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  • Vídeo de la manifestación sobre Palestina en Murcia, censurado en Instagram (shadow ban)

    Por si la acaban borrando de Instagram, pongo un vídeo de la manifestación en Murcia del otro día que me han indicado que es posible que no cumpla con sus directrices comunitarias. Me gustaría alucinar más pero es bastante normal. Como decía un colega, en internet, si no tienes blog, eres un sintecho digital. Quizá este sea el empujón para dejar estas redes en las que todo lo que importa está relegado a la puerta trasera.

    Pero primero, el vídeo:

    «Israel, asesino del pueblo palestino»

    —Lo que se oye en el vídeo y se lee en la pancarta de delante.

    «Libertad para todos los prisioneros políticos palestinos»

    Lo que se ve en la pancarta trasera

    Respuesta de Instagram:

    Your post was lowered in feed because it may not follow our Community Guidelines.
Learn more in Account Status. 12 h
    Su publicación fue relegada en el feed porque puede que no siga nuestras Directrices Comunitarias. Más información en Estado de la cuenta. 12 h
    Your post was lowered in feed because it may not follow our Community Guidelines. Learn more in Account Status. 12 h
    < Su publicación Es menos probable que sus seguidores vean este contenido. Considere la posibilidad de editar o eliminar esta publicación. El contenido que sigue nuestras Directrices comunitarias puede mostrarse más arriba en los feeds de quienes le sigan. minibego #freepalestine Publicado el 20 de enero de 2024
    < Your post Your followers are less likely to see this post. Consider editing or removing this post. Content that follows our Community Guidelines may be shown higher in your followers’ feeds. minibego #freepalestine Posted on 20 January 2024

    Por supuesto he apelado la decisión, pero no tengo esperanzas de nada. A este tipo de actividades se las conoce como shadow banning. En Wikipedia en español lo llaman baneo en la sombra: :

    El baneo en la sombra (del inglés shadow ban o shadow banning), o supresión disimulada, se trata de una forma de bloqueo o restricción disimulada y generalmente provisional en redes sociales en internet y comunidades en línea, con el propósito de ocultar contenido que sube un usuario a su cuenta mediante diferentes métodos, dependiendo del funcionamiento de cada servicio. Por ejemplo, es una práctica común ocultar una cuenta de usuario, comentario, fotografía, vídeo o cualquier otro tipo de contenido a modo de que no sea visible para otros usuarios.

    https://es.wikipedia.org/wiki/Baneo_en_la_sombra

  • Mastodon: @minibego@xin.cat

    ¡Hola! Hi!

    Ya estoy en Mastodon como @minibego@xin.cat.

    I’m now on Mastodon, as @minibego@xin.cat.

    See you there! ¡Allí nos vemos!

  • Próximos congresos: Murcia, Valencia, Sevilla, Barcelona, Madrid

    This post is warmly dedicated to César, Edu and Mercedes.

     

    No sé qué elegir como tema de tesis (probablemente tenga que ver con Rebecca Sugar) pero me han invitado/admitido ya en varios congresos y cada uno es tan diferente de los demás… tengo que sacar factor común, ¿me echáis una mano? ¿Os veo en alguno de estos saraos? ¿Qué os parecen estos temas? ¿Os voy enviando lo que vaya escribiendo? (Me imagino que la respuesta a esto último es sí).

    Sirva también de guía para quien quiera escuchar lo que tengo que decir sobre cada uno de estos temas, o que nos veamos en persona para tomar un café o lo que se tercie. 🙂

    Murcia, 21 de septiembre de 2018

    I Congreso Internacional de Equidad, Educación y Género

    Murcia, 19-21 de septiembre de 2018

    ¿Qué es una mujer, qué es el género? Enseñanza de lenguaje y literatura feminista, LGBTI+ y queer en el Grado de Estudios Ingleses

    Resumen

    «Durante la mayor parte de la historia, anónimo era una mujer». (Virginia Woolf)

    Bajo este lema se ha creado una asignatura dedicada específicamente a traer al canon de Estudios Ingleses y del alumnado interesado en general un repaso histórico al pensamiento político feminista y queer, y un estudio lo más amplio posible de las voces generalmente silenciadas o despriorizadas en la literatura y los estudios académicos. ¿Qué es el género? ¿Cuál es la historia de la lucha por los derechos de la mujer y de la diversidad afectivo-sexual? ¿Cuál es el lenguaje que podemos usar para hablar de estos conceptos, y cuáles son sus matices?

    Memorias, poesía, ensayos, manifiestos, cómics, ciencia ficción… ¿por dónde empezar? ¿de dónde parten los alumnos? ¿qué se selecciona en concreto, y quién sigue en la oscuridad? ¿qué metodología es la ideal? Se expondrán los resultados de un primer año impartiendo la asignatura y las conclusiones alcanzadas en la misma: es necesario más tiempo y más recursos para impartir este contenido, con lo que en un segundo año se impartirá repartida en dos cuatrimestres diferentes.

    • Bryson, V (2003) Feminist political theory: an introduction . Basingstoke: Palgrave Macmillan . ISBN: 0333945689
    • Freedman, Estelle B. (ed) (2007). Modern Library. ISBN: 9780812974607
    • Barker, Meg-John y Scheele, Julia (2016). Queer, A Graphic History. Icon Books Ltd. ISBN: 1785780719.

    Palabras clave: LGTBIQ+, género, literatura, queer

    Valencia, 29 de septiembre de 2018

    Valencia, 29-30 Septiembre, IAPTI: https://www.iapti.org/SPconference/iapti-2018/

    Making space for equality and inclusiveness in translation and interpreting

    Abstract

    In recent years, multiple guides and studies have been completed depicting sexism, cissexism, and LGTBIQphobia in language, both in English and Spanish. How do these studies impact translation in practice? Which criteria should we use? Are their conclusions known in the translation market? Are we making space in our editing practice for trade-offs related to the elimination of discriminatory language? Is it ethical to ignore the implications of these developments?

     

    Sevilla, noviembre 2018

    Sevilla, 12-13-14 noviembre 2018

    XV CONGRESO GRUPO DE INVESTIGACIÓN ESCRITORAS Y ESCRITURAS (HUM 753). Voces masculinas y femeninas entre Italia y Europa en la Querelle des Femmes, Facultad de Filología, Universidad de Sevilla

    Voces femeninas en la literatura en inglés de finales del siglo XX y XXI: un nuevo canon y la extensión de su traducción

    Resumen

    A finales del siglo XX y principios del siglo XXI han surgido una serie de voces femeninas en la literatura que merecen ser consideradas parte del nuevo canon literario. ¿Cuál es la relación entre la recepción crítica y popular de sus obras? ¿Están obteniendo el reconocimiento internacional que merecen? ¿Cuándo llegarán al mundo hispanohablante? Tendemos puentes entre estas dos realidades en el contexto de la lucha por los derechos de la mujer y las minorías afectivo sexuales.

    Barcelona, 1 de diciembre de 2018

    Barcelona, 30 de noviembre al 2 de diciembre. Auditorio AXA (Diagonal).

