Link of Interest: Article on "The Convert," by Danai Gurira

| February 18, 2012

NPR has an article interviewing Danai Gurira, a Zimbabwe-American woman who spent most of her childhood in Harare, and whose latest play The Convert explores the psychological impact of colonialism. 
Imperialism didn’t just happen materially, through military conflict and through ruthless greedy treaties. Earlier this week, I attended a talk on the psychic portrait of contemporary colonialism by Professor George Taiaiake Alfred, a Mohawk indigenous intellectual who’s worked for the Canadian government on Indigenous affairs (and is thus in the best position to critique All That’s Wrong with it). 
There’s a quote floating around, which runs like this: “When the white man came, we had the land and they had the Bible. They asked us to close our eyes and pray. When we opened our eyes, they had the land and we had the Bible.” I’ve seen it attributed to American Indians, but Google tells me that Bishop Desmond Tutu, African spiritual leader, was the first one to say it. 
Missionary schools were among the first formal schools (formal according to Western standards, that is) in Malaysia, particularly the Western peninsula, where I’m from. Until the education reform a few short decades ago that rendered all national education into Malay, missionary schools existed alongside vernacular schools (Chinese & Tamil schools), established by, well, missionaries. Many of them have very old and very good reputations. They also taught in English. Both my parents, growing up in the 60′s and 70′s, attended these missionary schools (hence why they communicate to each other in English as a common language, since they spoke/speak different dialects). 
But these things always come with a caveat, don’t they? A missionary’s got a mission, ostensibly to help those less fortunate. Not all the students that these missionary schools took in were that less fortunate, but they might as well have been, since they’re not Christian and all. Remember: Glory, gold and God. And so it is, that religion was every bit as used as a tool of imperialism. Marx doesn’t call religion the “opium of the masses” for no good reason. 

“There were many, many women who ran to the church — some of them became nuns, some of them became teachers — basically so that they could be free,” Mann says. “Women were often fleeing being sold off … or being given away, without their own permission, to be … as in this play, the 10th wife of an old man.”

Black Sister, My Sister

| February 17, 2012

So, intra-POC prejudice and racism exists. It is a thing, an actual thing. It is pernicious, in the U.S./Canada it is often a symptom of white supremacy where we all fight according to the rules set by whiteness to judge each other and find each other wanting.

This occurs despite a long history of inter-POC cooperation, where in the living memory of our elders, Asian groups participated and helped in the Black Panther Party’s activities, and Jews testify how black soldiers can to rescue them (and thus, how they knew the soldiers were not Nazis), and many other such histories which I can’t recall at the moment. All histories usually unspoken of, to the point where it is such a big fucking surprise to discover they exist. All pointing to how our intra-POC conflicts are really very counter-productive. All proving how short our communities’ memories are, because these stories have been so covered up into non-existence, so we’ll believe anything mainstream media tells us about each other.

Racist Things Steampunks Are Not Immune To: Aversive Racism

| February 16, 2012

I talk a lot about racism in my work, not least because, uh, part of why I get pretty fucking angry about colonialism and whatnot is because the histories of colonialism that many POC live with today are the foundation for systemic racism that exists today.

It’s gotten to the point where I am kind of aggressively avoiding novels that feature straight white dudes unless it’s a YA (out of the four novels I have attempted to read in the last while, the only one I could stand was a YA novel) because I am just kind of pissed off at the reminder that straight white dudes have been allowed to call the shots when they have been so utterly wrong, and have created such utterly wrong worlds, both in fiction and in reality, and continue to be accepted when they exhibit utterly wrong behaviour. It gets to the point where I want to cloister all my white friends who are wonderful people away from all this wrongness in case it’s catching, like a flu.

But I can’t, so instead I go about identifying Things That Are Wrong and tell any listening public (like all four of you reading this blog!) about them, so I have the satisfaction of having at least attempted to mitigate the wrongness of the world. And you will have some names for Things That Are Generally Wrong With The World that also creep into steampunk, so you can start learning how to call it as you see it and thus help in the long arduous battle against racism in steampunk! Our first term is: Aversive Racism!

Aversive Racism is when people, in particular white liberals, say that they are not racist, and may genuinely consciously believe in egalitarianism, but unthinkingly display a bias. This bias is unconscious, although very easy to see if you’re a POC on the receiving end of it.

Con or Bust! 2012 Auction has Opened

| February 11, 2012

Con or Bust!, the fundraiser that helped me get to WisCon34 back in 2010, has now opened for bidding on its various items! I also has an item up for bidding: The Steampowered Globe. If you would like to get a copy of this Singaporean steampunk anthology delivered to you personally from me and donate to a worthy cause at the same time, place a bid!

