Respite

I am now in a position to share the short story that I wrote for Slumber Party, a zine intended to raise money for the National Network of Abortion Funds. You can still buy copies of the zine at that link, and I recommend doing so—there’s a lot of extremely good stuff in it, my own work notwithstanding.

Without further ado, here is “Respite”:


“Is this spot taken?” you ask, and he looks up at you with a come-hither softness gone horribly threadbare and tired. You don’t have it in your heart to be insulted. Who has the time for romance anymore? The respite centre gets emptier every day; and okay, you haven’t been outside in long and nerve-shredding weeks, but you’re pretty sure it’s not because the world’s fault lines are healing.

“Sure,” he says, which is not the answer to the question that you asked. “Whatever. Come in.”

In means an old changing cubicle, its floor occupied entirely by the sketchiest mattress you’ve ever seen. Better this than the sports hall, or the emptied-out swimming pool—both still crawling, miserably literally, with other people’s kids. You were never going to be anyone’s mother. You wonder about the parents in the bigger rooms, trying to sleep through the end of days with frightened children utterly relentless in their need. You wonder if they regret it—if they would have done things differently, had an angel of mercy thought to call ahead.

Better you than them; you were already a goddamn cockroach, long before you ever had to be. You lie down beside your fellow recluse and you turn over onto your side, your back an impassable wall for him to stare at if he likes. He’s not the point. It’s the weight of another body on the mattress beside you, one of the few illicit pleasures still left to you; he could be anyone like this. You could be anywhere else.

“I’m Ben,” he says, once your eyes have been closed for a long and insufficient minute. For all his bedroom eyes were unconvincing at best, his name is a perfect entreaty. It’s the only reason you answer in kind.

“Cordelia,” you tell him. It’s not the name on your passport. No one has the time for passports now, either.

“Kids were keeping you awake too, huh?”

“Don’t know what you’re talking about.” This is dumb. You ought to ignore him and sleep. You haven’t spoken to anyone in days, not even in the line for food or for the bathroom; in the thin and flickering generator light of the cubicle, you feel yourself opening, a plant starved for sun. “I love baby saliva on my face at the ass-crack of dawn. Best skincare routine I ever had.”

He huffs out a tired laugh that turns your bone marrow momentarily to starlight. “Yeah, the late-night toddler scream cleanses were—they were really something. God. That’s mean, right? They can’t help it.”

“We all wish we were screaming,” you point out, and shift without really thinking to lie on your back. You can feel the tiled floor against your every vertebra, straight through the mattress like it isn’t even there. “Literally everyone in here wants to be screaming one hundred per cent of the time. Self-control is what separates us from the animals.”

“And the kids.”

“And the kids,” you agree, and chance a sidelong look in his direction. Joke’s on you: he’s on his side, faced directly away from you. His shoulders are broader than they looked when he was lying on his back. You readjust accordingly; he’s not better than you, even if lying on your side is somehow even more painful than lying flat out. Your bony arm is an ill-conceived pillow for your ribs. You end up curled in on yourself like a pillbug, hoping he hasn’t broken your unspoken compact and turned to look at you after all. “You don’t have your own?”

“I had baby brothers.” Had. You know better than to press for more. “You?”

You hum in the negative, shaking your head and hoping he can feel it. “No one for me,” you tell him, brittle as old bone. It’s true. It’s always been true—even now, so close to this almost-stranger, so unimpeachably alone.

Is this what people lived and died for? You don’t mean to wonder; you try not to think about this stuff, when you can help it. This half-formed performance of intimacy, this terrified gesturing toward togetherness—did people build lives out of this? Even in a kinder world, you don’t know how to believe it could sustain them. And yet here you are. (And yet, you think to yourself, here he is, as well.)

The bare bulb gutters overhead, then dies without a sound. They’ve killed the generators, then. You can all cook quietly in your own night sweat until the dawn.

“I was home for my dad’s birthday,” he says, whisper-hoarse, to the wall. “Long weekend, you know? We fought for—for days, the whole pack of us. I wish I hadn’t—” A sniff, poorly muffled by the mattress. “Wish I hadn’t been such an asshole to him, you know?”

There are religions built on this: secrets whispered in the dark through the veil of anonymity, forgiveness an implicit condition. Who are you to forgive this guy anything? You walked out years ago, spitting invective you can never take back. Wherever your parents are, they probably never asked a soul for forgiveness; they certainly never wanted yours. “You didn’t know.” It’s the best you can do, and it’s not enough. Platitudes taste like ashes and bile these days. “No one knew.”

“I don’t even live here.” He clears his throat, too loud in the sweltering dark. “I mean, I guess I do now. Whatever. It’s so dumb, but if this was going to happen, I wish it happened when I wasn’t fucking…”

You can hear so clearly what he’s trying not to say: I want to go home. You want it, too. You want home to be anywhere other than a tiny box in the depths of a respite centre, tiles faded to a dingy grey, years’ worth of other people’s sweat soaked into the grout. The difficulty is that if you say this aloud, you will never stop crying again. Your tears will flood the hollow carcass of the swimming pool until all those screaming babies are lifted on the rising tide. 

But you have to say something. You have to, or he’ll start crying instead.

“Hey,” you say, too sharply. It’s whatever. He can take it. You reach blindly behind you, and you tell him: “Shut up and give me your hand.”

