Reviews

Treading Air (2016)

by Sarah on November 28, 2016 · 0 comments

in Books, Reviews

treadingairAs a sex worker and a fairly enthusiastic reader, I’ve come across so few of our stories told in fiction—and very few set in my own country of Australia. So when I recently discovered Ariella van Luyn’s 2016 novel Treading Air, I was instantly intrigued. It had a fascinating historical premise and a sex worker protagonist, Lizzie O’Dea. Unfortunately, it wasn’t what it could have been: although van Luyn had clearly done some research and tried to humanize Lizzie’s portrayal, so many bad clichés about sad sex workers crept into her story that it totally ruined the book for me.

We first meet Lizzie O’Dea in 1943, confined in a lock hospital in Brisbane, Queensland, waiting for her husband to be released from prison after nearly twenty years. The novel alternates between focusing on O’Dea’s story in 1943 and a series of events in the regional port town of Townsville in 1923 and 1924 that would alter the course of her and her husband’s lives.

The decision to set part of the book in a lock hospital in Queensland immediately caught my attention. By Australian standards, Queensland had notoriously draconian controls on sex workers in the latter half of the nineteenth century —although substantive parts of the law remained in place well into the twentieth century as well. Under the Queensland legislation (which was based on a broader version of the English Contagious Diseases Act), sex workers were required to register with police and forced to undergo fortnightly medical checks. If a doctor deemed them to be “diseased”, they were sent to a lock hospital in the state’s main prison to receive treatment, sometimes for long periods of time. It was a system which produced plenty of horror stories, yet it’s largely unknown today. I was curious to see what kind of light van Luyn would shine on on that chapter of history. I should have known that it would turn out to be one more twist on the premise that a sex worker’s story always ends badly.

Much of the first quarter of Treading Air centers on Lizzie’s courtship with future husband Joe, whom she meets at a Brisbane racetrack in 1923. Lizzie is the daughter of an illegal bookmaker and unenthused with her options in life. They promptly marry, moving to Townsville in North Queensland when Joe gains a job as a meat worker. Joe soon loses this job after an industrial accident, and Lizzie, fed up with being back in poverty, accepts an offer to work for a madam she knows. I enjoyed this section of the book: Lizzie’s portrayal felt familiar, the historical details about how her brothel operated made sense, her reasons for entering into the industry were pretty standard, and her first clients were ordinary clients.

And so, I’m happily reading this book when I come across this sentence, not long after Lizzie begins working: “So she reinforces her demeanor of gentleness and politeness. A man can do anything—pick his nose with one hand, hold his cock with the other; piss on her [emphasis mine]; cry and snot on her – and she doesn’t move. They like her for it.”

I thought “wait, what?”. I read this passage out loud to a friend over the phone to ask if it was as fucked up as I thought it was. Her spluttering down the line told me that it was.

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tolivefreelyA version of this review originally appeared in issue 19 of make/shift magazine

In March 2016, South African deputy president Cyril Ramaphosa made a historic announcement of a nationwide scheme to prevent and treat HIV among sex workers, proclaiming, “we cannot deny the humanity and inalienable rights of people who engage in sex work.” Though Ramaphosa remained mum on the topic of decriminalization, the rousing endorsement this statement represents can’t be underemphasized. It’s impossible to imagine a U.S. politician of any importance saying something similar. The credit for this sea change in attitude goes to South African sex workers’ rights organization SWEAT (Sex Workers Education and Advocacy Taskforce) and sex worker peer organization Sisonke. In her book, To Live Freely In This World: Sex Worker Activism In Africa, Fordham University law professor Chi Adanno Mgbako covers SWEAT and parallel organizations in seven countries.

Mgbako deftly and concisely goes over sex workers’ rights 101 material. The epilogue’s history of global organizing comprehensively places the African movement in its broader context, from the 1970s—Margo St. James’ COYOTE and the French Collective of Prostitutes—to the 2012 Kolkata Sex Worker Freedom Festival. Mgbako explains the importance of not reducing sex work to “a single story” of victimization, the necessity of respecting human agency, and the need to understand sex workers’ rights activism as a labor movement. She traces the connection between violence and criminalization as represented by police abuse and client violence and the structural violence of social stigma, labor exploitation, and healthcare discrimination.

