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We also figured out—the hard way—that the ancients probably cut each layer of linen to the proper shape before gluing them together. For our first linothorax, we glued together 15 layers of linen to form a one centimeter-thick slab, and then tried to cut out the required shape. Large shears were defeated; bolt cutters failed. The only way we were ultimately able to cut the laminated linen slab was with an electric saw equipped with a blade for cutting metal. At least this confirmed our suspicion that linen armor would have been extremely tough. We also found out that linen stiffened with rabbit glue strikes dogs as in irresistibly tasty rabbit-flavored chew toy, and that our Labrador retriever should not be left alone with our research project.

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hey you might've been asked this before sorry if so, but have you read or do you have any thoughts on A short history of Trans Misogyny?

I have read it! I have a few thoughts.

I think it's a strong and important work that compiles historical archives into sharp analyses of how "trans misogyny" (using Jules Gill-Peterson's spacing) is not a recent phenomenon but a globalized structure with centuries of history. I also think it's flawed, for reasons I'll get into after a quick summary for those who haven't had the chance to read it yet.

JGP divides the book into three main chapters, the first on the notion of "trans panic". There, she traces how variants of this anxiety with the trans-feminized subject have presented—to deadly effect, for the subject—in such different settings as early colonial India, the colonization of the Americas, the racialized interactions between US soldiers stationed in the Philippines and the local trans women living there, and of course the contemporary United States itself. In every case she analyzes this "panic" as the reaction of the capitalist colonial enterprise to the conceptual threat that the trans-feminized subject poses; we are a destabilizing entity, a gender glitch that undermines the rigid guarantees of the patriarchal order maintaining capitalism. Punishment follows.

The second chapter is my favourite, and considers the relationship between transfeminine life and sex work. I posted a concluding excerpt but the thrust of the chapter is this: that the relegation of so many trans women and trans-feminized people to sex work, while accompanied by the derogation and degradation that is associated with sex work, is not itself the mere result of that degradation inflicted upon the subject. In other words, it is not out of pure helplessness and abjection that so many trans-feminized people are involved in sex work. Rather, sex work is a deliberate and calculated choice made by many trans-feminized people in increasingly service-based economies that present limited, often peripheralized, feminized, and/or reproductive, options for paid labour. Paired with a pretty bit of critical confabulation about the histories of Black trans-feminized people travelling the US in the 19th century, I think this made for great reading.

In her third chapter, JGP narrativizes the 20th century relationship between the "gay" and "trans" movements in north america—scare quoted precisely because the two went hand-in-hand for much of their history. She emphasizes this connection, not merely an embedding of one community within another but the tangled mutualism of experiences and subjectivities that co-constituted one another, though not without tension. Then came the liberal capture of the gay rights movement around the 70s, which brought about the famous clashes between the radicalisms of Silvia Rivera and Marsha P Johnson (neither of whom, JGP notes, ever described themselves as trans women) and the institutions of gay liberalism that desired subsumption into the folds of capital. This is a "remember your history" type of chapter, and well-put.

I think JGP is correct to insist, in her introduction, on the globalizing-in-a-destructive-sense effects of the colonial export of trans womanhood. It is, after all, an identity conceived only mid-century to make sense of the medicalized trans subject; and "gender identity" itself (as JGP describes in Histories of the Transgender Child) is a psychomedical concept conceived to rein in the epistemic instability of trans existence. This is critical to keep in mind! But I also think JGP makes a few mistakes, and one of them has to do with this point.

In her first chapter, under the discussion of trans misogyny in colonial India, JGP of course uses the example of the hijra. Unfortunately, she commits two fundamental errors in her use: she mythologizes, however ambiguously, the "ascetic" lives of hijra prior to the arrival of British colonialism; and she says "it's important to say that hijras were not then—and are not today—transgender". In the first place, the reference to the "ascetism" of hijra life prior to the violence of colonialism is evocative of "third-gender" idealizations of primeval gender subjectivities. To put the problem simply: it's well and good to describe the "ritual" roles of gendered subjects people might try to construe contemporarily as "trans women", the priestesses and oracles and divinities of yore. But it is best not to do so too loftily. Being assigned to a particular form of ritualistic reproductive labour because of one's failure to be a man and inability to perform the primary reproductive labour of womanhood-proper is the very marker of the trans-feminized subject. "Ascetism" here obviates the reality that it wasn't all peachy before (I recommend reading Romancing the Transgender Native on this one). Meanwhile, in the after, it is just wrong that hijra are universally not transgender. Many organize specifically under the banners of transfeminism. It's a shame that JGP insists on keeping the trans-feminized life of hijra so firmly demarcated from what she herself acknowledges is globalized transness.

