105th Down Under Feminists Carnival

Square logo with turquoise border,, same colour text Down Under Feminist Carnival spans the top and bottom, in the centre is the symbol for 'woman' with the southern cross inside the loop.It’s the beginning of March and time for another Down Under Feminist Carnival, which I am hosting this month. Apologies for the belated arrival of things, I had most things pre-drafted and then the beginning of the month really came out of nowhere. Still, it’s International Women’s Day, so perhaps posting tonight is somewhat appropriate in any case.

Next month the Carnival will be hosted by Ana Stevenson at AnaStevenson.com, ana.stevenson [at] uqconnect [dot] edu [dot] au. 

We’re also still looking for people who’d like to host the carnival in future months, it’s super easy, there’s lots of support with people sending through links and it’s a chance to promote the voices of women talking about issues of importance to us. Here’s the DUFC contact form and here is a list of future carnivals that have already been planned (pick any month that isn’t on that list). People will send you suggestions to help you out and there’s help if you need it too. Check out the Down Under Feminists Carnival homepage for more information.


Race and Racism

Front and centre because white feminism is harmful and I’m aware that as a white feminist speaking, I should be doing less of that and more promoting of non-white feminist voices.

A listening piece, Celeste Liddle of Black Feminist Ranter writes for The Age about how we cannot ignore the radicalisation of white men. She also discusses white men and violence and the threat of radicalisation in a podcast for the ABC. This piece is 14 minutes long, but although it’s ABC there doesn’t appear to be a transcript yet.

Faye Yik-Wei Chan is a Melbourne academic writing for the Australian Women’s History Network, sharing research from her thesis on the legal status of Chinese Indonesian Women, 1930-2014. Although this piece is not situated in Australia or New Zealand it is salient to the region and focuses on intersectionality and race outside of the dominance of white people.

Amy McGuire writes for The Monthly about how the Gap is wider than ever, despite promises none of our prime ministers have lived up to commitments on Indigenous affairs.

Disability and Mental Health

@dilettantiquity of Tales from Urban Dilettantia muses on her messy thoughts and issues with the way performing adulthood intersects with disability.

Emily McAven writes for SBS about how what research shows is best for trans kids is not actually surprising: treating them as they wish to be treated. This quote is compelling and resonates strongly for me: “When children feel loved and accepted for who they are they thrive”.

Sports

Steph and Liz from No Award talk about why they’re going to the footy, and how much the AFWL means to them. And here’s their commentary after getting to attend the first round of games.

@dilettantiquity of Tales from Urban Dilettantia also wrote about the footy and her history with it and excitement over the new AFWL.

Scarlett Harris has written for Paste discussing the impact of sexism and appreciation of WWE, and while the WWE is US based Scarlett writes from an Australian perspective on trying to purchase merchandise, and also the harmful way in which segregation between women wrestlers in WWE remains harmful.

Politics, Work, and Public Spaces

I wrote about Midwifery and the Pink Collar Penalty where after my degree program for a protected position requiring maintenance of a registration, my minimum wage is still under $50k. Even though I’m supporting, educating and looking after women their babies and families during some of the most important and intimate experiences of their lives.

Scarlett Harris writes for Archer Magazine about the issues with promotion of condom use in porn when condoms work exceedingly well for the general public, but are less ideal for wearing hours on end, days on end when having sexual intercourse is your job.

Anna Temby writes for the Australian Women’s History Network, reflecting upon the gendered history of public toilets in Brisbane, Australia.

Chilla Bulbeck writes for the Australian Women’s History Network, and demonstrates in her examination of the ‘gender gap’ in voting and why feminists must continue to prioritise a gendered analyses of politics.

Blue Milk writes on her personal blog of the same name, about her experience in criticising the government and how subsequently her private information was given to a journalist and used against her publicly.

Sarah of Writehanded reminisces on starting her blog and why it remains important to counteract the negative stigma about beneficiaries that is rife in New Zealand.

Yen-Rong of the Inexorablist wrote this great piece on what she thinks white men are thinking when they stare at her, because women in public are still for the consumption of others, right? With a side order of racism.

Emily McAven writes for SBS about marching as a family and finding community at Pride.

Motherhood and Pregnancy

Sometimes parenting is being optimistic, and having that optimism dashed to pieces. Emily of Emily Writes writes about the time she attended an Arts Festival launch hoping it would all be fine (spoiler: it wasn’t).

Amanda from Spinoff Parents talks about the other end of parenthood, where your children as adults have left home and you’re coming to terms with this.

Petra writes for New Matilda on the subject of the universal basic income and its importance to motherhood. I appreciated the way Petra identifies that discussions of women and inequality are different across demographics of women who are, aren’t, or once were mothers.

