Archive for February, 2012

February 21, 2012

Coalition for Marriage: Religious Discrimination?

Lord Carey: Makes me want to bash the bishop, and not in a good way.

This week, in anticipation of an impending public consultation in Britain on marriage equality for same-sex couples, a group of influential voices, both secular and spiritual, have banded together to produce The Coalition for Marriage – an umbrella organisation for all those who aren’t keen on “gay marriage” becoming a thing. The most famous voice amongst this collection of bishops, MPs and peers is Lord Carey, the former Archbishop of Canterbury, who has recently published an article in the Daily Mail about this topic.

Now, as a gay guy, I’m sure my feelings about this are obvious. But I’m not going to bother responding directly to the points made on The Coalition for Marriage website – that has already been done beautifully elsewhere by Martin Robbins of The Guardian. Instead, I’m going to talk about the two reasons why I think gay marriage is a good, nay, necessary thing.

Good in many cases, but should it be the ideal?

1) Gay romance needs to be celebrated: In Lord Carey’s article, he cites the definition for marriage lying in an “ideal” formula for childrearing – the heterosexual couple. This is a pretty straightforward attitude – marriage is about children, and children require two parents, of opposite gender, who love one another, and are married.

Now, this definition has all sorts of problems with it. Lots of straight marriages are childless, for starters, and I don’t see Lord Carey campaigning for them to be forced into having civil partnerships instead. And certainly when a couple announce their engagement, the immediate question isn’t “Oh great! When’s the baby due?” As for children needing straight parents to come out well-adjusted, there is simply no evidence for this. Children need parents; the idea that the genitals of those parents are of any remote significance after the act of conception borders on the ridiculous.

What marriage is certainly about is romantic love. To get married, one should have a deep romantic connection with the other person concerned; getting hitched, living together, and (potentially) having children subsequently are all framed in light of this devotional norm.

However, binding this romantic aspect, childrearing, and heterosexuality into an “ideal” causes real problems, and not just for gay people. By taking the stance of “if everything goes to plan, you’ll be married with kiddies eventually”, a huge number of people are instantly marginalised. Gay people, celibate people, asexual people, people who don’t have children. A lot of my female friends who are post-menopausal, single, and childless express a great deal of sorrow about their situation, and fear the future. The reason they feel so destitute is the same reason why I stayed in the closet for years as a teenager; attachment to idealised heterosexuality.

When I was a kid, I didn’t even know what being gay was. Despite having had a great number of gay crushes from an early age (Aladdin was a particular favourite), I just didn’t link those feelings to sexuality. Instead, I figured love would suddenly make sense and just happen when I was older. When I hit puberty and put two and two together, I immediately rejected the possibility of being gay out of hand: I wanted to get married and have kids. I’m a romantic. How could I be gay? Homosexuality, to my eyes, was something not quite as good as fitting the “ideal”.

I never feared that my parents would reject me. I knew I could rely on their love and support, no matter what. The homophobia I had to deal with was internalised; a gift from a society that touted fecund heterosexuality as the ideal, and anything else as a bit of a shame. Of course, I now know differently. Gay love is just as romantic as straight love. Heteros and homos can be just as slutty, just as devoted, as each other. It’s all about choice.

Now, you might ask how gay marriage would change this. Well, it would allow me to send a signal. To shine with the love I may one day have for another man, in such a way that kids going through what I went through might see that the breeder ideal is only one story about love that can be written.

Of course, other people may disagree. My pain, and the resonance it might have with secret pangs felt by those they love, might be immaterial before the decree of a patriarchal god, an essentialist goddess, or tradition, or whatever. That’s fine. In a liberal society, they have as much right to believe that as I do to disagree. But the law should not choose for us. And at the moment, it does. I cannot scream out the truth of my love, and honour that which I feel to be right, in the same way that they can. And this brings me to my second point:

Handfasting: Older than Christian marriages, as it happens, which only became the norm in 1215.

2) The law currently breaches religious freedoms: This might seem an odd thing to claim, given the fact that the major argument given by many anti-gay marriage campaigners is that their religious right to disapprove might be infringed upon, but there’s real sense to it. Let me explain:

I’m Pagan. Although I don’t like describing my path as a “religion”, it covers much the same territory as the social forms most usually assembled under that term. So I have a right to practice my faith as well as I like.

