This Friday, I’m moderating the first panel at the Outer Dark Symposium 2020 (virtually): “Weird Metamorphosis or Life Change.” Moderating panels doesn’t especially scare me. It’s basically leading a class discussion, except with very smart people who love to talk. I’m always nervous about Zoom, though; I’m no technological wizard, plus catching all the undercurrents in a virtual conversation is hard. To make things eerier, I have to tune in from my extremely haunted office, because I’d be competing for bandwidth at home. I usually clear out of Payne Hall when darkness falls.
I’m also thinking about fear because it’s an inescapable part of transformation stories in Weird fiction and film. Some of the panelists are especially interested in body horror, which involves violence or violation to the body, as in “The Button Bin” by Mike Allen or “Anatomy Lessens” by Edward Austin Hall. Some, in our pre-panel discussion, expressed fascination with what puts people emotionally onto that uncomfortable-to-terrified continuum. They explore it in awesome ways, thinking about race, gender, sexuality, disability, and their intersections.
I’m involved in this panel because my new novel involves the deeply weird transition of menopause. As I wrote and revised Unbecoming, though, the feeling I focused on was not fear but desire. The uncanny power growing in the main character, Cyn, lies in wishing for change, both through small rescues and major redirections. Desire is key to making characters interesting and complicated, so it’s probably central to all fiction. I had a list taped to my wall as I composed, listing what each major character thought they wanted plus what they REALLY wanted (which is often the opposite of what they thought they wanted), and sometimes what they really, really, really wanted in their secret hearts. The push-and-pull among those impulses can make a character–really a bunch of words–come to life in your imagination. Like magic.
My conscious subjects in the last few years have been ambition (a species of desire) and anger, but as I prep for this panel, I realize how fear is bound up with both emotions. My main character, Cyn, wants to rewind the clock on her rapidly changing life, so that her kids stop growing away, her marriage returns to a happier state, and her body and mind behave in the reliable old ways. She’s also afraid of being stuck in the past, as she simultaneously, paradoxically fears metamorphosis. Her powers excite her and scare her. Fee, the stranger in town, also excites her and scares her. Change tends to come violently, breaking apart the old balance, and it’s sane to dread that pain.
In actual life, this is a year of fearing not only disease but that a racist, sexist, ableist, transphobic, polluting, murderous, systematically unjust America will fail to change. I thought about that last night as I watched my own emotions unfold around Biden’s VP pick. I thought it would be Kamala Harris, so first I thought, oh, okay, that works. Harris is to the right of me, but a center-left, Democratic establishment leadership would be a BIG step up from what we’ve got. I’ll be voting for them.
My next reaction, though, was to skip right over the gratification I expected to feel about having a Black woman, a child of immigrants, on the ticket. Instead I went straight to fear. The misogyny of the last election cycle–from lefty friends, moderates, right wingers, the whole spectrum–destroyed me, not least because I was battling harassment at work simultaneously. The season of misogynoir ahead might break me again. I’m also worrying about the math. Will young people and progressives skip voting because a Biden-Harris ticket depresses them? Will all the moderates who don’t know they’re misogynists start using sexist lines like “she just rubs me the wrong way” or “I don’t see her as presidential”?
If you’re thinking, “um, Lesley, if you’re having a fear problem, maybe take a break from the Weird”: I do better with engaging fear and seeking answers on the other side. The narrative I’ve had the hardest time with lately is Mrs. America on Netflix. I can see it’s good–strong acting, important material–but watching that Schlafly character try to monster her way out of a toxic miasma of oppression: THAT is horror. I grew up in that cloud, starving myself to hold off adolescence; directed to smile and avoid upsetting my always-angry father; criticized by family and strangers for not being femme enough; even told by my mother during my first pregnancy that women who work shouldn’t have children. I prefer fictional werewolves any day of the week.
Anyway, here’s to climbing out of what’s bad, toward the better. I had a wonderful time talking to Anya Martin and Ed Hall on the Outer Dark podcast last week, for all of the thunderstorms banging around in the background. We discuss the novel in the first half of the podcast, my new poetry collection in the second half, and the episode concludes with an absolutely amazing seven-minute review by Gordon B. White. The Outer Dark conference should be fun; I’m giving a reading there, too. I close my #TinyBookFair today, in which I gave away 17 signed copies of my books in exchange for donations to Project Horizon, a local organization dedicated to reducing domestic and sexual violence–the total is $385, exceeding my goal. Also today, I have a poem of politic desperation and, I hope, resistance up on Verse Daily (it was originally in 32 Poems and I have to credit editor George David Clark for helping me make the poem stronger–bless the editors!). I’m still looking at that mountain, its gloomy hunch but also its glow.
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