Tag Archives: J. Sumerau

Creating Homecoming Queens – a southern gothic bi+, poly, and trans love story

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In this post, J. Sumerau reflects on the process of composing and publishing Homecoming Queens, a southern gothic bi+, poly, and trans love story set in the south and based on their experiences as a bi+ poly trans person and researcher collecting stories of other sexual and gender minorities throughout the past couple decades.

Earlier this month, my third novel and second book in the Social Fictions Series of sociological based novels – Homecoming Queens – was officially released. The novel is a southern gothic bi+, poly, and trans love story based on hundreds of formal and informal interviews with sexual and gender minorities throughout the southeast I’ve collected over the past couple decades as, first, a curious bi+ trans and poly kid and later, as a researcher focused on sexualities, gender, religion, and health in the lives of sexual, gender, and religious minorities. In this post, I elaborate on the background and creation of the novel after doing so with Cigarettes & Wine, my first research based novel, has been useful both for readers interested in my work and fellow teachers using my stories to teach sexualities, sociology, gender, LGBTQIA studies, and Southern studies in classrooms to date. For more information about the novel or to purchase it, see here.

Background

Like many aspiring novelists I have met in my life, I dreamed of writing the next great American novel around the same time I was finishing college a decade ago. The seeds for Homecoming Queens emerged in early failed attempts to do this back then, and in fact, the scene in the diner between four of the main characters near the end of the book comes from an experience between four people I witnessed – including being in the diner scene of real life I recreated in the novel – over a decade ago. Like many other writers across genres, I have my favorites, and the southern gothic traditions of the likes of Toni Morrison, Flannery O’Connor, and William Faulkner have always spoken to me via the use of real world complexities, the ways the past shapes and becomes active in the present, and the fine lines between the darkest and brightest moments of love, pain, and life itself. Homecoming Queens began as an entire handwritten journal in 2007 wherein I sought to translate small town life in Georgia through the eyes of a brilliant, older African American neighbor I had who told me so many stories about the world at the time in what was, in hindsight, a poor attempt at writing like other southern gothic writers – especially Toni Morrison – I worshiped then and now without the skills to do it myself in my own voice at the time. It was a learning experience that got put in the background of so many other failed novel attempts in my life at the time.

Fast forward to the year 2016, and the completion of my first novel, Cigarettes & Wine, and I found myself thirsty for trying to write more novels without any clue if I could do that well or publish the first one. I was celebrating the legalization of my primary life partnership, and began asking about the idea of Homecoming Queens in conversations with my spouse and my best friend. For some reason I still can’t explain though I’m beginning to agree with now, neither of them had any questions or doubts about my ability to write more novels, and both thought I should try it out since I had just resurrected my first novel from an earlier failed attempt in college and was well enough situated in academic and public writing credits to have the time and space to commit some time to fictional endeavors without other parts of my career falling behind. This led to priceless patience on both of their parts as I talked and ran through scenarios and data I had for the next novel relentlessly on late night walks, phone conversations, and over lunches and dinners for a while. I was more than a little fixated and obsessed in hindsight, and I was lucky enough that they were okay with that and supportive of it at the same time.

I was also repeatedly listening to the newest album by one of my favorite – and in my opinion, one of the most talented ever – songwriters. The entire album, Brandy Clark’s Big Day in a Small Town, was about small town adventures and experiences with a mixture of humor and heart. I kept coming back to the song “Homecoming Queen” and the memory of the former homecoming queen friend who moved back to her small town with her two spouses, and things that happened to them, good, bad and in between, in the process. I also kept talking about this one story, and how it related to so many other stories from my own life and the lives of others I had spoken to in the south with my patient supporters. I also thought about what it would look like to illustrate my own primary romantic relationship structure in terms of how it worked, how our rules were set up for each of us to always get what we want together and individually, and how other mono, poly, and fluid (sometimes mono, sometimes poly) unions operated. Finally, I started thinking about both how many things from the past are prevalent in the nation today, and my experiences (on both sides of mentor / mentee relationships over time now) of the different ways trans and other queer kids find community, support, rejection, and / or struggle in the world as they try to be themselves. These were the threads that I would weave together to create the novel.

Data and Methods

I began crafting character profiles and a small town that could be any southern small town, and looking at all these things as homecomings of a sort that happen in between the various connections and disconnections we each experience throughout our lives. I followed the same process I do in many qualitative and quantitative studies and outlined in relation to Cigarettes & Wine in a previous blog post. The data points from real people’s lives and stories – and my own lives and stories to date – became the ingredients for the town, the characters, the conflicts, the tensions, and the narrative arcs of the story itself. Even more than in Cigarettes & Wine – or my independently published novel Essence – I crafted a tale that could be anyone or anywhere in the places I have seen, lived in, and visited in the south over the years, and created a story where, as friends have said about each of my books, I was both everywhere and nowhere in the book at the same time. As I’ve done in other works, maybe it’s the researcher inside me, I once again also only used events and experiences that had happened to a wide variety of people in different ways, at different times, and in different settings to capture an overall set of common – or as we say in scholarship, generic – experiences anyone could potentially relate to, experience, or know of in the lives of other people to demonstrate both possibilities and probabilities in the world.

Results

As I’ve noted with the first two novels in conversations individually, in classrooms or at conferences where I’ve been invited to talk about such things, or otherwise, I do not believe it is ever up to the writer to gauge the results of the composition. I feel the same way – as many people know from other speeches related to my academic, journalistic, public, and other writing – about everything I write. It is up to the audience to decide what the book means in terms of messages, merits, and ideas, and I leave it up to audiences to figure such things out. I know what I sought to do. I sought to, as always, offer a realistic portrait of some of the many ways – good, bad, and everywhere in between – queer life takes place in the south, thrives and continues in the face of support and opposition, and speaks to broader norms and patterns in cultural notions of sexualities, romance, gender, family, history, relationships, and lives. I don’t know or want to decide what others will think of the work, but I feel confident that I accomplished what I wanted to do with the book and early responses to it (both good and bad) have suggested as much.

Instead of trying to ascertain any concrete result or metric, when I think about Homecoming Queens as a now published work available for purchase by anyone, I think about the stories that have and continue to inspire me, that others have kindly shared with me so many times over the past couple decades, that resonate with me in cases of both similarity and difference, and that speak to a much wider, more complex, and more varied Queer existence then I can usually find in academic or mainstream media portraits and publications.