We Pagans believe in marriage. We believe that the gods honour the commitments lovers make to one another through the rite of handfasting; where one can bind oneself to another/s for a year and day, for a lifetime, or for all eternity. We also believe (by and large) that gay relationships can be honoured in this way, drawing inspiration from a piece of inspirational lore known as the Charge of the Goddess, that affirms that “All acts of love and pleasure are my rituals.” If a relationship is done in this spirit, it is sacred, and can be acknowledged as such in ritual space.

As the law stands, though, a Pagan handfasting of two men (say) cannot be legally binding in the same way as a Christian marriage. If I wanted to get married, even if I booked the handfasting at a registered wedding venue with a registered Pagan celebrant, I would nonetheless not be able to enter into a civil partnership at the same time, because according to the Civil Partnerships Act, there cannot be any religious activity of any kind during the process of registering the union. The same issue is proving problematic for gay Quakers and reform Jews; despite our religious communities believing gay unions to be as sacred as any, our beliefs and practices in this regard are not recognised, and are actively forbidden, because the law currently reflects the views of more powerful religious groups.

If there was any more blatant example of the infringement of religious rights, I’d like to hear it. And yet, we have bishops aplenty, bemoaning the potential ramifications for their homophobic, largely deserted sees if the law changes, despite the fact that current protections for freedom of religion would apply to any change in the laws on marriage. They can keep to their nasty, antediluvian principles – nobody is trying to stop them. They just need to stop standing in the way of the rest of us taking a different road.

February 15, 2012

Dyspraxia: How to lose friends and alienate people

Dyspraxia can make you feel like an ugly duckling, even when everybody else has graduated to swan-hood.

 

I’ve just got back from a wonderful evening of poetry and panto, gathered under the banner of queerness. The poetry was incredible, filled with a mixture of fairytale, gritty honesty and a gleeful reclaiming of nature from essentialistic gender binaries. The panto was hilariously subversive, casting Baroness “Scratcher” as the evil, greedy stepmother, with Boris Johnson and David Cameron as her sexist and secretly BDSM-loving ugly sisters. The protagonist, a bisexual and newly assertive Cinders, scored with the secretly lesbian Princess Charlotte and ended up forming a blissful polyamorous union with her new beau and her panromantic, asexual partner Buttons. Incredible! Props to the Lashings of Ginger Beer team for an utterly stupendous performance.

But despite really enjoying myself, I noticed something a little disquieting; how uncomfortable I still occasionally feel in queer spaces. This isn’t because of any suppressed bigotry on my part or any of the usual political grievances that some queer writers complain of (too many male voices, too much emphasis on fitting in/not fitting in) though. I’m confident I’m not guilty of the former, and the evening was laudibly balanced and harmonious. No, it’s about something quite personal – my being dyspraxic.

In essence, queer spaces place a huge level of emphasis upon concern for others. New social rules – such as asking a person what pronouns they use to describe themselves before using any to refer to them – and a general push towards gentleness and care when dealing with others is part of what makes queer spaces so wonderful and welcoming. Indeed, all of this is entirely intentional. The problem is, that for a person who finds social interactions difficult (such as sufferers of autism, or dyspraxics like myself), this kind of environment can be counter-intuitively threatening. As most people come to these places as a refuge from an often hostile and unsympathetic world, barriers and defences are lowered, which makes the chance of a stray word or careless gesture causing genuine hurt or offense all the greater. Rules are put in place to prevent this from happening, but if picking up social rules doesn’t come naturally, it is only too easy to foul up without meaning to.

This Imbolc, during an encounter with the goddess Brigit, I suddenly realised how scared I am of such tenderness. My fear is not so much of being hurt, but of unintentionally hurting others. I noticed this fear again today in the swirl of neurosis that gripped me as I spoke to people. Would my usage of the word “dude” to refer to, well, everybody, be offensive here? Am I subconsciously reacting to anybody in a way that makes them uncomfortable? Am I using inaccurate pronouns without realising it?

All this came to a head when somebody candidly admitted to me, after having only met me seconds before, that they had suffered from an eating disorder, and that it was still affecting their health. My reaction, intended by me to show support, gave both them and the other person we were both speaking to the impression that I had as well. I haven’t. When I clarified, the familiar awkwardness that appears when you’ve broke an unspoken rule appeared – a kind of abject unravelling of sociality, when the spell of social confidence that you tirelessly weave shatters utterly, and people realise that you’re weird, or rude, or possibly both. The bystander almost cursorily claimed that I’d given them that impression too – which felt like an act of summarily-offered judgement on my social failing – and they both vanished soon after. Had I really offended them? I don’t know. It’s difficult for me to say. Once you fall into the pit, it’s very difficult to trust your own ability to gauge the social temperature of your interactions aymore. They might have just been swept away from me in the tumult of the meet and greet in the interval. Then again, they might not.

