Category: Recommended

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  • Would-be oligarch falls to death from sky

    “If only things had turned out differently, 
    this time,” he thinks, undone now by flying.
    His mind’s archives change to melody. They 
    scream a vapid, sentimental song of 
    mayhem in the air that, from down here,
    is just a smudge and smoky curlicue. 
    The old, Austrian seer foretold that death 
    is the subjunctive of our very being. 
    Our birdman, he grasps it now and succumbs 
    to that truth’s sting—his personal pain. 
    In chapels spanning every longitude 
    of its vast motherland, his public hear 
    the solemn knell that tolls his passing hour. 

    Peasants, scholars, drivers on the roads begin 
    to capture his descent on mobile phones. 
    They see it for what it is … proof of life,
    descending earthward, flames. They take a pause.
    The savage boar and all his clan are dead.
    These simple folk believe this life’s no more 
    than a trip to a zoo, where animals 
    root in the dirt and fling their shit about. 
    They thought there was no end to their decline, 
    no respite. Then, a man falls from the sky
    into his grave, and proves the zoo is ours 
    to leave. And governments, disasters, wars, 
    simply, but sometimes by chance, always end.

    Firefighters in Russia (watercolor and acrylic on paper, 20230414) Stephen J. Williams
    Firefighters in Russia (watercolor and acrylic on paper, 20230414) Stephen J. Williams

  • Welcome to sex education

    Welcome to sex education

    The controversy over a book and its purpose

    “What do you suppose is the use of a child without any meaning?”

    —Lewis Caroll, ‘Queen Alice’ in Through the Looking Glass

    I hear myself speak, and the proximity of the sound appears to guarantee the contiguity of the words to thought.… It is pure auto-affection, and we therefore tend to treat it, our voice, as our most intimate version of ourselves — or as ourselves completely.

    —Peter Salmon, An Event, Perhaps

    In 2023, in Australia, Hardie Grant Children’s Publishing released Welcome to Sex by Dr Melissa Kang and Yumi Stynes, part of a series of books aimed at young teens dealing with issues like consent, ‘your period’ and ‘your boobs’. There was controversy, of course, because the book is explicit and covers a lot of territory, including issues that many parents (and pundits) think should not be mentioned to minors. The supermarket chain Woolworths, a major distributor of magazines and books, withdrew Welcome to Sex from its shelves but continued to sell the book online. In interviews, Yumi Stynes revealed she had received death threats, and she offered the opinion that Woolworths’ compromise was a vote of confidence in the book and a reaction to its duty to keep its employees safe. “Police have arrested a man who allegedly threatened author Yumi Stynes, the co-author of an educational book aimed at helping teenagers understand sex and sexuality that was recently removed from shelves at Big W after staff members were abused,” The Guardian reported.

    Welcome to Sex stakes a claim, which Stynes asserts in public very forcefully, about its usefulness, citing the delay in sexual activity of young people, and reduction of possible harms, as proof. Note, though, as only one indicator among many, that adolescent birth rates have been declining between 2000 and 2024, almost everywhere in the world—and it is not because sex education books for 11–15-year-olds are required reading.

    The controversy was widely reported, often focussing on one aspect of the content: the book contains information and advice about anal sex. This may have been the easiest, most easily understood complaint about the content that journalists could find. Pointing their attention and cameras at a page containing the word ‘anal’, surely there could be no need for further verification that the Hardie Grant people were asking for trouble, maybe even hoping for it, since bad publicity can be great for the sales of books that are good, bad, and mediocre. Anal sex is the poster child of transgression.

    There’s a section of the book on myths, and a section on “more myths,” as well as pregnancy, feelings, flirting, fingering, scissoring, awkward moments, and “expanding your vocabulary”—something no young person, and every parent, should be afraid of. Reports of the outrage about the book focus on the reaction of adults. I did not find any complaints from children of any age; the book is written for 11–15-year-olds. It’s possible that no one looked for such complaints, or bothered to ask. News framed the complaints as parental concern, usually without verification of the parental status of the complainants.

    Then, late in 2024, to make matters worse or better, depending on from which side of the controversy you are looking at it, Creative Australia (a quasi-autonomous government authority) announced that Welcome to Sex had been shortlisted for the Australian prime minister’s literary award in the category of young adult literature. It didn’t win. In the public relations and reputations game, though, it is enough to be shortlisted to claim a new dot point in one’s résumé. The unnamed judges’ report for the award said of Welcome to Sex

    A fearless, frank and important resource for young people, Welcome to Sex is meticulously researched and comprehensive in its representation of sex and sexual experience. The text is very inclusive in its language and the content can be read by all young adults regardless of sexual orientation, identity, gender or culture.
    Kang and Stynes’s combined voice is warm, friendly and approachable—brooking no awkward silences in what can be a difficult conversation between young people and adults. Young people are themselves represented in the text, through letters and other contributions, alongside adults and sexual educators, adding extra layers and thoroughness to the book.
    High production values from publisher Hardie Grant and wonderful illustrations from Jenny Latham complete an informative, entertaining, and potentially life-saving book that should find a place in every home (even ones that don’t contain a teenager).

    Is this judgement or boosterism? There is no published evidence the judges read the book at all, or read it closely, or actually considered the accuracy and comprehensiveness of the text.

    Googling for reviews of Welcome to Sex earlier in 2024 it was very noticeable that almost all of the internet ‘reviews’ of the book were not reviews at all, but merely regurgitations of Hardie Grant promotional material. —Of course. That is how the internet works. You throw stuff in, and you get stuff out.

    “What became clear to my research team, which included professors Alan McKee and Kath Albury, was that the main thing young people wanted to know more about was not ‘plumbing and diseases’ but how to communicate,” said Catherine Lumby, who “is a professor of media and communications at the University of Sydney, [and] was interviewed about her research for Melissa Kang and Yumi Styne’s book …. ” Lumby’s opinion of the book—it’s “brilliant and accessible”—is quoted by Hardie Grant on its website, without mentioning she provided research for it, according to her own report. I do not suppose, nor should anyone, it can be just by chance that McKee and Albury are also professors of communication and media studies. Professor McKee makes an appearance in Welcome to Sex early on, on the page that attempts to define ‘sex’, possibly signalling that the book will emphasise language more than biology.

