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Reassembling components: Ivan Coyote writes down difficult things
The Journal of Commonwealth Literature ( IF 0.3 ) Pub Date : 2020-12-15 , DOI: 10.1177/0021989420975124
Isabel González-Díaz 1
Affiliation  

The aim of this article is to analyze a selection of texts from Ivan Coyote’s One in Every Crowd (2012) and Tomboy Survival Guide (2016) and to discuss the author’s ability to transform vulnerability into strength and resistance through their self-referential storytelling. The reading of Coyote’s stories is guided by Judith Butler’s conception of the relational character of vulnerability, Leticia Sabsay’s understanding of permeability, and Sara Ahmed’s discussions on queer (un)happiness and imposition. Coyote’s ability to confront the gender binary through narrative is also highlighted, together with their determination to create an archive for transgender children and youth, to let them know that theirs is not a unique experience, and that one of the ways to transform vulnerability is to break the silence and make use of creativity. My reading of Coyote’s stories confirms that narratives can be used by subjects to act politically, to resist regulation and control and to counteract the way in which concepts such as vulnerability and resilience, which are “politically produced,” are finally understood (Butler et al., 2016: 5). By breaking the silence that they associate with vulnerability and creatively “writing down difficult things” (Coyote, 2016: 221) the author metaphorically reassembles components for themselves and, especially, for their young audience.



中文翻译:

重新组装组件:Ivan Coyote写下困难的事情

本文旨在分析Ivan Coyote的《人群中的每一个人》(2012)和《假小子生存指南》中的部分文本(2016年),并讨论作者通过自我参照的故事讲述将脆弱性转化为力量和抵抗的能力。土狼故事的阅读受到朱迪思·巴特勒(Judith Butler)对脆弱性的关系特征的构想,莱蒂西亚·萨布赛(Leticia Sabsay)对通透性的理解以及萨拉·艾哈迈德(Sara Ahmed)对同志(不)快乐和强加的讨论的指导。还强调了土狼通过叙事面对性别二元的能力,以及他们为跨性别儿童和青少年创建档案的决心,以让他们知道他们的经历不是独特的经历,而改变脆弱性的方法之一就是打破沉默,发挥创造力。我对土狼故事的阅读证实了叙事可以被主体用来进行政治行动,为了抵制监管和抵制“政治上产生的”脆弱性和复原力等概念的方式,人们最终得以理解(Butler等人,2016:5)。通过打破他们与脆弱性相关的沉默,并创造性地“写下困难的事情”(Coyote,2016:221),作者隐喻地重新组合了自己,尤其是年轻观众的组件。

更新日期:2021-02-20
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