Foreword to Drag Noir

The original Jim West, Robert Conrad

FOREWORD to DRAG NOIR by editor K. A. Laity

I wanted to be Jim West. The hero of the television programme Wild Wild West played by Robert Conrad epitomized cool as far as I was concerned as a kid. He looked slick, fought bad guys and lived in luxurious style in a train caboose with his pal Artemus Gordon—every week a new location and a new adventure.

But more than that, the look: that snugly fitted suit, short jacket, broad shoulders and black boots. Sure he did spend a lot of time shirtless and tied up, too. Somehow at the advent the androgynous glam rock look of the 70s and the nascent punk scene, anything at all seemed possible—at least until my body betrayed me with the double-whammy of adolescent hormones and a thyroid that tipped over into overdrive, hitting my rangy frame with unexpected curves and bewildered loss of identity.

Tilda Suited by ShermanI grew up with two brothers, four baseball diamonds and a football field behind my house, so I played a lot of sports. Yet when I started school I was expected to wear dresses. I wanted to be the boy in My Side of the Mountain but it was a revelation to see Karen Carpenter play drums because it was a thing girls weren’t supposed to do. I was a guileless and mostly unaware child so it came as a bit of a shock when I realised there was a great deal of anxiety attached to who I was supposed to be. I failed so much at being a girl that I was sent to charm school, a racket run by the local department store.

It failed.

My adolescent discomfort sprang largely from being forced into a category that didn’t fit me, as much as it did with being trapped in one place when I wanted to travel the world. Academia belatedly taught me an essential term: slippage. Our brains like to categorise things into distinct pigeon-holes, but nature just bleeds into the margins. I like slipping between categories (as these noir mash-ups show). Then as now I hated to be pigeon-holed. On my website I quote Kierkegaard: “Once you label me, you negate me.”

It’s no wonder that I took to gender studies like a PI to trenchcoats; it explained the discomfort I had struggled with for so long—and proved I wasn’t the only one. It gave me so much more to think about when I considered my own childhood (not to mention two men living together in a caboose—hello!). Judith Butler showed me gender was constructed by culture, just as I’d always intuited. She instilled in me the love of playing with those conventions consciously, testing people’s reactions, and teaching students to be conscious of them as well.

But it was Ru Paul who cut to the essential: “We’re born naked, and the rest is drag.”

Manufacturers seem to have doubled down on building the great gender divide; all you have to do is look at the ‘girls’ aisle in any toy store—a throbbing pink ghetto. Toys that were bright primary colours a couple decades ago now receive a varnish of glutinous pink. The ‘princess’ industry is reinforced 24/7 on the Disney media empire of television and radio. Maybe it’s the last ditch backlash against a broadening culture that not only recognizes the rainbow spectrum of genders, but increasingly celebrates them. I’m all onboard with the Pink Stinks camp, but maybe princess power isn’t as monolithic as I sometimes fear (given my tomboy self). I was pleasantly surprised the other day when the Executive Toddler (3) and her brother (9) were on scooters, which he reminded her both belonged to him, when she told him imperiously that she liked ‘boy things and girl things’. I leaned over and said, ‘I’ll tell you a secret: there aren’t really “girl things” and “boy things”—there are only “things”‘.

You can spend your life trying to protect the divisions between categories, but nature bleeds through the barriers. That’s why we have parthenogenesis. Nature will find a way. Try too hard to maintain those artificial borders and you’re bound to fail.

Of course noir is all about failing, but it’s also about shadows, surfaces and a lot of grey areas. Hiding and revealing, deceptive appearances, buried truths: the stories here run the gamut. So do the writers: some I knew already, others I didn’t at all. I was disappointed to have so few drag king stories, but maybe that leaves room to revisit the topic. I had no idea what I would get, but I was pleased with the results. I hope you are too.

Drag Noir Cover Artist: S. L. Johnson

Cover by S. L. Johnson
Cover by S. L. Johnson

Whatever Lola wants, Lola gets — faboo artist S. L. Johnson tells us how she came up with her latest eye-catching design for the cover of Drag Noir:

When I was asked to create a cover for the “Drag Noir” antho, it was quite a challenge. “Drag” is a full-on gender-bending costumed performance role, meant to be seen and heard, while “noir” is dark and nefarious, and hidden. Resolving these two ideas in visual form led to a lot of dead-end ideas, and my desire to represent both male & female gender conventions in drag further muddied the creative waters. After several false starts, I decided I would take one face and split it down the middle, with the idea of that the face could be seen as the woman or the man in drag. I felt this was the obvious solution, but in such a graphic, flat form, it would work well. It’s shadowy, a la noir, but with bright red half-lips, and a green face that represents the very made-up faces of drag queens, yet could also be corpse-like in the pulpiest way.

It works, for sure!

Be sure to check out Johnson’s other work which runs the gamut from book and CD covers to posters and more! Including her other noir covers for us.