Blue Milk reminisces on extended breastfeeding, linking to a bunch of other photos and posts she’s done on the subject in the past.

Radical Self-Care

Emily of Emily Writes also talks about the importance of taking time, because self-care is hard. She also talks about the fact that parenthood isn’t a binary of good vs bad, it just is and you do the best you can anxiety and all.

TigTog’s post on Hoyden About Town on discovering the Tomlin rule is timely and apt given the State of Australia, and everything else politics around the globe. I have so much time for Tomlin and her awesome quippiness in general.

Bethwyn of Butterfly Elephant also talks about her need for self-care and compassion, with some suggestions others may find useful and how important it is for her ongoing health.

Giselle Au-Nhien Nguyen wrote for SMH about online dating and burn out. How it had given her sexual agency, but that recently she had become burned out by the whole experience.

Food and Cookery

Alex of Acts of Kitchen talks about making a cake, a pie, and interviews Kate who talks about jams, jellies, chutneys and marmalades. This is a podcast link, but Alex does great interviews and this is a conversation between Australian women about things that are interesting to them, wholly in our wheelhouse! This piece is just under 24 minutes long, but has no transcript, I included it as something different for people who may like to listen rather than read.

Alex, from Melbourne Women’s Network talks about the douchiness of Melbourne’s speciality coffee scene, talking about the trend for male baristas to cling to their coffee machines with serving customers being way beneath their esteemed coffee calling.

Books and Media

Hsu-Ming Teo is a literary novelist and cultural historian who has written for the Australian Women’s History Network about origins of the rural romance genre and the history of literary representations of romantic love on Australia’s rural frontier.

Anne Jamison writes for the Australian Women’s History Network, reflecting on the Australian Women’s Writing Symposium which was held at the State Library of New South Wales in November 2016 looking at the significance of the 19th century history of women writers, for Australian women writers of the present.

Deb Lee-Talbot’s writes for the Australian Women’s History Network, analysing a book about how the Red Cross became as a significant Australian institution.

Justine Larbalestier talks on her personal blog about the problem with ‘boy books’ which is not that there is a lack of books for boys but the assumption by adults that boys will only read books about boys.

 

On Problem Daughters: Interviewing the Editors

Inspiration image for Problem Daughters anthology, a silhouette of a woman against a starchart background in browns, oranges, and topaz coloursProblem Daughters will amplify the voices of women who are sometimes excluded from mainstream feminism. It will be an anthology of beautiful, thoughtful, unconventional speculative fiction and poetry around the theme of intersectional feminism, focusing on the lives and experiences of marginalized women, such as those who are of color, QUILTBAG, disabled, sex workers, and all intersections of these. Edited by Nicolette Barischoff, Rivqa Rafael and Djibril al-Ayad, the anthology will be published by Futurefire.net Publishing and is currently being crowdfunded.

What initially prompted this anthology?

Nicci: It started from a Twitter chat about defining feminism; how do we define a work as feminist, and what presuppositions is that definition based on, etc. We talked a lot about the absurdity of using the Bechdel-Wallace test as sort of litmus test of whether individual works are “feminist enough.” That got us talking about the exclusionary nature of certain models of feminism, and how that exclusionism informs literature that calls itself feminist. How do dominant models of Western middle-class feminism influence our ideas of what is, and more importantly what isn’t a feminist story? At that time, I was still feeling hot-headed over the way that dozens of avowed feminists in Hollywood reacted to the idea of decriminalizing sex work for the safety of sex workers (in a shockingly ignorant, tone-deaf letter to Amnesty International) and so, on a personal level, I guess I just felt ready to put a challenge out there. Do you think you already know what a feminist looks like? Can you call it Feminism if you elect to ignore all the women in this great, big world who don’t share your values? Anyway, I think Rivqa and Djibril must have been feeling something similar, and probably have their own catalysts.

Djibril: Yes, on the one hand it was easy enough agreeing on what an inclusive definition should look like, because we were all on the same page, but formulating that in writing was another story. We knew what we meant, and when speaking to and for ourselves we could say vague things like “and everyone else.” Once we had started to iron out a better definition, highlighting the inadequacy of exclusive feminisms and the importance of boosting the voices of marginalized women and recognizing the intersections of misogyny and other bigotries, we started to feel like we had a text we could do something with. At some point we realized we had the germ of a call for submissions for an anthology or themed issue… and we thought, why don’t we actually run with that?

Rivqa: As we refined our message and purpose, what started as a throwaway comment felt more and more important… and here we are.  

Has that motivation shifted or changed given global events over the past year?