You can find most general information about Con or Bust at its site but I would like to give my own perspective on why you should bid, or perhaps even donate, to Con or Bust.

I tend to see people ask, “what do we do to help racism go away?” Or “what can we do to encourage POC participation at events?” And sometimes infuriatingly, “yeah we know racism is bad: what are you doing about it?”

Racism being less just insults or individual prejudices and more a system of excluding people of colour from acts of self-empowerment and equal participation, requires a mass action on the parts of many individuals. It requires acknowledgement of exclusion and active movement to address this exclusion. It requires a communal effort of raising ourselves and each other and a pooling of our already-scarce resources.

When I asked for funding to go to WisCon, I indirectly also used that money to fund my trip to Steampunk World’s Fair, 2010, because it was just two weeks before, and I didn’t feel like traveling back into Canada and out again, when I could just stay in the States. After SPWF, I traveled from New Jersey to Wisconsin, and stayed with a friend of my father’s, before checking into the Concourse for WisCon34.

I actually did not honestly expect to get as much money as I did for my trip down: I simply told Kate Nepveu, who runs the show, the breakdown of expected costs for my trip. And somehow, that is what I got. I’ve actually been feeling quite guilty about that since then, because I was expecting maybe half of the amount, or less. “Whatever you can spare,” I told her.

Happy Anniversary to El Investigador!

| February 11, 2012

El Investigador, a Spanish-language steampunk magazine, recently released its 12th issue! There’s steampunk in French, and in Portuguese, and now steampunk is growing in Spanish-speaking communities! 
Given the ethnocentrism that can occur in steampunk (and a recent Facebook kerfuffle involving some “opinion” that invited a great deal of racist raa-raa-USA nonsense), #steampunkchat hosts, of which I am one, have decided to join forces with @VonMarmalade of El Investigador to bring you a Spanish-Anglo session of #steampunkchat on Friday, Feb 17th, 8pm Mexico City Time!
So come join us  for Festival Anglo-Español! And don’t forget to check out El Investigador… they’ll have a special surprise for us in a few days! 

Link of Interest: Slavery and the Origins of Racism, by Lance Selfa

| February 7, 2012

Via Tumblr, an article at the International Socialist Review on the origins of racism in capitalist-driven slavery. The article tackles a few misconceptions:
1) That Marx’s analysis was only about class and ignores race. (I’ve been guilty of assuming this, having read bits and pieces of his writing.) Marx very insightfully pointed out the links between racial division and capitalist accumulation.
2) That racism has always existed. And is natural. (It is not.)
3) That slavery in Africa and ancient Greece can be compared to U.S. slavery. (The basis and conditions of slavery in Africa and ancient Greece were very different.)
4) Racism ended after slavery was abolished. (Look, I get that facts make you feel guilty, but telling black people to “get over it, slavery was 200 years ago” is highly counter-productive. And racist.)
5) Multiracial spaces automatically promote racial equality. (Not really, for a variety of reasons.) 
If anything, reading this should remind us that just thinking we’re not racist isn’t good enough; we have to be actively anti-racist in what we do and say, and even how we think. We need to keep listening to these stories of racism and heed them. We need to keep interrogating any knee-jerk “but I’m not racist!” reactions we may have. 

Steampunk POC: Stephanie Lai (Australian-Malaysian-Chinese)

| February 3, 2012

I do not actually remember how I got to know Stephanie! We have, however, frequently exchanged words about being Malaysian, and being Malaysian-Chinese. We both vied for a spot in Crossed Genres’ Eastern issue (she won with The Last Rickshaw!) and now we both have stories in Steam-Powered 2: More Lesbian Steampunk Stories! She hails from Melbourne’s SFF scene, which I know pretty much nothing about, so I will let her talk about it.