To Live Freely also transcends respectability politics and actively includes the sex workers often left out of our histories. One of the book’s seven chapters is dedicated to the multiple stigmas navigated by queer, migrant, trans, and HIV-positive sex workers. Mgbako makes sure to discuss sex-working queer women, trans men, and gender nonconforming people, who because of their lower visibility are too often excluded.

Many times throughout the text, Mgbako provides long oral histories from sex worker activists. In an admirable and sadly rare move for an ally, she explicitly connects this choice with the fact that she is not a sex worker herself, “and too often, non-sex workers take it upon themselves to speak for sex workers when the latter are fully capable of speaking for themselves.” I found these sections of the book and the solidarity they represented perhaps the most valuable. Kenya Sex Worker Alliance’s Phelister Abdallah’s harrowing account of gang rape by police, the moment representing her personal awakening as an activist, was particularly affecting. Yet, Mgbako never allows these stories to become tragedy porn for non-sex-worker readers—in her introduction, she avers that she only included narratives of abuse when those narratives illustrated the sociopolitical realities of sex workers’ struggle against criminalization. “There are no broken people in this book,” Mgbako declares. Instead, the author’s interest lies in displaying the “radiating strength” of African sex workers.

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Uptown Thief (2016)

by Caty Simon on October 20, 2016 · 1 comment

in Books, Reviews

uptown-thiefSlam poet and African American studies professor Aya de León’s new novel, Uptown Thief, is every activist sex worker’s fantasy: her protagonist Marisol Rivera is a women’s health clinic director by day and an escort agency manager and expert safe-cracker to fund that clinic for survival workers by night. True, any enterprising hooker who actually tried this would get her pet cause into very hot water. But reading about Marisol’s escapades teaming up with her escort employees to rob their rich clients’ friends, practicing some creative accounting to enter these “donations” on her books, is the next best thing to pulling it off yourself.

Though de León has never been a sex worker, she’s been open about her respect for her ex-stripper mother and her aunt’s sex work. Her book is stolidly pro-sex worker without being blandly sex positive, representing a spectrum of experiences in its characters’ diverse backgrounds of high end escorting, survival sex work, and trafficking and abuse survival. There’s even a Live Nude Girls Unite poster in the clinic’s office. There’s never any hint of judgement in the tone de León takes narrating these women’s lives, although occasionally a tinge of didactic respectability politics bleeds through in the novel’s focus on clinic entrepreneurship classes and grad student escorts. Still, a story in which every whore makes good is a refreshing change from our usual crime fiction fate of death or destitution.

De Leon does make some gaffes in describing the way the agency operates which demonstrate her lack of personal experience with the work. Marisol’s escorts dress up as delivery workers in order to get into fancy hotels (huh?). And the agency’s clients agree on every sexual act they’ll perform with her employees in advance with her over the phone—a good way to get arrested. But once I started reading the book as a wish-fulfillment vehicle instead of holding it up to an impossible standard of realism, I began to really enjoy it. Plus, de León doesn’t make as many bloopers writing about sex work practice as many other writers do, perhaps because she made a point of having sex worker consultants edit her early manuscript.

The author’s general pro-lumpenprole stance is very clear here. For example, Marisol’s ex-NYPD love interest, Raul, left the department after suing them for racial discrimination and confesses that his one major regret is becoming a cop. When he catches on to Marisol’s heists, he’s openly admiring, wishing he could be a barrio Robin Hood as well. de León depicts some of the dangers sex workers commonly face by making his white ex-partner a cop who extorted sex from workers with the threat of arrest. And, of course, one of the most reprehensible characters in the book besides the abusive pimp is a snooty billionaire financier client.

De León also exhibits her populism in the way she’s marketed the novel: she’s explained in interviews that she purposefully branded the book as a women’s urban crime novel, a la Zane and Sister Souljah, to make it accessible to as many kinds of readers as possible. Indeed, one activist I know told me that this genre represents the most requested (and sadly, least donated) books to the books for women prisoners program she works with.