If those last couple of lines sound familiar, it is because they are copied directly from my thoughts on Cigarettes & Wine right as it was published, and you could continue down that set of paragraphs in that blog with Homecoming Queens as well because, for me, the goal is the same. For me, these stories I write – like any other research or art or writing that blurs (or Queers) such distinctions – is about the same thing, revealing the beauty, complexity, pleasure, pain, and wonder of Queer experience in its many forms, places, and continuations for as many of us and as many others as possible in ways people can relate to, think about, and consider as they navigate the complexity and possibility of the world in their own lives and their treatment of others they may encounter.

Building the Literature on Aging Partners Managing Chronic Illness Together

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In this post, Xan and J announce an upcoming and rolling special issue of Gerontology and Geriatric Medicine focused on managing illness in relationships over the life course, and invite scholars interested in health, aging, relationships of all times, caregiving, and chronic conditions to consider submitting works for this issue and emerging area of research in social, physical, and medical sciences. 

Hello readers!

Xan and J here with a teaser for our newest project. In our home communities of Orlando and Tampa, we’ve been spending some time recovering from Hurricane Irma and helping our fellow Floridians do the same, as well as supporting friends in Texas and Puerto Rico in their own recovery efforts. As things calm down more here in central Florida, we’re pleased to roll out our latest effort to amplify voices from lived experience in research.

Earlier this year, we pitched a special collection proposal to Gerontology and Geriatric Medicine. We suggested a content collection focusing on “Aging Partners Managing Chronic Illness Together”. The collection would highlight opportunities for inquiry, evidence-based perspectives, case studies, and new primary research on collaborative illness management among older intimate partners.

Right now there is very little literature on this topic—most published research on caregiving in intimate relationships uses a “sick partner/well partner” model. But our own lived experiences as well as what we have both seen in our work suggested that many people are living a very different reality! We also found no literature whatsoever in conducting our own preliminary review on collaborative illness management that delves deeply into the experiences of marginalized older adults and relationships between people occupying varied genders, sexualities, and relationship types. We very much want to change that!

Our introductory editorial for the content collection at GGM will be up soon (we’ll share on the blog and social media sites when it is), meaning we are ready to accept original submissions from other scholars doing work on this important topic. Unlike traditional “special issues”, this content collection will remain open indefinitely for new submissions. We intend to use the Aging Partners Managing Chronic Illness Together collection as a springboard for both highlighting inspiring innovative research on older adult health that champions people’s unique lives, biographies, and needs.

If your research includes a focus on chronic disease management, older adults, and intimate relationships, we hope that we’ll be able to showcase some of your work in our special collection in the future!

My Latest Writing Adventure

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In this post, J discusses the creation of a new series of independently published novels exploring Queerness in south, and the attempt to create the stories people in marginalized groups too often only get to wish we could have read about our own lives. 

I have been a devoted reader and fan of Toni Morrison for as long as I can remember. For me, the many ways she has found to capture the raw, passionate realities of the world, the good the bad and everything in between, and the complexities and nuances of racial, gendered, classed, sexual, and regional experiences are beyond comparison.  Her work is both an inspiration and a level I cannot even imagine myself or anyone else actually reaching.  I almost never write anything without thinking about one or another of her works, and I regularly re-read works of hers between my own fictional and non-fictional writing bursts.

After publishing my first novel about Queer coming of age in the south based on a combination of personal experiences and hundreds of informal and formal interviews with Queer people in the south over the past 20 years, I found myself continually thinking about one of the many brilliant things she has said and written in her life: “If there’s a book you want to read, but it hasn’t been written yet, then you must write it.”

Without thinking about it consciously, I have been following this advice throughout my career.  As a researcher and teacher, most of my work to date involves incorporating Queer, Bi+, Trans, Non-binary, Poly, and Agnostic experiences and perspectives into existing scientific theory, research, and education as well as directing students to vibrant LGBTQIAP, Black, Hispanic, Asian, and Cisgender Women’s literatures, sciences, histories, and arts.  Though I never thought of it in such terms until reading this quote a couple years ago, in all such cases, I have sought to write and teach things missing from my own upbringing and education that, after finding them on my own and with the help of wonderful mentors, I think should be more well known, recognized, and represented in scientific and educational settings and contexts.  While I spent much time with these thoughts a couple years ago, they really came back to me in an even more personal way as I began to craft fiction for the first time since failed attempts in my twenties, and only intensified when I published my first novel.

I kept remembering the younger version of me searching for myself and the other Queer people I knew/found in the south in media, in literature, in music, hell anywhere.  I (much faster than I would have guessed) received a couple emails from other young people who felt the same way, and appreciated finding my novel.  I spoke with other Bi+, Trans, Non-binary, Poly, and otherwise Queer authors about the limited media, literature, and other representative options even now, and with people in these groups who wished for these stories though they themselves were not in the process of writing them as they felt called to other types of work.  I spoke with Lesbian, Gay, Black, Hispanic, Jewish, Muslim, and Cisgender Women friends and colleagues who experienced similar feelings growing up, who were seeking to create more representations of their lives in science and art, and who wanted such things whether or not they had any intention of creating them.  From the moment I delivered my manuscript to a couple months after its release, I kept having these conversations and thinking about my own feelings back then and now.

And, I kept returning to Morrison’s words: “If there’s a book you want to read, but it hasn’t been written yet, then you must write it.”

I looked at the novels I had completed, edited, and put together.  I kept digging through them as I prepared the novel for release without even thinking about it, and kept doing so after the release wondering what to do (if anything) with them.  Some of them were already in various stages of review and consideration at traditional publishing outlets, but others were unconventional in some way – in length, style, or other facets – and I wasn’t sure what to do with them.  I remembered the many paperbacks and zines I read when I was younger by Lesbian Women and Black people that self-published their work to get it out to others.  I thought about the number of people I’d met of various backgrounds who were self-publishing novels, comics, video series, music, and other things even more easily due to the available platforms today.  I collected every bit of information I could on all the platforms and options, and gathered incredibly useful positive, negative, and everywhere in between advice from colleagues and friends.  After thinking through every possible positive and negative, I decided to create a series of self-published works alongside my more traditional scholarly and fictional publishing.

This series of events led to the announcement on my social media accounts last week that I will be launching my own self-published series of fictional works entitled the Queering Dixie Series.  Each of these novels will explore some aspect of Bi+, Trans, Non-binary, Lesbian, Gay, Intersex, Asexual, Poly, Aromantic, or otherwise Queer experience that I have seen, experienced or learned about from others in the south over the past 20 years.  Each work will focus on different characters and stories, but there will often be overlap between the stories as they all take place within the same fictional world that I created based on my experiences growing up, working, and living in the south throughout my life to date.  While they will all be entirely fictional stories, each one will offer snapshots of real experiences various types of Queer people have had in the south over time, and issues Queer people in the south faced and / or still face in the process.