Rivqa: When we first started talking about this idea, a year and a half ago, it already felt crucially important. Not that others aren’t doing similar work, but that we need more, so much more, to balance out the voices that have dominated our genre for so long. But the US election this year really galvanised me. Although it meant we had to delay our crowdfunding campaign, it deepened my sense of purpose. In my journal that day, one thing I wrote was “activist purpose in everything I do”, and to me Problem Daughters is an embodiment of that. We want to make an entertaining and beautiful book, but if it changes even one person’s life for the better in a miniscule way, I’ll feel my aims have been achieved.

Djibril: I second all of that, but I’d also add that the anthology has grown, in our minds. As we said just now, we started off thinking about it as a themed issue of the online magazine, but then given the variety and the mix and the genres/media we wanted to see in it, that just wasn’t big enough. We also wanted to pay better than the ’zine does, because that’s especially important when focussing on under-represented voices (otherwise you’re effectively asking already marginalized people in particular to work for free, which is unfair bordering on exploitative). We know that the authors who write the stories and poems are going to put wonderful work into this anthology; we want to make sure that we also do everything we can to contribute to that.

Nicci: As a minor addition to this, I think we liked the symbolism of launching with the new year. However anyone personally feels about 2016, I think we can agree that it was not a great year for women. But we can’t change 2016, so we wanted to, in whatever small way we could, set the tone for the new year. Not in opposition to anything (not even our newly-minted US tyrant), but for women. We are fighting back, but I’d like to think we’re fighting for understanding, rather than against those who don’t yet understand.

What has been the biggest challenge in putting together this anthology?

Nicci: Fundraising has presented quite a number of challenges, but I would say our greatest challenge lies ahead of us, with the stories themselves. I suspect and hope editing this anthology is going to be a bit like being in a roomful of brilliant, expressive people who all have something important to say. Our impossible task will be to pick just a few voices out of the crowd and hope they can adequately represent those who were not chosen. But that’s always the challenge of trying to put together a diverse, vibrant, truly intersectional anthology. It should feel kind of impossible. If it doesn’t, we’re doing it wrong.

Rivqa: I think refining our message was a bit of a challenge. We went through a few different ideas and while all (or at least most) were interesting, some of them were overly restrictive. I hope we’ve struck a balance of being broad enough that thinking of what to write isn’t an onerous challenge, but specific enough to be welcoming to the type of authors we’re hoping to attract.

Djibril: We’re also taking seriously the challenge of getting the word out to as many and as varied writers as possible, including authors in genre and those from other literary traditions; including established short story writers and poets and essayists and campaigners, but also those who have lived experience that they’re not used to making fiction out of; including both those who will see our Call For Submissions in writers’ groups and resources, and those who would miss it if all we did was put it up in the dozen most popular venues and listings. We want this CFS to be seen by “own voices” authors, by people whose writing is infused with the beauty and the scars of a million lived marginalizations, among them of course those who write different intersections than those they identify as their own. This will require serious outreach, and also help from many different communities and networks, and we’re reaching out to these all the time. We haven’t done enough yet.

What does intersectional mean to you all, especially in relation to producing an anthology like this?

Nicci: For an anthology like Problem Daughters, I think it’s about recognizing that there are many, many feminist movements, each with their own set of vastly different concerns. That the term “women’s issues” does not refer to a fixed set of priorities put forth by an oligarchy of great female minds. Because it is not actually possible to separate the experience of one’s gender from the experience of one’s class or race or level of ability or orientation, we’ve got to accept that not every woman is going to have the same priorities as those dictated by culturally dominant feminist movements. But her concerns are part of a lived reality, and excluding her voice from the feminist conversation does not make that reality go away. For us, I think it means deliberately choosing stories from those underrepresented feminisms.

Rivqa: Yes, all of this. I’d add that to me, intersectionality might sound like a mathematical concept, but it’s far more complex than that. We’re not merely the sum of our advantages and disadvantages, and people with the same broad intersections might have wildly different experiences for any number of reasons. Life is complicated and messy and nuanced! So we’re hoping to be representative, not exhaustive.

What other books or anthologies would you recommend for people trying to increase the diversity in what they are reading?

Djibril: If I may start by cheekily mentioning the previous Futurefire.net anthologies, Outlaw Bodies, We See a Different Frontier, Accessing the Future and Fae Visions of the Mediterranean, which all cover diverse topics (body politics, colonialism, disability and polyglot culture respectively) as well as feature a range of authors and materials. Other recent anthologies that have caught my eye include Kaleidoscope (edited by Alisa Krasnostein & Julia Rios); African Monsters (Margrét Helgadóttir & Jo Thomas) and Asian Monsters (Helgadóttir) from Fox Spirit Books; both Long Hidden (Rose Fox & Daniel José Older) and Hidden Youth (Mikki Kendall & Chesya Burke) from Crossed Genres; the Apex Book of World SF series (edited first by Lavie Tidhar, now by Mahvesh Murad); Beyond Binary (Brit Mandelo); Octavia’s Brood (Nisi Shawl); Mothership (Bill Campbell & Edward Hall). There’s a lot out there, if you’re really looking for it. (If only it didn’t need to be collected like this, but were actually the majority of all SF published!)