    XIV Congreso Español de Sexología y VIII Encuentro Iberoamericano de Profesionales de la Sexología

    RESPECT. Respeto, fluidez e identidad: diversidad y lenguaje inclusivo

    Resumen

    Desde mi experiencia como traductora especializada en obras feministas, sex-positivesex-worker positive y queer, comentaré las formas de lenguaje inclusivo que se están empleando para reducir estigmas y mostrar el debido respeto a  todas las personas, en concordancia con su dignidad y derechos humanos inalienables. Una vez que dejamos de considerar por defecto que todo ser humano es blanco, cisgénero, sexual, romántico, monosexual, monógamo, vainilla, hetero y diádico, ¿cómo expresamos respeto por esa persona? De muchas maneras, que veremos en esta comunicación.

    Madrid, abril de 2019

    Madrid, 10, 11 y 12 de abril de 2019

    MariCorners: Comunicación y Espacios LGTBIQ+.

    I Congreso Internacional sobre Lengua y Aspectos LGTBIQ+

    Escuela Técnica Superior de Arquitectura de Madrid (ETSAM), Universidad Politécnica de Madrid

    https://maricorners.wordpress.com/

    Conferencia plenaria en el panel de traducción.

    Título y resumen por definir aún.

    Si alguien más quiere participar, el plazo de recepción de propuestas está abierto hasta el 31 de octubre y en el comité científico podemos ver nombres como Elena Álvarez Mellado, Andrés Jaque, Alberto Mira, Antonio Martínez Pleguezuelos, Beatriz Sevilla y Ramón Martínez.

    PD: Edito para añadir que no tengo grupo de investigación ni nada parecido, y que es raro el congreso de estos temas que paga algún gasto (desplazamiento, alojamiento, dietas, ¡no digamos ya honorarios!). Gracias por vuestro apoyo, porque sin él todo esto sería aún más difícil de lo que es.

  • Presentación en Barcelona de Queer, una historia gráfica

    ¡Por fin puedo decirlo! Este sábado será la presentación en Barcelona de Queer, una historia gráfica.

    Nos veremos a las 19:00h en Librería Malpaso, que está en Diputació, 331.

    Me haría mucha ilusión veros allí, mecenas, si os viene bien. Mientras tanto, aquí tenéis el enlace al evento oficial en Facebook. Pasad, porfa, la información a quien le pueda interesar. En Madrid lo pasamos genial.

    https://www.facebook.com/events/137615570286852/

    Hay más información sobre el libro en esta entrada del blog:

    http://minibego.com/es/2017/10/queer-una-historia-grafica/

  • The Cow

    The Cow

    I saw the doors closing behind me: military green, school green, hospital green doors. My two friends stayed behind, smiling and wishing me good luck. If you had told me I’d never see the girl again, I wouldn’t have believed you.

    I mean, I wouldn’t have wanted to believe you because, more than anything, more than tired, or nervous, or impatient, there was a part of me that was terrified, totally scared to death.

    The doors swung softly closed. It had already started.

    Actually, I wasn’t in any pain just yet, and that was my first mistake. When I got to the room, they gave me a green gown and a small vial. It is actually an appropriate welcome, if you take into account what’s in store for you: take off all your clothes, put on this shapeless dishcloth, stick this where the sun doesn’t shine…

    Nothing there is designed to make you feel better. At least, for now, we were alone in the room. That’s something, I said to myself.

    I don’t know you well enough to tell you what the enema was like. To sum up, I’m guessing it was OK: the first and last one of my life.

    I was a bit sad that I wasn’t allowed to wear my own clothes, but the truth is that wearing my own clothes had already been a bad idea not long before. Of course, I didn’t have a choice then, and I didn’t have one now, either.

    You see, this was December 2005, so 2005 was already in its death throes, so to speak. It was the night of the 30th, nearly midnight, actually, and we were in a very tall building in the middle of a pine grove. Before we got there, we had eaten in a place nearby, a restaurant by the side of the road. It was a typical Spanish restaurant called Sacromonte where they serve generous tapas. The four of us, as former Granada University students, found the name very funny. We knew the real neighborhood of the same name, and thankfully this was nothing like it: not as overpriced, not as dangerous, not as full of tourists. My two friends, in Cartagena for a short visit, had been putting up with my variable mood, between slightly hopeful and totally desperate. It was noisy, it was full of smoke. I have never been back.

    We had time to finish our dinner, and just as we left in the car I had a strange feeling. I looked in the glove compartment, but it was full of the car’s papers and meaningless trash.

    “Does anybody have a tissue?” I asked.

    “I do, I do, I do!” laughed a girl I would never see again.

    The night was clear, and the moon cast a very bright light.

    I pulled my skirt and my underwear aside, and I wiped myself with the tissue.

    “Right, to the hospital it is.”

    We could see it from there, from the road. When we got there, it was nearly empty. The atmosphere among the hospital staff was festive: it was Christmas, after all. You could also tell that all the girls working the shift were extremely young. They were chatting and laughing. One of them took me to an exam room: I remember thinking she was cute.

    “Take off your shoes and put your feet in the stirrups. There’s no need to take your skirt off.”

    I am guessing I took my knickers off, but I cannot remember what I did with them. Maybe they were in my hand. At that moment, I was thankful I was wearing stockings rather than pantyhose.

    It was cold in that room: suddenly the thigh-high lace and silicone band felt… not high enough. They were winter stockings: not just because of the cold, but because I’m quite clumsy and most times I rip the sheer ones before I set foot in the street. Buying thicker-than-normal stockings was a trick that a store assistant at the newly opened seven-story department store had given me with a conspiratorial air: “If they’re for work, if they’re for everyday use,” she whispered, “better buy the thicker ones: they really last. That’s what I do.”

    Truth is, that wasn’t the first thing on my mind, at that moment.

    “Nice stockings,” said the girl in the ER.

    “Thanks.” It was the only thing I could think of saying. After all, if a cute girl likes your underwear, what can you say? I could dwell on whether she was secretly making fun of me, but I didn’t have much time to think about it back then – and now it just doesn’t matter.

    As I was adjusting my shoes, I felt something wet sliding down my leg. When I stepped back, I found myself standing in a puddle.

    “Is this… is this mine?” It was strange and sort of frightening, but I was more worried about not falling down.

    “No, don’t worry, that’s from the girl before you. I think it’s better if you stay overnight,” she said.

    When they gave me the hospital gown later on, I was glad I was not staining my own clothes, and not wearing anything out of the ordinary. They plugged me into all sort of tubes for a while, and then it got late. They sent me up to a room. That’s how the first night went.

    The morning after, there were more people. At last, the gynecologist showed up. I do not know if the girls that surrounded her were the same ones as the night before. I suspect not. She put on some gloves.

    “I don’t know if my waters have broken.”

    “Let’s see.”

    The feeling I had when she pushed was like sitting on the drain, in a bathtub. Gushes of warm liquid slid through her hand and pooled on the floor.

    “Now they have,” she said.

    Back to the room, back to the tubes and the drips. And back to waiting.

    We waited all day. It hurt. But nothing happened.

    It was New Year’s Eve.

    #

    In the evening they served dinner. My roommate had been watching TV all day. It was one of those TVs that sits in the center of the room. She had turned slightly to her side, which I didn’t mind at all. I would have preferred to have the TV off, but it had been on. All day. In a sense, it was like a buzzing in my ear. Not agonizing, just annoying.