    What do we need ‘sex education’ books for, anyway? In the form of a small sculpture of female fertility or in the making of a bone phallus, people have transmitted their knowledge and feelings about sex since humans began to make and learn. For the ancients it was enough to put up raunchy pictures in bathhouses. Children survive childhood and puberty to understand the impulses of their own bodies without the help of books. ‘Yes, but unharmed?’ I imagine Stynes reply, and she would be right to ask.

    The appearance of ‘sex education’, sometime in the nineteenth century, was not a response to a need for information about what sex is, how it is done, or how to make baby humans. Sex education is, has always been, surplus to minimum requirements of the thing it purports to teach. Sex education might be a kindness to children. When children stopped being ‘little adults’ that could be exploited, it became necessary to imagine them as vessels of future adults that would make a future world. And then, in the last century, sex education developed its second dimension as social engineering to prevent disease and the burden, personal and social, of unwanted pregnancies. Sex education now does all that, and a whole lot more in the realm of violence, consent, and social relations. Almost everywhere in the last century and a half there have been debates, fights, and changing policies, about what and how to teach children about sex. Neither Catholics (in France) nor communists (in the USSR) could settle amongst themselves what sex education should do or say. In wartime, most pundits agreed, soldiers need to be warned against syphilis. Later, everyone needed information about how to have sex without exposing themselves to HIV-AIDS, even though there was no agreement about what constituted ‘sex’, and who needed protection from whom, or what.

    Sex education now does all that, and a whole lot more in the realm of violence, consent, and social relations. Almost everywhere in the last century and a half there have been debates, fights, and changing policies, about what and how to teach children about sex.

    Just how little do we think children know? Are they not, normally, mentally, super-absorbent creatures? Don’t they, by the time they are adolescents, reach some conclusion about the hypocrisy of their adult minders? A child growing up in Pompeii was no more or less enveloped in a sexualised and gender-stereotyped society than a child today. Every child grows up learning by heart its guardians’ clichés.

    ‘Sex education’ requires us to ask, among many questions: Who are the teachers, and by what authority do they teach? These are such slippery questions, most journalists did not bother to ask Dr Kang and Ms Stynes who they were, by what authority they wrote, what qualifications they have or what qualifications are necessary or desirable.  Instead, the current of outrage flowed freely from the idea the authors had presumed to supplant the educational bond between parent and child. —Though some parents, we all know, would have been happy to slyly leave on a reachable bookshelf a book with some colorful drawings, or else leave a little person to randomly soak up reality by cultural osmosis.

    Hardie Grant, and the authors themselves, have therefore crafted a presentation highlighting authority and trust. Dr Kang is a doctor, a real general practitioner, with actual patients. Ms Stynes is an award-winning truth-teller and podcaster (with the Australian Broadcasting Corporation). They are women. (—It feels dangerous to make such a claim, considering what is about the be revealed.) And they have children of their own. Briefly: they are the kind of experts you should feel happy to leave your children with, while you make a cuppa and check email. Their expertise is their experience, and their practice: they have been at it for years, and so must know what they are talking about. Dr Kang said, in an ABC News video published on Facebook:

    ‘Dolly Doctor’ [an advice column in Dolly magazine] finished at the end of 2016. It was pretty abrupt. We know that teenagers now turn to the internet when they have those kinds of questions. I guess what I think might have been lost is that sense of a personal relationship. It was a way to hear the voices of young girls that was absolutely unique and now I really, really, really do miss it.

    What I love about working with adolescents as an adult is even though it’s filled with angst, conflict and arguments with parents, for example, it’s such a gorgeous stage of life. I don’t know that I’d go back to it myself if I had the opportunity, but it’s still something that, you know, we’ve all gone through and learnt about ourselves from, and I just love witnessing that over and over again.

    Kang’s palpable concern and care for young people is moving. I have much the same ‘read’ on Stynes.

    But there is the question of what we do not know, deemed private, not explicitly deemed irrelevant, but placed by the publishers and authors in the ‘none of your business’ column. Some of the questions might be whoppers (in hard-hitting, journalistic terms), and very rude: Are your children ‘yours’ or adopted? Are you lesbian? Are you married? To men? Readers of ‘entertainment news’ might have gathered Stynes was one party to a dispute over separation from an ex-husband. I include the questions here because Welcome to Sex hints at this kind of challenge to, or question about, its authority. Stynes says, of herself …

    Welcome to Sex, p.74. “It's not uncommon for people's sexual identity to change over time. Even though I write these books, I don't feel any need to announce my sexual identity to the world. It's my business. Yumi”
    “It’s not uncommon for people’s sexual identity to change over time. Even though I write these books, I don’t feel any need to announce my sexual identity to the world. It’s my business. Yumi” [Welcome to Sex, p.74]

    This sexual identity disclaimer is juxtaposed (Could it really be by chance? —And if it is, it is very careless!) with the image of the non-binary pride flag. In the following pages Kang and Stynes make clear what surely cannot be clear: that ‘sexual identity’ and ‘sexual orientation’ are so close to being the same thing, there can be no point trying to distinguish between them.

    Sexual identity labels
    Your sexual identity is about how you define yourself sexually. It’s usually about the gender of the people you feel sexually or romantically attracted to. Those attractions can change over time, or they might stay constant. There’s no right or wrong — you’re you! … GAY: I’m sexually and/or romantically attracted to people of the same gender as me. This label is used more commonly by males who are attracted to other males, but it is sometimes used by people of all genders.… LESBIAN: I’m female and sexually and/or romantically attracted to other females.[Welcome to Sex, pp. 75–76]

    The authors and the legion of communications professors appear not to have come to an agreement about the relevance of ‘sexual orientation’, or maybe consider that language passé. It is at this point the text’s inaccuracies and fudgings begin to pile up. The definition of ‘gay’ emphasises it is a term applying commonly to “males” attracted to other “males”, but calls this an attraction between people “of the same gender”. The definition of ‘lesbian’ does not mention gender at all.

    The linguistic enigma of the verbal phrase “identify as” is everywhere, placing (our poor, helpless) adolescents always at one remove from the reality of ‘is’. A boy is not a young male person. No: a boy is a young person who identifies as male, who ‘thinks’ or ‘feels’ he is male.

    Is it honest to suppress the fundamental importance of ‘sexual orientation’? Or is that the way you might talk about sexual orientation (about being heterosexual, gay, lesbian or bisexual) if you wanted to give it status not greater than ‘asexual’ and ‘aromantic’?  In a section on aromantic versus asexual, children are told that “Being asexual means a person doesn’t experience sexual attraction towards any people. An asexual person might, or might not, feel romantic love towards others. Some people are aromantic AND asexual while others might be one or the other.” [Welcome to Sex, p. 78]

    This misemphasis is at work and play throughout Welcome to Sex. Sex is, Welcome to Sex tells us, “doing anything with your body that feels sexy. […] The most useful definition of sex is what sex means to you.”

