Best 6 quotes of Mitch Kellaway on MyQuotes

Books were irreplaceable to me as a teenage trans person trying to figure out my identity. I bought or borrowed every one I could find, and the feeling of being reflected–as well as being challenged by learning how differently others live their lives–was integral to finding myself as a trans man. I believe many trans people still look to books to help them see themselves or expand their world. There’s something more lasting, more visceral about interacting with a book full of narratives, rather than reading blog posts or advice columns online. There will always be a place for trans books.

["Manning Up"'s] essays definitely nuance the idea of transitioning into a “shared manhood” (much like feminists of color have complicated the idea of “shared womanhood”). Trans men don’t all transition to just become “men,” which was one of the projects’ cornerstone concepts. They become black men, white men, queer men, straight men, working class men, affluent men, fatherly men, single men, spiritual men, etc. etc. All of these mean different things when filtered through social and intimate, familial lenses. One major boon of the growth in transgender literature ... is that we get to tease out these complexities in lives that will be popularly portrayed as monolithic unless we provide counter-scripts." - from a National Book Critics Circle interview with writer Rigoberto Gonzalez

That night I looked Stephanie [Burt] up online and started reading more about her work...I kept encountering a striking factoid...: she’s often cited as the most influential poetry critic of her generation. And she’s openly trans. This is not the world I was taught I would grow into when I was a young trans child -- the one where transgender people are heard, are brilliant, are influential, are even the best. At anything. Being trans, I’d learned subliminally, was supposed to keep you from being that -- even if you loved your trans self, and even if some other trans people and a few allies did too, the world at large would keep your potential tamped down." - from "Surface Difficulty: An Adventure in Reading Trans Poetry," Original Plumbing Magazine 2014

The term “FTM-Butch Border War” just sounds like an alien land of yore. How is it that the gravitational pull of my beard and low-voice should hold [my lesbian friend's] masculinity in deferential orbit? That when standing side-by-side we are supposedly read in comparison, rendering her unalterably more feminine—shorthand, in patriarchal societies, for “lesser than”? Masculinity has more than enough space to spare. But sometimes its flesh-and-blood vessels act as if we have to wound each other for it, like dogs fighting over too few scraps. Anyway, [she] and I know without speaking that in reality, right here and right now in our present moment, that she and I are two different sides of the same coin; two keys sung for the same tune." - from "Snapshots: "Sharing Space with Women," Original Plumbing Magazine 2014

We’re at this really unique time, I think, in trans representation in popular culture where homelessness, depression, mental health issues, instability-in-general are still so very real and need to be talked about, but we’re aware that they’ve dominated “trans” stories for years and years. And we’re now finally at a place where we’re seeing some really positive representations of trans folks in pop culture, and there’s this new pressure -- at least, I feel it, within trans and trans-ally communities -- to only focus on the positive. Because we’re trying, in some sense, to overcompensate for the years and years of too much negativity. As a writer, you might feel a pressure to push the negative stuff away. But there are consequences for that too. Anyone who’s working with trans characters right now is going to have to reconcile that tension.

When trying to comprehend what is happening to, and through, oneself, why not question the narratives one has been handed to make sense with? This is an approach increasingly utilized within transgender knowledge production, one spearheaded by transgender people themselves. It brings to light questions about previous entries into the trans nonfiction canon, asking: Is it necessary, when writing a trans protagonist, to describe in detail a medical transition, to 'confess' conflicted feelings of body confusion? Has it even been internalized into a communal consciousness, into something resembling a trans storytelling requirement?