    At least dinner was good. I supposed they had made something special for Christmas, for New Year’s Eve. The food was good. It was plentiful and festive: roasted baby goat, dusty sweet polvorones, even the traditional Spanish twelve lucky grapes for the twelve chimes of the clock at midnight. The TV had been preparing people all day for the big moment, when people would eat one grape for each strike of the clock to see in the new year at the Puerta del Sol in Madrid. My man gazed at my dinner with a famished look. The food at the hospital cafeteria was way worse: I think he had been surviving on salami sandwiches. As there were only twelve grapes, we agreed on six each, and once I could eat no more he finished off my dinner tray.

    At five to twelve the TV set in the room displayed the message “DAY PASS EXPIRED”.

    The other couple didn’t react. We, on the other hand, were dismayed, despite not having been the slightest bit concerned about the TV previously. Yes, it had been a nuisance all day: the channel they had chosen was crappy. And it seemed surprising that with all those Christmas ads the TV channels couldn’t have spent a little more on the programs around them. During the day, we would have been grateful if they had turned it off. But right at that moment when we were about to welcome in a new year… That was different. I didn’t have to ask him to go buy a new TV card: he was off, but the vending machine was at the entrance to the building, and we were on the seventh floor.

    He came back panting. When he finally inserted the token, the moment was over and the gala celebrations – probably taped months before –had begun. We shrugged and ate our grapes. The TV had credit again, but now we had paid for it and we had the power. A little later the four of us agreed that it was time to sleep.

    And so passed the second night.

    We had been there for two days already and I was starting to feel really desperate: but more than that, I was worried. I had been told that, in theory, you can’t go for more than twenty-four hours after your waters have broken without giving birth, since this might endanger the baby. Hour after hour after hour, we watched the paper roll out of the monitor and accumulate on the floor. Every once in a while a different person would come over. The lady gynecologist from the previous day. Another gynecologist, this one an old man. A midwife. A male nurse. They all looked at my medical history when they entered and made some sort of joke about it.

    The contractions hurt. But the most annoying thing of all was the continuous influx of people that would come over, don some gloves, and measure my cervix with their fingers to check dilation.

    Up until that day, I had known at least the name of every single person who had touched that part of my body between the vagina and the uterus. It’s a question of manners. “Good morning, my name is Jane Doe and I am… a matron, a gynecologist, a nurse, the cleaning lady…” I don’t know… something! But no: they didn’t even say good morning, or give their name, or explain why they were interested in that number of centimeters. In any case, it was clear that this was not moving forward.

    But that was not the worst of it.

    From the stories you hear it might seem that the aperture of the cervix would be a measurement available on one of the many machines that surrounded my bed. That, in the midst of all those technological advances that surround a woman giving birth today (monitors, artificial hormones, serum dripping into your veins) the measurement of the cervix would be just another sophisticated electronic procedure. But nothing could be further from the truth.

    The cervix is measured by hand.

    Literally, by hand.

    A person comes over, snaps on a glove, and puts their hand into your vagina until they reach the cervix. And depending on the number of fingers they can place inside, and the dimensions, more or less, of that person’s fingers, you get a number in centimeters.

    I discovered that the second time of many, many times they came by to measure it. I was unlucky: my labor had stalled, and they had to check it for hours, and hours, and hours.

    The worse part was all those anonymous people coming, getting their gloves on and doing something to me that hurt a lot: touching my cervix. But after many, many hours of waiting, of putting up with my roommate’s stupid fascist TV channels, I was finally giving birth. Like I said, having your cervix meddled with hurts like hell. It doesn’t only hurt-–and it does, it hurts like hell–-it sets your teeth on edge. It’s like having a great balloon stuck up there, and it doesn’t only hurt when people move it, but it also makes a kind of sound and vibrates like somebody rubbing a balloon. Like somebody raking their nails down a blackboard. But you cannot hear the sound; you can just feel that vibration in your bones.

    Once.

    And again.

    And again.

    Around 2 in the afternoon, when it was already Spanish lunchtime, I asked for the epidural. I was scared shitless and had been hurt by the anonymous cervix massagers. So what would happen later, when the baby had to come out?

    The anesthetist was late. When he got there, several lady nurses took hold of me. He wouldn’t talk to me, and the nurses spoke to me like a little girl. Sit down. Bend over. They surrounded me, half hugging me, half holding me down into submission, as they chatted about their stuff. The prattle floated in the air, like a cloud obscuring my view of what was happening around me.

    The anesthetist’s head was just by my right ear. The nurse that held me from the front was by my left ear.

    “What does this one speak?” he asked. Esta, he said. He didn’t say she. He said esta, which you would use for objects or animals or people that weren’t present or able to punch you in the face.

    “I speak Spanish, English, German and Greek” I replied in Spanish, even if my posture only allowed me to look at the floor. “

    The anesthetist made a weird sound, as if I had appeared out of nowhere. As if, all of a sudden, the cow the veterinarian was attending to had suddenly spoken.

    “Spanish is fine.”

    “That’s what I thought.”

     

    People usually say that the epidural is a type of anesthetic, but people talk a lot of nonsense.

    The epidural is an analgesic. This means that once it starts working, you lose sensitivity to pain from the waist down. However, all the rest of the sensations are there.

    In my case I also lost track of the pace at which the famous cervix was opening. Although it is true that it no longer hurt when they came over to see if I had dilated.

    So the good news is that an epidural is analgesic: it no longer hurt. The bad news is that the epidural is not an anesthetic, so I still got that feeling that people were rubbing a giant balloon that I happened to have stuck up there, deep inside.

    The birth had definitely stalled, despite the oxytocin dripping in my veins. The monitor registered contractions that I no longer felt. It also indicated, through the rhythm of the heartbeat, that my baby daughter was, in principle, fine.

    She was fine.

    But that’s when we started to worry. After all, my gynecologist had broken the waters the previous morning: we knew it was dangerous.

    The baby was still doing fine. That’s what the black line that had been undulating on the green-lined paper, pooling on the floor, had meant.

    I was hungry, I wanted to eat something, to chew on something, to swallow, to feel the release, to have that rest. I wanted to take a walk, to distract myself from the background anxiety.

    The girl was fine, but they wouldn’t give me anything to eat, in case we ended up in the operating theater.

    The girl was fine, but given my situation it wasn’t recommended that I was disconnected from the drips or monitor.

    Everything is fine, said the nameless faces that came in and out of the room.

    The white-haired gynecologist came over. He put on his glove and I felt it again: the movement, the pushing, the rubbing of the balloon.

    • Get her an –ine,” he said to a lady nurse that had appeared by his side.

    “A what? Excuse me, what is that?” I said.

    Again, I got that feeling of “the cow speaks!” The doctor turned to me, as if I had magically appeared out of the blue, as if, while being born, a baby had turned his head and asked him a question. He composed himself and answered:

    “It’s a medicine.”

    Now it was my turn to blink.

    That’s right. Who am I? A five year old lost in an operating theater? A cow that just happened to pass by?

    “I should imagine it is a medicine,” I said. “What’s more, I can see its box: right there, in that cabinet in front of me. Maybe I didn’t phrase my question correctly. What I want to know is, what does it do?”

    “It is a muscle relaxant.”

    “Thank you very much.”

    Would no one treat me like an adult human being, of sound mind?

    They injected an ampoule from the mysterious box I had been looking at all day. At the time I didn’t know, but that relaxant would make things worse.

