The original piece is a lot to digest. It’s a delicate look at Japanese men who claim they’ve found true love with life-like dolls. But there’s a back story, too. On Correspondent, Alastair Himmer and Tokyo photo chief Behrouz Mehri talk about how they were affected by their work on this story.
You don’t expect to be emotionally scarred by a lifestyle story — and certainly not by a rubber doll. It seemed like such a good idea at the time: write a story that takes a look at the lives of Japanese men and their silicone lovers. I’m AFP’s lifestyle and sports correspondent in Japan and if this wasn’t a lifestyle story, I don’t know what was. I admit that I have previously had odd experiences doing my job. I once ran off the set of a porn shoot. But that was child’s play compared to sex dolls.
But poor Behrouz. He hadn’t been exposed to something like that before. I feel awful about what I did to the Tokyo photo chief. But you have to understand my perspective. It took me nine months to set up this story. You don’t just approach someone on the street and ask them “Can we photograph you and your sex doll.” You make contacts, you get to know the people, you develop trust. I didn’t want to blow all those efforts with some hackneyed, tabloid-style guffaw at Japanese men who go on dates with lifesize dummies. So when Behrouz asked me to ask one of the men, Senji Nakajima, if he could spend the night at his place for the story, I spat coffee all over my shirt. But I asked and Senji agreed and Behrouz went.
It has been a wonderful night. “Queer Muslim Show and Tell,” a brilliant idea by my friend, where we’ve all shared something we’re passionate about. Things that we didn’t know about each other: my friend who is a serious academic reads us the poetry that she writes in her free time; another friend brings a comic book collection to show us; another talks about the anti-violence project she’s starting up at her mosque.
It has taken me a while to find these people, this group of queer Muslims who will spend a Saturday night sharing parts of themselves. It has taken me years dragging myself to lesbian bars and pride and dance parties and all that this city has to offer, these places where my Muslimness, my brownness feel acutely out of place. These places where, once, a white lesbian once petted my hijab like I was an exotic creature, where this other time, a Moroccan bouncer looked me up and down and said, “What are you doing here, sister?”
The chatter continued for a while; then Whittle flipped to another photo of two smiling white teenagers. Next to the picture was the phrase “sexual abstinence” and its definition: “saving sexual activity for a committed marriage relationship.” Boals told the kids, “We define ‘sexual activity’ as when the underwear zone of another person comes into contact with any part of your body.” The students would often be asked to recite this definition at the beginning and end of each class.
I don’t regret abstaining in high school, but the fear I picked up along the way hasn’t been easy to shake. I’d believed that sperm could swim through the holes in condoms and impregnate anyone stupid enough to rely on them. It appeared to me that there was no good way to have sex until you wanted a baby, and I didn’t understand what changed once you were married, if birth control wasn’t protection enough. Surely the Pill can’t tell if you wear a wedding band.
When I did start having sex in my early 20s, even though I loved the man I was with, part of me felt disgusted with my body and overwhelmed by the experience. I couldn’t figure out what I liked because I grew up hearing that I wasn’t supposed to like any of it. I felt paralyzing shame at a basic expression of love.
Seems like an effective method to create more handmaids.
I don’t know that I’ll ever cross over the threshold into a true or authentic self, that I’ll ever pass as male or feel like a singular entity, rather than split. Being in a female body, being dismissed, patronized and emotionally abused in the ways women so often are, has shaped my understanding of human beings, of the ways we interact and exert control. I don’t want to become what I hate, to embody the monstrousness latent in masculinity, growing an extra layer of tissue separating me from my emotions and impairing my compassion for others in the process. I don’t want to be anything like my father.
A trans man I’ve become friends with describes his psychological state before starting testosterone, the inner chaos that rendered him absent from his own life, and the peace hormones brought him, a newfound balance due even more to neurochemical recalibration than bodily changes. I measure my vanity, my horror at the thought of being lonely and unwanted, against my health, my ability to participate in the world. I don’t know that I’ll ever stop hesitating in the wings, too shy of my own spirit, too afraid and unsure of whether I want to be seen for all of who I am.