Amazingly enough, he does it—like he’s been waiting for a clear instruction since the earthquakes first hit. His hand is cold and clammy, but yours can’t be much better; and either way, you can feel his pulse in his wrist, something insistent and alive in the wreckage of the world. He holds your hand with a hesitance that ought to leave you squeamish, reminiscent of the mall-rat pseudo-dates that have haunted you since middle school. Maybe you’re just desperate now. Beneath it all, his fingers are surprisingly strong.

If you lived in a movie, you’d turn to face him now, and you’d kiss. If you weren’t two refugees from the end of the world, homeless and loveless, clinging with bitten-down nails to the sundered surface of the planet. You imagine ghost people, not quite the people who lived to become Cordelia and Ben, falling asleep beside each other safely every night.

You don’t live anywhere now. You hold his hand in silence, and you wait for one more dawn.

Giving Up On England

I have an essay out in Catapult today! What can I say; I saw they were requesting pitches for a column about renouncing things, and I knew what had to be done.

The piece is about trying to leave and being forestalled abruptly by a global public health crisis. It is also about moving away from a broken place to a place that is differently broken—and about why that difference matters, actually. It owes its life to the insight and generosity of its editor, Tajja Isen, and my fiancé Isaac Fellman.

Canada faces many of the problems I recognize from the UK. The new leader of the Conservative Party has been uncomfortably cozy with the protestors who invaded Ottawa. The housing crisis in Halifax, the city I chose, is on par with the housing crisis in Oxford, the city I left. I try to be alert to these things because I’ve never wanted to be the asshole who moves to an idea of a country, rather than the country itself. Canada, in particular, has long benefited from the shadow cast by its more obviously chaotic southern neighbor. The myth of Canadian “niceness” and the myth of “British values” do a great deal of the same work.

Read it here!

drag race to the bottom

Latrice Royale, a favourite from my first Drag Race season

I first watched RuPaul’s Drag Race (season 4, because I’m old) on a subway train somewhere beneath Manhattan — one earbud for the person I was crashing with, one earbud for me. The train ride wasn’t really long enough to get us through a whole episode. Still, I was compelled. I must have been newly 20 at the time, and I was a latecomer to my own history; I understood a thing or two about modern conceptions of transness and of gender, but my sole exposure to drag had been a childhood glimpse or two of Lily Savage before my parents changed the TV channel.

I’ve never been a reality TV guy. My parents came out strongly against shows like Big Brother when I was growing up, and it’s actually a stance I have always respected them for taking — not least because when its first season aired, they were fans. They watched the very first season, only to be put off when its second season (apparently; I’ve never seen it) doubled down on its exploitation of contestants’ instability. They didn’t want me to have any part of that, and their reasoning always felt clear enough to satisfy me. If I couldn’t join in with the chatter about Big Brother over lunch at school, I could at least feel smug about taking the moral high ground over my peers — for a certain kind of teen, that bloated sense of superiority is at least as good as being part of the group.

But Drag Race stuck with me. The glitter, the drama, the wink-nudge blatancy of its reality-TV stylings — it all made the ego-driven melodrama of the format feel like an inside joke. I couldn’t stop thinking about it after I came back to England; I ended up finding ways to watch it (shh) once I’d gone back for my final year of university. I burned through season 4, and then I followed along with season 5 while it aired. I’ve been watching, on and off, ever since.


It’s hard to pinpoint when Drag Race really hit the big time. Part of me wants to say season 6, whose winner has been selling out stadium tours for her brand of insult comedy; part of me wants to say season 8 or season 9, when the show started casting ‘social media queens’ who built audiences on Instagram instead of coming up through the clubs. Queens finding success in that kind of mainstream-accessible space would have felt unthinkable, I don’t doubt, to the girls who took a gamble on a brand new format and showed up for season 1.

Back then, the show’s target audience was clear: it was a show for gays, for queens, and maybe for the rest of the acronym as well. Certainly the earlier seasons of Drag Race are dissonant, now, in the way they approach the question of trans womanhood. As late as season 6, the show landed in well-deserved hot water for asking contestants to distinguish between photos of trans- and cisgender women. Hell, RuPaul got incredibly weird about a trans woman competing on the show during season 9 – and that was in 2017.

One benefit of the show finding a broader audience: that audience can more easily hold the show to account. RuPaul has since invited trans queens to compete; a trans woman recently won an All Stars season of the show. Season 13 saw the show’s first trans male contestant, and the reconfiguring of a decades-old catchphrase to reflect the show’s newly-discovered gender diversity. Drag Race is a television game show; it was never going to be at the vanguard of queer revolution. But it has been encouraging to watch it respond to changing ideas about what drag can be, and what gender can be. And it’s a joy to see a diversity of performers step into an increasingly brilliant spotlight as a result.


Fandom, of course, is a morally neutral pretend game. It is man that is evil, and the Drag Race fandom can really plumb the depths.

Reality TV viewers, to generalise, have never been great at identifying when they’re being fed a narrative. But as the Drag Race fandom grows – and grows younger – its willingness to buy into a villain edit has followed suit. Jaremi Carey, formerly known as Phi Phi O’Hara, quit drag after her second appearance on the show; she cited the abuse she received from fans after two unfavourable edits. There’s no denying that Carey came off badly on the show. But fans were eager to leap to conclusions about her character and talent, based purely on the way the show presented her. (And they didn’t seem to consider the enjoyment they derived from watching Carey and the conflict she generated, either.)