    After that I began to stop being aware of what was around me.

    “Baby, you’re falling asleep,” he said.

    “No, no, I…”

    “You’ve fallen asleep again.”

    “You’re here. I can’t… I can’t… Oh my, tell me something. I’m falling asleep, I’m…”

    “Hello again.”

    “What do we do? I can’t…”

    “Come on, sing: sing with me.”

    We were singing a song, but I couldn’t follow it. I fell asleep again.

    “Hello.”

    “It didn’t work.”

    “No.”

    The monitor kept reeling out the continuous paper. The stack on the floor was getting higher and higher.

    The baby was fine.

    “I’m afraid.”

    And I was very afraid. I was afraid of opening my eyes and seeing something very different to the things that had been there when I closed them. I couldn’t stay awake. I couldn’t stand up. I couldn’t eat. I couldn’t just wait, because I couldn’t stay awake. I couldn’t do anything at all. Hours went by, but all I can remember are moments of fear and blank spaces.

    In the end, one of the girls that had come in during the last shift change said something.

    “Eight.”

    It was more or less 8pm, but she was talking about centimeters.

    “Eight? Just two left, then.”

    With ten centimeters you are all set. But it seemed like we wouldn’t make it to ten.

    “Let’s go to the birthing room now. You’ve been here too long.”

    We agreed on that in particular.

    “Oh, one thing. It will be instrumental. Your partner won’t be able to be there.”

    And in a sense, it was a relief, because what came afterwards was not pretty.

    #

    I do not know how, but I find myself in an operating theater. Through the little window in the door, I’ve seen him in the corridor with that paper green hat and those stupid-looking green socks. In a sense, I am glad he is not here. This would be too much for him. It’s too much for me. The two gynecologists have arrived: the communicative one with the white hair has some kind of industrial vacuuming machine with him: it has an ugly long tube. The lady that broke my waters yesterday is up near the stirrups with me. My back is on the table and my feet are up in some metal stands. I cannot move, except for raising my head and my torso a little bit. It’s not like I could move any other part of my body anyway.

    I remember flashes.

    The gynecologist in front of me works the machine that looks like an industrial carpet vacuum cleaner. In English you use the word “vacuum”, but in Spanish it’s called a sucker. And it’s a nasty sucker, at that. I don’t know how he’s positioned it, but I know that it feels like a bathroom rubber plunger moving to and fro against an over-inflated balloon. I get the impression I can hear the sound of a scratched balloon over the hum of the machine.

    They pull, and pull, and pull.

    “Push, push! Push when you have a contraction!”

    With the epidural I just don’t know when I’m having a contraction. They have to tell me when they see it on the famous monitor. I don’t even know where the monitor is now. Has someone cut the used paper before bringing it here? Is it here, somewhere? I don’t see it.

    “Push now!”

    I am pushing, but I don’t know if it is of any use. I cannot feel anything except the very, very, very strong sensation of the balloon being rubbed. She is stuck. Is she all right? Will we ever get out of here?

    “OK, one more and we go to cesarean section.”

    “Push! Come on, push, now!”

    “I am pushing!”

    “Push! Push! Push from your butt! From your butt!” shouts the nice gynecologist at the top of her lungs, towering over me. And she pushes my belly with her forearms, while the other gynecologist pulls from the other side.

    I look to the door. There’s no one. Thank God: thank God that they did not let him in here. He wouldn’t stand seeing this. Shouting. The balloon. People everywhere.

    “We’re going to cesarean section.”

    “One more.”

    More shouting. The machine roars. This girl I’d never met before who claims to be a gynecologist has her hands firmly planted on my belly, and is pushing down. As for the gynecologist gentleman… I can barely see his white hair: he looks like that detective doctor on TV.

    “Let’s take her up now. This isn’t working.”

    “One more.”

    I think the TV doctor guy was funny. This man doesn’t look funny to me, or indeed inspire any kind of trust in me. That’s it. I promise I am pushing.

    #

    Who is he, what’s his name, what kind of things are they doing that I’ll never know about? I see his head between my knees, pulling, pulling and pulling. The machine keeps humming. I look at it and it kind of seems like half an R2D2, but gray. Half an evil R2D2.

    “Here you are: your daughter.”

    He places a chunk of slippery, dark meat on my belly: it looks a bit like a hairless cat rolled in butter and bathed in blood. It weighs more or less the same, and it is very slippery. Please God, don’t let her slide off onto the floor, please God don’t let her fall.

    Her back is facing me and I cannot see her face.

    Don’t let her fall down. She slips: we’re both slippery. I’m terrified that she might fall to the floor.

    “My daughter, my daughter, my daughter, my daughter.”

    I’m crying.

     

    The next flash is the now familiar face of the gentleman with the white hair. His head is once again between my knees. The placenta comes out and is carried away. Now he looks between my legs with interest.

    “We were saved by the bell there,” he says with relief. We?

    I feel tiny pulls, as if someone had stuck little pieces of duct tape to some clothing I’m no longer wearing, and is now pulling them off. I realize that he’s sewing me up when I see his hand raising the needle and thread. He sews intently.

    He looks at the result.

    “No. Nope…”

    With some sort of instrument he takes all the stitches away again. Deep down, I’m glad. Since he didn’t seem to like the result, it’s better if he does the whole thing again. With a determined gesture, he sews me up again.

    #

    In the meantime, my daughter is somewhere else. Where is she? A bit later they take me to a white room. Here they are, both of them, my newest closest family. They’re both wearing hats: he’s wearing a green one; she’s wearing a white one. She’s awake, calm, with her eyes wide open. She’s inside a white transparent box. I’m wondering if we both look happily stoned.

    I want to take her in my arms. Her face is puffy and red. She’s my daughter, but I’ve never met her before. Her face is not familiar. It’s a weird feeling.

    I put her at my breast, like I’ve been told a thousand times, like I’ve read everywhere.

    A nurse comes a bit later.

    “Oh, there you have her. That’s what I came to say.”

    I’ve got her. Everything has gone well, I think. I can breathe now, calm down now. Everything has gone well.

    I am wrong, but I don’t know that yet.

    I’ve been a mom for three hours now, a mom to this little ball wrapped in a sheet, and I am a bit lost. She cries and it’s normal, but the whole hospital is asleep. It’s midnight. Most likely she’s hungry. We try to calm her down with our four hands but it doesn’t seem to work. I put her at my breast, but that doesn’t work either. I’m probably doing something wrong, but I do not know what it is. Finally, a nurse shows up. I imagine she’ll want to help with breastfeeding, or tell us to go somewhere where we won’t wake my roommate or her baby.

    “Here, give her this.”

    “A bottle? But, the breastfeeding…”

    “It’s nothing, there’s no harm done with just one bottle. Give it to her. She’s hungry.”

    I give her the bottle. She falls asleep.

    It is so soon that we do not know if what we’ve done is right or wrong.

    #

    The morning after, when the pediatrician looked over the baby, he gave us the news.

    “Her collarbone is fractured. It’s normal.”

    A fractured collarbone? I didn’t recall that being very normal, but who am I to say?

    When the little hat they dressed her head with in the labor room fell off, we saw that the skin on the top of her head had been scraped away: just like when you graze your knees when you fall off a bike as a child, only all over her head. It was a direct consequence of using the vacuum to get her out. But we couldn’t imagine that her collarbone would be broken. Was that why she cried?