    Defining sex is beautifully complicated. Sex is anything as long as the people taking part in it think it is sex. It excludes violence, and it includes pleasure. Professor Alan Mckee [Welcome to Sex, p. 8]

    The professor omits the complicated and nuanced part. Welcome to Sex does not leave biology out of the text, but it carefully strategises diminishing its importance in the calculations children will be asked to make. The unspoken and not-totally-bad rule of the book is: first, check your feelings.

    “Gender is how we define ourselves as being female, male, neither, both or something else.” That is one way to think about gender; but can it be correct? Being female is not an act of definition. It is not, in any sense, about language. ‘Being female’ is not something adolescents do to themselves or find ‘in’ themselves. In the list of sexual identity labels ‘female’ is not defined at all, but there is a definition of “cis-female.”

    The linguistic enigma of the verbal phrase “identify as” is everywhere, placing (our poor, helpless) adolescents always at one remove from the reality of ‘is’. A boy is not a young male person. No: a boy is a young person who identifies as male, who ‘thinks’ or ‘feels’ he is male.

    Transhub—let’s call it the ‘official’ definer of things trans in Australia—says gender is:

    • Who you know yourself to be. This may be called gender identity, or simply gender. (e.g. Man/woman/non-binary/male/female),
    • A role or set of roles a person has or is expected to perform in their society or culture. (e.g. mother, father, sibling, parent, spouse, wife, husband),
    • The way a person expresses their gender to themselves or to others. (e.g. through masculinity, femininity and/or androgyny, wearing hair longer or shorter, facial hair, the clothes you choose, the pronouns you have),
    • How their identity relates to what was presumed at birth. (e.g. cis if they have the same gender as presumed at birth, trans if it is different).

    The emphasis here shifts away from ‘feelings’ to the much more assertive, and confident, ‘knowledge’ of self; but this definition leads to the same problem. The principle is: Who is going to contradict you when it comes to your knowledge of yourself? The answer to that question, children will need to understand, eventually, could be very embarrassing.

    Welcome to Sex is subtitled “Your No Silly Questions Guide to Pleasure, Sexuality and Figuring It Out.” The cover contains graphics of eggplants, a peach and two cherries, which may be amusing to children and render the content relatively harmless at the supermarket checkout. The book starts with a prologue. “[W]e’ve crammed as much realness into this book as possible so that you’ve got a rock-solid resource on sex that you can trust.” [Welcome to Sex, p.2] This prologue ends with a note about words and labels used in the book.

    The argumentative parent, p. 25 of Welcome to Sex.
    The argumentative parent, p. 25 of Welcome to Sex.

    When we talk about sex and pleasure we’re not just talking about body parts and feelings, but also about people and relationships. We’ll use words like ‘person’, ‘teen’, ‘penis-owner’ or ‘vulva/vagina-owner’ a lot of the time. On occasion we might use ‘girl/woman’ or ‘boy/man’ when we’re talking about cisgender people and referring to a specific question or story or research: for example, ‘research shows that heterosexual women don’t care that much about penis size.’ [Welcome to Sex, p. 4]

    The list of contents spreads over three pages, with very big type and prominent pictures of people kissing. These pages very clearly establish an equivalence between gay and heterosexual relationships. The first page of the contents section shows what appear to be two boys, the second page two girls, and the third page a ‘straight’ couple, a boy and a girl. The images neatly reference the speech of Aristophanes in Plato’s Symposium.

    Welcome to Sex soon confronts older readers with an age barrier: while the questions are framed from the perspective of 11–15-year-olds, the great majority of ‘answers’, in the form of quotes, come from people who are just out of adolescence and in early adulthood, in either their late teens or twenties: ‘Megan’ is 21; ‘Casper’ is 20; Lisa is 23; ‘Holly’ is 24; someone called ‘Christian’, who’s age is not offered, is the father of two teens; ‘Dominique’ is 17; ‘Grace’ is 18. In this way the text links trust and credibility to a certain narrow range of ages and roles. The first illustration associated with text about a parent shows an angry ‘man’.

    The illustrations, by Jenny Latham, are computer-constructed stereotypes of people, groups, races, and cultures. They are tediously predictable mashups of facial features, hair, and color, from an imaginary world where there is only one kind of nose and eyes do not have irises. Problems with the illustrations may be the consequence of artwork being managed by an editorial committee that feels an urgent need to remind us that dicks come in all sizes, shapes, and colors, thus …

    A ‘bag of dicks’ in Welcome to Sex, p. 113.
    A ‘bag of dicks.’ [Welcome to Sex, p. 113]

    … but is very coy about depicting girls or women wearing hijab and kissing boys. There’s definitely no interracial, same-sex antics going on in that ethno-religious sex category. This is the raunchiest it gets:

    Wearing hijab protects you from interracial lesbian kissing. Welcome to Sex, p. 150.
    Wearing hijab protects you from interracial lesbian kissing. [Welcome to Sex, p. 150]

    Hijab-less girls get it on with boys, and other girls, in all kinds of sexy ways. The authors and publishers have considered very carefully which minorities, religions, and ethnic groups they are prepared to offend or encourage. And when there is something mildly censorious to say about other cultures, quoting ‘the help’ puts the blame somewhere else:

    I met up with ‘Mo’ when I was 16, he was 17. We didn’t have sex, we just talked. He said, ‘Men like [you and me] will get married and cheat on our wives with men.’ I didn’t want that, I would never want that. I think that reflects attitudes towards women that are prevalent in Arabic culture; I think it denigrates women. Bee. from the podcast One Foot In. [Welcome to Sex, p.89]

    … Suggesting, as well, that orientation should not be so ‘fluid’ after marriage, for Arabs, anyway.

    In the imaginary pleasure dome of Welcome to Sex you can be a black lesbian amputee with hairy (or is it tattooed?) butt-cheeks and be down for some satisfying scissoring, but if you have had your breasts removed in a fit of gender-affirmation you will find yourself sexually unrepresented and invisible.

