a princess of now

( 9 minutes of n-words and f-bombs )

More Ruckus

It's either laugh or cuss.

"While RaceFail09 has many similarities to imbroglios about race and racism in the past, I believe its events have gained a unique momentum because they are not focused on one instance of racial prejudice, but spring from something enormous: challenging white authority.

I didn't grasp this until I compared RaceFail09 to Jim Crow era reckless eyeballing; the actual offense behind the label reckless eyeballing is challenging white authority."

From Reckless Eyeballing in the 21st Century

What is changing at this point, is that we're giving up the hope of working with broken social contracts. We're giving up on trying to engage in negotiations and reconciliation with people and groups that place their primacy and our marginalization as a price to admission. We're making our own.

From You left me outside and now you want in




From PoC in Fantasy: Reflections of Ourselves
From

All about the agency of the principles (from rydra_wong).



con_or_bust

Remyth Project

verb_noire has posted its reading guidelines!

Throughout high school he did the usual ghettonerd things: he collected comic books, he played role-playing games, he worked at a hardware store to save money for an outdated Apple IIe. He was an introvert who trembled with fear every time gym class rolled around. He watched nerd shows like “Doctor Who” and “Blake’s 7,” could tell you the difference between a Veritech fighter and a Zentraedi battle pod, and he used a lot of huge-sounding nerd words like “indefatigable” and “ubiquitous” when talking to niggers who would barely graduate from high school. He read Margaret Weis and Tracy Hickman novels (his favorite character was, of course, Raistlin) and became an early devotee of the End of the World. He devoured every book he could find that dealt with the End Times, from John Christopher’s “Empty World” to Hal Lindsey’s “The Late Great Planet Earth.”

From the short story The Brief Wondrous Life of Oscar Wao which became a novel that won the Pulitzer prize.

So, comfortably racist sf & f genre? Take your genre authenticity and shove it. When we do us, when fangirls and fanboys write our chromatic realities, when we verb noire, we rise above you and garner awards that you couldn't dream of in your sf & f ghetto. You don't even need to recognize. Because those that have made you outcasts on account of your fidelity to genre? You've elided yourself. When Mike Chabon is given geek cred and folk like PAD are laughed at by other white writers who are publishing in the New Yorker and any Norton Anthology of choice? You've erased yourself from the conversation. When other scions of other racist institutions see us writing/creating/speaking our truths to power? And when we rock hard at it, they prefer to call us 'magical realists' or 'psychic storytellers' or award winning geniuses or whatever, and our books have ghosts, and tech, and monsters (that aren't based on us, though they are sometimes based on the likes of you). White people that don't consider you colleagues award us with Litcrit honors and this after those of us who write like such outsell you. When it comes down to is that amongst the fanboy and fangirl hordes, there are those who become writers within the genre, but outside of 'dom: what is often said of genre names that do come up in conversation is something not unlike, "Will who?"

ETA: A nerd. Not necessarily from the ghetto.

( I wonder if that long list a bunch of friends, allies, and near-strangers compiled ever made it into 50books-poc. I know I have a copy but I flocked it. )

I wonder where I put that list. I wonder how much its grown from the last version. If you'd like a copy of that list, maybe I, or someone else I'm pretending to be might help with that.

She's won a genius grant. Here is some of her work.

Cell One

The Headstrong Historian

Real Food