are dangerous and tragic, but rather spotlighting the joy for self and community in being transgender. The focus on joy is not at the expense of histories of pain or struggle. 

The creation of the Trans Community quilt was largely community focused, with recurring workshops for queer community members to gather and create. Workshops included free materials and instruction for creating the squares in addition to providing a safe community space for community members. Therefore the quilt was truly made by the trans community of Norwich, and even after its creation the quilt will go on to be exhibited at various queer and trans events across England. The conceptors Beau Brannick and Alice Bigsby-Bye write, “The project aims to return ownership of queer collections to their communities and empower people to access, discover, and contribute to the objects that reflect their shared histories” (5). The quilt is also therefore owned by the queer and trans community in addition to being made by and for the community.  

 Craftivism has existed for a long time, with a notable queer example being the NAMES Project AIDS Memorial Quilt, and these kinds of projects have gone onto inspire others such as the Norfolk Trans Joy Community Quilt. The Trans Joy Quilt centers trans joy and community rather than suffering. This research as well as the work being done by queer and trans craftivists is important because activism that centers joy and resilient community is needed more than ever in a society that is working to criminalize the trans body. 

Works Cited 

“AIDS Memorial Quilt,” Williams College Museum of Art, March 17, 2019, https://artmuseum.williams.edu/aids-memorial-quilt/

Chaich, John & Oldham, Todd, Queer Threads: Crafting Identity & Community, AMMO Books, 2017.  

Knauer, Thomas. “The Gift of a Quilt is an Act of Love,” Hachette Book Group, https://www.hachettebookgroup.com/storey/gift-quilt-act-love/#:~:text=the%20room%20symbolically.-,The%20gift%20of%20a%20quilt%20is%20an%20act%20of%20love,those%20they%20are%20given%20to  

“The History of the Quilt,” National AIDS Memorial, https://www.aidsmemorial.org/quilt-history  

The Norfolk Trans Joy Community Quilt Zine, Common Threads Press, 2023. 

Ortiz, Jacqueline A. (2023) "Silence From the Great Communicator: The Early Years of the AIDS Epidemic Under the Reagan Administration," Swarthmore Undergraduate History Journal: 4 (2), 76-99. https://works.swarthmore.edu/suhj/vol4/iss2/6 

Wade, Peter & Reis, Patrick. “CPAC Speaker Calls for Eradication of ‘Transgenderism’ — and Somehow Claims He’s Not Calling for Elimination of Transgender People.” Rolling Stone, March 6, 2023, https://www.rollingstone.com/politics/politics-news/cpac-speaker-transgender-people-eradicated-1234690924/  

[izzyspussy]

You require motivation, you say?

I went a looking and see that you are writing a thing what is called "Curse the Messenger"...and it sounds incredible.

Please tell me more!

What are the witches like in this setting

How does magic work (if it is indeed called that)

What sort of things do the MCs find through their P.I. business?

Do you have a favorite snip from it?

Hi! Thank you! That's actually not what I need motivation for at the moment lmao. This blog (my main) is my fandom blog, so when I post about writing on it it's almost always about fanfiction lol. Curse The Messenger (and other original projects) stuff is on @calicohyde! CTM specifically will be under the tag #witch noir.

The witches have a loose secondary society, somewhere around the halfway point between a counterculture and an actually separate sovereign. They have a matriarchal gerontocracy and are ruled in small jurisdictions called covens. Each coven is led by however many crones happen to be members of the group, crone here being defined as a woman who has gone through menopause (it's cis/perisexist, bioessentialist, ableist, misandrist, etc as an intentional flaw). Covens have communal ownership over the natural resources within their borders, and borders and inter-coven laws - called taboos - are decided on by multi-coven meetings of crones called masses.

The magic is almost magical realism. Witches are born with innate inherited magical abilities in certain categories. The wider categories are called families, obviously since they run in families lol. There are four: Clairvoyants, Naturalists, Rooks, and Composers. Each family has subtypes, and each subtype as a limited and very specific set of or a single magical ability. The rarer a type and the more glamorous the magic's societal use, the more generally respected and socially valued the witch who has it is. For example, Strangers, a type of Naturalist, are the rarest type overall and have a power set that lends itself to otherwise difficult or impossible medical care, so they are actively sought out, recruited, and privileged by covens, and often become famous. Meanwhile, Emenants, also Naturalists but the most common type overall and with a seemingly mundane power set, are often deliberately institutionally neglected.