Like Cigarettes & Wine, these stories and all my other novels seek to shed light on the diversity and complexity of southern Queer experience by exploring the good, the bad, and everything in between as well as the multiple ways people create and sustain Queer lives in a regional context often at the forefront of opposition to Queer existence, rights, and well-being.  In so doing, I hope that I’ll join with so many other artists and scientists to do my small part in increasing the chance that when others go looking for our stories and our lives, they may have a better chance of finding them.

Teaching Science through the Arts

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In this post, J discusses success they have had with the use of arts based research techniques and the teaching of science via artistic representations.  

For as long as I have memory, I’ve always been captivated by music and stories.  While many of my tastes have shifted and changed throughout my life, one constant has been an insatiable desire for collecting and creating music, stories, and musical stories in every way I can and from as wide a variety of sources as I possibly can.  As I’ve written before on the Society for the Study of Symbolic Interaction music blog, these interests often find voice in my research and teaching.  In my research, for example, I seek to integrate the stories of respondents into scientific and public discourses related to social inequalities, movements, and developments.  Similarly, I often use the stories of others – and my own – as well as countless musical examples to introduce students to the diversity of contemporary experiences, the methods whereby arts capture broader social patterns whether we notice or not at the time, and the ways the arts often provide the only voice for populations marginalized in religious, scientific, and / or political traditions at a given time or place.

While I have long utilized arts – especially stories and music based – to teach and enhance my research, it wasn’t until the last year that I came into contact with a broader pedagogical and methodological tradition and community of scholars engaging in similar works.  Arts based research, as its often called, is a research and teaching tradition that seeks to bring scientific insights to broader audiences and bridge gaps between varied ways of knowing by utilizing artistic mediums to convey scientific findings to audiences of varied sorts.  As Dr. Patricia Leavy notes in Method Meets Art, this type of work seeks to translate data, findings, and complex theoretical debates into more readily and easily accessible conversations for students, colleagues, and broader audiences who would benefit from such knowledge, but may not be as well versed in the technical or official languages of peer reviewed journal articles and texts.  Further, as Dr. Nowakowski and I have noted in previous publications drawing on teaching evaluation studies and experiments by others, the translation of data into stories and other narrative forms often increases student and public engagement with materials and allows potential learners to personalize important findings and theories in ways that make them salient in their lives beyond classrooms.

It was with these approaches in mind that I began utilizing artistic works in my classes as a way for students to apply theories and methods from journal articles to examples they might face in their own lives.  For example, I utilize offerings from the Social Fictions Series to translate social scientific concepts and issues into opportunities for students to engage with and consider the ways such things play out in their own lives.  When discussing class dynamics, for example, I may have students look at American Circumstance and other novels exploring class dynamics in the lives of characters from the same socio-demographic backgrounds as my students.  Similarly, when discussing social justice and things students might do if they are interested in promoting justice in society, I may have them run through one of the plays in ReView or other anthologies of such work to think about planning, strategy, and the reactions of others to such endeavors.  Further, in recent months I’ve begun incorporating poems, songs, and stories colleagues of mine have composed about specific social events and movements as well as publishing my own first research based novel – Cigarettes & Wine – concerning Queer experience in the south.  In all these and more cases, my incorporation of more artistic representations of data, findings, and theories has in each case facilitated even more student engagement, student discussion, and student investment than other methods I’ve attempted over the years, and in many cases, students have returned long after such class meetings to further discuss the works and talk about sharing these works with friends and families who – in many cases – never took much interest in the purely academic materials from the classes.

These experiences have led me to think more and more about the utility of arts based research and the teaching of science through the arts – especially in a social context wherein narratives and stories often carry more weight among many population groups than any raw data seems to be able to.  As such, I wanted to use this space today simply to encourage others to think about the possibilities of arts based research within and beyond classrooms, and the ways such efforts might enhance attempts to engage and motivate students concerning complex and often socially and politically important topics in our world today.

Creating Cigarettes & Wine – a southern bisexual and non-binary coming of age story

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In this post, J. Sumerau reflects on the process of outlining, composing, and publishing Cigarettes & Wine, a southern bisexual and non-binary coming of age story set in the 1990’s and based on zir experiences as a bisexual non-binary person and researcher collecting stories of other sexual and gender minorities over the past couple decades. 

Yesterday, my first novel – Cigarettes & Wine – was officially released.  The novel is a southern bisexual and non-binary coming of age story set in the 1990’s based on hundreds of formal and informal interviews with sexual and gender minorities throughout the southeast I’ve collected over the past couple decades as, first, a curious bisexual and non-binary kid and later, as a researcher focused on sexualities, gender, religion, and health in the lives of sexual, gender, and religious minorities.  In this post, I elaborate on the background and creation of the novel after many colleagues and friends have asked about its origins over the past few months.  For more information about the novel or to purchase it, see here.

Background

I was sitting in a hotel lobby with a colleague I deeply admire and appreciate.  We were talking about all kinds of things related to life, relationships, research, activism, teaching, and the world, and my colleague asked a question about the novels I completed in the preceding months.  The topic was especially relevant at the time since I had just submitted my first novel – Cigarettes & Wine – for consideration for the Social Fictions book series, and since my colleague had done me the favor of being the first person outside my little chosen family / inner circle to read the drafts of the first two novels I had composed.  My colleague’s interest and support and feedback on Cigarettes & Wine at the time was and remains invaluable, but I also enjoyed just how hard I laughed when my colleague asked, “So, this was so real, I gotta know, is this you, your life, it is, isn’t it?”

I laughed because though I had not thought much about it at the time, I understood the question.  The narrator of the novel is a non-binary, bisexual raised in a small town in South Carolina.  So am I.  The novel is set in the same geographic area where I grew up, and in a fictional town similar to the one that I grew up in.  The events in the novel are all things that – both from my personal experiences, from interviews I’ve done over the years, and from a lot of the people who read drafts along the way – have happened to people and / or are familiar to people, and thus, they are real events.  The novel is also written in first person more like a diary of sorts.  I laughed because it was a reasonable conclusion that I could understand, but not one I thought much about while writing the book.  I laughed because my colleague was incorrect, but not entirely incorrect.

