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autistichalsin · 3 months ago

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In retrospect, four years later, I feel like the Isabel Fall incident was just the biggest ignored cautionary tale modern fandom spaces have ever had. Yes, it wasn't limited to fandom, it was also a professional author/booktok type argument, but it had a lot of crossover.

Stop me if you've heard this one before: a writer, whether fan or pro, publishes a work. If one were to judge a book by its cover, something we are all taught in Kindergarten shouldn't happen but has a way of occurring regardless, one might find that there was something that seemed deeply problematic about this work. Maybe the title or summary alluded to something Wrong happening, or maybe the tags indicated there was problematic kinks or relationships. And that meant the story was Bad. So, a group of people takes to the Twittersphere to inform everyone who will listen why the work, and therefore the author, are Bad. The author, receiving an avalanche of abuse and harassment, deactivates their account, and checks into a mental health facility for monitoring for suicidal ideation. They never return to their writing space, and the harassers get a slap on the wrist (if that- usually they get praise and high-fives all around) and start waiting for their next victim to transgress.

Sounds awful familiar, doesn't it?

Isabel Fall's case, though, was even more extreme for many reasons. See, she made the terrible mistake of using a transphobic meme as the genesis to actually explore issues of gender identity.

More specifically, she used the phrase "I sexually identify as an attack helicopter" to examine how marginalized identities, when they become more accepted, become nothing more than a tool for the military-industrial complex to rebrand itself as a more personable and inclusive atrocity; a chance to pursue praise for bombing brown children while being progressive, because queer people, too, can help blow up brown children now! It also contained an examination of identity and how queerness is intrinsic to a person, etc.

But... well, if harassers ever bothered to read the things they critique, we wouldn't be here, would we? So instead, they called Isabel a transphobic monster for the title alone, even starting a misinformation campaign to claim she was, in fact, a cis male nazi using a fake identity to psyop the queer community.

A few days later, after days of horrific abuse and harassment, Isabel requested that Clarkesworld magazine pull the story. She checked in to a psych ward with suicidal thoughts. That wasn't all, though; the harassment was so bad that she was forced to out herself as trans to defend against the claims.

Only... we know this type of person, the fandom harassers, don't we? You know where this is going. Outing herself did nothing to stop the harassment. No one was willing to read the book, much less examine how her sexuality and gender might have influenced her when writing it.

So some time later, Isabel deleted her social media. She is still alive, but "Isabel Fall" is not- because the harassment was so bad that Isabel detransitioned/closeted herself, too traumatized to continue living her authentic life.

Supposed trans allies were so outraged at a fictional portrayal of transness, written by a trans woman, that they harassed a real life trans woman into detransitioning.

It's heartbreakingly familiar, isn't it? Many of us in fandom communities have been in Isabel's shoes, even if the outcome wasn't so extreme (or in some cases, when it truly was). Most especially, many of us, as marginalized writers speaking from our own experiences in some way, have found that others did not enjoy our framework for examining these things, and hurt us, members of those identities, in defense of "the community" as a nebulous undefined entity.

There's a quote that was posted in a news writeup about the whole saga that was published a year after the fact. The quote is:

The delineation between paranoid and reparative readings originated in 1995, with influential critic Eve Kosofsky Sedgwick. A paranoid reading focuses on what’s wrong or problematic about a work of art. A reparative reading seeks out what might be nourishing or healing in a work of art, even if the work is flawed. Importantly, a reparative reading also tends to consider what might be nourishing or healing in a work of art for someone who isn’t the reader. This kind of nuance gets completely worn away on Twitter, home of paranoid readings. “[You might tweet], ‘Well, they didn’t discuss X, Y, or Z, so that’s bad!’ Or, ‘They didn’t’ — in this case — ‘discuss transness in a way that felt like what I feel about transness, therefore it is bad.’ That flattens everything into this very individual, very hostile way of reading,” Mandelo says. “Part of reparative reading is trying to think about how a story cannot do everything. Nothing can do everything. If you’re reading every text, fiction, or criticism looking for it to tick a bunch of boxes — like if it represents X, Y, and Z appropriately to my definitions of appropriate, and if it’s missing any of those things, it’s not good — you’re not really seeing the close focus that it has on something else.”

A paranoid reading describes perfectly what fandom culture has become in the modern times. It is why "proship", once simply a word for common sense "don't engage with what you don't like, and don't harass people who create it either" philosophies, has become the boogeyman of fandom, a bad and dangerous word. The days of reparative readings, where you would look for things you enjoyed, are all but dead. Fiction is rarely a chance to feel joy; it's an excuse to get angry, to vitriolically attack those different from oneself while surrounded with those who are the same as oneself. It's an excuse to form in-groups and out-groups that must necessarily be in a constant state of conflict, lest it come across like This side is accepting That side's faults. In other words, fandom has become the exact sort of space as the nonfandom spaces it used to seek to define itself against.

It's not about joy. It's not about resonance with plot or characters. It's about hate. It's about finding fault. If they can't find any in the story, they will, rest assured, create it by instigating fan wars- dividing fandom into factions and mercilessly attacking the other.

And that's if they even went so far as to read the work they're critiquing. The ones they don't bother to read, as you saw above, fare even worse. If an AO3 writer tagged an abuser/victim ship, it's bad, it's fetishism, even if the story is about how the victim escapes. If a trans writer uses the title "I Sexually Identify as an Attack Helicopter" to find a framework to dissect rainbow-washing the military-industrial complex, it's unforgivable. It's a cesspool of kneejerk reactions, moralizing discomfort, treating good/evil as dichotomous categories that can never be escaped, and using that complex as an excuse to heap harassment on people who "deserve it." Because once you are Bad, there is no action against you that is too Bad for you to deserve.