The entire family of Clairvoyants are also prejudiced against, in a more active way than Emenants. They are thought to be weak and/or to have a disposition toward evil, when in fact they are just vulnerable. "Sixer" and "sixthist" are slurs against Clairvoyants, referring to their heightened sixth sense. Bigotry toward witch types is called "craftism".

At the beginning of the book/series, Fred and Eddie, the clairvoyant P.I. orphan siblings, take your typical theft and infidelity cases. They take both witch and secular (non-witch) clients, all by word of mouth. The plot at its most basic is Jessica, a secular femme fatale, requesting that Fred and Eddie help her solve a really weird alleged murder with disappearing evidence that the police allegedly refused to take a report of.

[grandhotelabyss]

Despite my carefully cultivated reputation for contrarianism, my answer to the first question is “not really.” When it comes to the canon, I’m pretty much a normie; the test of time is a real test. Back in 2017, all the literary bloggers were listing the books in their “personal canons.” I participated too, but introduced my take on the exercise by saying that I would only list formative works of nonfiction, particularly philosophy and literary/political theory, since my actual favorite books were so boring. I wrote, “Greatest writer of the modern west? Shakespeare. Greatest English novel? Middlemarch. Greatest twentieth-century novel? Ulysses. My favorite lyric poem, I tell you no lie, is the ‘Ode on a Grecian Urn.’” Then I quoted Emerson (my favorite American essayist, by the way) from “Experience”:

[I]n popular experience, everything good is on the highway. A collector peeps into all the picture-shops of Europe, for a landscape of Poussin, a crayon-sketch of Salvator; but the Transfiguration, the Last Judgment, the Communion of St. Jerome, and what are as transcendent as these, are on the walls of the Vatican, the Uffizii, or the Louvre, where every footman may see them; to say nothing of nature’s pictures in every street, of sunsets and sunrises every day, and the sculpture of the human body never absent. A collector recently bought at public auction, in London, for one hundred and fifty-seven guineas, an autograph of Shakspeare: but for nothing a school-boy can read Hamlet, and can detect secrets of highest concernment yet unpublished therein. I think I will never read any but the commonest books—the Bible, Homer, Dante, Shakspeare, and Milton.

So I have no quarrel with the books you’ve listed. (Caveats: I unfortunately must plead ignorance on the classical Chinese and Japanese novels; also, I never went beyond Swann’s Way in Proust.) Some of the names you mention are if anything underrated or not rated in their proper dimension: do people understand how transcendently good Wuthering Heights and Villette really are, not just as the stormy romances the Brontës are known for, as if they wrote nothing better than the precursors to Rebecca, but as genuine spiritual and social testaments, the prose successors to Milton, Blake, and Shelley, Melville’s trans-Atlantic sisters, as well as ingenious formal inventions to rival Austen or Flaubert? (As for “the other guy” though, I started but did not finish The Tenant of Wildfell Hall. The talent, it seems to me, ran in the blood only so much.)

If we must have controversy, since you mentioned Madame Bovary, I am ambivalent about Flaubert and his influence, though I should probably revisit him soon. (I read Madame Bovary, Sentimental Education, and Three Tales in my 20s, in translation, albeit with not-incompetent though not-fluent glances into the French.) All that fussing over the sentence, all that inorganic technique—see GD Dess’s recent essay against “craftism,” as well as James Wood’s “Half Against Flaubert” (in The Broken Estate) and Borges’s neglected “The Superstitious Ethics of the Reader” (in Selected Nonfictions) which I quoted here almost a decade ago—to my mind creates an immobilized prose, paragraphs through which no breeze blows, even in post-Flaubert writers as talented as James, Conrad, and Nabokov, and even the Joyce of Dubliners. But Joyce, exceptional in this as in so many things, then transcended the limitation of this aesthetic by making perfected prose move as poetry moves—with a word-by-word drama that opens up the sentence—rather than as prose does in Portrait and Ulysses.

Must we rank? Should we rank? Ranking is inevitable, despite your apt objection to its listicle extremes. Why would we not want to know what the best is? If resources of time and material are scarce—only so many weeks in the semester, only so many pages in the anthology, only so many days in your life—then it’s a practical matter to know what comes first. We just have to be careful not to be small-minded about it. I think of Orwell’s judicious comparison of Tolstoy and Dickens as a model of how to think carefully in these matters, attentive to difference as well as to quality. (This can be extrapolated mutatis mutandis into areas where social biases like race, nation, class, and gender may enter, as nation and class do enter into a comparison between Dickens and Tolstoy.)