My colleague was incorrect because the novel is entirely fictional – none of the characters in the novel are actual people and none of them are me.  Each one of them are composites of many people I have met, observed, interviewed, had relationships with, and otherwise encountered throughout my life.  Desperate for information on and experiences of bisexual (across the spectrum), transgender (across the spectrum), and poly (across the spectrum) people like me, and for even more information on lesbian, gay, asexual, intersex, kink, aromantic, and otherwise Queer people I admired, I began collecting the stories of everyone I could meet when I was a teenager.  Like the narrator, I would fill up journals with fictional versions of my own life (i.e., how it might be in other contexts) and fill journals up even further with all these stories of sexual and gender diverse experience, lives, and realities that were hidden just out of sight all around me.  Later in life, this actually ended up being incredibly useful training for life as an ethnographic, autoethnographic, content analysis, and interview-based researcher, and to this day, twenty years later, I still collect these stories every chance I get though now I do it both professionally and in my personal time.  My colleague was incorrect because the novel is not a retelling of my own story on its own, but rather, it’s more like a mix tape created by integrating the stories of hundreds of sexual and gender diverse / Queer people I have been lucky enough to meet, learn from, and become inspired by over the years.

At the same time, my colleague was not entirely incorrect.  While I do not exist in full in any of the characters or events, some of the events in the book are ones that I experienced as well.  Similarly, I remember very well living two distinct, separate lives as a younger person wherein almost all my straight friends and most of my family had no clue (to my knowledge, though I learned last year I was wrong in at least one case) about half of my life, and wherein my Queer friends knew more about the rest of my life but were never part of interactions I had with the straight, cis, mono world at the time (except secretly on rare occasions).  Further, there are little pieces of my personality, experience, and feelings as a teenager scattered throughout the book (i.e., a joke I like here, a place I hung out there, a conversation I had with someone here, emotions I felt in a tough or wonderful moment there, etc.), and in each of the main characters in the novel.  As someone very close to me put it after reading an early draft of the novel, “You’re everywhere and nowhere in this story.”  Put another way, the story is a mix tape of so many people’s stories, lives, experiences, and emotions, but I show up along the way as the curator of the collection hidden or embedded in this or that character or moment.

All these thoughts went running through my head as I sat in the hotel lobby with my colleague.  When I finished laughing, I simply said, “No, it’s not my story or the story of me, but it is one of what are likely millions of possible stories of people like me or like us.”  My colleague smiled, and asked what I meant.  I said, “Well, I basically took all the stories of people like us – mine and yours included – and put them together the best I could into a collective narrative illustrated through the lives of a group of kids in the 1990’s.”  My colleague laughed, and simply said, “How did you do that?”

Data and Methods

Integrating a wide variety of experiences is not easy, but luckily, it is what I do for a living as a researcher collecting and analyzing data sets of various sizes.  I began writing the stories that would become Cigarettes & Wine in my twenties, but I failed over and over again to accomplish whatever I wanted at the time (I’m still not sure).  I tried to write my own story, but I was never as good at that since I found other people more fascinating.  I tried to write it as a mix tape like I finally did last year, but I don’t think I had the skill set for that kind of writing before years of doing research for a living.  I tried to write it as a collection of disconnected journal entries from various people across the south, but it never seemed to work or flow well.  I gave up on it and pushed it aside when I got the chance to go to graduate school and try to develop a career as a scholar, researcher, activist, and teacher.  For eight years, while I published research, it sat there, a forgotten dream in the back of my mind.

When I decided to try it again last year with the support and encouragement of my life partner and best friend and after so many students suggested I should write a novel about all the stories I’d collected over the years, I approached the book as a research study and the stories I collected over the years – as well as my own experiences – as data for analysis.  Though I was only beginning to learn about it at the time, this approach is actually a rather common one in arts based research movements and traditions.  Despite the fact that, like the narrator in the story, I generally destroy my journals when I’m done with them because for some reason that feels good to me and they’re all made up fictional versions of life anyhow, I kept so many of the stories I collected from other people over the years and so I began to start reading back through them and thinking about remembering other ones and thinking about and making notes on my own experiences and those of other people.  Like I do with research papers, I began looking for patterns in the stories, and setting aside things that multiple people had experienced, dealt with, witnessed, or otherwise felt or known as part of their lives.  From this approach, I came up with a list of common events and experiences that appeared repeatedly in stories from people of varied sexualities, genders, locations in the south, religious backgrounds, family backgrounds, races, and other social characteristics.

Armed with these events as an outline for a narrative, I began creating characters based on integrating aspects of real people (say five or ten different people) into one whole character with thoughts, hopes, loves, fears, dreams, and personality quirks.  Although they changed a lot by the end of the composition process, these character profiles allowed me to start narrating the events that were common in the stories.  I initially tried telling the story from two other characters’ points of view before I finally got it to work with the narrator in the published version.  I also initially started telling a story that spanned from the 1990’s to now, but this proved to be way too much ground to cover so instead I broke it up into two and then three outlined novels (the second is now composed and the third is in progress of composition at present).  Once I had these raw materials (as I call them when I write research papers), I was ready to write the first rough draft of the story.

In the end, I wanted to accomplish three things with Cigarettes & Wine.  First, I wanted a bisexual and non-binary focused story after spending so many years wishing I could find one – much less one set in the world I grew up in – as a kid.  Second, I wanted a story where almost all of the character were Queer in one way or another and in different ways to illustrate the diversity of the amazing people I’ve met over the years who identify and live in so many different ways within the various umbrella terms we use.  Third and finally, I wanted a real story that captured experiences of Queerness in the south, and as a result, I only used events in the novel that showed up in multiple people’s lives over the years and explicitly sought to capture beautiful and ugly, wonderful and terrible things that Queer people experience in our world.

Results

Whether I’m thinking about my journalism, my blogging, my research publications, my short stories, or any other kinds of writing I have done over the years, I tend to agree with the perspective that only audiences can judge the results of a given work.  Personally, I feel like I accomplished the three things I set out to do with this novel, but now that it’s out, I believe that it will be up to readers to figure such things out.

Thinking about the responses and feedback of the people who were kind enough to do me the priceless favor of reading drafts of this work before now, I feel happy with the novel and I look forward to whatever comes next.  There were some that fully praised the work, and others who did not like it much at all.  There were some who thought it was too positive considering LGBTQIAP politics in America at present, and others who thought it was too negative in relation to the same.  There were some who thought the novel should have ended five chapters or so earlier, and others who thought it should have gone on for a few more chapters to offer more detail, resolution, or other bits of wrapping up.  For me, the fact that the reactions have spanned a diversity of opinions even among the relatively small pool of readers thus far suggests I may have got what I wanted – a real, complex portrait of the good, bad, and everywhere in between Queer people in the south experience.  I don’t know if this is correct or how others will interpret the work, but I’m happy with it and that counts for something in my mind.