    They took her away to confirm it with an x-ray.

    The pediatrician, a nice young man, came back and said that the x-ray confirmed the previous diagnosis.

    “You don’t want to see the x-ray, right?”

    “Why wouldn’t I want to see it?”

    I found the question weird, because I’ve seen every x-ray that I’ve had, and I’m guessing that is the normal thing. It was my job now to take care of my baby’s health, until she could do so for herself. Maybe I wouldn’t be able to grasp the whole meaning of what I saw, maybe I would not be able to interpret it correctly, but that was no reason not to see it. Maybe I would only see a thin black line running down the bone, and somebody would have to explain to me where exactly it was broken. How weird all this was.

    “You sure?”

    “Hmm, yeah? Sure.”

    He showed me the x-ray.

    They had broken her bone. They had broken it badly. They had broken a bone taking her out. It was as clear as the light of day. It was so clear I get scared. It was like a little broken twig, the tips clearly parted. Like railway tracks at a junction, the two sides of the bone point in different directions, up and down. They did not even touch each other.

    My girl, my broken girl.

    Inside, little by little, my heart crept back into its place while I kept calm. It was a bit like walking over a step on some stairs that suddenly is just not there.

    Bit by bit I came back to normal.

    “This fracture is totally normal. It will heal on its own, without leaving a trace. Maybe when she’s older, touching the bone, she will feel a tiny bump, but it’s nothing.”

    Fracture. Fracture not fissure, I corrected myself mentally. Nothing, he says.

    I’ve got to listen better, now that I’m doing it for somebody else, I thought.

    “We’ll give you a referral for a few months of rehab. She’ll tend not to use that arm, so it won’t hurt. In rehab they’ll stimulate the nerves in that arm so she moves it, with some tiny brushes, with sponges… you can do that at home too. In the meantime, just don’t lay her down to sleep on that side.”

    My girl, she had been crying.

    #

    Now, on every birthday, I look at the mom, who was actually there that day too. The day in which, as if through a dark and incomprehensible magic, she started feeling the pain in somebody else’s body too.

    That day I finally understood that every birthday is the anniversary, not only of someone being born, but also of somebody giving birth.

    Congratulations.

    END

  • El tercer brazo

    El tercer brazo

    —[Doscifras] años llevamos ya.

    —¡Vaya! Eso son muchos años. ¿Qué se siente al ser pareja de alguien durante tanto tiempo?

    —Es difícil responder a eso…

    Mi mente barrunta.

    Hay cosas tan buenas que no las puedo contar y cosas tan malas que no las puedo contar. Otras son demasiado largas como para que al final quede claro por qué se habían contado. Las cortas, a veces son detalles monos, pero quizá sonrojantes y muy pequeños vistos de uno en uno… otras historias requieren consentimiento. Y luego, ¿qué es relevante?¿qué parte de mi experiencia es solo mía y qué parte le ocurre también a otras personas? Estas disquisiciones no suelen ser bienvenidas en una conversación cordial.

    —… supongo que es diferente para cada relación. Y lo bonito es que cada relación es distinta. Quizá hay una cosa en la que otras parejas me dan la razón. Es el fenómeno al que yo llamo el tercer brazo.

    El tercer brazo

    No sé si te has fijado en que cuando no conoces a alguien le tratas con una cierta deferencia: los buenos modales de toda la vida. Imagínate, por ejemplo, un grupo de gente a la mesa:

    —Fulanite, ¿me pasas las sal, por favor?

    —Claro, toma.

    —Menganite, ¿te importa acercarme el agua?

    —Aquí va.

    Sin embargo, en cuanto hay una pareja que lleva un cierto tiempo de relación, ya no se hace ese esfuerzo verbal. Simplemente, con un levísimo gesto del codo y una mirada hacia el objeto deseado, se pasan la sal, o el agua, o lo que sea, sin mediar palabra.

    A esto yo lo llamo el tercer brazo. Tratas el brazo de la otra persona no como ajeno, sino como propio. Por un raro revés del destino no está unido del todo a tu sistema nervioso, pero es una sensación parecida.

    Según vas pasando tiempo al lado de una persona, los límites de las personalidades, los cuerpos, los gustos… se van difuminando, igual que las distinciones entre brazo uno, brazo dos, brazo tres y brazo cuatro. Esto puede tener consecuencias estupendas y terribles.

    Uno de los peligros que conlleva es que nuestra cultura incentiva tratarte peor a ti mismo que a los demás. En distintos grados: cortesía, abnegación, sacrificio; llámalo como quieras, pero la sensación está ahí. Hacemos por otras personas cosas que no haríamos por nuestra propia persona. Nos hacemos hacer cosas que no consentiríamos a otros que se hicieran, o que nos hicieran.

    He aquí la cuestión. Cuando te acercas tanto a alguien que pareciera que te fundes con esa persona, que dejas de considerarla un ente externo, empiezas a tratarla como a ti mismo. Pierdes la cortesía de pedir las cosas. Exiges sacrificios como los que «la sociedad» te exige a ti (quizá interiorizados ya como tu propia personalidad). Simplemente lanzas un pensamiento en esa dirección:

    …sal…

    …agua…

    …sexo…

    …comida…

    …huir…

    …mimos…

    …protestar…

    …silencio…

    …dormir…

    Y esperas que el tercer brazo te lo dé.

    Pueden pasar dos cosas.

    Si no obedece —¡tu propio tercer brazo no obedece una orden mental directa! ¿qué está ocurriendo aquí?— te enfadas.

    Así se quedan muchísimas cosas sin hablar y sin negociar, porque no ha sido un proceso mental completamente consciente. Si te has planteado este tema antes, al mismo tiempo sabes que no deberías enfadarte por no conseguir algo que ni siquiera has pedido. Así que ¡premio! Te has enfadado con dos personas por el precio de una. Por otra parte se ha perdido una oportunidad de crecimiento. No ha habido negociación, no ha habido intercambio. No te has parado a pensar cuáles son las necesidades y prioridades de la otra persona, ni cómo se relacionan con las tuyas propias.

    Si tu tercer brazo obedece… ¡magia, sintonía! Esta es la parte bonita. Cuatro brazos guiados por dos cerebros, haciendo cosas. Puede molar bastante. Esta es la anécdota que es bonito contar.

    Pero aquí va mi advertencia. Un gran poder conlleva una gran responsabilidad; un pequeño poder conlleva una pequeña responsabilidad. Quizá no agradeces a tu tercer brazo las cosas que hace por ti, del mismo modo que no se lo agradeces a tu brazo uno y a tu brazo dos.

    Cuando nos acostumbramos a separarnos un poco de nuestro cuerpo y a apreciar las cosas que hace, podemos usar ese mismo camino para «separarnos» un poco de nuestra pareja y agradecer todas esas cosas que, con el tiempo, hemos acabado dando por sentadas.

    Recuerda: todos tus brazos merecen que les pidan las cosas por favor y gracias, y todos tienen derecho a decir que no.

    __

    Especialmente dedicado a mis mecenas:

    Marta, Stéphanie, Daniel y David.

