breathedout: Reading in the bath (reading)
Mr. Vasya Gabov (born 1951), the youngest fluent speaker of [Siberian language] Ös and our expedition guide, felt particularly pained by the fact that Ös had never been allowed to have an alphabet. Like Sequoyah, the native Cherokee scholar who invented writing for his people in 1809, Vasya was determined to bring the technology of writing to his people in their own language. In the Soviet Union, alphabets were designed and bestowed by Russian scientists, and the political decisions about which minority peoples could have letters were made in Moscow. It would have been a punishable offense to invent your own alphabet, so the Ös did without.

Vasya and his peers told us how they had been made fun of for being dark-skinned native children among blond Russians in elementary school. They had also, he recounted, been made to feel ashamed of their language and forbidden to speak it. Under such pressures, he and his generation made the decision [...] to avoid using Ös and speak exclusively in Russian. Ös children like Vasya made this decision at the very young age of 5 or 6, not realizing it presaged the loss of their ancestral language. They were concerned with how to fit in, be accepted, and avoid ridicule for being different.

Vasya grew up to be a successful worker in Soviet society, married and had children, and worked as a truck driver. A born outdoorsman, he never lost his love of hunting and would spend weeks at a time out hunting bears, moose, and other animals. At night, sitting alone in a small log cabin in the forest, he made an audacious decision—he would keep a hunting journal in his own native Ös language. Of course, he—like all Ös adults—knew how to read and write in Russian. But Ös has four sounds not found in Russian. Since Vasya was not a trained linguist, he decided that he would not invent four new letters for these sounds, but would simply use new combinations of Russian letters he already knew.

After some time Vasya worked out his new writing system and began to make regular entries in his journal. He was motivated in part by something his mother had said to him as a young boy: "My mother told me that it is necessary to speak our Ös language... let the Russians speak Russian and let the Ös speak Ös." This expression of linguistic pride inspired him to keep writing and perhaps even dare to think that Ös might be passed on to his children's generation. But Vasya's journal was ill fated.

One day Vasya got up his courage and showed his journal—containing three years' worth of entries painstakingly written—to a Russian friend. The Russian's reaction was devastating for him. "What are you writing there, in what language?" the friend demanded. "Why would you write in Ös?" When Vasya yeard these disdainful words, he felt as if he had done something wrong. The shame of the schoolyard and stigma of being different came back to him. In a fit of pique, he threw his journal—the first and only book ever written in his native Ös tongue—out into the forest to rot. "I might have wanted to show it to you," he told me in 2003, "but it's not here, it's still there where I threw it away."


—K. David Harrison, When Languages Die: The Extinction of the World's Languages and the Erosion of Human Knowledge

(Gabov does go on to resuscitate his Ös orthography and collaborates with Harrison and local (Russian-monolingual) Ös kids on a children's book in his language, the first and possibly only ever published Ös book. However: still an incredibly sad story.)
breathedout: Reading in the bath (reading)
The munificent dildo of india rubber [...] does appear as staple fare in Victorian pornography, either carefully highlighted as in the case of The Story of a Dildoe or casually inserted in random scenarios of sexual pleasure, as in several episodes in the Pearl: "The godemiches [dildos] were brought forth, and proved to be of monstrous size, to our ideas; they were made of the finest vulcanised india rubber, beautifully molded and finished with all appendages complete." In most of these instances, the material of the dildo is always remarked on and cited as a guarantee of the dildo's superiority and efficiency. In one case, it is a "big india-rubber instrument" tucked away in a drawer on the dressing table; on another occasion the dildo disappears, but the qualities of the india rubber are still extolled: "What do you think of my sweetheart? Isn't she a beauty? There's an elastic belly to spend on, and I can assure you it has a moist engaging entrance to it—feels like velvet, and clutches like India rubber."

I describe these appearances of the india-rubber dildo for two reasons: first, the reification of india rubber in these pornographic texts as efficient, modern, lifelike, and beautiful resonates strongly with the history of the [cultivation and] manufacture of india rubber, a history powerfully linked to the management of colonial India.[...] The raw material for the manufacture of india rubber, Woodruff tells us, originally came from the "moist clayey lands of the Amazon basin, and extending over a large district of Central and South America." He points out, however, that this dependency on raw materials from the Amazon was carefully altered by English entrepreneurs and bureaucrats, who wanted to ensure that the raw materials came from areas over which they had colonial control: "Sir Clements R. Markham had already transplanted the quinine-yielding chichona tree from South America to India and in 1870... he turned to the cultivation of rubber. The plants and seeds which he brought back with him... were soon distributed through the Botanical Gardens at Kew to the tropical colonies. The story of the distribution of these supplies in the nineteenth century is... in part the story of Britain's role as the leading mercantile nation."

As Woodruff demonstrates, the manufacture of india rubber announced in many ways the ingenuity of British rule: plunder the raw materials from one part of the New World (South America), take them to a centralized space in the metropole (the Botanical Gardens at Kew), then redistribute them along the shores of a British colony (India), and you have the makings of a booming rubber industry. Woodruff's history thus provides the india-rubber dildo with a complicated and insistently colonial referent of its own. Technologies of sexuality fuse with technologies of colonial industry [...]