Instead of trying to ascertain any concrete result or metric, when I think about Cigarettes & Wine as a now published work available for purchase by anyone, I think about the stories that have and continue to inspire me, that others have kindly shared with me so many times over the past couple decades, that resonate with me in cases of both similarity and difference, and that speak to a much wider, more complex, and more varied Queer existence then I can usually find in academic or mainstream media portraits and publications.

I think about talking with people in different states about things like burner phones, secret notes and mixtapes, and stolen kisses in the shadows where no one would see alongside so many other ways people found / find to live their Queerness in spaces that try to erase it from possible options.  I think about laughing with people of different races, ages, sexualities, and genders about awkward and sweet and sometimes scary moments when we first learned this term, that sexual practice, this type of toy or other material, or that type of intimacy.  I think about listening to stories about first loves who are still together – sometimes openly now and sometimes still secretive for many reasons – 30 years later, first loves that died way too soon, first loves that fizzled for any of a million reasons, first loves who were “such a mistake” and others who were “exactly what I needed.”  I think about violence that was explicitly directed at people for being sexual or gender diverse / Queer, violence that was simply tied to living in the south where guns and fights and poverty are often so visible and normal, violence that people heard about that shifted the ways they lived or felt in the moment, and violence that people were grateful for avoiding even when some felt guilty that they avoided it when others could not.  I think about discussions of accidents related to coming out or being outed by others, related to four wheelers, related to the friend who died when a gun went off or when the three wheeler flipped in the field, related to cars on highways and alcohol from plastic cups, related to lack of sexual education, and all kinds of other accidents that occurred as people tried to figure out who they were and tried to figure out how to manage rural and small town cultures.  I think about the conversations about the beauty of religion alongside the horror of religion alongside the fear and shame of religion alongside the liberation of religion depending on what religion, what location, and whether or not one’s Queerness was known to the religious.  I think about the conversations about hateful families alongside the conversations about supportive families alongside the conversations about chosen families.  I think about the conversations with so many more people who are out and open and relatively safe nowadays alongside the conversations with so many more who are still in hiding for one of a million understandable reasons who may or may not ever want to or be able to come out and live openly.

I think about all these stories and so many more, and for me, that’s what the book is about.  For me, Cigarettes & Wine is simply the first of a series of novels I am writing seeking to honor, celebrate, mourn, and embrace all the different forms and experiences of sexual and gender Queerness I’ve seen in my travels throughout the south.  For me, it is an attempt to share the good, the bad, the beautiful, the ugly, and in short, the complex wonder of the many different ways sexual and gender diversity play out and survive and even thrive even in places – like the Deep South – where we don’t often expect it or see it as openly displayed.  For me, it is also an attempt to say to Queer people in the south – and especially the bi and trans and poly folk like me who rarely see ourselves in even LGBT academic and mainstream media coverage – that you are not alone, that there is at least as much beauty as however much pain you might be facing, that the pain you may face is real and not your fault, that the beauty and wonder you find in you and your friends and lovers is also real and worth celebrating and fighting for, and that in the both the best and worst moments of your life you are part of a much larger population, story, and tradition that has and will continue to survive and fight with and for you.

Why and how I started writing social science based novels

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In this post, J Sumerau reflects on the processes and experiences that led zir to begin writing sociological based novels alongside their academic research and blogging endeavors (more information about the novel will be posted as it nears release).

The other day I posted about a dream come true on my Facebook page.  As far back as I can remember, I always dreamed of writing and publishing a novel, and earlier this week I signed the contract for my first novel to be published as part of the Social Fictions Series edited by Dr. Patricia Leavy.  Built upon the combination of my own experiences as a bisexual, genderqueer person and my research into the intersection of sexualities, gender, religion, and health in the historical and interpersonal lives of sexual, gender, and religious minorities, the novel is a bisexual and transgender coming of age story set in the southeastern United States in the 1990’s.  Since my hope is that the work will aid ongoing efforts to educate people about bi and trans experiences and we often use this blog as a way to reflect on academic, teaching, and activist experiences with writing, publishing, and teaching about personal and emotional elements of scholarship, I thought I would use this post to reflect on the experiences that led to the creation of the novel from ongoing academic and creative efforts to write where it hurts.

Like much of my work, the novel began accidentally in an inductive fashion.  I was driving through Georgia on my way back home one day when I found myself playing the same song over and over again on repeat in my car.  Every time the song played, I basically screamed – rather than singing – along to the words and felt a bit overwhelmed in the process.  These actions surprised me both because I had listened to the song many times – it was already one of my favorites – and I didn’t understand why I was having such an emotional reaction to the song at the time.  Seeking to figure it out, I stopped at a truck stop in a rural area, and spent about an hour pacing the mostly empty parking lot thinking about the song, what I was feeling, and my life in general.

When I was younger, I used to write letters to my past and future selves in some of the journals I kept as an exercise in self reflection.  Something about imagining a future and comparing the current me at a given time to the past versions of me that once existed was comforting, and often helped me process emotions, challenges, and writing ideas in productive ways.  As I paced the parking lot, I realized two things.  First, I had not written one of those letters to myself in a long time.  Second, the song I kept playing on repeat and screaming along to felt like one of those letters.  Somehow, when I sung / screamed along to the song I felt like I was singing to an earlier version of myself, and in so doing, I felt very emotional and kept thinking about the things that change and the things that stay the same over time.  I got back in the car, turned the song back on again, and restarted my drive home.

As I drove that day, I kept returning to the ways things change and the ways they stay the same over time.  It seemed like a powerful theme in my own life at the time, and I had been feeling caught between these two poles all year at that point.  On the one hand, I had somehow established a life partnership, close friendships, and a professional career that all were far more positive, satisfying, and fulfilling than I’d ever allowed myself to expect to obtain.  I felt more excited about my own life than I ever had, and I actually looked forward to (still do) time with my life partner, a close network of supportive friends and colleagues, my research and other writing, and my students.  I didn’t know what to make of this because I kept waiting on something to go wrong like it always had in the past.  These aspects of my life were so different from previous experience that I was constantly trying to make sense of my newfound luck.