    Este escrito podría estar también dedicado a ti. Pulsa este enlace y apóyame en Patreon. 🙂

  • Queer: una historia gráfica, ya disponible

    Queer: una historia gráfica, ya disponible

    Queer: una historia gráfica, ya está disponible. Como sabéis, este año he traducido este libro sobre la historia y corrientes del movimiento queer, que está en formato de cuasi novela gráfica.

    Esta es la pinta que tiene (¡ha quedado genial!):

    ¿De qué va Queer: una historia gráfica?

     

    Como su propio nombre indica, el libro es una perspectiva histórica tanto de la palabra queer como del movimiento filosófico, social y crítico. Como nos cuenta el propio libro, sus objetivos son los siguientes:

    1. Abrirte el apetito para que te apetezca descubrir más cosas.
    2. Explicar cómo la teoría queer se hizo necesaria como manera de cuestionar ciertas suposiciones populares sobre sexo, género e identidad.
    3. Presentarte algunas de las ideas clave de la teoría queer y sus pensadores —de forma tan sencilla como sea posible— así como algunas de las tensiones internas de la teoría queer, además de las diferentes direcciones que ha tomado estos últimos años.
    4. Extraer de la teoría queer aquello que parezca más útil para nuestras vidas diarias, nuestras relaciones y nuestras comunidades.
    5. La idea es invitarte a conocer la teoría queer y animarte a que intentes pensar de forma queer.

    También ha escrito sobre el libro Miguel Vagalume, en este artículo de Golfxs con principios. En este artículo también traduce parte de esta entrevista que le hicieron a Meg-John Barker en VICE con motivo de la publicación de la versión original en inglés de Queer, A Graphic History.

    Presentación en Madrid de Queer: una historia gráfica

     

    Para mí sería un placer veros el próximo lunes 23 de octubre, a las 19h en la Librería La Sombra (Calle de San Pedro, 20, Madrid). Departiremos sobre el libro y temas queer relacionados Borja Solovera y una servidora de ustedes. He aquí la invitación oficial:

    Queer: una historia Gráfica
    Invitación a la presentación de Queer: una historia Gráfica

     

    Aquí está el evento en Facebook de la presentación en Madrid de Queer: una historia gráfica, el 23 de octubre de 2017 a las 19:00hPulsad el enlace anterior e invitad a vuestras amistades más queridas. Lo pasaremos genial y podréis llevaros un ejemplar firmado (y hasta besado, si os place).

    Cómo se consigue un ejemplar

     

    Para quienes queráis comprarlo YA, he aquí la página de Queer: una historia gráfica en la web de Editorial Melusina, donde también hay un extracto gratuito en PDF.

    Más datos sobre Queer: una historia gráfica

     

    ¿Más presentaciones?

     

    Es muy probable que haya una presentación adicional en Barcelona en breve. Respecto a presentaciones en otras ciudades, si conocéis de alguna librería o espacio queer/feminista/literario donde pudiera interesar organizar un encuentro, por favor poneos en contacto conmigo y se lo pedimos a la editorial.

  • Amanda Palmer in Köln: you’re on the door, minus one

    Amanda Palmer in Köln: you’re on the door, minus one

    Köln, 4 November 2016

    Yesterday I went to a rock concert on my own for the first time in my life.

    In another country.

    In the middle of nowhere.

    After a pitch black park.

    But it’s rock music, so if you fall into the crowd, the crowd picks you up.

    … Tends not to go to rock concerts ‘cause he can’t stand the crowds…

    —Tim Minchin, Rock ’n’ Roll Nerd

    “But I’ll be useless if they jumped

    I’m really not the killing type”

    —Amanda Palmer, The Killing Type

    I would have loved to find myself in the middle of a crowd as the train left the Altonaer Platz, a dark station, up North in Cologne. The girl that had smiled me as I had boarded the train had left one stop before, with her boyfriend. I had thought I had seen a look of recognition in her face when I boarded the train, and felt sad I had been wrong.

    The street is dark ahead, and there are people walking in the same direction as Google Maps points I should be taking.

    I swallow my heart and try not to think that there’s no one waiting for me back in my apartment, and now no one waiting for me at the concert. This is only getting darker. A man walks ahead of me. Another girl walks alone, behind me. I slow down a little. I have to ask.

    “Um, hey, are you going to Amanda Palmer’s concert?”

    She is.

    “Mind if we walk together?”

    Amanda hammers the piano. She does. It is true that she treats it as a percussion instrument.

    (A shrill voice pianosplains: “it’s struck strings, Bego” OK YEAH I KNOW THANKS).

    I wish I had known her when I was trying to play the piano. She was in high school then I guess. My piano teacher was a purist:

    “Piano is for life. If you stop practicing for a day, you’ll notice. If you stop practicing for two days, other people will.”

    Yes, thank you too, no pressure.

    As a perfectionist child used to instant success at things I tried in school, piano classes were a nightmare. I didn’t study, I didn’t practice. I had never needed to, before. Also, I didn’t have an audience. My younger sister was one year ahead, she was cute as a button and way better than me. Once I got to play a piece it was already old for everybody I knew. It was a lonely affair, the piano and me, back then. I wanted it, but feared it. I just didn’t want to put in the work, because I felt like a loser having to work for something. It should come naturally, like those fast-paced montages in movies when people BAM practice a bit and get their ability. Like in Groundhog Day.

    Piano doesn’t work like that. Fucker wants to get to know you first, before giving it up.

    I recognise the feeling now. That having to push through the trawling in the mud, crying-in-frustration part. You come out all sunny smiles and scratched knees on the other side, but verdammt, it hurts.

    So, piano and I parted ways before I entered high school. Piano is like an ex-lover to me. I’m happy to see it makes others happy. There’s a bit of compersion, a bit of jealousy, a bit of what if fantasy, a bit of fond memories, a bit of VORSICHT-ACHTUNG-CAREFUL-glamourised-memories-behind. I listen to piano when I translate, and hit the letters in tempo with the music.

    Back to Amanda’s last night.

    “Piano is Evil”  — she says.

    Does piano consent to this?

    I didn’t know piano could be so kinky, that’s what I thought.

    I didn’t know you could strike the piano down. That piano consents that you spank it, slap it across the face, caress it and whip it again, forte, fortissimo, to paroxysm. To ecstasy. To wicked tickles, at times. You know. She was pumping it somehow. Forcing the music out. “Like wildcats in thunderstorms,” I heard in my head. She stomped on the stage with a thick tanned brown leather boot. She sat crossing one leg over the other, she half leaned, twisted and turned, she was a wiry mess that could have fallen from the stool but seemed not to need it.

    In my mind, my piano teacher reprimands me for my posture. A pianist I fell in love with complaines that he’d never be a professional because his was bad, his shoulders would raise towards his ears as he played.

    Well, take that, ghost of pianos past. Apparently one does not have to submit to the piano. You can make the piano submit to you.

    My beloved friend is now a composer and teaches advanced harmony in a conservatory, in case you were wondering.

    Amanda’s beating up the piano, and the piano is liking it and begging for more. I look at her arms and I see the lines that prove that she can do this for a bit, and still wonder how long can the crescendo keep climbing without one of the pair calling mercy. I guess a piano doesn’t get a safeword. Maybe the piano’s as high on this as everyone else. She pounds on and on and on and the melodies are an undercurrent in an upturned roaring cascade, flowing from warmer places over the crashing waves. This is the point where mere mortals would cramp, relent, stop. But she doesn’t.

