Tracing Trans Years: 6 Years on T

Six years ago today I started taking T. In my moments of reflection on this date, certain things stand out to me. The anxiety leading up to the day, the sleepless night before, driving to the doctor in my best friend’s beat up car… the face of the nurse when she refused my care… crying in the empty waiting room. I was 22. Four months before that I had called the doctor, introducing myself through a thorough history of trans pathologization and why I deserved transitional health care without a gender identity disorder diagnosis or mandated therapy. After sitting through the typical barrage of trans questions asking how I “knew,” when did I know, and why, if I really wans trans, I wasn’t what they expected, I got my script for T. I setup my appointment to get my first shot on the morning of Sept 4th. When the T came in the mail, I left the box unopened, sitting on my dresser, waiting… It was like a creature there to save me, or to destroy me, or both. It was the egg of my body’s phoenix.

I watched the nurse’s face as she spoke awkwardly, “Actually, the doctor said we aren’t going to do this today…”

I don’t know what came over me. Maybe it was the breaking stress from the build up, maybe it was crushing disappointment, maybe it was my exhaustion after a night awake crying and writing… I broke down and cried right in front of her. As soon as I could speak I said, “I want to talk to my doctor.”

“She isn’t here….”

“Where is she? This appointment has been set for a month. Why didn’t anyone tell me this was going to happen? Get my doctor on the phone.” I said, “I want to talk to my doctor.”

I paced the grey nurse’s break room, clutching the plastic hospital phone. My exhausted despair had given way to my primary defense mechanism: anger. I was ready to fight. “You’re my doctor.” I said, “You’re supposed to help me. I told you I wasn’t going to do therapy. I don’t need therapy because I’m trans. I know who I am and I’m not going to pay some uneducated “professional” $200 an hour to tell me why I’m not normal.”

The doctor’s voice was diffident and anxious. I still remember the sound of her voice as she tried to placate me, saying how GID therapy was for the good of trans people and that she was trying to help me.  “I don’t want help if it means giving up what I know is right for me.” I said, “I can’t walk around fighting a system that I’m feeding into. I can’t do it and it isn’t fair for you to ask me to do it. This isn’t fair.” I’ll never forget the insulted shock I felt as I heard the doctor say, “Well, maybe you can just not tell anyone…” I gathered myself and said, “What kind of health care is this? You want me to be forced into therapy I don’t need, and now you’re telling my to lie about it – to lie to all my friends, my family, and the people I work to help… I don’t think you understand what you are doing here.”

“I’m trying to keep you safe…”

“Safe? You do know I have this T in my hand right now and I could just go out into the parking lot and shoot up, with no guarantee I’m doing it safely or properly. I’m here, in a doctor’s office, looking for support and education on how to care for myself properly and you are turning me away. I want you to know that if I end up at risk, it is because of you and your inability to rise above the outdated notions you were taught that trans people are mentally unfit. I can respect your professional boundaries, but I can’t respect any institution that would rather put a person at risk than bend to the idea that it might be wrong.”

Obviously, since I am writing this post six years later, I got my shot that day. With the support of friends, and a little help from some bodybuilding websites, I took my first shot. Like most people in the trans* community, I learned as I went and took what I could get. I was privileged to have had access to T in the first place; to have been able to save up money from my shit job to afford it; to have access to a computer where I could get reliable medical information; to have a community of friends who were there for me when I felt like I had no one else. With all that happened, I was pretty lucky. I consider myself lucky to have had it better than a lot of our people, especially those who are affected by racism, poverty, globalization… the list goes on.

