Posts Tagged ‘sex work’
Interview with Amber Dawn
Q: The format of How Poetry Saved My Life (prose pieces mixed with a variety of poetry forms) deviates from what readers might have come to expect from the literary memoir form. Sections “Outside,” “Inside” and “Inwards” hint at a narrative arc, though the overall structure remains more loose and thematic than chronological. Why did you choose to tell your story this way?
Amber Dawn: I have a great deal of admiration for authors—especially ex-sex workers—who write their memoir as a chronological journey. Some books I’ve had the pleasure of reading recently are Whip Smart, by Melissa Febos and Candy Girl: A Year in the Life of an Unlikely Stripper, by Diablo Cody. I doubt I’d have the wherewithal to sit down and write my own story in this manner. How Poetry Saved My Life encompasses nearly fifteen years of collected writing. I wrote each piece for different reasons. Some poems had more therapeutic or cathartic beginnings, harken to the book’s title. Some prose I wrote to present at sex worker conferences or forums. It took a while before I realized I had an entire book’s worth of writing, and a bit longer still before I felt brave enough to release these collected stories and poems publicly. I view the account of my experiences as more of an emotional journey, rather than a chronological one. Through this approach I hope readers will make there own personal connection to the book, even if they’re life experiences are different from my own.
Q: The book represents nearly fifteen years of collected writings. You’ve had a very diverse writing career—you’ve edited horror and porn anthologies and dipped into the magical realist genre with your first novel Sub Rosa. How did you come to write a non-fictionalized memoir?
A: I believe a voice is a powerful and privileged resource to possess, especially when it comes to something like sex work, which is constantly silenced and stigmatized. Through performing on both small and larger stages, I’ve found that in every audience there is at least one woman (or man) who not only relates to my story, but feels almost desperate to have silence around sex work and survivorship broken. I feel a duty to speak up.
Q: Is there a piece of prose or poetry in the collection that was particularly difficult for you to write or realize, and in turn share with readers?
A: “Lying is the Work” is a personal essay that juxtaposes a bad date I had during the last year of working in the sex trade with my grandfather’s story of joining the Navy at age 17 to fight in WW2. This is one of very few examples where I bring my family history into my work. I love my family and want to protect and spare them of triggers or “digging up dirt.” While I’m proud of who I am, I acutely understand that survivors and sex workers are stigmatized and that this stigma can impact families and loved ones.
Case in point, recently, my grandfather disowned me when I married my wife—a ceremony that everyone in my family attended but for him. Therefore, I feel I can tell a bit of the story between my grandfather and I—in a dignified and objective way—without worrying about him reading it. As an Italian-American immigrant and Navy veteran he has a tremendous story of survival. It’s bitter sweet that I relate to him as a survivor and yet we have no present-day relationship. This makes the personal essay very difficult for me.
Q: RADAR Productions recently awarded you the 2012 Eli Coppola Memorial Poetry Chapbook Prize for “How I got My Tattoo.” How does the title poem of that particular collection fit into your personal narrative in How Poetry Saved My Life?
A: What an honour to win the Eli Coppola Memorial Poetry Prize, and just before I launch How Poetry Saved My Life! I have a quite a few titles like How Poetry Saved My Life and “How I Got My Tattoo” that are posed like answers to questions. Sex workers and survivors get asked questions all the time. I could over-simplify all these questions to essentially, “How did this happen to you.” I hate that question—the question implies that being a survivor or being a sex worker is outside the norm and needs explanation—when in fact these experiences are very common. Nonetheless, I also sympathize that people need to ask questions and discuss. The titles that I’ve written as answers to questions are there to promote discussion in a proud and creative way.
Q: In the book you cite author Jeanette Winterson and “powerful women whose voices have been cut short” among your inspirations. Would you tell us more about how you have been influenced by literary and activist voices in your life?