    We’re close, we all know. It’s resolving. Revolving. Turning. The scattered pieces gather, join together, fuse, explode.

    She lifts her hands in the air, for a half note, and she throws her head back, and you know she’s finished too. A rope is pulled and the knot disappears, a structure falls disheveled to the floor. Then reality blinks once, twice, it’s back around you. All the assembly remembers that there’s such a thing as breathing, and it’s important that it happens again… around now. Breathe out. Breath in. Thunderous applause? Howling applause. We shout and wail and wipe our tears and clap till our palms tingle and burn.

    Only one person fainted this time (I hope she’s all right).

    By the way: the girl from the train is indeed in the audience.

    “Ukulele, wand of thunder. You can play the ukulele too…”

    Amanda, you are the music teacher we never had. You don’t have to go all the way with an instrument. You don’t have to get in the relationship escalator and get married to your instrument. You don’t have to submit to it. Don’t practice everyday, but do practice till it hurts if it suits you. And with this promise, we’ve all gotten our ukuleles, and we’ve definitely not killed our parents or anyone for that matter, and we’ve minimised stranger’s sadnesses, and our own.

    A ukulele is generous and forgiving. The independent extrovert of music. Thanks for introducing us, Amanda. We all thank you.

    Delilah, with Whitney Moses

    She walked like a friendly Valkyrie out of a Mucha painting. Her voice SHOOK you from the inside.

    Whitney-Moses-Delilah.pngAmanda wants you to sing along — right?

    “Your voice is so beautiful,” says Jana, the girl I tried to give my extra ticket to — until another fan who brought her from Frankfurt beat me to it. I try to think she means exactly what she says, and that this is not an über-polite German hint. On Twitter a girl leaves the concert in tears, as tall man has told her to stop singing. “It can’t be that someone is so crass and clueless about the Amanda thing” is my first reaction. Amanda would want you to sing along, right?

    “I get torn to pieces for the stupidest reasons”

    She didn’t play Melody Dean or Massachussetts Avenue or Do it with a Rock Star or Want it Back). This is not a complaint. There’s so much she didn’t play, yeah. Also, I’m an Amanda Palmer fan, I got here too late for the Dresden Dolls, and they’re not… not really as much my thing as soloing Amanda is. I think.

    Maybe because “I get torn to pieces for the stupidest reasons,” I don’t go so often into the scary rooms in Amanda’s castle. Or the tear-your-heart-apart ones like The Bed Song. It felt good to go there with her, to get the guided tour, hand in hand as it were — or maybe leashed, because running away is not really an option at that point.

    “Just keep touring

    Just keep on ignoring

    Be a good little trout”

    —Amanda Palmer, Trout Heart Replica

    Unfreezing and reimagining past songs

    She mentioned that thanks to the Patreon folks (proud to be even a humble one, then) she can do whatever she likes. For example, publishing piano-only versions of how the songs feel for her now, which is her latest record, Piano is evil. She hinted (not for the first time) at a German-only record.

    She explained that she spent 4 months in Sülz, Cologne, as a German Studies major. To me it’s uncanny because it’s more or less what I did with English and German, only one year later, living at the UniCenter and studying Translation and Interpreting at the Fachhochschule Köln. Those were dark times.

    I find the concept really interesting: recorded music stays frozen in time. No new versions are recorded because the effort is too large and the profit margin too narrow for a record label. But with active artists, their music it evolves all the time as they practice and perform and grow. A record from a few years’ ago is that Amanda, back then (was it Lou Reed who said, you’re all stuck on stuff I left behind years ago?).

    How does she see things now? How can you grow with someone if you don’t visit often? But how can you? An artist can only tour so much. There’s so many of us that can afford to listen live (and not so often) and so little time on the artist’s side. As an artist, there’s so much you can do with a lifetime: I’d rather they spent time exploring and sharing, than touring known territories… more than they want to. “Just keep touring / Just keep on ignoring / Be a good little trout.”

    “I didn’t feel like dressing up tonight”, she said at the beginning. “These are… my clothes.”

    The whole concert was another reason to support her doing whatever she wants to do, for as long as we all find this relationship interesting.

    Set list

    From setlist.fm. I kind of disagree with the attributions, but leaving it mostly as is:

    1. Ich Bau Dir Ein Schloss (Heintje cover). On the ukulele, standing up in the bar while we all looked at the stage, and then turned around.

    2. Creep (Radiohead cover). Also on the ukulele.

    3. The Killing Type (Amanda Palmer & The Grand Theft Orchestra cover). On the piano.

    4. Missed Me (The Dresden Dolls song). Really scary when played live. On the piano.

    5. Ampersand.

    6. Machete

    7. Vegemite

    8. A Mother’s Confession

    9. Astronaut (A Short History of Nearly Nothing)

    10. Delilah (The Dresden Dolls song), with Whitney Moses. I tweeted what I felt back then

    She walked like a friendly Valkyrie out of a Mucha painting. Her voice SHOOK you from the inside.

    11. Paperback Writer (The Beatles cover)

    12. The Bed Song (Amanda Palmer & The Grand Theft Orchestra cover)

    13. Strength Through Music

    14. Guitar Hero

    15. Should I Stay or Should I Go (The Clash cover), with a black Les Paul electric ukulele. Also my very first mosh pit. It felt safe. Which is the most surprising thing.

    16. In My Mind. On the ukulele, if I remember well. This song always makes me think of The Art of Asking and my friend @MetaMaiko.

    17. Nanna’s Lied (Kurt Weill cover)

    18. Berlin (Amanda Palmer & The Grand Theft Orchestra cover)

    19. Half Jack (The Dresden Dolls song)

    20. Coin-Operated Boy (The Dresden Dolls song). This is the only song from Amanda that Elisa likes, which is annoying because it’s not my favourite.

    Encore:

    22. Map of Tasmania. On the ukulele.

    23. Judy Blume. On the piano.

    24. Sing (The Dresden Dolls song)

    25. Ukulele Anthem (Amanda Palmer & The Grand Theft Orchestra cover) (Played on the ukulele, of course, in the middle of the crowd). I uploaded a bit of video to Twitter here: https://twitter.com/minibego/status/794331753288794112

  • ¿Cuál es la diferencia entre sexo y género, entre transexual y transgénero, etc.? Introducción básica («101»)

    ¿Cuál es la diferencia entre sexo y género, entre transexual y transgénero, etc.? Introducción básica («101»)

    Últimamente no paran de hacerme preguntas como la del título. Quizá no soy la persona más indicada, pero a falta de algo mejor, aquí os pongo el fruto de mis indagaciones y las respuestas que he ido proporcionando. Precisiones y correcciones constructivas bienvenidas.

    Antes de empezar y que alguien diga «todo esto es simplemente ese rollo de lo “políticamente correcto”, que va a acabar con el lenguaje, con el humor, con el periodismo, con todo». Mi recomendación es que se sustituya la expresión «políticamente correcto» por la expresión «tratar a la gente con respeto», que es lo que se está pidiendo con todas estas precisiones en el empleo del lenguaje. Creo que nadie está en contra de «tratar a la gente con respeto», ni puede estar de acuerdo con «tratar a la gente con respeto va a acabar con el lenguaje, con el humor, con el periodismo, con todo». Dicho esto, continuemos y aprendamos cómo tratar a la gente con respeto a través de nuestra forma de expresarnos.