I was looking through my pictures to find the quintessential pre/post photos that I (and almost every trans* person) loves to put in their blogs. Instead, I found one of my absolute favorite pictures of me ever. It is from when I was 17, on a high school photography club trip to Red River Gorge hiking the Natural Bridge trail. My disability made it so I couldn’t take the trail as fast as everyone else, it made me feel weak. I didn’t have a lot of friends and I was afraid of socializing with the other kids cause they tended to tease me, so I hung in the back of the group near my teacher, Mr. Ferguson. I remember walking the steep trail, looking up at the trees, and just feeling the energy of the forest. I remember feeling very alone, but it is hard to feel too along when you are in the woods.  I sat in a shady spot near the top of the bridge; I changed my roll of film and got out the same lunch I eat every time I travel: PB&J sandwich and an apple. I watched the other kids goofing off and talking a few yards from me; I felt invisible, but in a mix of positive and negative ways. The leaves were changing. I enjoyed the silence and the view. Mr. Ferguson’s voice broke my thoughts, “Hey, Alice,” he gestured with his wide, closed palm arm wave,  “Come over here. I’ll take your picture.”

JAC2001

Two weeks ago, I walked that trail again. I looked up at the trees and felt the energy of the forest. I still took it slow, climbing the rocks and roots behind the others, but I had some fast moving company: a 17 year old I’ve had the pleasure working with for a couple years now. He goes to the same high school I did, and is in a lot of the same clubs, but unlike my high school self, he is out as trans*. I didn’t even know what trans* was when I was that age. I see a lot of myself when I see him, but he’s much more impressive. He was much more animated on the trail that I was 12 years ago; he was excited to be with trans* community, racing up the path with other transboys, climbing on everything in sight (much to my anxiety’s displeasure).  I hung back and enjoyed the walk and the views. I get so over-saturated with work now days… or really, I’ve been so over-saturated with work ever since I came out. When I came out, I took to trans* activism and never looked back. Sometimes that meant I didn’t stop to look around either. If I can take a lesson from the me of 6 years ago, it is to use the same care and attention to my process as I did back then. I used to write a lot more; do more photography; I used to dance more. Looking back, though I was afraid and anxious about making the right or wrong move for myself or my life, I did a lot to keep in touch with who I was and what I was feeling. I’m not one for making resolutions based on some event or special date, but I do like to make clear decisions surrounding change. It is important to keep myself in touch with what progress I need to make. When I was 17, I was afraid of most of the world. When I was 22, I was angry with most of it. I don’t know how much progress I’ve made since 22, lol, but I hope it is at least some. At 29, I am hopeful that I am continuing to improve myself, and to know myself. And I am grateful that I have the ability to live as I do, and work as I do, so that the folks that come after me might not be so anxious, or so angry. So, here’s to the continual fight for trans* liberation and the gift of slowing down to see the journey there.

JAC2013

 

Seeing is Believing; Self-Portraits and Finding Me

I read a quote that really moved me. It said  “self portraits (selfies) are often such an act of self preservation and resistance.” I take a lot of self portraits, and sometimes I catch myself feeling silly about it. I wonder if it makes me vain, or makes me appear narcissistic, and people often tease me about it. Most of the time, I don’t give it a second thought. I really like taking pictures of myself, and I have a good reason for it.

A special note from me: Most the photos in this post have either never been seen by anyone except me, or haven’t been seen by anyone in years. I ask you, the reader, for kind eyes and minds as you view them.

When I was about 14 or 15, my lifelong best friend Jess and I took our photography hobby to a new place. We were late into a sleepover when, either out of boredom or innovation, we dragged out the big black trash bags of dress up clothes from when we were kids. We found the old slips and used prom dresses of our pretend-time past. Jess had the idea to do a photoshoot; she has always been a fountain of empowerment and I was in awe of her ability to own her body. We tried on the old dresses, clothes, slips, and costumes and posed before sheets covering the old furniture and cluttered boxes of my old playroom. No one ever saw the photographs; they were just for us.

Store dressing room shoot, early 2000. I was deeply embarrassed  by this picture because of the cleavage.
Store dressing room shoot, early 2000. I was deeply embarrassed by this picture because of the cleavage.

