You stand in line for hours to have the chance to sit across from Marina Abramović (The Artist is Present) and you weep. You stand in line for hours to see Kara Walker’s A Subtlety, or the Marvelous Sugar Baby. You wait to enter the soon-to-be-demolished Domino Sugar Refinery and in this place that links you to sugar’s pleasures and histories and presents of slavery, coolie labor, colonialism, imperialism, death, and displacement and you cut up.
“Racism doesn’t have to be about race. You can be a racist against people that eat little red apples. You can be a racist against people that have a drinking problem.”—Toronto Councillor Doug Ford, brother of crackhead mayor Rob Ford, accusing their critics of being “racist” against them, and neatly summing up how fucked up and ahistorical white Canadians’ views on “anti-racism” can get. (via zuky)
“People aren’t books, I’ve learned.
You can’t bookmark your favorite pieces
to return to whenever you’re feeling lonely;
when the nights get too cold and you
need something familiar to keep you warm,
you can’t reopen their spines and wear
out their pages and call that obsession love.”—Pavana पवन (via jaeboogie)
“The fact that colonialism is so central to science-fiction, and that science-fiction is so central to our own pop culture, suggests that the colonial experience remains more tightly bound up with our political life and public culture than we sometimes like to think. Sci-fi, then, doesn’t just demonstrate future possibilities, but future limits—the extent to which dreams of what we’ll do remain captive to the things we’ve already done.”—Noah Berlatsky’s Why Sci-Fi Keeps Imagining the Subjugation of White People (via dakotacityukuleleorchestra)
Most of the characters in my fantasy and far-future science fiction books are not white. They’re mixed; they’re rainbow. In my first big science fiction novel, The Left Hand of Darkness, the only person from Earth is a black man, and everybody else in the book is Inuit (or Tibetan) brown. In the two fantasy novels the miniseries is ‘based on,’ everybody is brown or copper-red or black, except the Kargish people in the East and their descendants in the Archipelago, who are white, with fair or dark hair. The central character Tenar, a Karg, is a white brunette. Ged, an Archipelagan, is red-brown. His friend, Vetch, is black. In the [Sci Fi Channel] miniseries, Tenar is played by Smallville’s Kristin Kreuk, the only person in the miniseries who looks at all Asian. Ged and Vetch are white.
My color scheme was conscious and deliberate from the start. I didn’t see why everybody in science fiction had to be a honky named Bob or Joe or Bill. I didn’t see why everybody in heroic fantasy had to be white (and why all the leading women had ‘violet eyes’). It didn’t even make sense. Whites are a minority on Earth now—why wouldn’t they still be either a minority, or just swallowed up in the larger colored gene pool, in the future? […]
I think it is possible that some readers never even notice what color the people in the story are. Don’t notice, don’t care. Whites of course have the privilege of not caring, of being ‘colorblind.’ Nobody else does.
I have heard, not often, but very memorably, from readers of color who told me that the Earthsea books were the only books in the genre that they felt included in—and how much this meant to them, particularly as adolescents, when they’d found nothing to read in fantasy and science fiction except the adventures of white people in white worlds. Those letters have been a tremendous reward and true joy to me.
So far no reader of color has told me I ought to butt out, or that I got the ethnicity wrong. When they do, I’ll listen. As an anthropologist’s daughter, I am intensely conscious of the risk of cultural or ethnic imperialism—a white writer speaking for nonwhite people, co-opting their voice, an act of extreme arrogance. In a totally invented fantasy world, or in a far-future science fiction setting, in the rainbow world we can imagine, this risk is mitigated. That’s the beauty of science fiction and fantasy—freedom of invention.
But with all freedom comes responsibility. Which is something these filmmakers seem not to understand.
“Most of the world’s exploited labor comes from women. Women work in the sweatshops and the giant factories. Women sow and tend and harvest the world’s crops. Women carry and birth and raise children. Women wash and clean and shop and cook. Women care for the sick and the elderly. All of this — layer upon layer of labor — is what makes human society possible. Ripping it off is what makes capitalism possible.”—
just saw an anti violence campagn that said “real men don’t hit women” like???? yes. yes they do. those are real men doing those things, and that’s why i don’t trust them. stop appealing to men’s fragile masculinity in order to coerce them into being decent human beings 2k14.
A Dalit woman explains how the caste system is a lethal one where, according to India’s National Crime Records Bureau, four Dalit women are raped, two Dalits are murdered, and two Dalit homes are torched every day.
No. I write in spurts. I write when I have to because the pressure builds up and I feel enough confidence that something has matured in my head and I can write it down. But once something is really under way, I don’t want to do…