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Huniecam Studio (2016)

by Cassandra on October 6, 2016 · 2 comments

in Reviews

screenshot-2016-10-03-at-3-44-16-pmEvery time I play a video game that includes sex workers as characters, all I can think about is how great it would be to be seen as a person. Usually, sex workers in games are just toys for the player’s entertainment or tools to deepen the protagonist’s story. Either way, they’re only there intermittently, just a sordid element to add to the grittiness of the setting. I can count on one hand the number of games that spend significant time with a sex worker character, let alone games that portray a sex worker positively, let alone games that are specifically about sex workers.

HunieCam Studio is one of a kind, at least in the sense that it does center on sex workers. The premise is this: you’re the manager of a camgirl studio, and you have 21 days to gain a lot of fans and make a lot of money. Given that I have seen so few games starring sex workers, I was excited right away about this game, but I also knew going in that it was probably going to provide awful representation. Indeed, the store page for HunieCam Studio on Steam paints our profession as gross, mentioning “disgusting fans,” calling the operation “sleazy,” claiming that the camgirls have made “poor life choices,” and inviting the player to “abandon your morals and disappoint everybody who cares about you!”

Many gameplay elements in Huniecam feed directly into normalizing abusive management or at least looking down on workers. For example, the player can send their camgirls to do escorting sessions in a so-called “sleazy motel,” and if they send camgirl Lillian there, there’s a chance she’ll say the line “Like I have a choice!” There is also a chance that when her session is over, the player will get a message saying that she contracted AIDS if she did not bring a condom (not HIV—apparently, in this game, getting HIV first is not a thing) and her voice line in this situation is “Please kill me.”

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fagtc1

Lauren (Lauren Miller) and Katie (Ari Graynor) in For A Good Time Call.

There aren’t many films about phone sex that are worth anyone’s time—notable exceptions being the excellent short film Sumi, the brief, funny phone sex segments of Tamra Davis’s 90’s hip hop spoof CB4, and about three-fourths of Spike Lee’s kind-of classic Girl 6. Despite its truly troublesome flaws, I have a soft spot for Girl 6, as it gets at least some things about the industry very right, which is more than most films do. The 2012 phone sex buddy comedy For A Good Time Call fits comfortably alongside Girl 6 as another genuinely mixed bag. Its focus is really more on friendship than phone sex, but it does manage to maintain a phone sex-centric narrative throughout a feature film’s runtime without making me want to throw my TV out my window.

For A Good Time Call, directed by Jamie Travis, is now available on Netflix and other streaming services. I’m relieved to report that it is a pleasant-enough way to spend 90 minutes, and one of the better cinematic portrayals of my profession; not hateful, judgmental, or a patronizing cautionary tale. But I’m exasperated that this baseline decency gives it such an advantage over much of the cannon.

FAGTC tells the story of straight-laced Lauren (Lauren Miller), who through a series of contrivances is forced to become roommates with bubbly, performatively slutty Katie (Ari Graynor). The two initially hate each other and it’s all very Odd Couple (they have history—in college, party girl Katie peed in Lauren’s car after getting wasted), but become bffs through the magic of starting their own phone sex line. One of the screenwriters, Katie Ann Naylon, has said on record that she operated her own phone sex line herself in college.

Bonding through working a phone sex line is actually a great premise for a fun, bubbly film, and it’s the crux of what I simultaneously love and find frustrating about this one. While the relationship between the women is both believable and refreshing, their business model is much less so.

Lauren discovers that Katie is a phone sex operator and confronts her during a call after overhearing the conversation and being confused. Now, I can understand why Katie would want to keep her phone sex gig a secret from judgmental Lauren. But it’s hard for me to suspend disbelief far enough to believe Katie would bring Lauren in as a roommate, into her workplace, without giving some kind of heads up or a cover story to prevent exactly this sort of hassle. I did phone sex out of an apartment with multiple roommates for years, and you’d better believe I told people while interviewing them and gauged their reactions. I couldn’t live with anyone who would mess with my income stream. I find it hard to believe that Katie would both not mention it and be so goddamn loud without at least taking the precaution of setting up a cheap white noise generator.

Then again, good girl Lauren, who slowly gets dragged into the weird, dirty world of phone sex, is supposed to be the audience surrogate, so making Katie’s psychology and behavior equally plausible may not have been a priority. She’s the weird one, so she’s weird! I don’t think the writers were thinking about the reactions of PSOs or anyone else who might relate more to Katie in the audience, despite the fact that the character is based on one of the writers.

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