Does this mean that Tolstoy’s novels are ‘better’ than Dickens’s? The truth is that it is absurd to make such comparisons in terms of ‘better’ and ‘worse’. If I were forced to compare Tolstoy with Dickens, I should say that Tolstoy’s appeal will probably be wider in the long run, because Dickens is scarcely intelligible outside the English-speaking culture; on the other hand, Dickens is able to reach simple people, which Tolstoy is not. Tolstoy’s characters can cross a frontier, Dickens can be portrayed on a cigarette card. But one is no more obliged to choose between them than between a sausage and a rose. Their purposes barely intersect.

My candidate for “best novel”? It probably has to be Ulysses since in its cyclopedic ambit it manages to contain all the others. But I acknowledge a spiritual dimension to experience that Ulysses is finally too secular, too satirical, to encompass, and this is found in Tolstoy and especially Dostoevsky.

[oceanlovingcommunist]

"Ten years in the making, the novel is bounteous and fastidious, and yet the lapidary “readying itself for infinity” writing in All the Light We Cannot See is both the apotheosis and the reductico ad absurdum of craftism. Throughout the novel, Doerr’s pyrotechnic prose effortlessly creates scenes of great beauty. His perfect sentences rush along, breathlessly carrying the reader along. [...] But in his obsession with craft, Doerr has relieved himself from the writerly responsibility to say something true about his characters. Neither of his protagonists exhibit any interiority—they exist merely as beautifully painted marionettes whose strings Doerr pulls to move the plot along. [...] Doerr’s craftism can’t penetrate the inner mind of Werner, or Marie-Laure, or anyone: throughout the entire novel we only meet characters without character. ...

"For writers, what is perhaps more harmful is that craftism all too easily presents itself as a substitution for reading literature. Why bother to put in all that time reading and absorbing the great works in the Western canon, learning how to write by osmosis, when you can follow the precepts set down by experts? This lack of familiarity with the canon has not gone unnoticed. As Elif Batuman observed, “Contemporary fiction seldom refers to any of the literary developments of the past 20, 50 or a hundred years. It rarely refers to other books at all.” Which may explain why many contemporary novels read as if they were created in a “knowledge vacuum.” "

[orbreyandthemodist]

Happy Sunday!! Little bit of a Sunday stitching session - this reminds me of mountains ! Must be the strain of months indoors! 😂🧵 #sundaystitches #handstitch #wallart #interior #colour #thread #yarn #texture #craftism #craftivism #broderie #slowstitching #stitchingmeditation #handstitched #Etsyukseller #sundaystitch #sundaystitching #sundaystitchsession #orbreyandthemodist #diyembroidery #modernembroidery #embroideryhoopart #handstitched #handstitching #stitchery #etsyembroidery #hertsetsyteam #britishstitchers #etsyuk (at Hitchin) https://www.instagram.com/p/CDYkhtDnmED/?igshid=11qf0kg1yzbhj

[etsypromoters-blog]

Repost @craftzone22 • • • • • • "PHOTO EXPLOSION BOX "😍😍 There is no best friend like a brother💙💛 The Box Of Happiness💞🌸 . . . #love #friends #friendshipgoals #business #crafts #crafting #craftism #craftideas #craftshop #handmadecrafts #diypapercrafts #gifts #insta #instagram #handmadegifts #handmadegiftideas #ajmer #rajasthan #cultures #etsy #india #world #everythingatoneplace #like4likes #followforfollow #follow4followback #likeforlikeback https://www.instagram.com/p/B8h00zaHfgQ/?igshid=dpd1wslv6eai

[craftygal65]

‪NO HUMAN IS ILLEGAL pattern by Donna Druchunas http://www.ravelry.com/patterns/library/no-human-is-illegal‬ #resist #humanrights #craftism

[twistedmaiden]

Oh gods the pussy hats are coming back

[cruelsister-moved2]

American MFA millenial generational trauma diaspora mother/daughter queer repressed craftism grief mythology folklore woman yearning literary fiction... STOP it for real just stop

[craftismart]

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[izzyspussy]

Tagged by @ceph-the-ghost-writer to answer these 15 questions about a character. I'll be answering for Eddie, the main character of Curse The Messenger ("witch noir").

1. Is she named after anyone?

Yes, Eddie is named after Eddie Valiant from Who Framed Roger Rabbit. In-universe, no she's not named after anyone.