Asia O’Hara appeared in a series of looks referencing the threats she received, after her season aired

And it isn’t just about the editing, either. Queens like (and by no means limited to) Ra’jah Davenport O’Hara, Silky Nutmeg Ganache and Asia O’Hara have faced online abuse and threats of outright violence; fans famously threatened to burn O’Hara alive as her season progressed. Black queens, and other queens of colour, are disproportionately made the targets of racially-charged fan hate – usually regardless of their conduct on the show, or the way the show presents them. And even when they avoid the worst excesses of the fandom, as season 8 winner Bob the Drag Queen points out, they don’t reach the same heights of social media success as white competitors.

Fandom pressure has pushed the show to new heights of gender inclusivity, for which it should be applauded. But the same trick also works in reverse. The racial tensions between Drag Race and the history of drag came to a head on season 10, when the Vixen – a Black queen and activist from Chicago’s South Side – protested the racialised dynamics of her treatment on the show at the hands of a white competitor. RuPaul herself accused the Vixen of playing the victim, despite the competitor in question admitting to goading the Vixen into a confrontation. The Vixen recognised a lost cause, and walked off the set. RuPaul dismissed her departure as a rejection of the support the season’s cast had offered her, and Asia O’Hara – who the fandom doesn’t deserve, by the way – did the unthinkable by arguing back:

“It’s ridiculous that our thought process about people is so self-centred that if it’s hard to help somebody, well just let them struggle. We’re not just drag queens, we’re people, and now we’ve got one of our people outside. Here we are filming through Pride season and we let one of our sisters walk out the fucking room because no one wants to fucking help her. And we are the first people — we are the first people to say that people aren’t treating us right.”

RuPaul proceeded to miss the entire point:

“But look at me, goddamn it. I come from the same goddamn place she comes from, and here I am. You see me walking out? No, I’m not walking out! I fucking learn how to act around people and how to deal with shit. I’m not fucking walking out and saying ‘fuck all y’all,’ you know? That’s disrespectful to each of you. […] I have been discriminated against by white people for being Black, by Black people for being gay, by gay people for being too fem. Did I let that stop me from getting to this chair?”

RuPaul, of course, is not walking out because she has learned how to make herself – and her show – palatable to a mainstream white audience. There is visibility in that, and naturally there is also profit. But drag has been pioneered, over the years, by Black artists who actively transgressed against authority. As the show is so fond of pointing out, Marsha P. Johnson identified herself as a drag queen. By allowing the biggest platform for drag artists in the world to present white racism as an issue with two sides, one that can be resolved by Black activists ‘learning how to act,’ RuPaul took the side of respectability over solidarity. In speaking up on behalf of her friend, O’Hara – a queen whose presence on that platform came courtesy of RuPaul’s approval, and who has not returned to the show since – showed the kind of fearlessness that the franchise only rarely presents to the world.


Those self-aware reality-show trappings I mentioned earlier? They’re getting less self-aware by the episode.

A promotional image for Paris is Burning

The show’s favourite documentary Paris is Burning features drag artists discussing the performance of opulence – the impossible, thrilling fantasy of walking a ball as the kind of person who actually could ‘own everything.’ For the predominantly Black, highly marginalised members of the ballroom scene depicted in the movie, opulence was an unattainable dream. For RuPaul, the mainstream face of drag expertise and excellence, it’s life. Her net worth is estimated at around $60 million. She owns a ranch, and she is probably fracking on it. She has the authority to decide who gets to participate in a competition game show called ‘the Olympics of drag.’ Drag queens who appear on her show have a meaningful shot at mainstream success, to the point where girls audition year on year for a shot at turning their art form into a sustainable career.

Drag Race began life with its tongue firmly in its cheek. It was a good-natured parody of shows like Project Runway and America’s Next Top Model, with RuPaul plugging sponsors for the camera with a very literal wink. The teary-eyed emotional moments backstage could not have been more obviously prompted by producers. The budget was low, and the levels of camp were through the roof. And – crucially – the show’s overblown veneration of RuPaul felt like an inside joke. Didn’t Tyra Banks get to be treated like the last word in fashion on her TV show? RuPaul’s word, for all the ceremony with which it was presented, was not actually a matter of life or death.

It’s hard to pin down a watershed moment, but I’m going to try: in season 7, the top four queens were each asked to address a photo of their childhood selves on the main stage. This was a new element introduced to the show, and it was very clearly introduced as a result of a queen named Pearl. The show had been scratching like a starved cat at the locked door of Pearl’s childhood trauma since the beginning of the season; Pearl, uncharacteristically for a Drag Race contestant, had remained reticent on the subject. In fact, when RuPaul tried to coach her through a low moment, Pearl pushed back; the moment that resulted has since become one of the show’s most iconic.

(If you really want to go on a journey, watch this video of Pearl reacting to RuPaul’s unvarnished take on that confrontation, as aired on her podcast with regular judge Michelle Visage.)

I cite this moment because it marked the point at which the show’s attempts to wring narratives out of its contestants became both uncomfortably avid and substantially less tongue-in-cheek. It stopped laughing behind its hands about the melodrama of the storylines it was trying to write. Its fandom now leans young enough that Drag Race has become a reality TV formula in its own right; the kids didn’t get the references, so the references became a formula of their own, and then they hit the global mainstream in a way that codified them. The faux-high stakes of an absurd game show format have become acutely real. Girls who go home early are earnestly devastated to have blown their shot. Girls who get into conflicts on the show spend their season’s airing period terrified of the fandom and the edit. The show changes lives; it doesn’t always change them for the better.