[Furthermore, t]he technologies of manufacturing india rubber in the late nineteenth century much resembled the technologies of colonial rule in India. The first stage in the manufacture of india rubber in the metropole was purification: the raw rubber had to be rid of any "foreign matter. The rubber was cut up by hand and the more obvious forms of adulteration... introduced by the native as good measure removed." The rubber was then fed into a filtering machine, where it was cleaned further, and added into a plasticizing machine that moulded and "kneaded the rubber effectively." Once through that process, it was passed into a "softening machine," where critical artificial chemicals were incorporated into the rubber to ensure its appropriate malleability. It was only "when the material had been cleansed, ground, softened and compounded" that it was ready for the process of vulcanization. [...]

Such a manufacture was echoed in the process of creating the perfect native subject. Gauri Vishwanathan delineates how the business of empire building was facilitated through the intellectual purification of the native Indians, which supposedly obtained from the introduction of English-language literature and the careful filtering out of native literary and intellectual traditions. The emphasis, as in the india-rubber manufacturing process, was on slowly curing the natives of their "adulterating" instincts, on somehow incorporating alongside those instincts a respect and need for English rule.


—Anjali Arondekar, For the Record: On Sexuality and the Colonial Archive in India

(Apologies to Arondekar for rearranging her prose a little bit; I wanted to shorten and combine passages from two sections, as they inform each other. All elisions are marked, & hopefully it's not too choppy. Apparently it's just all imperialism all the time around here today...)

Edit: Thanks to [personal profile] oulfis for linking to a source where you can read the text mentioned, including, as he says, an amazing advertisement for the dildos on Page 14.
breathedout: A woman with an extremely dubious facial expression (extremely dubious)
Well last night [personal profile] greywash and I caught up on our Magicians watch through the end of Season 3, and then this morning at the gym they were playing one of Peter Jackson's epic Hairy Men Go On a Violent Hike Through New Zealand movies in which our all-white heroes do epic battle with an army of dark-skinned baddies on elephants, and now I'm like. Mad about a trope within the fantasy genre?? Since when?? I don't want these feelings; I was happier not caring.

For those who don't watch The Magicians, both it and the books it's based on deliberately riff on the Narnia setup where a bunch of kids from Earth stroll through a portal to a magical land where they quickly become kings and queens over a diverse array of human and non-human beings whom they had never met before, and in whose cultural norms and values they are not steeped (in Lewis, this results in the beginning of "the Golden Age of Narnia"). And like. This was never going to be a politically neutral daydream. But from the pen of a white, aggressively Christian Oxford don in NINETEEN FORTY-NINE, let's all just acknowledge that it's straight-up British Imperialist propaganda (for those who don't want to click those links: Afghani independence 1919; partial Egyptian independence 1922 (full independence would come in 1952); Statute of Westminster 1931 (which removed ability of British Parliament to enact laws in Dominion countries); India/Pakistan independence and partition 1947; Burma (now Myanmar) independence 1948; Ceylon (now Sri Lanka) independence 1948; Ireland severs ties with the Commonwealth 1949—and a WHOLE BUNCH of other independence movements in British colonies were very active, and would continue to bear fruit throughout the 20th century). It's important, I think, to look at the historical moment: this was the dream of a representative of an imperial power whose empire was in the midst of crumbling. It seems almost tautological to suggest, as I'm sure many have done before me, that the pastoral, nostalgic setup, in which It Is Decreed that (earth) humans are meant to rule over everyone else because of some kind of magically-enforced version of the Divine Right of Kingly Succession, and all will not be right in the world until they do, is deeply fucked up in a way I frankly would expect that we'd be challenging a little more explicitly in 2019.

In Season 3 of The Magicians, Cut for spoilers )

I don't know! I feel like it was a missed opportunity, and the show's treatment struck me as sort of sneakily "Well yes there was some unpleasantness but at least the British brought railways, democracy, and political unity to the squabbling natives" when... the actual results of British railways and Imperialist practices were violence and famines, not a "golden age." Maybe the perpetual famine in Fillory is a RESULT of Earth rule. Historically speaking, it is far more likely than not.

It's frustrating, I think, when a media source that really tries for political engagement and genre-savviness, and succeeds on several fronts as The Magicians does, falls down on an opportunity like this; and probably it's unfair to find it more disappointing than when a media source just doesn't try at all (like... Peter Jackson, you did not have to cast that baddie army as Middle Eastern, or every heroic character as white.... it would have been SO EASY NOT TO DO THAT; yet here we are). But it did make me hope that there are people out there creating fantasy narratives that really engage with anti-imperialist politics, and directly challenge this inherited notion of divinely-decreed human and/or foreign rulers over a magical land. I'm certainly not going to write them and tbh I'm probably not even going to read them because, see title: I don't really go here; but I hope they're out there, and I hope they get made into films and TV shows with big budgets and good actors. SURELY they are. Hopefully they will.

Soliciting recs in the comments for people who read more fantasy than I do, but share my frustrations. (Edit: Marlon James's Black Leopard, Red Wolf looks like it might be doing some of this, with bonus queer Black protagonists.)

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