None of this is meant to be a criticism of queer or other loving spaces, of course. I’m not saying for a moment they should change, or that all the rules of courtesy they’ve created are unfair. Personally, I think something as simple as checking somebody’s pronouns should be a standard everybody should follow. But I just feel it’s worth remembering that discourtesy isn’t always due to bigotry or genuine hatred; sometimes, it is literally about people just not knowing the rules (yet). Those who suffer with ASDs face real challenges when it comes to the shifting towards a more respectful world. In a funny sort of way, being high-functioning makes matters worse, as people don’t realise how much effort you put in to being “normal”. They assume you’re just like everybody else, until you fuck up and say something out of turn.

So yeah, I’m a bit scared of other queer folk. Not because I don’t like them, but because I like them so much, I don’t want to unintentionally wound them in their trust.

February 10, 2012

Review: The Last Airbender

The Last Airbender: Colourblind casting, worse-than-blind film-making

I’ll be honest, I’ve never had much investment in Nickelodian’s Avatar: The Last Airbender. By the time it screened on British TV I was too old for it, and so I never really watched it. But what I did know of this Asian-European fusion of an animated series; I liked. The concept was solid, the backstory seemed complex and well-constructed, and best of all, practically the entire cast of characters weren’t white. Culturally, linguistically and physically; the world of the Last Airbender is one in which Europeans do not feature.

 

As a European myself, I feel fully justified in saying how great this is. For too long, especially in America, white people and white cultural ideas have been given far too great a share of the limelight. When other ethnic communities are present, they are usually demoted to playing a very tokenish second fiddle. This applies both culturally and individually; if white folks or white culture is involved, it usually provides the perspective from which the story is told. The Last Airbender is a glorious exception to this rule. So when I found out that a bunch of white actors were playing lead roles in the upcoming film adaption, I decided to give it a miss.

Unfortunately, unbeknownst to me, The Last Airbender was still lingering on my LoveFilm playlist. Therefore, it was to my utter dismay that last Wednesday I received a rented copy of Airbender in the post, along with the much more welcome, guilty-pleasure rom-dram Letters to Juliet. I treated myself to watching Letters to Juliet last night, and thoroughly enjoyed it. I’ve just finished watching Airbender, and it was even worse that I thought it was going to be.

Not only were a crew of three white kids (Noah Ringer, Nicola Peltz and Jackson Rathbone) tasked with saving a world filled with a far greater level of racial diversity (because that’s what we crackers do best), but yes – you guessed it – the two primary antagonists were played by brown-skinned Cliff Curtis (who is Maori) and Aasif Mandvi (Indian). Utterly lacklustre writing (“We must show the fire nation that we believe in our beliefs just as much as they believe in theirs”) fought to outcompete dangling plot threads (old people threateningly rounded up for no reason, a revolution that people eventually stop talking about because more interesting stuff happens) in the biggest toe-curler stakes. To top it off, the film just lacked spirit. It just seems as though all the life, verve and originality of the source material was sucked out, and replaced with nothing at all.

 

And who is to blame for all this? The roles of writer, director and producer are all filled by the same guy – M. Night. Shyamalan. That’s right. The Indo-American director who gave us such triumphs as The Sixth Sense and The Village. Not only does the overall poverty of the film fly in the face of his past successes, but the hideous whitewash of Sokka and Katara seems to be an incomprehensible step for an Asian director to take. What the hell is going on?

 

Spot the odd ones out.

Shyamalan has given reasons for his choices. But his defence of keeping things “racially diverse” by making the Water Tribes white rings hollow when you notice how the Southern Water Tribe are all played by Inuit actors, apart from Sokka, Katara and their grandmother (the only ones with lines, incidentally), who are white. Although Shyamalan is right to claim that there are a very large number of minority ethnic speaking parts in the film, most of these are minor characters. Having lots of brown faces in cinema doesn’t do anything to shake white privilege if they’re all standing at the back.