On the other hand, however, many other things remained the same.  I still heard at least a handful of students every semester repeat the same questions I asked about a decade ago in college (for example, “why don’t scientists seem to know about, write about, or ever mention bi and trans people” or “how can I take these surveys seriously if they only include cis and mono people”).  I still got randomly accosted in bathrooms – the latest time being earlier in the drive through Georgia – because my embodiment in a given moment terrified some cis person.  I had just had my latest dust up with a colleague who was unfamiliar with bi and trans (and to an extent lesbian and gay) histories, terminology, experience, etc because cis, mono and hetero people are not required to learn about us in this world they control.  I had just met with another college student – this one from the area where I was raised who found me through my online blogging – who felt isolated and terrified living in a small southern town.  I still spent everyday in scientific and broader public settings where cis and mono normativities operate as dominant religions most Americans seek to enforce on everyone else, and met people – even many scientists and other well educated folks – who were unfamiliar with and / or actively denied the existence of bi, trans, poly, and some other types of people in our world.  These aspects of my life were so similar to decades past that I wondered if they would ever change.

With these things in mind, I finished my trip back home without ever changing the song playing from the speakers.  I’ve often come up with some of my best ideas – as a writer, a teacher, an activist, a researcher and a person – as a result of this or that song leading me to consider certain feelings, thoughts, or memories.  Aware of this pattern, I began randomly listening to the song and journaling about whatever thoughts and feelings arose over the next few weeks.  At the same time, I began digging through currently in use and old data sets I have of interviews, field notes and historical documents as well as old journal entries, memories, informal interviews I do with people for fun and to learn more about things for my own interests, and notes I kept about research and creative projects that never came to fruition.  In so doing, I found myself looking over notes I had for two novels I tried and failed to write while I was in college.  Back then, I never planned on being a college professor, a researcher, or a teacher, but rather, I had no clue what I would do for a living while dreaming of someday writing and publishing a novel (a dream I carried with me from my earliest memories).  Not for the first time, I realized that my mind was again leading me back to this original dream, and spent some time thinking about how the current version of me might tell the stories I began years ago.

I also spent some time with my life partner talking about all these issues over the next couple weeks.  My life partner pointed out that (a) I’d already accomplished the writing goal I set for myself after graduate school (i.e., I wanted 30 academic publications by the time I retired and I was past that arbitrary number now) in my four years post PhD, and (b) the security I managed to acquire with them and other aspects of my life gave me more flexibility about what I did with my time.  With these things in mind, they suggested maybe it was time to chase the original dream, and that even if I – as I hypothesized I would – failed it wouldn’t matter because I already had a career I loved and did well at so this could just be a hobby on the side.  Finally, my life partner asked me what novels about bi, trans, and poly experience might have meant to me as a kid, and what it might be like to have that resource for kids now, for colleagues still trying to make sense of these aspects of society, and for use in classrooms.  We kept talking about these things for a few weeks, and I kept going over all my notes, data sources, collections of published research, and story ideas.  In the end, I decided to give it a try almost entirely because they believed I could do it, and they convinced me that such stories might be at least half as useful to others now as they would have been for younger versions of me.

Fairly certain it would become yet another unfinished attempt (sometimes its nice to be wrong I guess), I began digging through all the research, narratives, interviews, and other materials I had as well as many of my own experiences over the years the same way I do with my non-fiction, research and advocacy writing projects.  As if I was outlining another analysis for a journal article, I looked for common experiences, feelings, and events throughout the sources to develop a cohesive plot for the novel.  Once I had this outline in hand, I began writing a bisexual and transgender coming of age story that – to my surprise – will be published as my first sociological novel as part of the Social Fictions Series in the near future.  I will post more in the coming times as the release nears, and in the end, my hope is that the novel may be useful both for bi and trans people looking for examples of the complexity and multiple forms of our lives in the world today, and for educators seeking to make sense of and teach about the rest of the world that exists beyond mono and cis normative assumptions.  While I’m still surprised I actually finished (much less found a way to publish) a novel after all the years of thinking “someday I’ll do that,” I look forward to what may come from incorporating my artistic interests into my existing scientific writing endeavors, and hope the work will be useful in a world where constantly explaining bi and trans existence (much less experience) remains a daily requirement for so many people who don’t fit the binary expectations of the broader society.

Have you seen me lately? A reflection on Queer Kinship

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In this week’s post, the first in our Queer Kinship series, J reflects on the meaning of Queer Kinship in their life.

Earlier this year, a student of mine interested in content analysis and the structure of science sought to do an independent research study. I had recently been asked an interesting question at a conference, and so I selected twenty-five years of publications by five prominent sociology journals and had my student use these journals to try to answer the question. The question was simple – how often does sociology include the study of Bi and Trans people? While there are more details in the work in progress stemming from the analysis, the simple answer to the question was that between the late 1980’s and 2013 sociology, rather than the study of society as a whole, was almost entirely monosexual and cisgender based in these five prominent publication outlets. Even counting articles that only mentioned BT existence, there was only about 1 piece per year on average throughout the time period and within the vast majority of pieces published focused on mostly heterosexual and cisgender populations.

As I’ve written elsewhere, the aforementioned project fits in well with my experiences as a bisexual (on the pansexual end of the spectrum) and transgender (formerly transsexual, currently genderqueer/non-binary/crossdresser identified as I continue considering transition) person in sociology as well as academia more broadly. Even though I have been lucky enough to land a stable position in a department full of (often impressively) supportive, accepting, and accountable colleagues, and to develop a network of fellow BTLG scholars at other places over the years, I generally experience an occupational world wherein people like me don’t exist in the assumptions of the monosexual (mostly on the heterosexual side of this binary) and cisgender people who dominate the field or in their published works. Most surveys, as colleagues and I have noted elsewhere, provide the bulk of generalized information from the field, and yet they rarely have any way to admit the existence – much less capture the experiences – of people like me. As noted by other BT writers, this is part of long term patterns of BT erasure within and beyond academic settings.

At the same time my student was analyzing sociological literature, I was analyzing daily life – my own especially but other BT peoples as well – as part of another project. In so doing, I was cataloguing the multitude of times and ways people like me – wholly or in part – are cisgendered or monosexualized by others in their everyday lives (i.e., assumed to fit binary notions of gender and sexuality predicated upon binary notions of biological sex as a determining force in the composition of human desire and self identification). I catalogued disparities in public when I did or did not wear skirts with a visible beard, the vastly different ways people acted in monosexual minority (i.e., lesbian and gay) spaces when I said ‘I like men’ versus when I said ‘I’m bi’ and when I said ‘I’m into drag’ versus when I said ‘I’m trans,” and the countless ways monosexual and cisgender people misgender and missexualize myself and others based on their own assumptions and stereotypes both when they expressed support for BT others and when they did not. Similar to the analysis of sociological literature and previous observations about academic life, the message was the same – the existence of people like me was at best problematic or confusing for most monosexual and cisgender people I encountered regardless of their personal positions within these binaries.