My second big complaint with the book is JGP's slip into a trap I have complained about many times: the equivocation of transfemininity with femininity (do you see why I'm not fond of being described as "transfem"?). She diagnoses the root of transmisogyny as a reaction to the femininity of trans women and other trans-feminized subjects. In this respect she explicitly subscribes to a form of mujerísima, and of the trans-feminized subject as "the most feminine" and (equivalent, as far as she's concerned) "the most woman". Moreover, she locates transfeminist liberation in a singular embrace of mujerísima as descriptive of trans-feminized subjectivity. As I've discussed previously, I think this is a misdiagnosis. Feminization is, of course, something that is done to people; it is certainly the case that the trans-feminized subject is in this way feminized for perceived gender-failure. This subject may simultaneously embrace feminized ways of being for all sorts of reasons. In both cases I think the feminization follows from, rather than precedes, the trans misogyny and trans-feminization, and there is a fair bit of masculinization as de-gendering at play too, to say nothing of the deliberate embrace of masculinity by "trans-feminized" subjects. Masculinity and femininity are already technologies of gender normalization—they are applied against gender deviation and adapted to by the gender deviant. The deviation happens first, in the failure to adhere to the expectations of gender assignment, and I don't think these expectations can be summarized by either masculinity or femininity alone. I think JGP is effectively describing the experience of many trans-feminized people, but I do not think what she presents can be the universalized locus of trans liberation she seems to want it to be.

Now for a pettier complaint that I've made before, but one that I think surfaces JGP's academic context. In her introduction she says:

In truth, everyone is implicated in and shaped by trans misogyny. There is no one who is purely affected by it to the point of living in a state of total victimization, just as there is no one who lives entirely exempt from its machinations. There is no perfect language to be discovered, or invented, to solve the problem of trans misogyny by labeling its proper perpetrator and victim.

Agreed that "there is no perfect language to be discovered"! But JGP is clearly critical of TMA/TME language here. Strange, then, that less than ten pages later she says this:

this book adds the phrase trans-feminized to describe what happens to groups subjected to trans misogyny though they did not, or still do not, wish to be known as transgender women.

So JGP believes it is coherent to talk about "groups subjected to trans misogyny", which she thinks consists of the union of trans women and what she called "trans-feminized" groups. If this is to be coherent, there must be groups not subjected to trans misogny. So we've come around to transmisogyny-subjected and not transmisogyny-subjected. Look: you cannot effectively theorize about transmisogyny without recognizing that its logic paints a particular target, and you will need to come up with a concise way of making this distinction. But JGP dismissing TMA/TME with skepticism about "perfect language" and immediately coining new language (basically TMS/not TMS) to solve the problem she un-solved by rejecting TMA/TME... it smells of a sloppy attempt to make a rhetorical point rather than theoretical rigour. It's frustrating.

I have other minor gripes, like her artificial separation of "trans women" from "nonbinary people" (cf. countless posts on here lamenting the narrow forms of existence granted TMA people if we want recognition as-such!) or her suggestion that "a politics of overcoming the gender binary" is mutually exclusive from rather than necessarily involved with struggles around "prison abolition, police violence, and sex work". Little things that give me the sense of theoretical tunnel-vision. But I don't think all this compromises the book's strengths as a work of broad historical analysis. I would simply not take every one of its claims as authoritative. Definitely give it a read if you have the chance, especially for the second and third chapters.

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ok well this blew my mind

This is also true with filmmakers. Western filmmakers pan their cameras mostly left to right and Iranian filmmakers do right to left.

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One of the things which I think should be most shocking to people who have no experience with Homeless shelters is how often they have policies which *actively make it harder for their residents to find or keep a job*.

What happens if you have a strict curfew but the bus back from your new job only comes once every hour? Better hope you don't leave work even five minutes late, otherwise you ain't getting to sleep indoors tonight! Hope that doesn't impair you at work tomorrow!

Also, better not try to get any swing or night shift work!

This is so obviously stupid and counterproductive that I think those of us who have never had first-hand knowledge of being homeless can't imagine that this kind of stuff is *normal* in American shelters.

Like legitimately they seem designed to keep people homeless.

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[Note: Dworkin’s analysis of Wuthering Heights is astonishing. Below is her first paragraph. I suggest reading the novel as well as Dworkin’s analysis in its entirety.]

