By Kate Bornstein

“I was once born male and now I’ve obtained clinical and executive files that say I’m female—but I don’t name myself a girl, and i do know I’m no longer a guy. . . .”

Scientologist, husband and father, tranny, sailor, slave, playwright, dyke, gender outlaw—these are only a number of phrases that have outlined Kate Bornstein in the course of her remarkable lifestyles. For the 1st time, all of it comes jointly in A Queer and delightful Danger, Kate Bornstein’s stunningly unique memoir that’s set to alter lives and enrapture readers.

Wickedly humorous and disarmingly sincere, this can be Bornstein’s so much intimate publication but. With knowledge, wit, and an unwavering answer to inform the reality (“I mustn't ever inform lies”), Bornstein stocks her tale: from a pleasant Jewish boy starting to be up in New Jersey to a strappingly good-looking lieutenant of the Church of Scientology’s Sea flagship vessel, and later to Nineties Seattle, the place she turns into a emerging superstar within the lesbian neighborhood. In among there are other halves and fanatics, heartbreak and triumph, bridges mended and damaged, and a trip of self-discovery that may mesmerize readers. 

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He is being the bird. He is allowing it to speak out of him” (IL 92). In this act of becoming, the Child shows Ovid a path to “drive out my old self and let the universe in” (IL 96). Ovid’s plan of educating the Child to speak encounters the superstitious skepticism of the villagers who fear his demonic powers. During a fever, in his delirium, the Child utters for the fi rst time a human word; this causes the family of the village’s chief, Ryzak, with whom Ovid and the Child are staying, to fear that he has snatched one of their souls.

The peculiar punishment was of language; that was the whole point. (Davidson 1980, 331)3 Punished by being deprived of his language, Ovid is, paradoxically, made to speak of this loss in the fi rst person. An Imaginary Life is presented as a letter “cast upon the centuries”, addressed to readers of the future, which however will not be sent (IL 18–19). The choice of the epistolary form (rather than the autobiographical, retrospective form) not only brings to the fore the link to the letters of the historical Ovid, which we can read in the Tristia and the Letters from Ponto;4 it also evokes his Heroides, presented as letters sent by heroines from the literary and mythological tradition to their lovers.

I too have created an age. It is coterminous with his, and has its existence in the lives and loves of his subjects. It is gay, anarchic, ephemeral and it is fun. He hates me for it” (IL 26). 2 Subversive, exiled, silenced: what poet would not be sensitive to the plight of such a precursor? Malouf explains: What interested me fi rst in the Ovid figure was that problem of the poet who’s exiled not just to a wild place, but beyond the bounds of the language he can use. [ . . ] The peculiar punishment was of language; that was the whole point.

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