    Pregunta:

     

     

     

     

     

     

    ¿Cuál es la diferencia entre sexo (o el sexo biológico) y género?

     

    El sexo es el conjunto de características (físicas, genéticas, cromosómicas, hormonales…) que hacen que se considere a un ser macho, hembra, intersexual, u otros.

    El género es un constructo social, una serie de roles que se representan en la sociedad: una «caja» en la que vivimos, unas expectativas que tiene de nosotros la gente.

    El punto de vista según el cual solo hay dos (masculino y femenino) se conoce como binarismo de género. Diferentes sociedades en diferentes momentos históricos reconocen múltiples roles de género (hasta diecisiete, he oído por ahí): masculino, femenino, jisra

    Algunas personas rechazan el concepto de género y adoptan la etiqueta «queer» o «genderqueer» (o rechazan toda etiqueta), pero este tema es un poco más complejo y lo trataremos otro día.

    Pregunta:

     

     

     

     

     

     

    ¿Entonces, cuál es la diferencia entre orientación sexual e identidad de género?


    La orientación sexual se refiere a las personas que te atraen sexualmente. 
    La identidad de género se refiere a quién sientes tú que eres. El género con el que te identificas, con el que tú (por dentro) sientes que encajas. Hay gente que se siente más masculina, gente que se siente más femenina, gente que se siente en algún punto del espectro y gente no se siente en ningún lugar de ese espectro.

    Pregunta:

     

     

     

     

     

     

    ¿Qué género uso para referirme a alguien?

     

    Usa el género con el que se identifique esa persona. El mejor método es preguntar.

    Para referirte al pasado de alguien, no digas nunca: «el sexo con el que nació». puedes decir: «el género que se le asignó al nacer».

    Pregunta:

     

     

     

     

     

     

    ¿Es trans/transexual/transgénero ofensivo como sustantivo?

     

    Sí y mucho. Decir «un trans», «una trans», etc. limita a la persona a una característica. Es cosificante/medicalizador/patologizador. Se rechaza de forma muy vehemente. Compárese con: un hetero, un cisgénero. No es respetuoso hablar así de una persona. Mejor: «una mujer trans», «una persona trans»…

    Pregunta:

     

     

     

     

     

     

    ¿Puedo usar la palabra transexual?

     

    Transexual es un término que proviene del uso médico y psicológico, con lo cual a menos que la persona en cuestión lo «reclame» (lo use) es preferible usar transgénero, que es además un término «paraguas» más amplio. Si te consideras transexual, es tu derecho usar esa palabra.

    Pregunta:

     

     

     

     

     

     

    ¿Y trans?

     

    Sí, trans es un acortamiento válido . No es necesario usar ni comillas ni cursiva.

    Pregunta:

     

     

     

     

     

     

    ¿Cuál es la diferencia entre identidad de género y expresión de género?

     

    Una cosa es cómo te sientas (identidad de género) y otra como actúes (expresión de género). Que una persona no exprese algo no quiere decir que no lo sienta. No permitir a una persona expresar su auténtica identidad (su personalidad respecto al género) es ejercer violencia contra esa persona.

    Pregunta:

     

     

     

     

     

     

    Cuando nace un niño, nace con un determinado sexo biológico ¿no?

     

    Cuando nace una persona, se le asigna tanto género como sexo biológico. Esta asignación se hace:
    1. Respecto a un patrón binarista (hombre o mujer, sin más posibilidades). Hay otras opciones, por ejemplo la posibilidad de que alguien sea intersexual.
    2. Centrándose en los genitales (especialmente en los genitales externos). A esta visión de la realidad se la conoce como «sexo determinado genitalmente» (en inglés: genitally-determined sex). No se hace una evaluación genética, hormonal ni se revisan los órganos internos, es por lo general un proceso bastante más pedestre.
    3. Sin tener en cuenta la identidad de la persona, cosa que es imprescindible hacer cuando hablamos con seres humanos: pero en el momento del nacimiento no es posible.

    Uno de los aspectos clave en este debate es distinguir entre lo que otras personas te asignan al nacer con la persona que tú sientes que eres en realidad. No tratar a una persona según su identidad es ejercer violencia contra ella.

    Por poner un ejemplo más sencillo: es como si me diera por llamarte Juan en vez de Jaime, porque así se llamaba mi abuelo al que yo quería mucho y pienso que tienes más cara de Juan que de Jaime. Aunque todo el mundo estuviera de acuerdo conmigo, a ti no te haría ninguna gracia, y sería tu derecho que te llamásemos por el nombre que prefieres.

    Veamos ahora un ejemplo más complejo. Jaime es el nombre que te pusieron al nacer, influidos por lo que vieron al mirar entre tus piernas. Pero ahora se descubre que tu nivel de testosterona es muy bajo. Por tanto, y según unas ciertas tablas, eres una mujer, y te obligan a cambiarte el nombre a Jacinta y ponerlo en todos tus documentos. ¿No te sentirías violentado? ¿Qué sabe el Estado sobre cómo debes llamarte y cómo te sientes? ¡No lo sabrás mejor tú, que vives dentro de tu propio cerebro! Eres Jaime y la gente que quiera llevarse bien contigo debe considerarte un hombre y llamarte Jaime. Estás cómodo con el sexo biológico que te asignaron al nacer, aunque ahora «el tuyo» alguien haya determinado que es otro.

    Este último caso, que te puede parecer de ciencia ficción, se está dando por ejemplo con deportistas de élite, que no se consideran lo suficientemente «mujeres» para competir como mujeres, pero que luego tienen hijos, como Ewa Kłobukowska (artículo sobre Ewa en la Wikipedia, artículo sobre atletas intersexuales).

    Para saber más sobre este tema, recomiendo este informe de Amnistía Internacional: El Estado decide quién soy.
    En resumen: tanto el género como el sexo biológico se asignan, no «son» ni «se nace con» ellos.

    Una ilustración muy maja al respecto:
    http://itspronouncedmetrosexual.com/2015/03/the-genderbread-person-v3



    Otro día: las orientaciones. En mi opinión, el género, la expresión del género, el sexo biológico, la orientación sexual, la orientación romántica, el sentimiento de pertenencia a una comunidad… son factores fluidos, cambiantes y dentro de un espectro continuo. El próximo día hablamos de que el sexo y el amor son actividades, más que características formales de la persona. En este sentido, desde mi punto de vista deben ser siempre más verbos y adjetivos que nombres. Pero hay nombres, y los veremos.

    Esta entrada apareció primero en mi Patreon: apúntate y anímame a escribir más. 🙂

    http://Patreon.com/minibego

  • Presentación de Porno Feminista en Barcelona

    Presentación de Porno Feminista en Barcelona

    ¡Ya queda menos! Esta tarde, en Barcelona (Librería Malpaso, 19:00h) se presenta el libro que traduje el año pasado, Porno feminista, las políticas de producir placer. Es la típica cosa que llevo un año queriendo publicar aquí, hablando largo y tendido de ello, pero de momento no ha podido ser. Por redes sociales me temo que he sido bastante insistente e inaguantable al respecto, me temo. Espero que sirva para veros allí esta tarde.


    Ya antes se había presentado en Madrid y en Sevilla (cosa que también tengo pendiente de relatar).