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Ive come to realize that the queer memoir format is simply not that interesting. It’s a vehicle for excessive navel-gazing, mostly about how other “queer” people make them feel “not queer enough” usually based on their appearance. What happened to not caring abt what other people think about you? Have we run out of actual life struggles so we can only write about how having an undercut or painted nails is what makes you queer? For a poem to be a Gurlesque poem, they have to traffic in the detritus of actual girlhood. Maybe there’s unicorns and glitter but there’s also snot and vomit. Because that’s a category that is always so marginalized but there’s nothing more meaningless in this culture than a girl… in terms of age and gender.They’re femme, maybe high-femme. It has to be girly but it has to be aggressive, assertive, to take you by the throat and throw you down the stairs. It has to be a little fearless and bad ass for sure. This also relates to the sense I have about the “flippancy” of the way politics have been discussed around your book. We’re living in times where everything we do is archived, if not immediately reported online, so it makes sense that someone would adopt a strategy of slant, ironized or even coded meanings. I’m mostly thinking about The Cut article and how people responded to the playful and almost blasphemous pull-quotes about a few political issues. The oversaturated, bubblegum tones of Doug Emmet’s cinematography reflect the plastic superficiality of this sleek, anonymous, urbane world.”

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Rachel: Personally, I feel so done talking about the “party discourse.” I will say my favorite response to the “controversy” surrounding the launch party and The Cut article came from organizer and sex worker Lorilee Lee. She pointed out that it was great that the party had a mutual aid aspect but as she basically said, so what if it didn’t? What if it weren’t. Why can’t sex workers lives be about fun and community and partying, like basically anyone else’s.Adding this movie (because of the cigarette scene between Lupin and Jigen) but it pretty much applies to the entire franchise. I read the entire main cast as not heteronormative but by far Jigen Daisuke is the most queer-coded of the bunch. His frequently expressed disinterest in women and the fact that he canonically enjoys reading magazines filled with naked buff men would be the highlights I guess. For example, researchers found that such a population is much more likely to be victimized by someone they know well than a person who is a non-sexual and gender minority. Of course I am talking more than about Krystle Cole, I am talking about romance, which I am now trying to write poems about, my personal relationship to romance. And when it comes to that, I finally decided: I’d like to learn to be enraptured by my fear. I apologize as my project with romance maybe doesn’t relate to the Gurlesque? Or does it? I mean I am interested in queer romance but also my formative history of heterosexual romance, and how it continues in my bisexuality, in my work as a sex worker. The kind of romantic conditioning that is thrust upon us all and how that’s shaped me. How I love or hate it or question it or want it. Arielle and I did talk about how the Gurlesque revels in the bad, in the trope of the bad girl, Bad Bad, like the title of Chelsey Minnis’s book. And here, Tiqquin are talking about a surveillance-enhanced proscription against the Bad Bad, against violence, that becomes self-policed.

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One of my bigger issues was that the adaptation to print was quite thoughtless. Very small text in multiple comics, details lost, low-contrast text boxes from the RGB -> CMYK conversion; overall the end result was sometimes hard to read. This brings me to my second issue, namely that with all the emphasis on intersectionality, there was very little about disability. But if there was, maybe someone, SOMEone would have said, "look, this needs to be readable in print too". I also felt that even though there were a wide range of body shapes depicted, there was surprisingly little discussion of fatness and queer fat activism. This June, Nitehawk Cinema in Brooklyn takes its LGBTQ+ Programming to the next level with the new "Be Gay, Do Crime" a series. It will focus on films about queer people who commit crimes as an act of resistance (and sometimes just for the fun of it!). Film to be screened include The Living End, Bound, Set It Off, Born in Flames, Bloodsisters, and D.E.B.S.,Dog Day Afternoon, My Own Private Idaho, Tangerine, a Nightmare on Elm Street 2: Freddy’s Revenge, Poison, and an Anniversary Screening of John Waters’ Desperate Living. Honestly, this was 50% a salt read, and 50% it looked pretty cool, and so I actually wanted to read it. They beat out Dates! (and a few others) for the Ignatz Award, and so I was mildly salty about it since I was a Dates! contributor 😒I think about this lens when it comes to attitudes to sex work, a lot. I think what makes all women want to speculate on sex work, and also makes them nervous, is that it often seems like sex work is a labor that’s available to basically every woman, whether or not that’s true. (Maybe it kind of is but there are things like racism and ableism that make it harder or sometimes impossible to work etc.) (And even if it’s available, we know it’s trans workers and workers of color who face more violence that can be fatal.) Ben : Rachel, this is interesting and a topic where I would love to hear your thoughts. Where anyone has the chance to constantly monitor and report (to be the Cop in the community), versus the liberated subject of the state, who is able to post their own nudes on main, use drugs, promote harm reduction, in short, “be gay, do crimes” as the memetic phrase goes. There’s a scale in how we regulate ourselves between these two positions, even within the self-talking of our own consciousness: “What should I do tonight.” While the oversaturated, bubblegum tones of Doug Emmet’s cinematography reflect the plastic superficiality of this sleek, anonymous, urbane world, the plot is in fact grounded in the horrifying reality of legal guardianship in the US. Blakeson’s aim is not a Ken Loach-style sweeping statement, however. Legal guardianship simply serves as the roots from which Marla’s evil flowers flourish. It is more a vaguely scathing commentary on American hypercapitalism than anything else, but Blakeson ensures that it’s nevertheless an entertaining one. The plot is exhilaratingly unpredictable, until the more generic second act takes a turn for the banal. But I wonder how Lana’s playing the bad girl, or “more Lana than Lana” fits into a Gurlesque or post-Gurlesque.

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It begins with a bang: “Tonight you better listen because I am going to tell you/ What you always wanted to hear./ All you bad hombres better take a deep breath./ I shit you not./ This is the night of nights./ Take a chance on love.”If the characters of I Care A Lot are absolutely morally bankrupt, they are nevertheless immensely watchable. Take Pike’s Marla Grayson, who is not a good person but is extremely good at what she does. Her “business” involves working with similarly morally dubious doctors and care facility managers to have elderly people declared mentally or physically unfit to live indepently, and placed into residential care facilities. After being appointed as their “legal guardian” by a court judge, Marla acquires the authority to assume their property, which she promptly sells off for her own profit. Marla’s business — a venture shared with her (both professional and romantic) partner, Fran — is going swimmingly, until their latest target is revealed to be the mother of a vengeful Russian mafia mobster. So far, so intriguing. In contrast, the U.S. lags far behind when it comes to representation in government. According to the political action group Victory Fund, the LGBTQ+ community would need to increase its representation by 22,544 elected officials to achieve parity. So far, only two openly queer people have ever been elected to the Senate. Rachel: So I recently was able to interview Arielle Greenberg for the Poetry Foundation, who edited the Gurlesque anthology and coined the term. I asked her how the Gurlesque informed her own work, how she’s seen it seep into her own poems and she said it hasn’t. Banal″ here does not mean boring: rather, unimaginative. What began as an innovative storyline, grounded by a healthy, refreshingly normalised queer relationship, ends in a way which felt mightily unfair. The film had received a significant amount of attention online prior to its release. Many queer women saw the (heterosexual) Rosamund Pike — already an unlikely “lesbian icon” after her role in Gone Girl — in a “canon” queer role, wearing power suits and provoking men who underestimated her.