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writing questions to help with queer erotophobia:

  • what feelings and images come up when you begin to write queer erotica? how do these feelings and images inhibit or encourage your writing?
  • how do you relate to the assumptions that could be made about you from your erotic writing?
  • how do you feel about the image of yourself as capable of summoning, describing, and directing erotic power?
  • does the straight/cis gaze have any power over your work? how do you relate to the idea of straight people reacting to it, projecting onto it, or misinterpreting it? how anxious do you feel about preventing any reactions/takeaways from your work that you don’t want straight people to have? how much control do you think you have over that?
  • where is the line of “Too Much” when it comes to erotic writing and how anxious are you about crossing it?
  • where is the line between Correct and Incorrect sexuality and how anxious are you about crossing it?
  • what backlash do you envision as a result of your work? what consequences and from where?
  • what happens just before you begin to experience severe writing paralysis? what thoughts, feelings, and reactions led to you feeling so inhibited?
  • what voices, if any, of friends, family members, acquaintances, or imaginary audience members pop up in your mind when you write?
  • what are your favorite pieces of queer erotica? who wrote them and from which experiences did they build them?
  • what pressures did the author(s) face that tried to discourage them from writing? what were the motivating factors behind these pressures? how were they resisted?
  • how protective do you feel about other queer writers attempting to create erotic work in a world bent on their erasure and destruction?
  • how would it feel to extend that protection to you and your writing?
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quotespile
“Oh, living is so uncomfortable. Everything presses in: the body demands, the spirit never ceases, living is like being weary but being unable to sleep – living is upsetting. You can’t walk around naked, either in body or in spirit.”

— Clarice Lispector, The Stream of Life

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I feel like people really underestimate the impact that your mode of transportation has on how you see and think about and interact with your city. Like, driving makes your city feel like a few islands, pockets of space where you regularly go and new ones you discover only when brought there for a purpose, but all amidst an ocean of just, filler. Taking public transit makes your city feel like a network of corridoors, a glowing grid along which you may discover new things, but whose alternate winding paths you only take when given to by circumstance. Cycling makes your city feel more human in its scale, and while you can only go so far, the spaces through which you travel are far more often built for people, not machines, and that difference is tangible, while your freedom of movement gives you more opportunities for exploration. Walking can only take you so far, but you see everything meant for you along those places, and every street feels like it carries potential, with no barriers to stopping and partaking of whatever piques your interest. I think, among these, driving is the one that by far most isolates you from the place you live, while the others are, in decreasing order, most utilitarian, and in increasing order, most personally connective to your shared space.

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GQ: You’ve studied the prosperity gospel—this idea that in return for faith, God will provide for you—but have you also studied other, non-faith-related self-help as well?

KB: Well, it’s a common misconception that self-help is not a spiritual genre, which it is. It's largely based on the metaphysical tradition that imagines that our minds are powerful incubators. It has formed some of the primary assumptions of what we call the American Dream. It’s individualistic, and assumes a very inflated sense of agency. It's hyper instrumentalist, meaning it always assumes that you don't just have truth, you need tools, you have to make everything into a strategy. All of those are really based on beliefs that have a long religious past. That metaphysical tradition believed that the mind was the most important spiritual generator, that our minds were the thing that aligned the power of the universe with our own abilities. That was the beginning of “good vibes only.” [laughs].

It's the beginning of this obsessively modern iteration of the self-made man, especially the self-made businessman. It came out of the rise of cities, rise of income inequality, people started selling these cheap self-help books on street corners that tried to explain why some people rose and other people fell. There's different versions, but all of them have the same belief in a rabid individualism. Some look explicitly religious, others look Pentecostal, others look like just cowboy movies, people who can always do it on their own.

It slowly grows into this stable of literature we call self-help, which is there to support the idea that if an individual just takes on a certain set of habits and mindsets, they will be able to conquer any of their circumstances. That little set of beliefs is the heart of self-help, and it just has a very long history in American culture.

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