A graphic memoir about a young girl in the world of mid-level competitive figure skating, who comes out as queer and comes to realize she has to leave skating behind. What’s beautiful about it are Walden’s colors and her use of rhythm and pacing, how she moves from small and tight panels to wider and more expansive ones. Examples are hard to quote, so to speak, but here’s a couple of JPGs I could find.
It’s just that deep violet color throughout, unless there’s light in the scene, and contrasting light: the sharp angles of early morning sunrises, or the glow of litup windows in a dark evening, car headlights at dusk. When that yellow appears on the page it’s like a trumpet or melodic refrain you’ve been waiting for.
The matter-of-factness about her queerness and coming out to family and friends was a smart touch, because this is a story hanging its narrative on other ongoing conflicts. And as with all coming-out narratives I felt that same pang of envy and self-loathing. To have even known I was gay at Walden’s age….
Much less had the guts to tell others.
I was amazed by the insight into the power and purpose of memoir from an artist just 20 years old at the book’s publication. Here she is in her author’s note:
I think for some people the purpose of a memoir is to really display the facts, to share the story exactly as it happened. And while I worked to make sure this story was as honest as possible, that was never the point for me. This book was never about sharing memories; it was about sharing a feeling. I don’t care what year that competition was or what dress I was actually wearing; I care about how it felt to be there, how it felt to win. And that’s why I avoided all memorabilia. It seemed like driving to the rink to take a look or finding the pictures from my childhood iPhone would tell a different story, an external story. I wanted every moment in this book to come from my own head, with all its flaws and inconsistencies.
I like this idea of how researching the facts/memorabilia of one’s life can push a story to the exterior, rather than keeping it true to feeling, which is to say true to emotion, intellect, and art.
you either love the world
or you live in it
I love the sad wisdom in these lines, which is a sad wisdom that runs throughout this collection. I’d only before heard Sax’s poems, at two readings here in San Francisco, where he spent a number of years. He’s from the performance poetry school: some poems were memorized, some asked the audience to woop at certain breaks, all seemed to draw mysterious things out from his body, which is sturdy and self-possessed about how it fills the space it takes up, like a dancer’s.
Echoes from his past performances came to my ear as I read certain poems, that voice, but on the whole these pages were filled in a variety of ways. Space and line working toward effects beyond what the voice alone can do. The concerns throughout are with mental health, physical health, ailments, drugs, addiction, sex, and the body and its transactions. Sax is younger than me by a number of years, but smarter than me in a host of ways about queerness and ways of being queer in the world we, as above, find ourselves just living in.
how technology can move
from its corrupt origins
i have to remember the internet
began inside the murder
corridors of a war machine
each time i link to a poem
or watch two queers kiss
“Queers” and not “men”, note. Also that cleaving of sex to poetry, or poetry to sex. “[T]he homosexual since his invention has been a creature held captive in the skull,” he writes in “On Trepanation” (the practice of sawing open a hole in the skull), and it’s a sentiment I felt in my bones. What made this book a gift was how readily Sax found salvation within this world, the one here, outside the skull. Because “heaven’s a city / we’ve been priced out of”, his speakers are here to make as much of this life as they can, no matter the costs.
spare me the lecture
on the survival
of my body
& i will spare you my body
Buy Sam Sax’s Madness here.
- Because I tend to be a late adopter of certain trends and habits.
- Because even as late as 2017 the message I hear in the conversations about books, and stories in particular, is that the most important stories (and the stories most valued) out there are about A Man and A Woman.
- Because if not “important” or “valuable”, then what One-Man-One-Woman stories often get called is “universal”.
- Because If not A Man and A Woman, then the other best/important/valuable stories are sagas of families, as distinguished by sexual reproduction and hereditary bloodlines.
- Because I’m a queer writer writing a queer book, and I’d like to get a sense of the conversations I hope to step into.
- Because my knowledge of queer books has centered for too long on Books By Gay Men, and it’s time to rectify that.
- Because in trying to figure out why I wasn’t enjoying Call My Be Your Name (the movie) I kept asking myself “Would I keep watching this is if it were about a man and a young woman?” and I realized I would not.
- Because calling Call My Be Your Name a queer story when the story itself invests so much of its energy in not calling queerness by its name feels inaccurate.
- Because if CMBYN is a straight story by/about queer people I’d like to start finding queer books by queer people, because, again, I’m a queer person writing what I hope is a queer book.
- Because, in the end, queers are my people, and I’ve spent too long convinced otherwise.
You can follow along with my year of queer reading on Goodreads.