“I Like Being Dead” | Patrons-only Patreon post

I’ve written another piece of film criticism! It’s similar to my salty and popular piece on the poisonous heterosexuality in The Phantom Thread. But this one’s on Alfonso Cuarón’s latest, and it’s called “I Like Being Dead”: making class beautiful in Roma.

I’m experimentally keeping it exclusive to patrons on my patreon.

So this is where you can read it, for as little as $1.

Here’s a teaser trailer for it:
Decades ago, a white settler, Alfonso Cuarón, promised a colonized indigenous Mixtec woman from Oaxaca, Liboria Rodríguez, that he would take her on an airplane; that he would give her the world. Now, in 2019, the media are beaming that this promise has been made good. The elderly Rodríguez has been given occasion to travel. She’s been interviewed, she’s been invited to premieres, she’s been on set with the great Alfonso Cuarón. Why? Because the tantrum-prone boy whose ass she wiped professionally every day in Mexico City has released an internationally acclaimed film depicting, of all things… her!—at least, depicting her labor in the bourgeois household he grew up it—or, more accurately, depicting a slice of that labor as an exercise in perspectival reversal, which the great auteur decided to render central to his gorgeous black-and-white cinematic childhood memoir.
Leaving the Dirty War raging largely off-stage, Roma (2018) chronicles a temporal sequence in 1970 and 1971 in which Rodríguez was even more instrumental than usual to her employers, in that her practically ceaseless work enabled all her charges to survive the father’s abandonment of the household in favour of a mistress and, in particular, allowed his wife, Cuarón’s mother, to reinvent herself—to have a narrative arc. In contrast, the woman Cuarón purports the film is really about does not get a narrative arc. Certainly, a man abandons her, too. A slum-dwelling martial arts fanatic called Fermín gets her pregnant, then threatens to kill her if she tries to involve him in the baby’s life. He later turns out to belong to the elite death squad responsible for the deaths of communist students: Los Halcones (whom the film represents as getting training not only from the CIA but from the “Mexican Houdini” and muscle man, “Professor Zovek”). This is presumably why the lady of the house (“Señora Sofía”) has a drunken lapse in which she imagines her maid (“Cleo”—Rodríguez—played by the first-time actor Yalitza Aparicio) will extend some kind of sisterly solidarity to her when she is ditched by her moneyed husband, a professor of a different kind. “No matter what they tell you,”  Sofia slurs to Cleo, “women, we are always alone.” 
…read more here.

2018 round-up | help @reproutopia eat on tour

Gentle reader,

I’m writing several things at the moment: about care; about xenofeminism; about ectogenesis; and about disaster communism and cyborg ecology. Next week, my take on Kristen Ghodsee’s (terrible, in my opinion) Why Women Have Better Sex Under Socialism will go live at The New Inquiry, and I will be talking about amniotechnics over the telephone to a telephone-based gallery event in Nottingham about ‘Matter in Flux‘.

Most excitingly: this year, on May 7th, my book launches – you can read the blurb from Donna Haraway (!) here – and you can pre-order it (or leave a customer review – much appreciated, btw) here in the sprawling maw of the Bezos empire. Asking for money may be ubiquitous now, but it’s still awkward, so I’ll cut to the chase: if you’re in a position to organize a fabulous and at least somewhat paid event, or to support my book tour in May in any other way, really, please be in touch. Consider clicking below to PayPal me or patreon-ize me, or buy me a gift card for groceries (helping me save up for the trip).

Your money will help me travel – where small, wonderful, radical organizations don’t have enough money to allow me to do so – which means I’ll be able to present my manifesto for trans-inclusive gestational justice and family abolition all over the world, combating SWERFs and TERFs (and SERFs!) and learning from reproductive utopians of every ilk. As detailed in my 2018 round-up twitter thread (copied below), I am in a juicy and creative spell with my writing, but my income sources right now are still extremely erratic. I would like to be able to say ‘yes’ to the invitations I’ve received.

So, many thanks in advance for your solidarity and pecuniary largesse. And, as always, thanks for reading.



supporting Sophie’s book tour


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