2. When was the last time she cried?

Eddie cries often, but only when she's asleep. Awake, she's too numb to cry.

3. Does she have kids?

No, and she doesn't want any.

4. Does she use sarcasm?

Not really. Occasionally maybe, but it's not typical of her or her go-to. She's a very straightforward kind of person.

5. What's the first thing she notices about people?

Whether they are a witch or not.

6. What's her eye color?

Dark brown. Unlike Fred's and Angel's, it doesn't change.

7. Scary movies or happy endings?

Happy endings. Eddie reads classic romance. The only time she'll really enjoy a horror movie is if it's scary enough to give her nightmares, since if she's having those she's not having her regulars lmao. It's really hard to scare her though, because of Everything. RIP.

8. Any special talents?

Besides the premonitions? She's really great at math, she has an excellent sense of direction, and she's very analytical. She's also handy with a soccer ball, but since she's never had a team to join I can't necessarily say she'd be a good player.

9. Where was she born?

Barnes-Jewish children's hospital in St. Louis, Missouri USA.

10. What are her hobbies?

If I'm being very generous, I'll say the aforementioned romance books and soccer. If I'm being less generous, I'll say drinking 'til she drowns.

11. Does she have any pets?

Not yet! She has an extra small and discreet entourage of cats, but they are Familiars not pets and they're not hers besides. She's honestly afraid of most animals anyway, because at one point or another she's had a premonition featuring everything native to her area. She tends to be pretty anxious about plants and new foods for this reason too. She's particularly afraid of dogs. But Jessica has two Dobermans so she's gonna have to get over it lmao. Again, RIP.

12. What sports as she played?

I already mentioned soccer, and that's the only one. But like I said she hasn't technically played the game, because she's only ever played by herself or two-on-one with little her and Fred against Angel and then one-on-one against Fred when Angel was gone until she got too fucked up to play anymore.

13. How tall is she?

5' 2"

14. Favorite subject in school?

Tbh, she wasn't in school long enough to have a favorite subject and was misfit to the system that she likely wouldn't have developed one. But in an absolutely perfect world, Eddie would be a STEM girl.

15. Dream job?

She's got it, baby! She co-owns Watchtower Investigations with Fred. At the beginning of canon she's fucked up enough that she hates it, but she doesn't want anything else either. She's just doing real bad altogether. And she's bored with it too, and is deeply angry and pessimisstic about the craftism (fantastical bigotry against certain types or subtypes of witch, in this case Clairvoyants) of some of their clients. But by the end of the first book, Eddie is beginning to Get BetterTM and is more present and starts enjoying her job again.

"witch noir" taglist: @girlfriendsofthegalaxy @haectemporasunt @jezifster @blackhannetandco @fearofahumanplanet @godsleftarmpit @littlehastyhoneydew @rainbowabomination @antihell @isherwoodj @marrowwife @ashen-crest @wildswrites @ceph-the-ghost-writer @garthcelyn @muddshadow @cohldhands Sign up here.

To answer the questions, I tag @written-in-gold @icarusisstillflying @lend-your-lungs-to-me @kyofsonder @cwritesfiction, and any writers in the taglist who want to.

[jliu10]

Big thanks to my friend's sister for knitting us these awesome hats! #ResistorHat #DNAhat #craftism #climatechangeisreal #notalternativefacts #science #marchforsciencesf #facts #marchforscience #resist #riseup #sciencemarch #protest #activism #politics #liberal

[myfingerguns]

OHB .3 (because he really doesn't seem to care that he's hurting people.) #Craftism #OHB #embroidery #HandEmbroidery #Needlefelting

[orbreyandthemodist]

She’s finished!! Oh my goodness this one is totally my FAVE so far, I loved every second of sewing this one!! 😍✂️🧵🧶💥❤️ #embroideryisart #handmade #handstitch #wallart #interior #colour #thread #yarn #texture #craftism #craftivism #broderie #slowstitching #stitchingmeditation #handstitched #Etsyukseller #homewares #picoftheday #handmadegifts #orbreyandthemodist #diyembroidery #modernembroidery #embroideryhoopart #handstitched #handstitching #stitchery #etsyembroidery #hertsetsyteam #britishstitchers #etsyuk (at Hitchin and Letchworth, North Hertfordshire) https://www.instagram.com/p/CAaLyhtHdVf/?igshid=113sdnstm6ud5