    Amputee-friendly scissoring in Welcome to Sex, p. 166.
    Amputee-friendly scissoring. [Welcome to Sex, p. 166]

    A sex education book that bravely expounds on anal sex and the importance of soap [p. 167], premature ejaculation in the bald, black, cartoon-character community [p. 183], and has a full-page spread on vulvas and pubic hairdos [pp. 114–115], cannot find even one corner of about 300 pages to depict a woman (young or old) who has had her breasts removed. Other books for young people have introduced their readers to the brave new world of breast elimination. This feels like a missed opportunity to satisfy the urge for completeness, and honesty. The authors know there is a point where culture meets the control of sexual pleasure, and comment on it briefly …

    FEMALE GENITAL MUTILATION
    Female genital mutilation (FGM, sometimes called female genital cutting) is when some parts of the genitals are removed, usually when the child is young. It can involve removing some or all of the clitoris tip and hood, and inner and outer labia. This has been practised in some cultures for many centuries but is illegal now in Australia and most other countries, because of its inherent violence and because it causes long-term health effects. [Welcome to Sex, p. 40]

    With so much attention paid to a great variety of subjects, much more could—and should—have been said about body modification, surgery, and the effect of drugs on pubertal, sexual, and psychological development. Such subjects are much more difficult to navigate and the authors of Welcome to Sex have decided it is more important to focus on the positive, enjoying sex, than on the negative, the infertility and unhappiness that might follow on decisions made in adolescence that a girl or boy was born in the ‘wrong body’. These subjects are part of every young person’s future as an adult sexual being, and Welcome to Sex is highly focussed on the feelings of the present.

    Authors and publishers have made difficult and revealing choices about how far to go in exploring issues that adolescents might be interested in, and the limit appears to have been determined by factors other than ‘need to know’. There is no heading on the contents page for ‘Pronouns’, though this is the way everyone, including young people, refer to each other. ‘Xe/Xer’, ‘Ze/Zer’, ‘Ey/Em’, ‘Hir/Hir’, ‘Fae/Faer’, and ‘Hu/Hu’ are not discussed as options, though they are in use in some circles. There is a section on expanding one’s vocabulary, by which the authors mean they provide a list of pre-approved words with unhelpful or wrong definitions. ‘Omnifutuant’ does not get a guernsey. ‘Endosex’ gets two mentions [p.79]: “We tend to learn about bodies being ‘female’ or ‘male’, and have standard ideas about what their body parts (both inside and out) look like. The label ‘endosex’ describes people whose sex characteristics align with these ideas.” Actually, it means ‘the opposite of intersex’ and is a word that has been in very limited use only since about 2000.

    Welcome to Sex sometimes reads like a manual of sexual comedy …

    Welcome to Sex, p.276.
    [Welcome to Sex, p.276]

    I try to imagine what it is like to be a girl categorised in this way. Would I be wrong to think myself cheapened by the idea parts of my body were spoken of like kitchen appliances that came with tips for proper use? Is this the language parents should be using to talk to their children? My own biography will give readers an insight into my shortage of qualifications to answer these questions. But, I assure you, I was an adolescent once.

    A fog descends on the minds of young and old alike:

    Sex and gender—what’s the difference? Sex is to do with the genitals, chromosomes and hormones we have, usually ‘female’, ‘male’ and ‘intersex.’ Gender is how we define ourselves as being female, male, neither, both or something else. [Welcome to Sex, p.77]

    In a book that intends to tell everything about ‘sex’ we are introduced to a world where there are three sexes, ‘intersex’ is counted as “usual”, ‘gender’ concerns only self-definitions rather than behaviors and stereotypes, we can be “both” male and female, or “neither” or “something else”. The perfect liberty to label oneself extends now to the possibility of being a “trans male” (instead of ‘man’) or “trans female” (instead of ‘woman’), and suppressing the meaning of all words we use to distinguish between sexes.

    If to be gay is to be sexually “attracted to people of the same gender,” are penis-owners having sex gay if one of them ‘identifies as’ non-binary? To put it another way: if one cis-gendered penis-owner still identifying as a man has sex with a penis-owner who identifies as non-binary, could we say these penis-owners are occasionally heterosexual? How crucially important is it, from an epidemiological or statistical or medical point of view, to have a meaningful answer to that question?

    Dr Kang and the publisher’s fact-checkers, if there were any, should have known better than to triumphally present ‘intersex’ as a third sex, smashing the binary duopoly of Nature’s norms. Note the emotional exclamation point …

    It’s estimated that about 1.7 per cent of people have an intersex variation—that’s almost two in a hundred! Many intersex people are given hormones or have surgery done to change their genitals […] [Welcome to Sex, p.35]

    This forgets to mention people with intersex conditions who object to being roped into the confusion of ‘sex’ and the many clinicians without ideological objectives who have argued (for decades) that the numbers are very wrong. (To be clear: the 1.7% figure is a statistical sleight-of-hand and clinical absurdity.)

    Opening the book for the first time, I did not doubt Kang and Stynes have a strong protective impulse that they hope will empower young people to make sensible decisions. I believe that’s a correct assessment. So, why the blather and nonsense about ‘gender’? Why do the objectives and methods not seem to fit together?

    Sex education in the 1980s and 1990s focussed on ‘safe sex’ to prevent disease. Sex education now combines practical information about safety with an unstated attempt to dismantle the damaging effects of prejudice against people who simply want to live and love differently. To achieve this, the power of insult and prejudice to inflict pain and to damage ‘identity’ (the sense of oneself) has to be dismantled: if everyone is to be included, no one must be held apart.

    Kang and Stynes bring to sex education a Rouseauist attitude to children and politics in which the unblemished subjectivity of a maturing child needs to be both protected and guided. The terms of a new gender-sensitive language have double meanings. ‘Non-binary’ pretends to assert something real about the nature of sex, but in fact it is only the standard, pseudo-technical way of saying ‘Mind your own business’ or ‘I’m omnifutuant’ or ‘I’m still thinking about it, or might change my mind.’ Permitting male persons to demand and expect inclusion in lesbian groups can be reduced to an endless back and forth over the meaning of ‘woman’, or to a legal fiction intended to show compassion to a vanishingly small portion of the intersex population; but it is promoted, in practice, by disinformation about basic facts of biology.

    Kang and Stynes think they are creating the conditions for freedom of subjectivity and identity. Instead, they prioritise gender over sex, feelings over judgement, present (pleasure) over future (consequences), sexual identity (feeling you were meant to be a woman) over sexual orientation (being a lesbian).