Rivqa: In recent years, I think there are more publishers that have made a commitment to diversity in interesting ways, and seeking these out is an easy way to diversify one’s reading. Here in Australia, Twelfth Planet Press does consistently impressive work (disclosure: I’ve been published by them twice and will be working with them in the future, but I had nothing to do with their choice of focus). All the presses Djibril’s already mentioned are likewise impressive; Aqueduct in the US is another. Then there are the magazines: Glittership, Capricious, Uncanny, Strange Horizons, Lightspeed’s “Destroy” issues, and, of course, The Future Fire. There’s a lot out there, and a lot of free content as well.

Can you tell me about three things you’ve read and enjoyed in the past year, (anthologies/shorts/novels/series/other media)?

Rivqa: I absolutely loved Binti, by Nnedi Okorafor. Although my culture is very different from that of the titular protagonist’s, the tension between tradition and broader knowledge — and home and the wider  universe — is one I could relate to all too well. Plus, structurally, it’s one of the best novellas I’ve ever read. The pacing and writing are just perfect.

Djibril: I really enjoyed reading L.S. Johnson’s collection of previously published short stories, Vacui Magia. As I wrote in my review at the time, this is a masterfully dark collection that explores gender alongside all sorts of other marginalizations, and grief, power, exploitation, violence, revenge, the divine. This leaps to my mind over dozens of stories and novels I’ve read since, so it really did have staying power.

Nicci: I finally got around to reading Kij Johnson’s novel The Fox Woman, which has one of the most delicate, sad, joyful, historically sensitive portraits of a marriage I have ever read in speculative fiction. I’m also currently enthralled by Sofia Samatar’s The Winged Histories, a story with four very different female protagonists.

What books or other media are you excited about for the coming year?

Rivqa: Makes sense to say Binti: Home, right? There are a lot of books I’m looking forward to. Plus, I’m taking a break from Aurealis Award judging, so when I’m not reading slush, I can actually read more novels. I’m aiming to read more marginalised authors, including but not exclusively Own Voices writers, but I haven’t set specific targets because doing so stresses me out a little. I’ll see how it goes,anyway.

Nicci: Is it too much of a dodge to say I am really looking forward to being buried under a mountain of stories by authors we’ve not yet heard from? Because the thing carrying me through this (as Rivqa pointed out) year and a half marathon journey is the knowledge that soon I won’t have time for anything but the slush pile, and if our outreach is at all successful, I can’t tell you what that would look like.

Djibril: Because you included media, I’m going to say that I’m really impatient to see Hidden Figures (maybe not scifi, but it is about space travel!) which isn’t out here in the UK until late February. I may also take the opportunity this year to catch up on a couple of more diverse TV shows that I’ve not got into yet, like Dark Matter, 3% and The Expanse. I guess there’s the second season of Cleverman coming up soon, too.


Close up image of an eye with a vertical slit pupil, furred around the outside. Djibril al-Ayad,

Djibril is a historian and futurist, co-edited the anthologies Outlaw Bodies, We See a Different Frontier, Accessing the Future, TFF-X, Fae Visions of the Mediterranean and has edited The Future Fire magazine since 2005.

A smiling blue-haired woman in a colourful top looks downwards away from the camera, the background is an outdoor setting maybe a playgroundNicolette Barischoff

Nicolette was born with spastic cerebral palsy, which has only made her more awesome. Her fiction has appeared in Long Hidden, Accessing the Future, The Journal of Unlikely Academia, Podcastle, and Angels of the Meanwhile. She regularly writes about disability, feminism, sex- and body-positivity, and how all these fit together. She’s been on the front page of CBS New York, where they called her activism public pornography and suggested her face was a Public Order Crime.

A woman with glasses faces the camera, it is a close up and she is smiling. There are bookshelves filled with books in the background. Rivqa Rafael

Rivqa is a queer Jewish writer and editor based in Sydney. She started writing speculative fiction well before earning degrees in science and writing, although they have probably helped. Her previous gig as subeditor and reviews editor for Cosmos magazine likewise fueled her imagination. Her short stories have appeared in Hear Me Roar (Ticonderoga Publications), The Never Never Land (CSFG Publishing), and Defying Doomsday (Twelfth Planet Press). In 2016, she won the Ditmar Award for Best New Talent. She can be found at rivqa.net and on Twitter as @enoughsnark.