We did these shoots for years, and occasionally I would spread the practice among some other close friends. It became a passion, an addiction; especially early on, it was the only time I felt pretty. It was the only time I really felt I was what I was supposed to be: a girl. A pretty girl who could look like the other girls; who had a body like the other girls; who was one of the girls. Looking at the photos now, it is funny to see the tame, sometimes blurry shots I thought were so risque, and others where I think “Holy shit, I had no concept for how sexual that pose was!” It was an amazing experience for body empowerment. Jess and I did these bonding shoots all through high school, roaming all over the city documenting our faces, our bodies, and our lives on film. Attics,  bedrooms, parks, cloudy train tracks, mall dressing rooms, big box store aisles; we would try on everything just to see how we looked in it.  When I was 17, I wrote a poem about my intimate relationship with my camera. From what I can remember, I wrote how I wanted to “sit inside the camera lens” so that I could touch the “frozen perfection” that only film could create. I remember chalking the poem on the cement commons of my high school grounds, spiraling around in a giant drawing of a camera lens. I used to have time to create things like that… I was learning to love myself, and my body, by finding ways to portray it through art.

Spring 2002: Night diner adventures with my oldest friend, Jess. I am wearing a 1970s dress and Jess is in a thrifted costume from the Cincinnati ballet. We balanced the camera on a booth across from us.
Spring 2002: Night diner adventures with my oldest friend, Jess. We balanced the camera on a nearby booth and rushed to take the shot before the camera fell. I’m wearing a 1970s party dress and Jess is in a thrifted costume from the Cincinnati Ballet. Everyone in the place was staring. This shot, called “Seasoned Salt,” represents so many memories. Jess, you have given me some of the happiest moments of my life. I am free whenever I am with you.

When I went to college I started doing self-portrait shoots on my own. It’d be late at night in my dorm room and I’d have the urge to create something out of myself. It was around that time I formally fell in love with the “pin-up” and found a huge amount of body love and acceptance through doing pin-up inspired shoots.

Freshmen year of college, 2002: My first solo lingerie shoot. For many years I saw this picture as being very representative of what I like about how I looked.
Freshmen year of college, 2002: My first solo lingerie shoot. For many years I saw this picture as the key representation of what I like about how I looked.

I started to like myself more. I started to like how I looked. I began to put pictures of myself up around my apartment, and enjoyed talking pictures with people instead of just of them. Sometimes people would say, “You have a lot of pictures of yourself…” I would feel shy and awkward about it, but I secretly responded “It’s to remind me to like myself.” I wanted to like myself, and I did what I had to do. And though I wasn’t going to fully admit the importance of what I was doing, I was also not going to apologize for it. When I came out, I realized that I once again had no idea what I looked like. I wasn’t sure if I had ever really known. I could recognize my face, my body, my eyes… but I did not know what I looked like. My coming out and transition was extremely painful. My mind’s dissonance of what I was and what I wanted to be, of how I looked and how I imagined myself to look, is a torture I have carried for most of my life. It was not JUST about being trans, or of being a boy or a girl, of having a body part, or not having one. It was, and is, the issue of knowing who and what I am for the sake of knowing myself. Coming out as trans was a new avenue of self understanding that brought many things I had never understood to the surface… and it was excruciating.

February 2007: The "Nudes Shoot" was a five hour portrait shoot that became foundational to my trans* self portraits. It was spurred by my decision to start T. The photos discuss my feelings about my body and the "trans requirements" of it as well as to document my body before the effects of hormones.
February 2007: The “Nudes Shoot” was a five hour portrait shoot that was foundational to  how I approach my trans* self portraits. It was spurred by my decision to start T. The photos discuss my feelings about my body (and the “trans requirements” of it) as well as document my body before the effects of hormones.When I did this shoot, I had been out for year, and hadn’t done a portrait in almost as long. It made me feel like myself again. It brought me home to myself. 