Stephanie! How did you get into steampunk?
Jaymee! I just kind of fell into it. I’ve always been into SFF, and I love alternate realities, and science and technology, and steampunk appealed to me as a way of combining all of my favourite things, so I started dabbling in it. Then I think I found your blog and it sucked me all the way in to steampunk.
What is steampunk like over there in Australia? Is it big? Is it small? Growing? Is it a literary trends, are there gatherings for me? Tell us o stranger from an arcane land!
Let me tell you, it is HARD WORK being an antipodean, way distant from everyone else, and needing to get people to proof and say whether my story is too Aussie to be understood. HARD WORK INDEED.
Steampunk is growing in Australia. There are a lot of readers and writers, and as a community we are definitely growing, if the number of panels being run  at cons (and the number of people attending) is
anything to go by. There’s nothing separate happening, mostly it’s just a handful of panels at Swancon and Continuum, but I think we’re moving towards maybe a specialised gathering or two.
I think within the SFF community it’s gaining greater traction, but I’m not super sure it’s growing at all outside the community.
However there is not a lot of Australian steampunk set in Australia, and that’s something I’d like to see change.
The Aussie steampunk scene sounds very literary-based! Is there a cosplay contingent, or a Maker community at all?
Ickle tiny cosplay contingent, mostly made up of literary types. There is a bit of a maker community but it’s not very big (it’s very pretty though!). Steampunk itself in Australia is still basically nascent!
What was your first impression of steampunk?
The potential! There is so much room for exploration and experimentation in steampunk. I think steampunk that spends all its time focusing on recreating and glamourising Victoriana is frittering away the opportunities for interrogating issues and creating awesome things. Yeah we can do these things with every-day SFF, but the conceits behind steampunk give us the opportunity to make more of it, and to play with different things, and to play with real world history and politics without resorting to blue people.
How do you do steampunk?
The South-East Asian way. Lots of water, lots of makan, Chinese airships coming down the straits and exploring opportunities on the peninsula. I want to use steampunk to interrogate our colonial past at
the same time as creating beautiful visuals.
I also want to start writing about a steampunk Australia. As with writing a steampunk S.E.A., it’s not just Victoriana and bustles. Can you imagine an age of steam in a country like Australia? I want a steampunk Australia to look at the issues of colonization and Terra Nullius, and to take into account the fact that we could never have done steam. I think of it as sand punk. And it’s awesome.
Do you feel the Australian steampunk scene leans towards reproducing the same Eurocentrism that North American steampunk currently does? As in romanticizing the Victorian era, re-imagining some fake time of innocence and exploration, or does the discourse among your literary type point to a different vision of steampunk for Australia’s growing scene?
I think it’s a little bit of both. I think that Australia’s non-SFF literary history (and even our SFF-history) predisposes us towards Eurocentrism anyway, so I don’t think it’s surprising that there’s a
lean there. But there’s definitely a growth into a different vision for steampunk, one that landscape-wise and theme-wise, is very clearly Australian.

Event of Interest: Anna Chen Presents "Traders" Feb 16

| January 31, 2012

I had the honour of having British-Chinese comedienne Anne Chen drop in on this here little blawg to plug an upcoming event in Greenwich, UK! It’s a Steampunk Opium Wars extravaganza, at the Greenwich National Maritime Museum, where there will be song and poetry about the Opium Wars, and folks playing historical figures from the time period will slug it out in poetry slams over the finer details of waging war to push drugs on an entire people to enslave them in a consumer market for trade benefits. 

An official-looking page can be found on the Royal Museums Greenwich site, and the major details are as follows:
Dates: Thursday 16 February
Times: 18.30—22.00
Fee: FREE – but make sure you book ahead of time!!
Location: National Maritime Museum; Sammy Ofer Wing
Audience: Adults; Young people
Event type: Performance & storytelling
So if you’re in the vicinity of Greenwich, UK, I highly recommend you go check it out, and please make recordings if possible to share with the rest of us! :O

Link of Interest: A Letter from a Freed Man

| January 31, 2012

While I’m still in Malaysia and not yet writing new posts, have a link. It’s a letter from Jourdan Anderson, a former slave who moved to Ohio after he was emancipated, responding to his former master, Colonel P.H. Anderson, who wanted Jourdan to come back. Jourdan responded by dictating possibly the best fuck-you letter in the history of fuck-you letters.

A bit of the letter:
Dayton, Ohio,  

August 7, 1865 

To My Old Master, Colonel P.H. Anderson, Big Spring, Tennessee 

Sir: I got your letter, and was glad to find that you had not forgotten Jourdon, and that you wanted me to come back and live with you again, promising to do better for me than anybody else can. I have often felt uneasy about you. I thought the Yankees would have hung you long before this, for harboring Rebs they found at your house. I suppose they never heard about your going to Colonel Martin’s to kill the Union soldier that was left by his company in their stable. Although you shot at me twice before I left you, I did not want to hear of your being hurt, and am glad you are still living. It would do me good to go back to the dear old home again, and see Miss Mary and Miss Martha and Allen, Esther, Green, and Lee. Give my love to them all, and tell them I hope we will meet in the better world, if not in this. I would have gone back to see you all when I was working in the Nashville Hospital, but one of the neighbors told me that Henry intended to shoot me if he ever got a chance. 