 

Personally, I find big-name filmmakers’ resolute refusal to cast artists of colour in leading roles to be not only unfair towards hard-working and talented non-white actors, but is highly insulting towards white people, too. By assuming that Europeans aren’t going to want to witness the trials and accomplishments of “brown people”, those same filmmakers are accusing us of being racist ourselves. I don’t need white actors prancing around to enjoy a good story. One day, I hope to show the world that the nobody else does, either.

February 5, 2012

“I hate those Ferengi!” Racism in Speculative Fiction

Prominent ears and nose. Lust for money. Just a coincidence.

Prominent ears and nose. Lust for money. Just a coincidence.

TVTropes is an utterly fabulous website, that any aspiring writer must use. Untold hours of my life have been whiled away, as I’ve sat at my computer absorbing the detailed and accessibly-written discourses the contributors have posted up there, detailing every recurring theme and device in fiction.

One of the most important pages, I think, is that of the “Planet of the Hats” trope. It refers to a specific trope – odiously common in speculative fiction – wherein different sentient races are uniformly marked out by a single trait. You have the warrior race. The spiritual race. The savage race. And the race who all wear funny hats.

As TVTropes points out, this technique is all sorts of wrong. Not only is the idea of an entire planet, or nation for that matter, whose population are uniformly anything laughable, but is almost always based on existing, all-too-human stereotypes. Take this description of the goblin race from a World of Warcraft community site:

The cunning goblins are small, green creatures who roam the isle of Kezan, their love of money, explosives, and technology leaves them to be a very dangerous race, most goblins however have a neutral standpoint, preferring to sell their contraptions are knowledge to other races, for a price of course.

Sound familiar? It might help to point out that, like the Ferengi, goblins have big noses, large flappy ears, and (yes, as if it couldn’t get any worse), strong New Yoiker accents. Blizzard might have well inserted clips from Hippler’s The Eternal Jew into the goblin’s opening cinematic sequence.

The same principle can be seen at work in other races. The cannibalistic trolls practice “voodoo”, wear bones through their noses and live on a series of tropical islands. The dwarves live in the mountains, drink lots of beer and have (bad) Scottish accents. The cow-like Tauren live in teepees, carve totem poles and are dependent on a single herd species for survival. And the Undead? Well they all wear punkish hair, experiment with weird technology and have Teutonic-sounding surnames.

To be fair to Blizzard, this sort of thing isn’t all that uncommon, and it’s not as if any race is uniformly painted as “bad”. Much like in Star Trek, supporters have argued that Blizzard’s intent is not to use stereotypes to vilify, but rather to rehabilitate our differences.

Hm. To be honest, regardless of the intent behind all this, I still feel it’s bad anthropology. If my discipline has taught me anything, it’s that there is far more difference within any given society than between them. This somewhat counter-intuitive idea forms the basis of my three-point critique of the DnD-style racio-cultural theory:

  1. No bell-curve?: The biggest problem, as hinted at above, is that many “races” are all touted as having set traits; lawfulness, extreme emotions, interest in pointless badinage etc. In reality, nature doesn’t produce such monolithic qualities. Life exists in bell-curves. It may well be that Klingons are more aggressive on average than humans, but in reality there would be a wide range of aggression levels in both species – potentially so much so, that there would be a significant overlap.
  2. Events, dear boy: Bad world-builders don’t think about why their races are the way they are. So your dwarves love making things, live underground and hate orcs – why? What historical or biological processes caused their society to evolve in such a way? Do dwarves crave gold because of a famous king who loved the metal more than anything, who set the trend? What would their society need to be like for such a fashion to take root? Oftentimes, if the question “why” is asked, it usually comes down to a matter of “Because a god said so”. This is fair enough, but often divine will is used to paste over contradictory ideas.
  3. Where are all the Elven binmen?: Cultures are big, complicated things, with a huge range of tasks that need to be done. You can’t just have a gentry who live in the lap of luxury – you need somebody to plump all those silk cushions and scrub those marble floors. Most fantasy races seem to ignore at least one or two major industrial sectors (such as farming, or domestic service), without any corresponding absence of the goods and services those industries provide.

In all honesty, 1. and 2. are the real flaws, while 3. is more of a particularly common by-product. By not thinking in detail about the range of traits and needs that human societies express, and about the complex causes of such traits, you will end up making your speculative society look entirely 2 dimensional – with the neglect of practical needs being the most likely error. Not only does this process of reflection produce (ultimately) better stories, but it avoids the prospect of falling back on offensive stereotypes in order to provide a bit of colour.

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