    The practical consequences of this strategy are all around us now: male boxers put in the ring with women; male rapists sent to women’s prisons; young girls required to undress in front of adult men; women’s crisis centres run by men who seek to send those they are sheltering for gender ‘re-education’; the creation of an industry for modifying female bodies to look more like men, and male bodies to look more like women.

    Disinformation about sex or gender is not a kindness to women, or to the many homosexuals who think that body modification to achieve stereotypical gender presentation is a new form of conversion therapy. In a book stuffed to bursting with foggy language about gender and sex, I found only one remark, within a couple of sentences about medically assisted pregnancies, on the effects of “gender-affirming hormones”. The other consequences of ‘puberty blockers’ are not mentioned at all:

    Young people who have medical treatments that might affect their ability to conceive later in life can also receive information and advice about medical assistance. This might include children and teens having cancer treatment, or teens having gender-affirming hormones. [Welcome to Sex, p.251]

    The ‘warning’ is much too little, much too late.

    The most significant assumption at play in Welcome to Sex is that the inner voice, with which we simultaneously talk and listen to our thoughts and report our feelings, is a source of certain knowledge about ourselves. The book is an extended mash-up of sexual liberation and gender solipsism. The effort to dismantle social barriers to acceptance has come to depend entirely on a foundation that is unreliable. If the sources of our truth are entirely private, the character of our social intercourse is certain to be conflicted.


    About the writer

    Stephen J. Williams is a childless and unmarried writer and artist whose opinions on the subject of this essay may, and probably will, be easily dismissed; but he was young once, and that should count for something.

    Horses, or mare and nightmare (digital collage based on an internet meme, 2024) Stephen J. Williams
    Horses, or mare and nightmare (digital collage based on an internet meme, 2024) Stephen J. Williams

    Supporting and additional information

  • This happened …

    This happened …

    Late in 2019, the Australian prime minister (marketing guru and shitty-pants Scott Morrison, ‘Sco-Mo’ to you) and his theatre assistants removed the federal administration’s arts appendix. One moment the word ‘Arts’ appeared somewhere in the names of government departments, and the next it had gone. Snip! And he chucked it in the bin. 

    Well, not exactly… ‘Arts’ was removed from a department’s name. To compensate, the yarts (as they are called in Australia) got an office. The Office of the Arts: <https://www.arts.gov.au/>. Never have the arts and government been so closely aligned than in this uniform resource locator.  

    There were articles in newspapers, outrage on the arts websites, and a long rash of angry emojis at the end of comments on Facebook.  

    The conservative government in Australia, returned at the May 2019 election by a slender margin, had decided a feature of the victory after-party would be to show the country’s angry, artistic child the door. “Your mother and I are tired of you! Always with your hand out, and never a word of thanks! Get a job!” And then, the ‘clap’ of the fly-screen door and a barely audible ‘clack’ of its tiny snib that seemed to say, “And don’t come back.”  

    Making art is a patient, lonely business. Making any progress seems to require years of practice and a bit of luck. Guidebooks and internet articles about being an artist, full of advice and clichés, pile up very quickly. Be yourself. Tell your truth. Talent is important, endurance essential. In the age of Instagram, sexy drawings and a bubble-butt are handy, but not essential (or so they say). Governments are not needed, but academic sinecures, supervising doctorates in novel-writing or discussions of queer theory, good if you can get them. When universities are financially sous vide, as they will be emerging from the 2020–forever pandemic, place bets at long odds that the arts will be favored for rehabilitation.  

    Governments, truth be told, don’t want to help. The governing classes are too busy ‘governing,’ which might as well mean lying, or fudging, or crying crocodile tears, or making a killing on the stock market, or taking a holiday in Hawai’i. To be the governor is to be the winner, the one who calls the shots, to be ‘the decider.’ From their high station in life these decider-governors have a role in narrating our social experience. They have a role we give them in legislating to tell us what is and is not important. (Have you noticed how very often our prime minister tells us what is important, and how very important is the very thing he is now saying?) It’s been a long time since governors of any stripe have shown us how the arts and sciences are important. Business, the economy, the stock market, and jobs are important. Wages growth, arts, and science, women, not so much.  

    UNFURL, my arts publishing project, was a reaction to artists’ reactions to government biases against the arts. Who needs government money anyway? I thought. It turns out, lots of people working in the arts need audiences, and it’s not easy to find and maintain audiences without government assistance. And, even within my narrow range of interests—writing and visual arts—the connections between arts activity and funding are deep. Poetry is not the malnourished tenant of the attic it was in Australia in the mid-1980s. The long lists of books for review and the number of official insignia on web pages are two possible measures of this.  

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    At the same time, long-established literary magazines have had their funding cut. There is money for the arts, so long as it is going to places where the expenditure can be seen to be spent. Government wants the internet to sing “Hey, big spender!” while it cuts funding to Meanjin and others. It may be partly Meanjin’s fault: it has had nearly thirty years to figure out how to get its great store of content online for prospective subscribers to access, while the failure to do so begins to look like obstinacy.  

    UNFURL asked writers and artists to promote their own work to their own social media contacts while doing the same for other artists and writers: it’s a tool for artists to find new audiences and readers. UNFURL /1 started with a couple of writers I knew, Davide Angelo and James Walton, and a writer whom Angelo recommended, Anne CaseySusan Wald, also published in the first UNFURL, was a painter whose work I liked and who had an exhibition planned for early 2020. I wanted to establish a process that could lead to unexpected choices. I would try not to make selections. I wanted artists to select or recommend other artists; and I wanted those artists to choose for themselves what they wanted to show with as little mediation as possible, encouraging people to show and to publish work they liked, and that might not have been selected (or grouped together) by an editor or curator.  

    Government wants the internet to sing “Hey, big spender!” while it cuts funding to Meanjin and others. It may be partly Meanjin’s fault: it has had nearly thirty years to figure out how to get its great store of content online for prospective subscribers to access, while the failure to do so begins to look like obstinacy.

    It is more efficient to work on all one’s secret agendas simultaneously, so I should also admit my concern that belle-lettrist aesthetics (including the idea that poetry is language’s semantics incubator) and faux-modernist experimentation have combined to make poetry mostly irrelevant and a branch of marketing. —One only has to look at the writing being selected by the selectors to see that something is wrong with the practice of selection. As much as possible, I think, best to leave artists to make their own choices; and if there are mistakes, then, we’ll know who to blame. 