I call O’Hara’s argument fearlessness because, in context, that’s precisely what it is. Drag Race is a monument to RuPaul – RuPaul admits as much in her reply to O’Hara, referring to the biggest global platform for drag as ‘my home,’ a place in which she deserves respect. It’s hard to deny RuPaul’s contributions to the art form. It’s equally hard to deny her interest, whether personal or financial, in her own unquestionable primacy within it.


Drag Race is, increasingly, a mandatory step for any queen who wants to achieve mainstream success. Before you write off ‘mainstream success’ as a luxury, consider the precarity in which queer performers so often live. Drag doesn’t come with health insurance benefits or a retirement plan. Contestants have appeared on the show facing bankruptcy (rest in power, Chi Chi DeVayne), seeing the $100,000 prize and the subsequent career boost as a last-ditch lifeline. It’s no exaggeration to say that the kind of money you can make as a successful ‘Ru girl’ can be life-changing.

But as the stakes of the show – the size of the prize pot, the standards of runway fashion considered acceptable – have risen, so has the financial burden of attempting to participate. I can’t outdo Rachel Miller’s fantastic deep-dive piece into the costs of appearing on Drag Race, so I won’t try. The show has not historically provided any financial assistance for contestants (I believe the recent All Stars All-Winners season offered returning queens a stipend – though given that all that season’s contestants had previously won the show’s grand prize, I wonder how they decided that this was the moment to introduce financial aid). On Drag Race UK season 3, this actually became a prohibitive factor for a massive demographic of potential contestants. Vanity Milan became the sole Black queen to appear on her season – filmed right after lockdown, which brought the UK’s nightlife scene screeching to a halt for months at a time – in significant part because the other Black queens approached by production didn’t have the resources to compete.

When Drag Race is the beginning and end of young fans’ understanding of drag, that’s a problem. Not only does it limit their perspective of what drag is or can be; it leaves queens who are working on a budget with limited avenues to build a more sustainable career. ‘Being successful,’ said season 5 winner Jinkx Monsoon on her recent return for All Stars All-Winners, ‘begets better drag.’ It’s true! And it’s equally true that success as attained via Drag Race – a game show – is heavily gatekept, and far from guaranteed.


I started watching Drag Race again shortly after I arrived in Canada. Moving internationally is, it turns out, stressful and difficult; this seemed like the least dubious self-soothing behaviour to fall back on.

In fact, it’s been interesting to get up to speed with the recent spate of international spin-offs. While Drag Race UK and Drag Race Down Under have kept RuPaul as host, most of the new iterations of the show are hosted by local queens, instead – and it kind of changes the game. In a burst of new-arrival quasi-patriotism, I’ve found myself really enjoying the light-hearted, lower-budget feel of Canada’s Drag Race – hosted by former contestant Brooke Lynn Hytes, who is a peer to most of the contestants, and whose interactions with them feel much less fraught as a result. The whole thing feels less like an exercise in sustaining one person’s legend, and more like a platform (if, admittedly, a heavily gamified one) for performance and art.

Art Arya and Pangina Heals, in Thai colours

My favourite, though, has been Drag Race Thailand. Thai queens Art Arya and Pangina Heals co-host, and tend to share the judging panel with local performers – including other drag artists, which has never happened on the original US series – rather than mega-celebrities. This diversity of perspectives, combined with a more rigorously-scored approach to judging, goes an extremely long way. I don’t doubt that the invisible hand of the production team is still at work; in fact, since it’s harder to observe, I have to assume it’s getting away with more. But I feel like I’m watching a competition, when I watch Drag Race Thailand, not a Colosseum spectacle.

Part of me will always love Drag Race, moral high ground be damned. I don’t necessarily trust it to do its contestants justice; I don’t necessarily feel good about being complicit, as a viewer, when it inevitably fails to do so. I don’t believe it should be such a monopolising force on the art of drag. But God damn it, it showed me new ways to be queer when I needed them the most. Imperfect ways, sure; messy ways, absolutely. But we could use more space for imperfection and mess in the queer world. RuPaul, VH1, please take note.

some recent updates!

It’s been a minute since I’ve had new publications to show you! I blame the international move, as well as the time I’ve spent working on a manuscript draft. (It’s been going extremely well, and my agent and I are talking about how to proceed with it.) But the word drought is over: I have a short story appearing soon in Slumber Party, a zine about weird moments of connection in the dark!

Slumber Party is a not-for-profit zine, and any proceeds raised from zine sales will be donated to the National Network of Abortion Funds in the US. As someone with a US immigration petition in the system (also as, like, a human who cares about bodily autonomy), I’m honoured to be part of this project. It looks absolutely stacked with amazing contributions, too. All things considered, you could do way worse than picking up a copy.

My piece for the zine is called ‘Respite’ and it is about having a feeling at the end of the world. But you could have guessed that, based on my track record.


Long-time readers may recall that my short story ‘The Last Good Time to Be Alive’ (about having a feeling at the end of the world, if you can believe it) made the cut for a best-of anthology last year! We’re Here: The Best Queer Speculative Fiction 2020 has since done extremely well. In fact, it’s done so well it won the Locus award for Best Anthology.