 

Tenebris Submission Call

Calling all foxy folk with a penchant for fairy tales. Our lovely friends at Tenebris are looking for new faces for their follow up to the gorgeous and brilliant ‘Willow Weep no More’ and have sent us details of the submission call.

You can find everything you need to know about the tentatively titled ‘Shadows of the Oak’ HERE on their site.

They are an excellent press so if the lesser characters of fairy stories have always attracted your interest get your submission over to them!

WWNM_Cover

Monster Giveaway!

Tweet the link to an amazon review of a Fox Spirit title posted by you anytime in Oct or Nov 2014 using the #eumonsters along with retweeting the link to this giveaway to be added to a draw for the chance to win your choice of YA novel ‘Billy’s Monsters’ and amazing horror anthology ‘European Monsters’ both in paperback.

Breaking that down

To be included you need to retweet this post on twitter, post an amazon review (any country) of a Fox Spirit title and tweet the link using the hashtag #eumonsters

We will check the hashtag at the end of November and add you all to a prize draw where five names will be selected at random. Please make sure you are following us so we can reach you. @foxspiritbooks

There are five paperback copies up for grabs and winners get to choose between Billy’s Monsters and European Monsters

If you also have a blog we will be happy to provide review copies of available titles as ebooks including Drag Noir and Wicked Women as soon as they are available. Please contact adele@foxpsirit.co.uk if you would like a review copy of any of our titles, include a link to your blog and title your email ‘Review Copy’ so I can find it easily.

Art 3_Kieran_to Vikja story
art by Keiran Walsh for European Monsters

Foxy Forums

The Prof, the Rev and the Captain with Charlie Fox.
The Prof, the Rev and the Captain with Charlie Fox.

In order to aid skulk related discussion and general bookish chatterings we have set up a Foxy Forum. It’s in its early days but it won’t work without you, our skulktastic readers, writers, artists and friends making use of them.

So far we have a welcome post, a ‘book flu’ topic for sharing recommendations and an ‘events’ topic for sharing details of events you are attending or want to let us know about. I have also added an ‘quick questions’ topic so you can ask questions of us or our authors. We will answer what we can.

Add topics, get chatting and have fun.

A diverse issue

Moderately often I find myself drawn into discussions about equality, diversity and representation in genre fiction. The thing trotted out generally in defence of the status quo is ‘the focus should be on quality not equality’. To which my question is continually ‘Why are they seen as mutually exclusive?’

The thing that angers me is the idea that quality and diversity/equality/ representation are mutually exclusive. They are not. No one is robbing an editor of the right to select the best stories by asking them to consider approaching a broader range of writers in the first place.  In fact it’s entirely possible that is a good way to get the best stories. It saddens me that I still find myself drawn into these discussions, because it means they are still occurring with alarming regularity. People are still trying to argue that in publishing and on convention panels you can have quality OR equality. Not true, it’s totally possible to have both. This, my friends is a cake we can all have and eat too!

cake

I believe diversity, equality and representation make for a richer experience in fiction (as in life). All those different perspectives, the breadth of experience, the cultural richness of it can only be a good thing for SFF and Horror. I want more Asian mythology, history and religion in my fantasy and urban fantasy reads. These things are less familiar to me and therefore endlessly fascinating to read, but I’d like more (not all) of those books to be by Asian writers because, well they have a different perspective on it than a white British writer for example.

Also as a friend of mine pointed out (you know who you are), it’s all well and good having more gay and bisexual characters in books but if they are all written by straight people nothing has really changed, that isn’t real representation or diversity and it does nothing for gay or bisexual writers. It’s not a bad thing in itself for straight writers to write gay characters, everyone should write the stories, cultures and characters they want. Writing African protagonists should not be restricted to African writers, nor should gay female writers have to write gay female leads, but those characters AND those writers should be part of big picture.

I want diversity in the books I read. I want characters, settings and cultures of all kinds and I want them written by all kinds of people. I want to see an end to whitewashed covers, I want panel parity to not be needed as a ‘thing’ because it’s so normal for women, writers of colour, people who do not identify to a single binary gender or sexual identity and the rest to be on panels. I want the ‘broads with swords’ and ‘women in horror’ panels to vanish because the women who write horror or epic fantasy are talking about it on the other panels.

So this is my stance folks. Diversity in fiction isn’t a good thing, it’s a great thing! An essential thing! A needful thing! Please Embrace it.

*As an important aside, I entirely accept that it is possible to send out invitations for an anth to a good mix of people and still largely get back stories from white men, it happens and it is entirely unfair to hold the editor accountable for then publishing an all or almost all male, white T.O.C. The simple principle on this is the more diverse your invitation list the better the chance is you will get a diverse T.O.C.*

Some interesting sites and articles although this barely scratches the surface of quality discussion on the matter.

Islam in SF

List – Mindblowing SF by Women and Writers of Colour

Article on Feminist Science Fiction

A couple of posts on whitewashing by InsideaDog and Booksmugglers

LONTAR a journal of Southeast Asian Speculative Fiction

Lizzie Barrett on Panel Parity