Jason Phoebe Rusch, in Entropy, takes readers through an experience of being transgender that’s different from most of the narratives the media focuses on — different and difficult, with conflicting desires and fears that physical transition won’t solve.
As part of my New Year’s Resolutions, I’ve vowed to read the hundreds of books I already own. Last night, I started and finished Kicking the Habit: A Lesbian Nun Story by Jeanne Córdova, which I received last year courtesy of a giveaway from Danika Ellis, a book blogger who runs The Lesbrary. Córdova’s 1990 memoir is compulsively readable—I couldn’t put it down. She writes about her decision to join the convent fresh out of high school, her growing unease regarding church politics, her deep friendships with her fellow postulants and secular students alike, and, eventually, her decision to leave the novitiate. Córdova is well-known for her 2011 memoir, When We Were Outlaws: A Memoir of Love and Revolution, which describes her political work and LGBTQ community organizing in the 1970s. She was a force for good in the West Coast queer community. She edited a lesbian magazine, created an LGBTQ business directory, and even organized the Gay and Lesbian caucus to the Democratic Party. Sadly, Córdova died a little more than a year ago. I wish I could have met her.
In the two years since I compiled the first installation of “The Lives of Nuns,” Autostraddle wrote about queer nuns in history, Racked shadowed (fake) nuns growing marijuana, and The Huffington Post reported on a nun’s murder and the students who want the truth. Those stories and more are included below. Seclude yourself and read. Read more…
Nineteenth-century Nantucket brings to mind whaling ships, harsh weather, and austere morality. So when a Victorian-era dildo was found in the chimney of an old Quaker home, back in 1979, it quickly became the subject of local lore.
In an essay at Literary Hub, Ben Shattuck traces the provenance of this unlikely sex toy (called a “he’s-at-home” by Nantucketers). Along the way, he also reflects on the tricky art of reconstructing intimate histories, and the ways that the objects we leave behind define us:
Mattie died at seventy-eight, in 1928, from a stroke. She had chronic myocarditis, an inflamed heart. At some point in the thirty years since James had passed, it seems, she’d gathered what she had left of him and stuffed it up the chimney, along with her dildo. All of it was small enough to fit on a damper ledge, and later inside a pink dress box. James and Mattie didn’t get to curate what they left behind, didn’t get to clean up.
Often, in death, you exit in a rush, with your things scattered about, your life exposed, your desk drawers a mess. That will be the case for all of us — leaving behind more than what we’ve accounted for. The valuables and debris of your life reach equal status at death. They are simply everything that’s left behind. Everything that was once yours. You will have thought of money, jewelry, maybe car or house, but you will not have thought of your toothbrush, your old slippers, letters from your first girlfriend you could never bring yourself to throw away, a favorite book, your child’s baby teeth. These items will be found, puzzled over, and either tossed out or kept in the back of a drawer to follow the next generation and maybe the one after that. There will also be those items you always intended to throw out but which your death will have safeguarded. I recently found in my great-grandmother’s correspondences a few letters from the secretary of state talking about the kiss they’d shared in her bedroom (she was sixteen at the time). Burn this letter, he’d written in red ink on the top of each one she saved.
Published to great acclaim earlier this year, The Argonauts blends memoir and critical theory to explore the meaning and limitations of language, love, and gender. At its center is a romance: the story of the author’s relationship with artist Harry Dodge. This story, which includes the author’s account of falling in love with Dodge, who is fluidly gendered, as well as her journey to and through a pregnancy, offers a firsthand account of the complexities and joys of (queer) family-making.
A note: In the print edition of The Argonauts, attributions for otherwise unattributed text appear in the margins in grayscale. We’ve tried to recreate those marginal citations here. However, due to the limitations of digital formatting, if you are viewing this excerpt on a mobile device the citations may appear directly above the quotations, as opposed to alongside them.
October, 2007. The Santa Ana winds are shredding the bark of the eucalyptus trees in long white stripes. A friend and I risk the widowmakers by having lunch outside, during which she suggests I tattoo the words HARD TO GET across my knuckles, as a reminder of this pose’s possible fruits. Instead the words I love you come tumbling out of my mouth in an incantation the first time you fuck me in the ass, my face smashed against the cement floor of your dank and charming bachelor pad. You had Molloy by your bedside and a stack of cocks in a shadowy unused shower stall. Does it get any better? What’s your pleasure? you asked, then stuck around for an answer.