The applause here really has to go to the editors, C.L. Clark and Charles Payseur, for putting together such an incredible collection. I’m not kidding: it is stacked with talent. I’m still amazed they looked at me twice! But they did, and I was absolutely thrilled to hear about the award. Congratulations to everyone involved, and here’s to many more We’re Here collections in the coming years.


You may have gathered that I live in Canada now! Which is to say that I get to live and work here for two years at maximum. I’ve had a wonderful time so far, largely spent getting to grips with things like ‘cheese curds’ and ‘phone company’ and ‘wrong side of the road.’ Nova Scotia is a beautiful province and I am conscious every day of how lucky I am to have this opportunity.

You may also have gleaned from context clues that I am already planning my next move. Shortly after moving continents, I got engaged! To that end, we’re in the process of trying to relocate me to the United States. If you have never dealt with immigration law before, I will hasten to clarify that this is a process. It’s likely to be at least a year before anything actually happens, and there will still be more admin to do after that.

If you are interested in either of these things, I have repurposed the newsletter I started in lockdown to write about them in more depth. If you want dispatches from North America delivered straight to your inbox, you can subscribe (for free, and I have no intention of implementing charges) to the Anchorite.

let's all stop asking for writing advice

Ursula le Guin’s frankly aspirational schedule will probably not work for you.

This isn’t a personal request. Let’s call it a general suggestion. The fact is, I think you can do better on your own.

In my experience, people have two approaches to writing: either they mythologise it, or they treat it as a universal science. Neither one is helpful, and I am sure I will come back to the first one at a later date, but for the time being, let’s talk option two.

If you’ve ever read an interview — or attended a talk, or listened to a podcast, or whatever — with a writer, you will have some sense of what I mean. It’s a recurring question: What advice do you have for writers who are looking to get ahead? And the question is never about the industry, which frankly I think we could stand to talk about more. It is always and inevitably about the Craft.

If it were ever about the industry, it would make more sense to me. You would not believe the number of people I’ve known who have decided, unilaterally and without having a goddamn clue how it works, that they are going to become professional writers. Not to advocate for the systemic murder of childhood dreams, but people should at least go into writing as a career with some sense of what, say, querying agents or pitching publications entails. (Even the process of chasing up unpaid invoices!) Just my IMO.

But it’s not; it’s about how to write. It assumes a definitive formula. At the very least, it assumes that what works for one person will work for other people, guaranteed.

Sure, read On Writing if you like — I am not your dad, and I am not going to stop you, even if I find much of what King advocates for to be aesthetically and creatively joyless. But the best thing you can do for your craft is to pick this stuff up by yourself. Read books, find what you like, and pay attention to how your faves are actually doing what works.

Not only will this give you a close-up on the techniques you — specifically you, not the imagined general audience of an author Q&A — want to learn; it will make you a better reader, and reading is a skill the world could use more of at present. Paying attention to what’s there, as opposed to what you are being told is there, is a trick you can apply to everything from your favourite fandom to the literal news.

I’ve focused on craft stuff, thus far, because the non-craft element of popular writing advice is largely down to personal habit. The picture I’ve used for this post is Ursula le Guin’s daily routine, which (as I have said in the caption) is completely baller and which I totally respect — but I’ve used it here specifically because if I tried to wake up at 5.10am every day, even if only to lie around and think, I would die.

You might, of course, make the case that the discipline involved in committing to this schedule would ultimately be good for me. It very well may! But I would probably still not write as much as I wanted to, and I would probably find the process of trying extremely frustrating. Besides, wouldn’t it take just as much discipline — if not more! since we’re treating discipline as the highest possible good! — to figure out and commit to one’s own ideal schedule instead?

For me, at least, that’s what all this comes down to: figuring out what works best for you. Writing is not a perfectly inscrutable creative process accessible only to a few chosen souls (because literally nothing is). It takes work and commitment and, yes, an element of self-discipline. But it’s also not an exact science, and no two writers approach it in exactly the same way. Buying too heavily into other people’s advice is a quick and easy route to frustration and disillusionment — that is, I’m afraid, the only shortcut you are likely to get through this field.


Only superficially benevolent.

I’ve been replaying Disco Elysium (a very good video game) recently.

I mention this primarily because the fucked-up centrist government of the game is premised on the existence of Innocences — Pope-like figures who can see into the future and accelerate the forward progress of human history. The last Innocence in the universe of the game was assassinated some 300 years ago. Her assassin, at the shooting, screamed we were supposed to come up with this ourselves.

This isn’t the part of Disco Elysium that is trying to make a point about the creative process. (There’s a whole defunct video game studio you can explore, and it is scathing.) It’s about self-determination, though, and self-determination is what I am trying to argue for. Our work flourishes and grows thanks to its influences, sure; and thanks to critique, and to input from friends who we trust. Unilateral writing advice is not any of these things.

DE is a game played out largely in long-form text format. It’s genuinely fantastically done. As I’ve been playing it, I have been watching carefully how its writers build out its themes in every choice it asks you to make; I’ve been hoarding sentences that make me want to pause for breath, rotating them and their construction in my mind. I’m never going to write like ZA/UM Studios, in significant part because I write books, not games (usually). But I am still looking out for whatever I can learn and use.