"Stronger than a man, simpler than a child, her nature stood alone," wrote Charlotte Brontë of her deceased sister, Emily. Wuthering Heights, her one novel, published under a male pseudonym before her death at thirty, also stands alone. There is nothing like it—no novel of such astonishing originality and power and passion written by anyone, let alone by a nineteenth-century woman who was essentially a recluse. Nothing can explain it: a worldly, obsessed novel of cruelty and love that surpasses, for instance, the best of D. H. Lawrence in both sensuality and range; an act of passion as well as a work of intellectually rigorous art; a romantic, emotionally haunting, physically graphic rendering of sadism as well as an analytical dissection of it; a lyric and at the same time tragic celebration of both love and violence. "It is moorish, and wild, and knotty as a root of heath," wrote Charlotte, who admitted to being somewhat repelled by the book. "Nor was it natural that it should be otherwise; the author being herself a native and nursling of the moors." So was Charlotte, but she wrote Jane Eyre, a novel of civilized pain and outspoken dignity. Both women had a deep understanding of male dominance, which does suggest that, for women, the family is Blake's famous grain of sand. Emily did take the family as a paradigm for society, especially for the creation of sadism in men. She showed how sadism is created in men through physical and psychological abuse and humiliation by other men; and she wrote about femininity as a betrayal of honor and human wholeness. She was indifferent to sex-roles per se, the surface behaviors of men and women. Instead, she exposed the underbelly of dominance: where power and powerlessness intersect; how social hierarchies emphasize difference, fetishizing it, and repudiate sameness; how men learn hate as an ethic; how women learn to vanquish personal integrity. She anticipated contemporary sexual politics by more than a century; and, frankly, I don't think there is a contemporary novelist, man or woman, who has dared to know and say so much. There is nothing to explain her prescience or her prophecy or, for that matter, her radical political acumen; except to say that Emily Brontë seemed to share with her monster creation, Heathcliff, a will that would neither bend nor break. He used his will to create pain for those he hated. She used hers, no less ruthlessly one suspects, to live in a self-determined solitude, to write, and, finally, to die. Shortly after her brother, Branwell, dissolute and self-obsessed, suddenly died, Emily got consumption, and wasted away with what seemed a premeditated fierceness and determination. On the day of her death, she got up and dressed and groomed herself and sat on a sofa and sewed. She said a doctor could be called and soon she died. Branwell had died in September 1848; Emily died in December. "She sank rapidly," wrote Charlotte. "She made haste to leave us. Yet, while physically she perished, mentally she grew stronger than we had yet known her. . . . I have seen nothing like it; but, indeed, I have never seen her parallel in anything."

-Andrea Dworkin, Letters From a War Zone

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I don’t know about anyone else, but I, as a trans woman, do not know what it is to be a man. I know what it’s like to be surrounded by men, to be picked apart by them, to have masculinity enforced on me and to have my femininity degraded. I know what it’s like to be targeted for punishment, physically and sexually, for my femininity, for a girlhood the boys and men could see in me, to be queerbashed, to have my head slammed into hard surfaces, to have my genitals fondled, to be injured in all kinds of small and repetitive ways with things like pens, compasses, and so on.

I know what it’s like to be assumed to be a man, and to be abused because I am not. I know what it’s like to be separated from my female friends as a young child because my status as a ‘boy’ meant that I needed to be placed with the other boys, the ones who degraded me and hurt me. I know what it’s like to be beaten and burned. I know what it’s like to have teachers make an example of me because I cannot conform. I know what it’s like to be made afraid of being around other people, because people means abuse.

But I don’t know what it is to be a man. Even after everything they tried, I wasn’t one.

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Sorry to u/downthepub (2nd up) but it's killing me that someone read the love story in Pride and Prejudice and had the takeaway that Elizabeth really just wanted to marry the man with the biggest crib in the area and didn't until that moment realize that was Mr Darcy!

I am reading scholarly works about Jane Austen and having hearteyes about obscure details in the Pemberley chapters of P&P that indicate Mr. Darcy’s sustainable land management praxis.

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Genuinely 90% of historical fiction would be so much better if more writers could get more comfortable with the fact that to create a good story set in a different time period you do actually have to give the characters beliefs & values which reflect that time period

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I honestly always find the term ‘spinster’ as referring to an elderly, never-married woman as funny because you know what?

Wool was a huge industry in Europe in the middle ages. It was hugely in demand, particularly broadcloth, and was a valuable trade good. A great deal of wool was owned by monasteries and landed gentry who owned the land. 

And, well, the only way to spin wool into yarn to make broadcloth was by hand. 

This was viewed as a feminine occupation, and below the dignity of the monks and male gentry that largely ran the trade. 

So what did they do?

They hired women to spin it. And, turns out, this was a stable job that paid very well. Well enough that it was one of the few viable economic options considered ‘respectable’ outside of marriage for a woman. A spinster could earn quite a tidy salary for her art, and maintain full control over her own money, no husband required. 

So, naturally, women who had little interest in marriage or men? Grabbed this opportunity with both hands and ran with it. Of course, most people didn’t get this, because All Women Want Is Husbands, Right?