After his wife died in a car accident in 1973, bisexual writer and activist Steve Abbott moved with his two-year-old daughter Alysia to San Francisco, a city bustling with gay men in search of liberation. Fairyland, a Memoir of My Father is that daughter’s story—a paean to the poet father who raised her as a single, openly gay man, and a vivid memoir of a singular and at times otherworldly girlhood. As noted in The New Yorker, the memoir, which vividly recalls San Francisco in the nineteen-seventies and eighties, “doubles as a portrait of a city and a community at a crucial point in history.” Our thanks to Abbott for allowing us to reprint this excerpt here.
I called him Eddie Body. At four years old, language was my playground. “Eddie Body’s not anybody! Eddie Body’s not anybody!” I’d repeat, relishing the near symmetry of the sounds. Eddie Body was Dad’s new boyfriend, his first serious relationship after our move to San Francisco in 1974. There’d been different men—good-looking men, funny-looking men, almost always tall and skinny and young—that I found in Dad’s bed in the mornings. But it was different with Ed. He was the only one with whom I became close. He is the only one I can remember. We spent six months living with Eddie Body. I loved him.
A twenty-two-year-old kid from upstate New York, Eddie Body had moved to San Francisco to get away from his pregnant wife, Mary Ann. He’d made a pass at my dad one afternoon over a game of chess in the Panhandle Park. Soon after, Ed moved into our apartment, a four-bedroom Victorian located a few blocks from Haight Street.
Haight-Ashbury’s “Summer of Love” had ended in 1968 with the arrival of heroin and petty crime. For years the neighborhood was dominated by bars, liquor stores, and boarded-up storefronts. But rent was cheap and soon my father, along with scores of other like-minded searchers, moved in, setting up haphazard households in the dilapidated Victorian flats that lined Oak and Page streets. Many of these new residents, if not hippies themselves, shared an ethos of experimentation and free expression. Many also happened to be gay. Read more…
The sound stage for Orange, where we proudly employ what has to be at least 64% of lesbians in the New York City metro area, is not a place where you can shy away from women or sexuality. And if you’re trying to, Lea Delaria (Big Boo) will nip it in the bud by inviting you to sit on her lap.
Accordingly, I was nervous about the first love scene I’d written for Alex and Piper. I’d loved writing it, loved watching a tenderness emerge in their relationship where passion always seemed to be the ruling principle, but by that time, I was so deep in my own self-doubt that I constantly felt like a fraud. I was sure it was bleeding into my writing. How could it not? I was married to a man, but I wasn’t straight.
“I heart you.”
“I heart you? Is that like ‘I love you’ for pussies?”
As I watched Taylor Schilling and Laura film the scene, one of our producers (as it happened, a gay woman) tapped me on the shoulder. She pointed at the screen and gave me a thumb’s up. It was a small gesture, but my first step toward feeling accepted and quietly accepting myself. In Piper and Alex, I’d found a mouthpiece for my own desires and a glimmer of what my future could look like.
The following writers straddle the line between explanation and expression. Here is my piece. It is personal.
Lauren Morelli’s piece especially touched me. An ex-boyfriend once told me he consulted with his pastor and his wife to see if he should be concerned; would my “healthy fascination with bisexuality” (his words, which I don’t necessarily hate or disagree with) be a deterrent to a serious relationship? The pastor’s wife told him that I should be completely sure I wouldn’t leave him for a woman, should we get married (P.S. we were both 22). These people had never met me, but they were trying to articulate my complex relationship with myself and the people I love. At the time, I brushed that pain aside; now I am hurt and angry. I have never written about this before, but the bravery of Lauren Morelli’s piece dares me to. It dares all of us to face our lives with rugged honesty.
These pieces aren’t about me, though—they are about profound, unique experiences. But they are opportunities to put names with faces, to make the abstract real, and what is more important than that?