It’s not a perfect process, but the process is not meant to be perfect. As I get older (they said, causing all their friends over 35 to roll their eyes very heavily) I am learning that writing is better informed by imperfection than by perfection. Hateful but true: you really do learn from your mistakes.

Plus it’s way less stressful than worrying about whether I’m using the right amount of adverbs in relation to adjectives, or whatever the fuck. Honestly, strong recommend.

video games at the end of the world: a polygon dot com nostalgia tour

Hey… remember 2017?

good evening, and thank you all for coming to my Toad Talk.

If the answer is ‘barely,’ you’re not alone. My prevailing memories of that year are of hauling my awful carcass to the corner shop over the road for a superabundance of overpriced ice cream, hoping the guys who ran the place wouldn’t recognise me (they did, though at least they were nice about it). What I do remember, as usual, is the media that helped me claw through the mud to the end of the year — and in 2017, that was the Polygon dot com YouTube channel. Look on its works, ye mighty.

I mean, it still exists. It’s very different now. Back in the day, it was updating almost daily with genuinely surreal video game bullshit. The channel ran parallel to a fairly regular video game news and opinion site, under the banner of Vox Media, and I wondered more than once how they were getting away with any of it — what content strategist in the world had looked at the proposal for Please Retweet, thought this checks out, and signed off? We just don’t know. We could only be thankful that they did.

a glitched-out crash test dummy in BeamNG.drive

this used to look like a guy.

This stuff has had its hooks in me for a while. I’ve written (and then deleted what I wrote) about Car Boys, a video series which began with two internet men causing some physics-based car crashes in a driving simulator and evolved into a cosmically-horrifying narrative tribute to the annihilating power of the glitch. But Car Boys — while it was my point of entry to this weird corner of the internet — is only the tip of the iceberg. I mentioned Please Retweet, the premise of which is that video producer Patrick Gill will seek to persuade Nintendo of America to retweet a very good picture of Toad. It gets dark. Likewise SEO Play, in which a definitely-human, definitely-mortal Simone de Rochefort drinks objects from a large wine glass, wears a robe, and declaims the answers to commonly-Googled video game questions.

After all, this whole business was at least nominally about video games. There was a sense of getting away with something, of journeying to the outer limit of what video game coverage could be and nudging that line with the toe of a boot. Extended let’s play series about the beauty and the consequences of wanton destruction? A series of micro-documentaries following one man’s Toad-based emotional collapse? Universe-hopping saga about a demon named Doug and his battle for the soul of an extremely suggestible gamer? All of this is games journalism, actually, and a big fuck-you to Jim Bankoff into the bargain.

more coherent than black mirror, actually.

And it felt good! It was satisfying to see and to be part of. 2017 was not a great year: first year of the Trump administration, Brexit just beginning to mean Brexit. The news was breathless about the prospect of nuclear war. It makes sense, with the clarity of hindsight, that this bleakly funny, surreal little pocket of online space felt like the place to be. The world (we thought, with astonishingly limited imagination) was falling apart; we were at the mercy of unjust systems and political forces we did not know how to resist or subvert. Nothing made sense. Obviously we should watch some guys turn a crash test dummy into a five-dimensional monolith with a sledgehammer while Debussy’s Clair de Lune played softly in the background. What else would have spoken to our sense of imminent apocalypse — and, crucially, what else could have made us laugh about it?

This is how I justify the act of going back, which I have been doing over and over again since the pandemic began.

I don’t want to write about what changed, or how it ended. I want to write about the peculiar relief of coming back to something old and loved and set aside, and the concomitant sadness of realising that it still speaks to you. You are still, in part, the person who could love this thing; you haven’t changed that much, no matter what you like to think of yourself, or else it’s worn a place for itself inside your heart simply by inhabiting it for so long. Perhaps unsurprisingly, I went to Car Boys first. I buried my face in the familiar narrative as it began to emerge from the early-game vehicular wreckage, like a very unhappy toddler clinging to a horribly well-worn blanket. A true story: Clair de Lune played as a dear friend walked down the aisle at her wedding in late 2018, and my heart stopped for every wrong reason in the world.

despite all your rage, you are still drinking hot sauce in your dressing gown.

Then I went to Law-Abiding Citizen, the production of which is ropey even by the standards of what I hate calling ‘online video content.’ The intolerable poignancy of a man (who isn’t Link from Zelda, but also he might look like him, but also he might just be video producer Russ Frushtick??) flinging himself into an active volcano! Then Monster Factory, and the unbridled love the two McElroy brothers bear their abominable creations, no matter how unsightly or unflatteringly dressed. God knows how I found myself back at SEO Play; I barely kept up with video game news even when these videos were airing. This week, I have spiralled far enough that I’ve ended up in the archives of ‘nightmare public access show’ Gill and Gilbert, which started airing after my unqualified enthusiasm for all this nonsense had started to give out. Turns out that it’s funny and good. Of course.

The apocalypse progresses, albeit very slowly. These days the channel is mostly video essays, much more slickly branded, and that’s fine. Nothing gold can stay. The essays are actually pretty interesting, when they crest across my YouTube subscriptions. The work — I tell myself this a lot, about so many things — the work remains, a testament to a moment in time, even though the moment isn’t ever coming back. You can return to look at what’s left, and to remember the person you were when you needed it most. Nothing beside remains. But what remains will always have mattered to you once.