I could give many more examples like the ones above from my own life, from interviews – formal and personal – with other BT people, and from our-storical records related to BT existence and experience. Instead of seeking to catalogue such a list, I use the aforementioned examples to explain what Queer Kinship means to me.

In its simplest formulation, I see Queer Kinship as the relationships wherein I am allowed and even encouraged to exist and be seen by others. For me, Queer Kinship means places and groups and relationships where people like me are not unexpected or problematic. Queer Kinship, for me, refers to the very few spaces, relationships, and situations wherein people move past monosexist and cissexist assumptions and norms to not only accept or tolerate BT people of varied types, forms and experiences, but actively embrace, expect, and look for us in their daily engagement with the world. Queer Kinship, again for me, refers to the efforts some people make to learn about and support BT people of varied types and experiences before they are forced to by activism, tragedies that actually get some news coverage, or an awkward encounter demonstrating our existence in their world. Queer Kinship refers to the interactions with others where I don’t have to wonder if they see me or if they will cause me harm because they actually see me. In my own experience, and that of many other BT people (as well as many of our lesbian, gay, asexual, and otherwise Queer cousins), such spaces and audiences are incredibly rare, precious, and necessary for well being in a monosexist (as well as heterosexist), cissexist (as well as patriarchal) society.

For me, Queer Kinship and the visibility and break from the rest of society it gives me shows itself in differential reactions to the same stimuli. I think about the store clerk who spots me in the makeup aisle and proceeds to stare at me, follow me, and even ask if I’m in the right place as a result versus my life partner seeing me in the same place on another night and offering to get me some new eyeliner. I think about people looking at the fact that I’m in a committed relationship and asking if I’m heterosexual, monogamous or done with the “gender stuff” now versus my life partner and I talking about men we both find cute over drinks; about the ways we decide as a unit how monogamous, polyamorous or anywhere in between we decide to be at a given time; and about plans and details we would need to work out together if I do transition later in life. I think about people awkwardly shifting between cisgender pronouns and terms depending on how I appear in a given moment versus my best friends and life partner treating me equally well no matter how I’m dressed or appearing in a given moment. Because I’m lucky enough to have a kinship group that I can rely on and be there for every day, I can actually come up with far more examples of such discrepancies than I have room for here. In fact, I was actually saddened when I was working on this piece by how easy it was to make a list of such examples that was far too long for comfort.

In the end, for me, Queer Kinship matters because the people closest to me provide me with most of (and some weeks the only) times when I know I’m seen without it hurting in some way. In my profession, the literature my profession creates, and my daily life, I get by like so many others worried about any time my differences are noticed while also wishing I could be seen in a safe manner by the rest of the world. But in the eyes, arms, and moments spent with my own little Queer family and network, I get to be seen and I get to experience this without the fear of danger that accompanies such visibility in other spaces. That, for me, is the importance of Queer Kinship in the forms that show up in my own life, and the forms that show up in other ways for many other people I have come across over the years.

Dreams

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In this post, J. Sumerau reflects on the possibility of focusing on and talking about dreams in contexts where we are more often encouraged to focus on what we should do rather than what we wish for.

A couple months ago, I posted a piece here about the emphasis on obligations, or the dreaded should, I have noticed so many fellow academics wrestling with over the years.  In the piece, I noted the possibility of shifting our focus from what we should be doing to what we have actually done that might deserve some credit from us or others.

Based on messages and discussions with people, as well as my own reflections, I could likely add more to the piece I published at this point, but that is not what I want to do today.  Instead, I want to talk a little bit about dreams and the importance of them – the wants instead of the shoulds – for self care and fulfillment.

 

Did you have a dream when you were younger or last night?

 

Does your current life, career, or circumstance match this dream or have you on a path to reaching it?

 

I think these are important questions that I never hear people talk about within or even beyond the academy. Social psychologists have even noted that having dreams is a very important aspect of selfhood, whether or not such dreams ever come true in one’s life. They provide motivation, joy, pain, and other emotional experiences that facilitate growth and development in a wide variety of ways. Of course, this makes me wonder why I don’t often hear people talking about their dreams. More often, I hear people talking about what they are doing, should be doing, have to do, or haven’t gotten done yet. I fully admit, as I noted in the previous piece, that academic culture especially seems to encourage – if not require – these questions much more so than any talk about desire, hopes, or dreams for the world or one’s self. At the same time, I think we – myself included at times – miss something when we forget to also think about whatever we might wish for, deeply desire, and hope for in our best imagined versions of our world and life.

I can’t pretend to evaluate the dreams of another, but I do think dreams are very important whatever shape they take. I’m reminded of friends and colleagues I admire who dreamed of being academics, teachers, scholars, researchers, and university administrators their whole lives. At the same time, I think about the fact that this was not the case for me, and that I kind of stumbled into an academic life as a way to facilitate and fund my actual dreams of being a writer and activist. In both cases, my colleagues and I had dreams that we ultimately got to touch in our own lives for various reasons and thanks to a lot of things beyond our control going well. Thinking about these things leads me to wonder what other people dream about, what do other people want most in the imagined case where it somehow works out, and what discussions about these questions might reveal about ourselves, about others, and about our lives.

I’m also reminded of just as many friends and colleagues I admire who dreamed of things that never came true, or continue to dream of things they are still chasing.  In both of these cases and similar to the above, the dreams themselves speak to the people, what they value, what they desire, and what matters to them most once upon a time, in the present, or in some imagined future.  Thinking about this leads me to wonder what other dreams people have given up, what dreams changed over time as people learned more about themselves and the world, and how past and current dreams or other desires speak to one’s current life or efforts.

As I said, I can’t offer any real answers to these questions, but I thought it might be nice to at least broach the conversation. I thus invite people to think about, write about even on this site if you wish, and consider what your dreams might be, and what such reflection might tell you about yourself and others.  I’ll close this post with a simple question.

What do you get to do that feeds you enough to make the things you have to do worthwhile and what do you have to do to facilitate your ability to do the things you really want to do?

Voices of Queer Kinship Series: An Introduction and Call for Contributions

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How do we arrange our social, romantic, political, and sexual lives? What types of relationships and spaces facilitate the sharing and affirmation of Queer existence and experiences? Where do we find and how do we create our own families or networks of choice as lesbian, gay, bisexual, transgender, intersex, polyamorous, non-binary, same-gender-loving, asexual, pansexual, kink, gender fluid, agender, or otherwise Queer people and groups? What are the multiple forms and appearances of Queer kinship in our world today? How do such arrangements reveal and potentially ease life within cisnormative, mononormative, and heteronormative contexts? How do variations in race, class, gender, sexuality, religion, ability, body size and type, nationality, and other social factors influence such relationships and the forms they take in our lives? What does the term Queer Kinship mean to you, and how might it speak to the broader social world and ongoing pursuits for social justice?