So when people say ‘spinster’ as in ‘spinster aunt’, they are TRYING to conjure up an image of a little old lady who is lonely and bitter. 

But what I HEAR are the smiles and laughter of a million women as they earned their own money in their own homes and controlled their own fortunes and lived life on their own terms, and damn what society expected of them. 

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The scariest part happens after the ghosts are gone, Aurora Stewart de Peña

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It needs to be re-stated that official history and what's written in books and official record often isn't the full story.

Hanging out with old people rules because after a while they trust you enough to confess to murder totally unprompted

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Cats are the new bosses.

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Just as an add-on point, as people also used to be smaller when there was poorer nutrition - there would have been less body diversity to an extent between body shapes which would have also eased difficulties that might be more pronounced today in purchasing and garbing.

It's easier as an AFAB to wear men's clothes if the standard man's size is within a few inches of your existing height and proportions, and likewise the other way around - especially if you know someone with a little tailoring skill, which would be common in most families.

I have a question, where would gnc/trans people get their clotges in the days before the selling of premade clothes? I assume some was stealing from relatives, and that soem of them did know how to make clothes, but that doesn't seem at all likely to be the most common method

That is an amazing question!

Unfortunately for a lot of people, we don't really know- many trans folks flew under the radar and as such details of their lives are unclear. Legendary stagecoach driver Charley Parkhurst, for example, left no sort of record as to where he got his clothes (especially since he lived in a cabin in the middle of nowhere for many years of his life). And figures like Mary Jones, a Black trans sex worker from the early 19th century, flit into and out of the pages of history so quickly that there's barely enough info to get their vital statistics, let alone shopping habits.

However, my guesses would be as follows:

Secondhand shops. These have existed for a very long time, and if you already have at least one outfit that makes you read as the correct gender, nobody would question you going through that section of the store/market/whatever.

Sympathetic conventional tailors or dressmakers. This is almost certainly where middle- and upper-class GNC or trans people got their clothing- one can hardly imagine legendary writer George Sand buying her suits secondhand, after all. And since humans have always been human, and Let People Dress How They Please; They Aren't Hurting Anyone is a sentiment I've seen at least as far back as the 19th century, I suspect there were far more of these than many people might think.

Clothing workshops catering to the demimonde- that is, to theatrical companies for costumes, or to sex workers. Certainly this is where drag performers got their stage gear, and one imagines people for whom gender variance crossed the line from performance to identity- like Fanny Park and Stella Boulton -might have turned to their costumers for everyday attire, too. And catering to sex workers probably got all sorts of requests that were seen as outre for the time (in a roleplay capacity- most sex workers dressed conventionally while not actively Doing Sex), but their money was as good as anyone else's.

Friends and relatives. Some families knowingly supported their crossdressing or trans loved ones. Even partners who married the person in question as the binary opposite gender could fall into this category- Lili Elbe (though she lived after premade dresses began to rise in popularity) first experimented with feminine attire in dresses and jewelry loaned by her enthusiastically supportive wife Gerta Gottlieb. In fact, Gottlieb was bisexual, and their marriage was only annulled because Lili was a woman now and same-gender marriage was illegal in Denmark at the time.

Also yes stealing from your relatives was also an option, of course. if they were less than sympathetic

The king of France???? this is the wildcard, and my absolute favorite: the Chevaliere d'Eon, when she transitioned in the 1770s, got the king to not only formally state that she had been assigned female at birth (there had been speculation about her physical sex for years at this point) but to pay for her new wardrobe of gowns. Absolute Queen.

"but didn't her mantua-makers notice Some Physical Things?" she's believed to have had some form of gynecomastia, based on her autopsy, and they'd never have cause to see her in less than her calf-length chemise. if they did see anything, they kept their mouths shut, and rightly so.

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just learned that magnolias are so old that they’re pollinated by beetles because they existed before bees

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an incomplete list of unsettling short stories I read in textbooks

the scarlet ibis

marigolds

the diamond necklace

the monkey’s paw

the open boat

the lady and the tiger

the minister’s black veil

an occurrence at owl creek bridge

a rose for emily

(I found that one by googling “short story corpse in the house,” first result)

the cask of amontillado

the yellow wallpaper

the most dangerous game

a good man is hard to find

some are well-known, some obscure, some I enjoy as an adult, all made me uncomfortable between the ages of 11-15

add your own weird shit, I wanna be literary and disturbed

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I firmly believe that how feminist a book is is better demonstrated by its background characters rather than its mains

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One of my favourite pop culture useless pieces of information that I know is the fact that trends in horror movies can tell you about the general fears of the world at any given time in cinematic history.