I have never been the type of trans* person who wanted something specific for my body. I have gone through times where I thought I might want something in particular; a flat chest, and angular body, a taller frame, a more muscular physique, but over all I could never decide exactly what I was going for. Masculine, feminine, man, woman; this language can be useful at times but I have found that all of it is secondary to the understanding of my own humanness. When I was 18, and newly discovering femininity and “womanhood,” I learned to like the body I had. Over several years I began to own the breasts, hips, legs, waist, and overall form I had. I then went from owning my body, to loving it. When I came out, I was told that I had to change it, and even destroy it. I’ve always been more about creation than destruction. It is why I am an artist. I approach life and art the same way, and I’ve always wanted to be better at both. I went to art school once, for photography and sculpture, but dropped out within a year. I wanted the freedom to make my art whatever I felt it needed to be without someone else telling me it was good or not.  My favorite sculpture medium is clay because of its ability to take shape as anything. Throughout my childhood and adolescence, I would spend hours creating forms, primarily of the female body. They seemed so real I felt I was the clay. A couple years ago I wrote a song called “Clay.” It was primarily about my muscular disability and the feelings of powerlessness that comes with it, but as it developed I feel it became a combination piece of how I felt about transforming my body in general. When I started to take testosterone, I approached my body like clay. I realized that my body is malleable,  fluid, and moving. My body is mine. I do not have to fit my body because I can make it fit me. I am the sculptor of my own shape. I do not have to destroy it to change it, I do not have to change it to own it, but I have the option and I can own the changes I make.

 December, 2007: In my bedroom, four months on T. This shot encompassed the exact image of masculinity I wanted to embody.
December, 2007: In my bedroom, four months on T. This shot encompassed the exact image of masculinity I wanted to embody. This shoot grounded me in an otherwise empty and confusing space.
 July, 2008: Newly pink-haired, the "Fuschia Shoot" was a turning point for my self-portrayal as a genderqueer body, though I would not come to think of it in that language until several years later.
July, 2008: Newly pink-haired, the “Fuschia Shoot” was a turning point for my self-portrayal as a genderqueer body, though I would not come to think of it in that language until several years later.

This Sunday marked my 7 year anniversary of coming out as trans (or my transiversary, as I like to say). Several friends asked me “Does it feel like it has been that long?” to which I answered “It feels like it was just yesterday, at the same time, it feels like it’s always been this way.” This isn’t about me having it all figured out or that my journey with gender is “over.” Quite the opposite, actually. I spent most of this past year feeling like I was coming out all over again (but that’s a whole other blog post). The difference, I suppose, is how I have been addressing the process. The concept of processing gender, though no less painful, has become somewhat normalized to me. It’s like when you’re a teenager first experiencing heartbreak you have no idea what to do or how to help yourself, but when you’re an adult you’ve been there so you already know what to do. You can say to yourself: “Yeah, I recognize this shit. It hurts but it’ll be over soon enough.”

 December, 2008: When I did the "Watermelon Shoot" I didn't have the insight to recognize what I was processing. which was inner conflicts with sexuality (and gender). At this time, I had emotionally isolated myself, creating terrible heartbreak for me and my (incredible) partner at the time. This shot, and the emotion expressed in it, was captured accidentally. This also accounts for the skewed angle catching the framed pictures of myself and friends at a simpler (and more butch) time in my life.
December, 2008: The “Watermelon Shoot” was about seeking sexual power. This shot was captured accidentally in between poses, which makes it even more significant. My expression reflects the exhaustion I was feeling towards my inner conflict with sexuality (and gender). Trapped in an emotional ice age, I isolated myself causing terrible heartbreak for me and my partner at the time. The shot also conveniently includes framed pictures of me with friends at a simpler (and more butch) time in my life. I dedicate this rediscovered piece of myself to you, Jackie. Thank you for all you went through for me and for being one of the best friends I could ever dream to have.