    And then, in March 2020 … then was the actual end of the world-as-we-knew-it. Those crazy ‘preppers’ I’ve made fun of started to look like visionaries. “Where the fuck is my bolthole, goddammit!?” and “How big is your bolthole, my friend!?” could have been common questions in some circles. People who could afford it, and had somewhere to go, did leave town. Gen-Xers lost their hospitality jobs, decided that they couldn’t afford their share house rent, and moved back ‘home.’ Artistes no longer had audiences. Artiste-enablers, stagehands, administrators and carpenters, were also out of work.  COVID-19 put the arts and sciences back in the news. 

    The intersectional tragedy of pandemic and conservative political hostility to the lefty arts seemed to many like another opportunity to turn indifference into punishment. It was hard to disagree with pundits who have been cataloging this punishment.   

    UNFURL, possibly because of all this, has done quite well. By the time UNFURL /5 was released, writers and artists could expect to reach about two thousand readers within a couple of weeks of publication. (Each new UNFURL number provided a little boost to the previous issues, so that all the issues now clock up numbers in the thousands.) Eighty per cent of readers were in Australia, and most of the rest in the USA, Canada, UK and Ireland. The male:female ratio of readers was almost 50:50. The largest age group of readers was 18–35 years. (Though if everyone is ten years younger on the internet, maybe that’s 28–45.)  

    It’s difficult to read poetry on small-screen devices, so I did not expect UNFURL to be read on phones. The visual arts component of UNFURL is quite effective on phones and tablets, however. It seems likely that readers interested in the writing in UNFURL resorted to their desktops and printers. Sixty to seventy percent of downloads of UNFURL were to mobile and tablet devices.  

    I learned that women writers (poets) had a ‘stronger’ following among women readers than men had among readers of any kind. It was very apparent, with Gina Mercer, for example, that a very significant number of readers returned more often, subscribed more often, and were women.  

    I learned that women writers (poets) had a ‘stronger’ following among women readers than men had among readers of any kind. It was very apparent, with Gina Mercer, for example, that a very significant number of readers returned more often, subscribed more often, and were women.  

    I learned that social media isn’t the be-all and end-all of connecting with an audience. Old-fashioned email also works really well. Some artists and writers had no significant social media presence but used email effectively to communicate with friends and contacts.  

    I also learned that visual artists were, generally speaking, more enthusiastic and positive about using social media, and even better at basic stuff like answering messages. Visual artists be like Molly Bloom; writers be like Prince of Denmark.  

    I found that both writers and artists did things in UNFURL other publications might not permit (requiring, as they mostly do, first publication rights). Philip Salom published groupings of new and old poems. Alex Skovron published poems, prose, paintings, and drawings. Steven Warburton published a series of pictures about how one canvas evolved over several years. Robyn Rowland published poems and their translations into Turkish for her readers in Turkey. Ron Miller published a brief survey of his life’s work in space art.  

    All that and more to come.  

  • Double in ourselves

    We are, I know not how, double in ourselves, so that what we believe we disbelieve, and cannot rid ourselves of what we condemn.

    —attributed to Michel de Montaigne

    Our hotel would have accommodated the more sinister sequences of some cloak-and-dagger ‘B’ film. During the night, a French letter in the lavatory bowl refused to be flushed by either of us. Then in the morning we had our first glimpse of Olympus through the haze above the curving bay. Any true Grecophile will understand when I say that the unsinkable condom and the smell of shit which precede the moment of illumination make it more rewarding when it happens.

    —Patrick White, Flaws in the Glass

    As a child in the 1960s, in the then newish Melbourne suburb of Forest Hill, I attended Saint Timothy’s Primary School. The little church in which I was confirmed and where I confessed my drab sins was a wooden fire hazard. I went to a service there every Sunday with my father’s mother—my own parents having separated. On one side of it were the school’s classrooms, and on the other a nunnery, both buildings made in what looked like, then, to be a modern style. The school was established in 1962 by the Sisters of the Infant Jesus. I had no idea who they were. To the seven- or eight-year-old me they were the handsome, unthreatening mystics of education who never said an unkind word.

    St Timothy's Primary School
    St Timothy’s Primary School now

    I do not recall having religion forced on me. We said a prayer now and then before running out to play. Occasionally there was a bit of unruly, awful squealing of hymns in the church. And the nuns chose me to appear in ‘dramatic’ reënactments of the nativity story. Even at nine or ten years of age I knew that painted cotton wool beards were not a good look, so I pulled mine off just before walking on stage and tried to look wise without it. This kind of disruptive behavior should have permanently blotted my curriculum vitae: ‘Not a team player.’

    St Timothy’s church in 1962.

    I wanted to know what the deal was with these nuns. During an afternoon nap, while lying on the floor near Sister Henry’s workbench, I determined to look up her chalk-covered tunic to see if there was anything there that would provide an answer to the mystery of her manly face. There was nothing. Just layers of perplexing, impenetrable, black underskirts. Anyway, I was ten. Someone was walking on the moon. I ran home to watch it on tv.

    The Sisters of the Infant Jesus handed me over to the Christian Brothers to complete my befuddlement.

    When I was twelve and in the first year of high school I helped fellow classmates cheat at Latin, allowing them to steal my answers in order to escape the sarcasm, and strap, of the unchristian maniac who ruled our Latin and math classes. I didn’t think I could help with the math; I felt hopeless at that. This was the year that maniac was hit by a car while riding his bike. For a couple of weeks this chastening episode turned the rancorous sadist into the mild and kind teacher he should have been all along. And then, without warning, ‘Mr Hyde’ returned.

    Family circumstances required me to sample the educational services of four different Christian Brothers Colleges. After Thomas More’s Boys College (now called Emmaus College), I attended Cathedral College in East Melbourne for two weeks, and then St Mary’s in West Melbourne.

    A middle-aged man who was a customer of my mother’s business began to use puns in his brief conversations with me that were intended to suggest he knew of my interest in sex. I had not heard them before but, after checking my Chambers Dictionary, instantly recognised them as verbal concussion grenades. One morning, at St Mary’s in West Melbourne, I armed these grenades and chucked them in a history class without bothering to take cover. The lay teacher looked at me for what seemed like a long time while the meaning of what I had said sunk in and he tried to figure out if I had actually meant to use the anatomical pronunciation of ‘aboriginal’. Something about my face must have suggested I had. He sent me down to the principal’s office, where the whole story of my new interest in punography had to be revealed.