These are some of the questions we hope to consider, discuss, and debate in a new series of essays amplifying “Voices of Queer Kinship.” In this series, we seek narratives exploring and illustrating various forms of Queer love, family, relationships, and the meanings of these experiences for the individual writers and more broadly. To this end, our own little Write Where It Hurts family will be posting essays on our experiences building, cultivating, and experiencing Queer Kinship. While we envision this series playing out over the next few months, there is no deadline for submission as we believe such stories have a place on the blog at all times. As such, we invite all interested parties to submit posts – essays, narratives, poetry, stories, or other forms are all welcome – exploring the meaning and experience of Queer Kinship in their lives.

In our case, the idea for this series emerged as our own founder and editor Xan and previous contributor Simone Kolysh discussed the importance of safe spaces, families of choice, and sources of affirmation in their own lives. In a month where Pride events are taking place across the country even as our communities continue to face violent and political attacks from multiple sources, they talked about the importance of our stories, our voices, and the varied ways Queer people organize intimate, social, and political lives. In a year where many have benefitted greatly from the legalization of same-sex marriage last June while others who do not wish to marry have seen their options for relational and familial recognition begin to disappear, they talked about the importance of illustrating and discussing the diversity and variation within and between Queer relationships, families, and networks. Ultimately, they decided – with the affirmation of the rest of the Write Where It Hurts family – that we should use this platform to amplify such complexities and create room for these voices.

In this spirit, we seek stories and voices of Queer Kinship in all its forms and types for inclusion in the series. Specifically, we welcome posts discussing topics including but not limited to, for example:

Lesbian and gay marital and other relationship experiences prior to and post same sex marriage legalization

            Bisexual and otherwise sexually fluid relationships prior to and post same sex marriage legalization

            Lesbian, Bisexual, and Gay experiences of committed relationships beyond or instead of marital and family based forms prior to and post same sex marriage legalization

            Transgender and Non-binary relationship experiences with people of various sexualities

            Intersex relationship and family experiences with people of various sexualities

            LGBTI experiences with families of origin, chosen families, reproduction, raising children, navigating child-related legal codes and policies, and navigating interactions with other parents

            Polyamrous relationships of varied types and forms in relation to romantic experience, sexual experience, familial experience, or other day to day activities

            BDSM and other Kink based relationships of varied types and forms as well as relational and familial experiences navigating casual or other forms of BDSM or other Kink play

            Heteroqueer people in long term relationships with and openly supportive of LGBTI people, navigating polyamory, or engaged in other non-traditional sexual, gender, and / or romantic experiences

            Mixed orientation relationships prior to and post same-sex legalization

            Asexual relational and familial experiences with others of varied sexual and romantic identities

            Experiences of affirmation and / or marginalization in explicitly LGBT, BDSM, Poly, and other Queer spaces and groups

            Transgender experiences with long term partners in relation to transition, healthcare and bathroom access, and family formation

            Non-binary experiences with long term partners in relation to family, friends, workplaces, dress norms, and other aspects of daily life

            Experiences navigating the assumptions and reactions of others while engaged in Queer Kinship and / or as sexual, gender, romantic, relationship, or otherwise Queer

            Experiences of childfree people navigating assumptions of parenthood and reproduction in Queer and other spaces and groups

Although the list above provides a starting point of some of the topics of interest in this series, we also welcome essays or other types of posts on Queer Kinship itself and relations with broader society as Queer people, couples, trios, unions, families, and groups. We further welcome examples of the ways Queer Kinship – personally experienced or observed – has touched your research, teaching, activism, or creative endeavors. Further, as usual, we will accept both named and anonymous submissions for this series.  The next two weeks will feature regular posts on the site, and then, beginning on July 20th, we will begin posting pieces in the series – starting with submissions we already have from our earlier Facebook announcement – and continue doing so in between posts on other topics for the foreseeable future. As usual, please feel free to reach out to us with any questions you may have or ideas for this or other series on the blog. To contribute, simply gather your thoughts and contact or send submissions to wewritewhereithurts@gmail.com.

Xan, J, & Lain

Happy Birthday Write Where It Hurts

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This week the Write Where It Hurts blog is one year old. With this in mind, we thought it might be useful to look back over the past year, express our appreciation to the many people who have contributed to the growth and development of the blog and its associated social media sites, and glance toward the coming year.

On June 6, 2015, we launched Write Where It Hurts online and on social media sites with the hope of providing resources for and generating conversation about the personal and emotional aspects of teaching, research, service, activism, and other elements of scholarly and creative life and experience. With this goal in mind, we spent the year utilizing our social media presence to disseminate information and resources, and posting 42 blogs covering a wide variety of topics from a wide variety of backgrounds, perspectives, and traditions. Our hope was and remains to, as one regular reader noted at a recent conference, create a space for open dialogue as well as resources for people managing the personal and emotional aspects of academic and activist life.

Whether looking at numbers or conversations, the past year exceeded any expectations we had at the onset of this project. We have received word of cases where posts from the blog have been useful resources for teaching in classrooms, educating potential allies in activist groups, and sharing experiences in interpersonal settings. At the same time, the blog has garnered much more traffic and attention than we expected it to (especially in the first year), and we have had far more people seek us out at conferences and online for further discussion than we thought would happen. At the same, response to our social media sites has been far more active than we initially expected, and has led to interesting and useful collaborations. All of these and other observations throughout the year suggest this type of space is useful for many people, and encourage us to continue developing it for broader use.

We have also benefitted tremendously in the past year from the talent and bravery of our guest authors. We have truly been privileged to work with incredibly talented and insightful guest writers, and in each case, we – as well as the blog – have benefitted immensely from their perspectives, experiences, and analyses. It is with this in mind that we reiterate our ongoing calls for guest contributors, and encourage anyone looking for a space to Write Where It Hurts to reach out to us with your ideas, compositions, and other thoughts as there may well be space for you on the blog and there may well be others who would benefit from your offerings.

As we move forward, we simply wish to thank you all for an incredible first year in the academic blogging world. Thank you to all the readers, sharers, tweeters, guest writers, and others who made this year possible. Thank you as well to all the people in person and / or online who shared with us the ways the blog posts and / or social media sites were useful to you personally and / or professionally. Thank you all for making Write Where It Hurts first birthday feel like a celebration. We will continue to work on the blog and on social media, and we look forward to all the conversations to come.

Xan, J, & Lain