In this essay, I reconceptualize feminized trauma by utilizing a queer crip feminist disability justice framework. This reconceptualizing allows for an intervention in both historical psychoanalytic and contemporary biomedical framings of the experience of gendered and sexual violence, pursuant or sequelic trauma, and associated symptoms. Both historical and contemporary psycho-logics too often imagine gendered and sexual violence as abnormal or exceptional events (e.g., “stranger rape”) which can be treated and cured individually, thus delimiting them within a white, wealthy or middle-class, cis- and hetero-feminine register. As a corrective, within the framework of everyday emergencies, insidious traumas, and cripistemologies of crisis, I position feminine fracturing and falling apart as chronic, and consider abolitionist strategies for survival, care, and solidarity beyond traditional medical frameworks for recovery. This further provides a way to understand dissociation or rather dissociative-adjacent symptomology as real, legitimate, and painful, yet also as sociopolitical products experienced differently across diverse populations—and as mundane, banal, and even expected for some. Here, feminine fracturing is symptom, method, and potential avenue for change or liberation. What does “recovery” look like when feminized trauma is endemic to the point of being so normalized and unexceptional as to be a thoroughly unremarkable part of our everyday cultural backdrop? How is this exacerbated when we examine the experiences of trans women, poor women, and immigrant and BIPOC women and femmes? I posit that there is promise in embracing a fracturing, in falling apart—as antidote to the normative and neoliberal logic of keeping it together.
Keyword: femininity
Review of Sensual Excess: Queer Femininity and Brown Jouissance by Amber Jamilla Musser (NYU Press)
In Sensual Excess, Amber Jamilla Musser develops an epistemological project that calls into question modes of producing knowledge around black and brown bodies, especially in relationship to femininity and queerness. In doing so, she interrogates the kind of racialized understandings of femininity produced by what Hortense Spillers has called “pornotroping” in order to draw a contrast to something Musser calls “brown jouissance.” She is looking for those places where fleshly experience exceeds the ideological constraints of the pornotropic image, developing an epistemology based not on the visual, but on the affective experiences of the flesh. In doing so she analyzes Lyle Ashton Harris’s Billie #21 (2002), Judy Chicago’s The Dinner Party (1979), Kara Walker’s A Subtlety (2014), Mickalene Thomas’s Origin of the Universe 1 (2012), Cheryl Dunye’s Mommy is Coming (2012), Amber Hawk Swanson and Sandra Ibarra’s Untitled Fucking (2013), Carrie Mae Weems’s From Here I Saw What Happened and I Cried (1995–1996), Nao Bustamantes’s Neapolitan (2003), and Maureen Catabagan’s Crush (2010–2012).