Isabel Fall's story follows this so step-by-step that it's like a textbook case study on modern fandom behavior.

Isabel Fall wrote a short story with an inflammatory title, with a genesis in transphobic mockery, in the hopes of turning it into a genuine treatise on the intersection of gender and sexuality and the military-industrial complex. But because audiences are unprepared for the idea of inflammatory rhetoric as a tool to force discomfort to then force deeper introspection... they zeroed in on the discomfort. "I Sexually Identify as an Attack Helicopter"- the title phrase, not the work- made them uncomfortable. We no longer teach people how to handle discomfort; we live in a world of euphemism and glossing over, a world where people can't even type out the words "kill" and rape", instead substituting "unalive" and "grape." We don't deal with uncomfortable feelings anymore; we censor them, we transform them, we sanitize them. When you are unable to process discomfort, when you are never given self-soothing tools, your only possible conclusion is that anything Uncomfortable must be Bad, and the creator must either be censored too, or attacked into conformity so that you never again experience the horrors of being Uncomfortable.

So the masses took to Twitter, outraged. They were Uncomfortable, and that de facto meant that they had been Wronged. Because the content was related to trans identity issues, that became the accusation; it was transphobic, inherently. It couldn't be a critique of bigger and more fluid systems than gender identity alone; it was a slight against trans people. And no amount of explanations would change their minds now, because they had already been aggrieved and made to feel Uncomfortable.

Isabel Fall was now a Bad Person, and we all know what fandom spaces do to Bad People. Bad People, because they are Bad, will always be deserving of suicide bait and namecalling and threatening. Once a person is Bad, there is no way to ever become Good again. Not by refuting the accusations (because the accusations are now self-evident facts; "there is a callout thread against them" is its own tautological proof that wrongdoing has happened regardless of the veracity of the claims in the callout) and not by apologizing and changing, because if you apologize and admit you did the Bad thing, you are still Bad, and no matter what you do in future, you were once Bad and that needs to be brought up every time you are mentioned. If you are bad, you can NEVER be more than what you were at your worst (in their definition) moment. Your are now ontologically evil, and there is no action taken against you that can be immoral.

So Isabel was doomed, naturally. It didn't matter that she outed herself to explain that she personally had lived the experience of a trans woman and could speak with authority on the atrocity of rainbow-washing the military industrial complex as a proaganda tool to capture progressives. None of it mattered. She had written a work with an Uncomfortable phrase for a title, the readers were Uncomfortable, and someone had to pay for it.

And that's the key; pay for it. Punishment. Revenge. It's never about correcting behavior. Restorative justice is not in this group's vocabulary. You will, incidentally, never find one of these folks have a stance against the death penalty; if you did Bad as a verb, you are Bad as an intrinsic, inescapable adjective, and what can you do to incorrigible people but kill them to save the Normal people? This is the same principle, on a smaller scale, that underscores their fandom activities; if a Bad fan writes Bad fiction, they are a Bad person, and their fandom persona needs to die to save Normal fans the pain of feeling Uncomfortable.

And that's what happened to Isabel Fall. The person who wrote the short story is very much alive, but the pseudonym of Isabel Fall, the identity, the lived experiences coming together in concert with imagination to form a speculative work to critique deeply problematic sociopolitical structures? That is dead. Isabel Fall will never write again, even if by some miracle the person who once used the name does. Even if she ever decides to restart her transition, she will be permanently scarred by this experience, and will never again be able to share her experience with us as a way to grow our own empathy and challenge our understanding of the world. In spirit, but not body, fandom spaces murdered Isabel Fall.

And that's... fandom, anymore. That's just what is done, routinely and without question, to Bad people. Good people are Good, so they don't make mistakes, and they never go too far when dealing with Bad people. And Bad people, well, they should have thought before they did something Bad which made them Bad people.

Isabel Fall's harassment happened in early 2020, before quarantine started, but it was in so many ways a final chance for fandom to hit the breaks. A chance for fandom to think collectively about what it wanted to be, who it wanted to be for and how it wanted to do it. And fandom looked at this and said, "more, please." It continues to harass marginalized people, especially fans of color and queen fans, into suffering mental breakdowns. With gusto.

Any ideas of reparative reading is dead. Fandom runs solely on paranoid readings. And so too is restorative justice gone for fandom transgressions, real or imagined. It is now solely about punitive, vigilante justice. It's a concerted campaign to make sure oddballs conform or die (in spirit, but sometimes even physically given how often mentally ill individuals are pushed into committing suicide).

It's a deeply toxic environment and I'm sad to say that Isabel Fall's story was, in retrospect, a sort of event horizon for the fandom. The gravitational pull of these harassment campaigns is entirely too strong now and there is no escaping it. I'm sorry, I hate to say something so bleak, but thinking the last few days about the state of fandom (not just my current one but also others I watch from the outside), I just don't think we can ever go back to peaceful "for joy" engagement, not when so many people are determined to use it as an outlet for lateral aggression against other people.

#isabel fall #fandom #proship #proshippers please interact #proship please interact #profiction

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fuckyeahgoodomens · 9 months ago

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Terry Pratchett about fantasy ❤

Terry Pratchett interview in The Onion, 1995 (x)

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy?

Terry: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question.

O: It’s a rather ghettoized genre.

Terry: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre.

O: It’s certainly regarded as less than serious fiction.

Terry: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus.

Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy.

Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that.

(Pauses) That was a bloody good answer, though I say it myself.

#terry pratchett #interview #terry interview #fantasy #terry on fantasy #fun fact #<3 #the onion

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