Happy Lunar New Year!

| January 23, 2012

So this post is scheduled way in advance since I probably am not going to have Internet connectivity at all this day, for reasons of Holidaying With The Nuclear Family. I am probably somewhere in the vicinity of the African continent at the moment (I believe our destination is South Africa), but I thought I would make sure to get some good New Year greetings wishing you all joy and prosperity and other cool stuff like a steampunk Lunar New Year. Good food, new clothes, money!

So, wherever you are, 恭喜發財 to my Chinese readers! I have no idea what dialect ya’ll use, so you get the generic Chinese characters to read whatever way you wish; my family says kong hey fatt choi / keong kee huat chye / kong hee wa sai, depending on who we’re talking to, but to the rest of you and yours, 新年快乐!
And a special shout-out to Ay-Leen at BeyondVictoriana.com, hope you have a very wonderful Tết! Chúc mừng năm mới! 

Interview: Steampowered Globe Editor Maisarah Abu Samah

| January 18, 2012

A while back, I posted the Table of Contents for the Singaporean steampunk anthology, The Steampowered Globe, and I got to chatting to its editor, Maisarah Abu Samah, about putting it together. And I thought ya’ll might find it interesting, especially any of you in Asia (and I know some of you are from Asia), to read a very frank interview from Maisarah about the anthology and spec fic generally.

Tell us a little bit about yourself! How did you get interested in steampunk?

I’m one of the current municipal liaisons for Nanowrimo in Singapore and I try to make people see that people in Singapore do write fiction. Which means, I try to invade literary events or make our presence known online since locally, the only fiction we see published most is ghost stories, erotic ones or erotic ghost stories. That and sad woe is me literature. Which wouldn’t be bad (they can be well written) but that is all for the fiction published here.

On the subject of steampunk, I got interested in it conventions. There had always been lolitas dressed up at the cosplay conventions I go to but there wasn’t that much people in steampunk fashion. Looking at online pics and shops, I feel like you could make up a back story of a character dressed in what or what kind of situation they’d be in. And past the fashion, there’s always been anime like Full Metal Alchemist or books like Gail Carriger’s Parasol Protectorate

What was your working definition of steampunk for this anthology? What steampunk works / media did you look towards to inform your own vision of steampunk for your anthology? 

Pretty much an alternate history of “what would happen if technology advanced way faster than they would in real life for that era” was my definition.

How Dare We (Also, Trailers!)

| January 13, 2012

It’s difficult to find entertainment that features non-white people in English-language media, you know? BET was created to feature black people specifically, because otherwise, they wouldn’t get any lead roles on white-dominant TV (which is pretty much all other US TV).

Last year, I read about Danny Glover’s troubles in finding a financier for his upcoming biopic on Toussaint L’ouverture, the leader of the Haitian revolution. Why wouldn’t it be funded? I mean, it’s a great story: slave uprisings, people taking the French Revolution to its logical end, people coming into their own and realizing they, too, deserve rights, and will fight and die for it. Toussaint L’Ouverture wasn’t really part of my consciousness until I read Nora Jemisin’s The Effluent Engine, whose protagonist is a daughter of this legendary hero. 
Meanwhile, in France, a TV movie of this hero is being made, starring Jimmy Jean-Louis. Jean-Louis is Haitian-born himself, which is also incredibly rare (Glover’s vision will star Wesley Snipes), so it’s pretty awesome! I found this trailer while googling for “Steampunk Toussaint L’ouverture” (which got me no steampunk results, predictably). Have a trailer, in French with no subtitles:
“Toussaint L’Ouverture” Trailer from Tambay Obenson on Vimeo.

The more we talk about these issues, the clearer it becomes that Hollywood (and many mainstream media producers) simply does not care about non-white stories. There are lots of really great English-language movies which simply fall to the side. Why?

Because they’re not about white heroes.

Producers won’t finance a movie with no white heroes because they’re not sure such a movie will make any money. (Glover finally found a Venezuelan financier.) (But seriously, it shouldn’t have taken him that long. And seriously, he shouldn’t have received that weak-ass “but it got no white heroes!” malarkey in the first place.) (What kind of reasoning is that.)

George Lucas recently went on the Daily Show to talk about this: it took him 23 years to fund Red Tails, which is, in his words, the “first all-black action movie” to come out of a big name Hollywood producer like himself. And when all he asked was for marketing, Hollywood said no, because they don’t know how to market a movie like this.