My transition was a pivotal time for me, but after seven years its significance (in some ways) seems to fade and blur into the rest of my life. What is left is just being me; thinking about it, working on it, and noticing that some of it happens to be labeled as genderqueer/trans. And as “trans issues” fade into the paint, I am left looking at the walls, my walls, that I built a long, long time ago… I might have even been born with them. Walls are not always bad; Walls are needed to protect and manage our inner selves, but they can trap us. Walls, and the need to hide behind them, is so easily enmeshed into the trans experience. For a while, the main reason I was hiding was greatly connected to all the shit that comes with being trans. What I think I lost sight of was that being trans wasn’t my only reason for hiding. I have spent so much of my life hating myself. I have spent so much of my life hiding. In hiding I have found ways to love myself more and protect my self better. Because of hiding I have spent so much time fighting… All of these feelings have been carved into my walls, and as I read the writing on them I have discovered that I am flat out afraid of showing myself to anyone, sometimes even myself. When I do a self portrait, I am facing myself. I am reminding myself that I am ok. By showing these portraits in this post, I am making the decision to face the world.

A couple years ago Kate (Bornstein) and I were goofing off taking selfies, one after another. She laughed and said “We trans people fucking love pictures of ourselves. We can’t get enough!” I smiled and clicked the shutter on the camera, thinking of how right she was. Like anyone, trans* folks work really hard to be ourselves, and we work really hard to look like ourselves. Many of us hide from our own image, sometimes we don’t even know it. I have never been a stranger to the mirror. Throughout my life, I have spent a lot of time looking at myself, especially as a child, because I was trying to learn what I looked like. I would stare deep into the mirror hoping that the image of my eye would swallow me into an Alice in Wonderland hole, dropping me into my mind so that I could see who I was face to face. I would often comb my hair to the side, like my dad does his hair (and ironically similar to how I do my hair right now). I remember  one time, combing my hair over and looking deep in the mirror; for a split second I felt like I saw something real. It scared me so much I jumped off the sink, mussed up my hair, and started pacing the bathroom floor in a panic. I must have been about 12; I remember  writing about it in a prose series I wrote to myself called “Dear Jim.” The poem started with “I saw you today.” I am continually trying to re-capture the image I saw back then. Over the years, I have gotten better and better at it. The result has been more and more pictures of me. The statement “self portraits (selfies) are often such an act of self preservation and resistance” says more to me than I can really describe. It speaks to the mes of the past, standing alone with a camera, trying to capture my insides in the shape of my outside. I still love to do photoshoots. Every now and then, I’ll spend a few hours finding some form of temporary, personal perfection in my body. In the split second it takes the shutter to engage, I can see myself, and I am real. It is an act of resistance against a world that would rather see me erased. It is an act of self preservation to remind me that I am alive and that I am human. No one ever sees these photographs. They are just for me… and now some are for you.

March, 2012: This shot, called "Bubblegum," is out of the "Suicide Boy" shoot which was very significant in the processing my genderqueer identity and femme body. This was a shoot that healed me.
March, 2012: This shot, called “Bubblegum,” is out of the “Suicide Boy” shoot which was very significant in the processing my genderqueer identity and femme body. I was heartbroken. This shoot helped heal me.

If you find yourself feeling alone; if you are suffering, please know that you are not the only one. I am like you and I promise to try to show that more. There is no shame in hiding, it is something we all need to do sometimes… sometimes for a long while. Take your time. I hope that me taking this tiny step out of my hiding place will encourage you to feel safer in yours, and maybe help you take a step out too someday. I am grateful to all who have been there for me, helping me come out, or stay in: My amazing parents, my beloved sister (and new brother), Jess, Alex, Al, my family and chosen family, my friends, my mentors, my people, and my kitties too. Thank you.

The Other Men Project

Check out the interesting photography exhibit called The Other Men Project by photographer Ebba Schmid.

“[The Other Men Project] is to force viewers to look these men square in eye, and count them as human.”

JAC Stringer – Photo by Ebba Schmid – The Other Men Project

[image: close up black and white photo of JAC’s face showing only his right ear, right eye, nose and mouth. He is looking off to the side, smiling slightly.]

This picture reminds me of how I still have the exact same face as when I was a kid. It makes it even more curious that people tell me I “look so different” now or how old acquaintances, even old friends, don’t recognize me on the street. They just walk by like they never knew me at all… but I have the same face.