A: I was in my teens and early 20s in the 1990s, and was gobsmacked by the Riot Grrl movement. My first serious girlfriend introduced me to the feminist music and zine culture and listing to Team Dresh and Bikini Kill gave me the idea that I too had something to say. Not only where these voices powerful, but they were accessible. I didn’t need education to understand the feminist politicking of Riot Grrl. But after being introduced to feminist art and literature, I wanted to learn more. This was probably the first time I ever wanted to learn or read anything. I began reading Jeanette Winterson, Beth Goobie, Larissa Lai, Evelyn Lau, Sharon Olds, Lucille Clifton, Michelle Tea, Sarah Schulman. Finally, I understood the comfort and solidarity that could be found through books.
Q: You’ve toured with the Sex Workers Art Show, created short films, as well as performed at a variety of venues including the Vancouver Art Gallery. How does your performance and film background compliment or deviate from your writing?
A: Performing at galleries or appearing in my own films has helped me get into my body. Like many survivors, I’m inclined to live in my head, my imagination is a real sanctuary. Performance art has allowed me to embody the themes and emotions of my work and connect more closely with audience. I really feel the work when I’m hurling my body around a stage. In turn, this has helped me sink into a deeper connectivity to my written work.
Q: You now teach creative writing classes—some to queer and at-risk youth. Can you say more about the potential of art to be a survival skill and lifeline to others?
A: Something very palpable occurs when a person writes their story. It doesn’t have to be for future publication, but simply to put memories on paper and/or to read them in a room full of safe, supportive listeners. It’s an investment in one’s self. It’s an act of acknowledging one’s worth. It’s making the unspoken, heard. This can have life-changing impacts on people who have been shut down or silenced. Each time I run a creative writing workshop I see a little bit of change happen. “Thank you for listening,” my students always say to me. They don’t need to thank me; they should thank themselves. They do transformative work when they use their voices.
I’m reading as a special guest for Amber Dawn‘s San Francisco book release party for How Poetry Saved My Life: A Hustler’s Memoir this Wednesday night, May 22nd, at 7pm at the Modern Times Bookstore Collective.
I haven’t finished How Poetry Saved My Life yet, in part because every time I start reading it, I read it slowly, taking time with each word, and I put it down often to jot down my own poetical thoughts. It’s inspiring.
“I’m asking you to entertain that wish I made earlier. To treat this like a two-way conversation. My dear reader, you’ve caught on by now that this is not really about sex work. Sex work is only one of many, many things we learn we are not to talk about. Sex work is only one of many things we’ve been asked (but never agreed) to keep silent.
This is about the labour of becoming whole … Locate yourself within the bigger, puzzling, and sometimes hazardous world around you. You are invited to do this work.”
I’m working on a new piece, chewing a lot on the connections between poetry and sex work, between gender and sex, between desire and language. I think there are so many overlaps and connections and I’m striving to connect the dots in a poem for Wednesday (tomorrow!) night.
If you’re near the Bay Area, please come! I won’t be reading much more before I head up north for June & July, so this’ll be a rare appearance. And you really want to hear Amber Dawn read from this new book—trust me!
Amber Dawn reads from and discusses her new book, “How Poetry Saved My Life: A Hustler’s Memoir”
*Joined by Special Guest Sinclair Sexsmith*
Wednesday, May 22nd: 7PM
Modern Times Bookstore Collective
2919 24th St (at Alabama)
Amber Dawn’s acclaimed first novel Sub Rosa, a darkly intoxicating fantasy about a group of magical prostitutes who band together to fend off bad johns in a fantastical underworld, won a Lambda Literary Award in 2011. While the plot of the book was wildly imaginative, it was also based on the author’s own experience as a sex worker in the 1990s and early 2000s, and on her coming out as lesbian.
“How Poetry Saved My Life,” Amber Dawn’s sophomore book, reveals an even more poignant and personal landscape―the terrain of sex work, queer identity, and survivor pride. This story, told in prose and poetry, offers a frank, multifaceted portrait of the author’s experiences hustling the streets of Vancouver, and the how those years took away her self-esteem and nearly destroyed her; at the crux of this autobiographical narrative is the tender celebration of poetry and literature, which―as the title suggests―acted as a lifeline during her most pivotal moments.