We’re here (we’re just very quiet)

It’s been a minute! First and foremost, a short roundup of some writing things that have happened since… July 2020, wow, what a nightmare of a decade it has been since then:

  • My short story “The Last Good Time to Be Alive” (Reckoning 4, 2020) was reprinted in Neon Hemlock Press’s We’re Here: The Best Queer Speculative Fiction 2020. The best! C.L. Clark vaguely knows who I am! I am in such illustrious company in this anthology and I can wholeheartedly recommend that you pick up a copy.

  • Two poems of mine, “who is calling me?” and “your_ex_lover_is_dead.mp3”, were published in Invention, an iARTistas project curated by my good pal and Lambda colleague Charles Jensen! These are two pretty weird poems that I did not think would find a home, and it is a joy to have them in print and surrounded by beautiful work.

  • I was interviewed by wonderful friend Ellie Milne-Brown for their newsletter, tiny mammal kingdom! In case you wanted to read more of my words on the subject of television show Bojack Horseman, this is the place to do it (and also to check out the rest of Ellie’s work, because she is extremely cool and one of the smarter media critics I know).


The other news is not strictly literary, but it is, in a way, professional. I am moving to Canada! I have a plane ticket booked for May! I have given notice at my job here in the UK and I am going to freelance! It’s all exceptionally alarming and I still have so many logistics to wrangle and I keep thinking things like ‘but the plug sockets will be different’ and ‘how does one calculate tax?’ at unholy hours of the night. But I’m doing it, after two years of pandemic-induced waiting. Bottling out would have been the easy option, and I am regrettably incapable of taking those.

This means that I am going to be using this website in part to advertise my freelance services in the near-ish future, so watch this space for more on that! If you have ever wanted me to assist you with copy- or developmental editing, for instance, this is the time to tell me as much.

In conclusion, seriously, how does one calculate tax. I’m going to have to learn at some point and it may as well be now.

new work!

It’s been a while! As you can imagine, my routine has been shaken up significantly by the global pandemic, hence my several months of relative radio silence. Fortunately, I return bearing gifts:

My aunt, on ‘Entreaty to the rattlesnake population of Griffith Park.’

My aunt, on ‘Entreaty to the rattlesnake population of Griffith Park.’

  • SAND Issue 21, featuring my poem ‘Entreaty to the rattlesnake population of Griffith Park,’ is now available to buy! It’s an amazing issue full of immense talent, and I feel earnestly fortunate to be a part of it. It’s their ten-year-anniversary issue, too, so it all feels extra exciting.

  • Lucent Dreaming Issue 7, featuring my poem ‘(baby don’t hurt me)’, is also available to buy, and frankly, would you look at that cover design. There will also be an interview with me appearing on the Lucent Dreaming blog sometime soon; watch this space for more on that.

  • A short essay on trying to write during an international crisis, Living in a Metaphor, will be going live as part of Reckoning’s Creativity and Coronavirus series early next week. I do not think I am alone in having found these past months an immense creative struggle, so it’s really a relief to have written anything at all, even if it’s ultimately a reflection on my inability to write. (As I’m a member of the editorial team at Reckoning, I’ve waived payment for this essay; the money will go to Rewilding Britain, in line with the magazine’s mission of environmental justice.)

  • Lastly, I’ve been keeping an informal, sporadic newsletter of dispatches from lockdown — if you would like to subscribe, you can do so for free over at The Anchorite.

I hope you are all staying safe, making smart mask-related choices, and finding ways to keep going.

incipient words, and immediate words

First things first: Stim: An Autism Anthology pre-orders are going out now! I’m really excited to be a part of this one; the piece I contributed, “Thirteen Ways of Looking at [You]”, was only my second ever piece to be accepted for publication, and to see it in such illustrious company is awesome.

Stim will be in bookshops in April, if you didn’t get in on this when the preorder campaign was running. Go pick up a copy from your local indie book zone!

Second: I have not one, but two poems soon to be published! The first will be available in Lucent Dreaming issue 7; the second will be appearing in SAND issue 21. This is absolute madness, from my point of view, as I am much more a prose writer than I am a poet — but it is the best kind of absolute madness, and it makes it that much more of an honour to see my work out in the world.

False advertising.

False advertising.

I wrote both poems right after I came back from LA. One of them, “(baby don’t hurt me)”, is about precarious queer joy in unfamiliar spaces. The other, “Entreaty to the rattlesnake population of Griffith Park,” is dedicated to whoever put up a sign at the Griffith Observatory that read CAUTION: RATTLESNAKES, causing me to experience a disappointment antithetical to self-preservation when no dangerous snake-type creatures actually tried to gnaw on my flesh. On the other hand, the author is dead, so they can be about other things if you want, I guess?


Obviously it’s a weird time right now. I’m still in the process of reacting; at intervals I catch myself desperately wanting to cry, only to find that I can’t make it happen. I’m anxious, despite my relative security. I hate the uncertainty of the immediate future with my whole life, and I wish I trusted any authority to have our best interests at heart.

With what little platform I have, I’ll say: stay home if you can. Be kind to the people working at the supermarket and the pharmacy. Recognise who is doing the work here, on the ground, in front of you, and do not forget them when normalcy threatens again. Recognise also how easily so many everyday, institutional cruelties have been waved away. Remember how unnecessary they are right now, and how unnecessary they’ve kind of always been. This moment is going to force change on us in so many ways, and on multiple levels, I hate it, but I am hoping it will draw us together in ways that will last. I am hoping we will learn how to be better.