    St Mary’s principal was a severe-looking bald man who demonstrated his eccentricity and his modernism through the medium of Vespas. He rode his scooter everywhere. He travelled even the short distance from St Joseph’s, where the brothers lived and which was to be my next college, to St Mary’s by scooter. It was one block away. He put his helmet on, started the scooter, turned one corner, and he was at work. When I told him how I had become so expert at upsetting adults, he immediately sat down so as to bring himself on the same level with me. He spoke to me with an unfeigned concern about how important it was for me to avoid the man in my mother’s restaurant. I knew the nameless thing he was warning me against. I had sensed it, but not felt in any danger.

    On sports days many of the St Mary’s students would walk along Victoria Street to the Melbourne City Baths to go swimming. One of the younger religious brothers at the school inexplicably decided to go swimming with us, which required him to be naked in the changerooms. When this happened, I suspected he was secretly trying to announce that the brothers were, after all, ordinary men. We thought his arse was too hairy and were distressed we had to look at it.

    In the first years of the 1970s, boys of my age could see the chaos in Vietnam had been worsening, even as news of Australia’s decreasing involvement in the war there made no impression on me at all. No adult ever mentioned or tried to justify to me why Australia was involved in the fighting. It seemed to have escaped the notice of the adult world that there were children waiting in the wings of its drama and we had no idea what we were going to say or do when it was time for us to be pushed into the spotlight. The matter was urgent because we sensed our bodies were changing even as the threat of conscription increased. The election of a Labor government was a relief.

    When we were fifteen a classmate and I experimented with the social effects of our own precocious hairiness by going to an R-rated double-bill at the Forum Theatre on the corner of Russell and Flinders Streets in Melbourne. It was the 1973 version of The Wicker Man, followed by something in the vampire-sexploitation genre. The first movie seemed to be about burning Christians. We were disappointed there was not more sex, naked actresses notwithstanding. During the intermission we discovered that our hairy-arsed teacher had also been in the audience with us. He asked us if we liked the movie and we answered in a way that avoided telling him what we really thought, while still pretending to be three years older than we were. I do not think it worked, but he did not seem to mind.

    1974: Arnold Schwarzenegger in Melbourne, Australia.
    1974: Arnold Schwarzenegger in Melbourne, Australia.

    At St Joseph’s College, in 1974, a beautiful student whose parents came from Sri Lanka started calling me “Stevie Wonder” and tickled my palm flirtatiously when he shook my hand. Was I being mocked or flattered? Gough Whitlam was prime minister and anything seemed possible. I listened to Motown, and liked it. Arnold Schwarzenegger came to Melbourne. (There is a photograph of him flexing his muscles as he stands on the tram tracks in Bourke Street. The long-haired boy in the striped shirt and bell-bottom trousers standing behind him is not me— but the claim of resemblance to my former self is credible, and several times I used the photograph to ‘prove’ I once had a chance to push Conan, the barbarian, under a moving vehicle.)

    It was the golden age of religious educational indifference. The Christian Brother who taught me nothing about Australian history before 1788 stood one day behind a not-quite-closed door and spied on the ‘Year 11 agnostic society’ pooh-poohing transubstantiation and putting the resurrection of Jesus down to a bad case of food poisoning. When we noticed him we expected our religious auditor to establish an inquisition. Instead, he took his nose out of the crack in the doorway and walked away. In retrospect, this now seems like the mature response.

    One hundred years after the death of Winwood Reade I got around to reading his book The Martyrdom of Man. The initial excitement wore off after a while and I entered a long period of theological apathy.

    Young boys and girls everywhere, before they reach what we have come to refer to as adulthood, trip over the idea that adult convictions are a charade. We stand up, mud on our faces, feeling that we are at the same time cynics and anarchists; we want to preserve what is in our interests and to agitate against the failures of the world we have found ourselves in. Some people manage to maintain an expectation of revolutionary possibility about their own selves and about the world.

    By the start of 1976 no psycho-social jamming was strong enough to block my ‘gaydar’. Of course, I was unsure about how to meet people. I was not old enough to go to bars; and the internet was still in the hands of the military-industrial complex; so, I found friends and education as a flâneur. I met men at night, but I was better at conversation than at sex. The first man who spoke to me was three times my age. He invited me to his flat—a tiny bedsit in the ‘CAIRO’ apartments across the road from the Carlton Gardens. He made tea. We talked, and he gave me a tatty copy of Voltaire’s Candide that I have treasured for nearly fifty years. Life, it says, is one episode after another of misfortune and suffering; and the only antidote is work.

    In the second half of 1977, construction of the World Trade Centre was completed. Airliner ‘terrorism’ was in its first flowering. Voyager 2 was being launched. There was a uranium export debate in Australia. In August, a ‘docudrama’, The War Game, was shown at the Longford Cinema in Toorak Road, South Yarra. This BBC production by Peter Watkins was a critical event in the life of the high school friend sitting next to me. When the movie ended most of the audience decided not to leave and, instead, started the conversation right there in the theatre about what could be done. It took me a few more years to find the failure I would agitate against.

    Still from Peter Watkins' 1965 BBC docudrama 'The War Game'.
    Still from Peter Watkins’ 1965 BBC docudrama ‘The War Game’ »» https://goo.gl/W0U5Mf

    I left home in the late 1970s. My mother thought gay people were “disgusting.” My first nights of freedom I slept on the banks of the Yarra River in Melbourne, at a bend near where there is now a skate park. The first home of my own was a couple of rooms in North Fitzroy that were more like corrugated iron lean-tos than rooms. These rooms were air-conditioned but not waterproof; the windows were broken, glass louvres, and the entrance door had a large hole in it.  By 1980 I had moved into digs, at the rear of 777 Park Street in Brunswick, that are still standing and look like a granny flat. Worries about finding and keeping a home were often on my mind.

    In retrospect, the educational mystery of my childhood is how I could have been treated so gently by most of my teachers, spent so long in the care and company of outwardly religious people, and ended up sharing so few of their beliefs. The same is true about sexuality: growing up surrounded by intolerant, know-all heterosexuals clearly does not lead one to become an intolerant, know-all heterosexual. Why do people believe what they believe, and why do others’ prejudices always seem more urgently troubling than our own? Attacking and shaming people for their opinions, beliefs, choices and preferences has become a blood-sport, usually played while crouching behind an anonymising avatar.