As raw and fiery as its author, How Poetry Saved My Life is a powerful account of survival and the transformative power of literature.
Sinclair Sexsmith (www.mrsexsmith.com) is an erotic coach, educator, and writer. They write the award-winning personal online project Sugarbutch Chronicles: The Sex, Gender, and Relationship Adventures of a Kinky Queer Butch Top at www.sugarbutch.net, have contributed to more than twenty anthologies, and edited Say Please: Lesbian BDSM Erotica. They travel frequently to teach workshops on gender and sexuality.
Amber Dawn is the Lambda Literary Award-winning author of Sub Rosa, as well as a filmmaker, and performance artist. She’s appeared at dozens of universities and literary festivals, both for readings and to sit on discussion panels. She is often invited to speak on topics such as “writing from the margins,” queer identities in writing, and sex-positive writing. She also leads creative writing classes with high-risk youth and/or sex workers populations. She has toured three times with the Sex Workers’ Art Show and is the former Director of Programming for the Vancouver Queer Film Festival (VQFF). Her website is amberdawnwrites.com.
Sex In The Public Square Presents:
Sex Work, Trafficking, and Human Rights: A Public Forum
New York, February 20, 2008 – Ten prominent sex worker advocates, writers, researchers will be publicly discussing the issues of sex work and trafficking from a human rights and harm reduction perspective, February 25 – March 3, on SexInThePublicSquare.org. The week-long online conversation will conclude with a summary statement on March 3, International Sex Worker Rights Day.
Sex work and trafficking are two issues that must be discussed as distinct yet intersecting, and we’ve invited some of the smartest sex worker advocates we know to help sort out the complexities. “This forum is not about debating whether or not we should be using a harm reduction and human rights approach instead of the more mainstream abolitionist and prohibitionist approach to sex work,” explains Elizabeth Wood, co-founder of Sex In The Public Square and Assistant Professor of Sociology at Nassau Community College. “Instead our goal is to create a space for nuanced exploration of the human rights and harm reduction approach so that we can use it more persuasively.”
Wood explains: “The human rights and harm reduction approach seeks to reduce the dangers that sex workers face and to stop human rights abuses involved in the movement of labor across borders, a movement which occurs in the service of so many industries. We want people to be able to learn about this perspective, and to develop and refine it, without having to dilute that conversation by debating the legitimacy of sex work.”
Questions and themes include:
Defining our terms: Is the way that we define “porn” clear? “Prostitution”? “Sex work” in general? What happens when we say “porn” and mean all sexually explicit imagery made for the purpose of generating arousal and others hear “porn” as indicating just the “bad stuff” while reserving “erotica” for everything they find acceptable? When we say sex work is it clear what kinds of jobs we’re including?
Understanding our differences: How do inequalities of race, class and gender affect the sex worker rights movement? Are we effective in organizing across those differences?
Identifying common ground: What are the areas of agreement between the abolitionist/prohibitionist perspective and the human rights/harm reduction perspective? For example, we all agree that forced labor is wrong. We all agree that nonconsensual sex is wrong. Is it a helpful strategic move to by highlighting our areas of agreement and then demonstrating why a harm reduction/human rights perspective is better suited to addressing those shared concerns, or are we better served by distancing ourselves from the abolition/prohibition-oriented thinkers?
Evaluating research: What do we think of the actual research generated by prominent abolitionist/prohibitionist scholars like Melissa Farley, Gail Dines, and Robert Jensen? Can we comment on the methods they use to generate the data on which they base their analysis, and then can we comment on the logic of their conclusions based on the data they have?
Framing the issues: What are our biggest frustrations with the way that the human rights/harm reduction perspective is characterized by the abolitionist/prohibitionist folks? How can we effectively respond to or reframe this misrepresentations? What happens when “I oppose human trafficking” becomes a political shield that deflects focus away from issues of migration, labor and human rights?
Exploring broader economic questions: How does the demand for cheap labor undermine human rights-based solutions to exploitation in all industries, including the sex industry?