I’m on holiday from work this week, and will be working from home as of Monday. Next week, I’m going to begin work on the next round of edits to Last Testament, and plan out a new idea which will inevitably be shaped by the experience of a global pandemic. I’m going to think about how to support my people, many of whom are struggling right now. I’m going to find a routine and keep to it, and keep moving forward however I can. Next week. But for right now, I am giving myself room. I hope you can do the same for yourself, too.

emerge transformed, in a million years

I wanted to write a little about a short story of mine that was released at AWP this week — it’s featured in Emerge, an anthology of work by this year’s cohort of Lambda Literary Fellows. I couldn’t be there for the release, on account of ‘wrong continent’ as opposed to ‘public health,’ but I hope everyone who made it out there is treating my Lambda family well! I’ve been so fortunate to be in such stellar company.

My contribution to the anthology is called “The Gutter Prophet,” and I submitted it to Emerge because it was so thoroughly born of the experience I had at Lambda; Emerge felt like its most appropriate home.

There she is!!! (Photo by anthology editor Tahirah Alexander Green.)

There she is!!! (Photo by anthology editor Tahirah Alexander Green.)

I read aloud from my book on Wednesday night, the week I spent in LA. We all piled onto two coaches and drove to West Hollywood, where a group of us read at the public library. The reading went well, there’s video evidence if you want it, and after it was over we paraded down the street to a cowboy-flavoured gay bar on Santa Monica Boulevard. I stood outside for a while, chatting to Nicole and still buzzing with adrenaline from the reading-in-public experience, when the strange man approached us to bum a cigarette.

The moment at which I realised he was not inhabiting the same plane of reality as the rest of us was when he mentioned his TV show with Madonna. And then his meetings with Obama. I am limitlessly thankful to Nicole for sticking around with me, in case things got to the point of being dangerously weird.

I don’t recall what he said to me that made me roll my eyes. I didn’t even realise I was doing it until I’d done it — by which time, of course, he had noticed, and taken umbrage. “You see,” he said, and pointed at me. “There’s that negativity. Did you learn your lesson from Harvey Weinstein?” Uneasily, I said yes.

“And did you learn your lesson from Kevin Spacey?” Again: yes.

“And did you learn your lesson from Louis CK?” One more time.

“Then you see my fucking point,” he said, with an emphatic jab of his finger, and he walked off into the night.

I did not stop thinking about that conversation all night. In a sense, it had been on my mind for a long time — since before Weinstein, even. What are we meant to be taking away from hashtag Me Too, the movement, the concept, the experience? What is happening beyond the seemingly-eternal moment of horrified public reaction, and what ought to be happening? I didn’t see his fucking point. I still don’t. Of course this is because he didn’t actually have one, but the sheer gravity of the pronouncement knocked me flat regardless. The next night, sitting around a courtyard table with lifelong friends I’d only known for a week, I started to write it all down.

I read a lot of essays in late 2017. Most of them were unsatisfying. This n+1 piece by Andrea Long Chu was one more in a long line of largely-unhelpful takes, aside from this single perfect paragraph, which has stayed with me since:

The thing is, it’s all of them. It’s every single last one of them. Not just the famous ones. Not just the ones you don’t personally know. […] But let us say, too, that it is a specious compassion that would make us reluctant to admit these things. Whether or not men deserve forgiveness — and if so, which ones — is not the question, much less the answer. In fact, there is no question. The reality is harder. What hurts isn’t when the people we love do unlovable things. What hurts is when, afterward, we still love them. This goes as much for the neon of celebrity identification as it does for the quieter affections: friends, mentors, exes. What this means is that all of us will be caught wriggling on the flypaper of apologism before this thing is over. Lines in the sand blow away eventually.

If the anecdote is the embroidery-hoop overlay, the story is the pillow. (Photo taken at the Otis College of Art and Design.)

If the anecdote is the embroidery-hoop overlay, the story is the pillow. (Photo taken at the Otis College of Art and Design.)

What hurts is when, afterward, we still love them. I’m thinking of Mary Gaitskill’s exemplary “This Is Pleasure”; I’m thinking of Sarah Silverman trying to communicate her complicated feelings about old friend and known masturbator Louis CK. In a way, “The Gutter Prophet” has been coalescing for years, awaiting only a catalyst in order to (sorry) emerge.

When I tell this story to friends and family, it’s as a roundabout sort of joke, with Los Angeles itself as the punchline. California, right? I went to the delusion capital of the USA and I brought back a surreal and disturbing late-night encounter, as a cute little souvenir; telling the story to friends after I got back, they joked that people would pay to have that kind of experience in LA. It’s hard to explain why the conversation hit me the way it did, without a particular sort of permission that I’ve learned is only rarely afforded outside of fiction. The process of transforming it into a story allowed me to give it all something like meaning — reality is always so ungenerous with those. It allowed me to articulate the disappointment, the frustration, the merciless double-bind of Still Loving. All the things you can’t laugh off at the end of the anecdote.

I’m thankful to Lambda for giving me the space to work on this story. I hope I have at least piqued your curiosity, such that you will seek out and purchase a copy of Emerge. You can do that at AWP if you’re there, or on Amazon both in the UK and the US. There’s so much talent and heart packed into this anthology; my own work is the least of it. Get after it, and enjoy.