    In the 1980s the appearance of the AIDS virus turned my theological apathy into disgusted atheism, not because I thought an omnipotent god could have avoided such misery but because there were suddenly a lot of angry people claiming to be concerned with morals. At this time, my humanistic, progressively-oriented opinionatedness was in full flower, until I saw the world in its proper scale. I had a ‘Hubble moment’. It dawned on me that all the stars of the night sky I had been looking at all my life were just the lights of my local galaxy and altogether less than a hundred-billionth part of the universe. This universe was, if properly imagined, too large for spiritual and ethical systems focussed on what people did with their genital systems.

    It is oddly disorienting now to remember that the cause of “GRID” was not known, though its effect was immediately obvious: “Nothing is more punitive than to give a disease a meaning,” Susan Sontag told me.

    For a while I did volunteer work writing advertisements and pamphlets about sex. It was a subject I never claimed to know very well, but there were a lot of experts willing to talk, and there was a lot of ‘literature’. I made careful note of the interesting bits and tried to pass on the best intelligence. Patrick White had just published Flaws in the Glass, which contained the only example I needed that condoms were a good idea; the advertisements I helped to write, with a committee of volunteers at the local AIDS council, were less inspiring than Patrick White, but more appropriate for the toilet doors of gay clubs.

    Then, I had a day job as a writer for a union. I knew even less about Leon Trotsky than I knew about sex and, therefore, resorted to the same creative process. And at night I joined hundreds of people at telephone counselling services to answer questions from people panicked by the Australian government’s ‘public service’ announcements about AIDS. The telephone banks were in training rooms of the Fairfield Infectious Diseases Hospital.

    When you say yes… say yes to safe sex.
    When you say yes… say yes to safe sex. Information flyer of the Victorian AIDS Council.

    There was a very long period, years that seemed depressingly long, when every diagnosis was a death-sentence. Like scores of others in Melbourne, I did the required training and joined care teams for people who were dying. I wrote stories and poems and hoped, like Voltaire’s Professor Pangloss, that everything would turn out well in the end.

    My next writing job was explaining science to journalists: I tried to make laboratory fractionation dramatic, and offered to fact-check their articles; they wrote articles about three-eyed fish and called me a fascist. I learned that a good many, if not most, scientists are, in their hearts, engineers who want to know how things work, to make things work better, and to apply knowledge to practical problems or unproven theses.

    In his early middle age, the conservative and combative Premier of Victoria, Jeff Kennett, had a thick mop of brushed-back hair. When he visited the city campus of RMIT, a rabble of students turned out to protest. A young man, dressed in flannel pajamas and an old-fashioned dressing gown, yelled at Kennett as he got out of his limousine, “Get a haircut!” We became good friends, listened to Bach and Nina Simone, and drank a great deal of champagne. Twenty years later he saved my life.

    In the late 1980s and through the 1990s reports began to appear in the media about abuse of children by Catholic priests. The institutional failure of Catholicism to protect children from abuse, to admit the wrongs done, and to offer reparations, is evidence of a general failure of religious people to face reality. I used to imagine religious fanatics and authorities could be cowed with public lashings of pure reason. But the faith at the centre of religious belief is password-protected, unassailable and shameless.

    What can a former Catholic do with a feeling of loss that is also the hope of loss? Any man or woman who is honest with themselves must get used to abandoning prejudices and wrong beliefs. The judge “standeth before the door,” and that judge is the world.

    For years I tried hard to maintain a small part of trust in the wisdom of the religion that educated me and tried to protect me. But that church does not understand what wrong it did and is still pretending that gay priests are the problem, when the worse sin is betrayal.

    In 2012, after many months of tiredness and a feeling of disorientation, I spoke to a friend about how I was feeling. He used to wear pajamas while he was painting in the artists’ studios at university. He spoke to a nurse about what he had heard me say and they were concerned I might have had a stroke. My friend called an ambulance. He knocked on the door of my flat and, when I answered the door, two paramedics were standing behind him. All three of them insisted that I would have to step into the vehicle that had been manoeuvred into position so I could step into it directly from the rear door of my apartment in St Kilda. One of the paramedics asked me a couple of questions designed to ascertain whether my mind was still in one piece. The ambulance moved onto the street and toward the nearest hospital. Sometime in the next minute I was unconscious, and then in an induced coma for several weeks. There were no distant, mysterious lights. There was, unfortunately, no music.

    It was a long while before the wound on the back of my left leg, caused by a bacterial infection, had healed sufficiently for me to be able to stand again. I was confined to a hospital bed and drugged for months, and the demarcation between my dreams and the real world became very unclear. In the days between Christmas and New Year, 2013, I imagined, and for a while actually believed, the surgeons of The Alfred hospital had grafted a reproduction of a painting by Canaletto to my thigh using a new technique to disguise the scarring of surgery. By mid-January 2013 I was at war, somewhere in rural Italy, in sets made by Cinecitta designers and photographed by Pasolini. The electrical substation that was the locale of my small part in the war had a touch of HR Giger about it—and, yes, there were well-dressed Nazis who looked like they had just stepped off the set of a Mel Brooks video. When the body is in ruins, the mind works on, regardless. Among the beliefs most difficult to abandon is that we have a firm grip on reality. Seen in retrospect, what we believed is as substantial and changeable as a dream. Certainty is in the here and now, where we are sure we know what is real, and where we are almost always in some way wrong.

    Fifty years too late, perhaps, I reached an age where The Epic of Gilgamesh made sense as a fiction about life—something it is difficult to see when you are young. Like the probably gay Gilgamesh, the king of Uruk, we are all the bad rulers of our own domains. In the end, we look to the places we called home, forced to accept we will not survive; but our work, the city, its culture and even its empty fields, will outlive us.… Candide was right.

  • [Years ago, when I was reading]

    Years ago, when I was reading the philosophical works of Schopenhauer
    I heard a sudden eruption of laughter on the street.
    I looked up to see what the cause of this laughter was.
    Across the road, an old man
    extraordinarily obese, was heaving his immense body
    along the footpath. He used a cane to help balance himself as he walked
    and to relieve the strain on his back
    caused by the great bag of fat hanging from his stomach.
    It required considerable effort for him to walk only a short distance.
    I felt revulsion at the sight of this man.
    There were feelings of pity, too.
    I knew immediately
    there are no counter-motives to humiliation.
    We live by climbing over each other
    struggle to keep our heads
    above despair
    and try not to think of harm that’s done.
    I lowered the book and listened to the sounds of birds
    a howling dog, a small child in the street
    asking something of her parents —
    every voice repeating the inner nature of the world
    and I knew what trouble and pain was
    still to come.

    Published in Pink Cover Zine, No. 3, November 2018.