“I don’t believe in safe spaces…I do, however, believe in dangerous stories”. Thom’s opening line to her memoir prepares her readers for a captivating story that defies what her audience expects from her. Kai Cheng Thom, a trans* woman, wants you to know that her writing is not like the other trans* memoirs out there, “which are regurgitations of the same old story that makes us boring and dead and safe” (Thom, 2022, p. 3).

Fierce Femmes and Notorious Liars, a memoir written by Kai Cheng Thom, is an exciting memoir that blends fiction and memoir together, creating a union that allows her to reach new heights and expand the typical trans* memoir genre. As Thom states, many trans* memoirs are repetitions of the same story, with a pre-written format, or what Heyam calls the “mad-lib” narrative. This narrative entails a “story with a pre-written skeleton format, where the teller fills in the specifics from a limited list of options” (Heyam, 2022, p. 17). More often than not, this narrative reiterates the idea that trans* folks feel as though they were born in the wrong body, and assumes a medical transition to be what every trans* person desires, as well as the final stage in their transition. However, Thom’s memoir defies these standards. Her incorporation of fiction allows her to break the “mad-lib” narrative by incorporating numerous characters, allowing her to explore the complexities and nuances of trans* experiences. Jaques (2017), explains that using fiction allows trans* authors to resist social and structural limits that come with trans* life writing (p. 358). Additionally, it breaks the mold of what trans* authors are assumed to be capable of doing. The traditional trans* memoir genre confines trans* authors to one genre and universalizes a singular experience. Therefore, through the incorporation of fiction in her writing, I argue that Thom breaks away from the typical “mad-lib” narrative by incorporating different characters. The use of fiction, which allows Thom to include several characters, provides her the ability to explore a wide variety of trans* experiences, rather than being confined to, or reiterating one. Using a framework of transnormativity, I am going to demonstrate how Thom’s incorporation of nuanced narratives combats transnormative conceptions of what it mean to be a trans* person.

To illustrate this, I am going to provide three examples in which Thom demonstrates the complexities in trans* experiences in her memoir. First, I am going to examine an example in which two of the characters have different approaches to resistance. This example illustrates the multifaceted aspects of trans* communities that can arise in conflict. The second example I am going to provide demonstrates the complex emotions that come up within trans* communities, such as jealousy. This example demonstrates how transnormativity and pressures to pass as cisgender create conflict amongst trans* women. Third, I am going to demonstrate the importance of building communities for trans* folks, by trans* folks. Illustrated in Thom’s memoir through a scene in which all the femmes join together to express their identities and experiences through art, the significant of trans* communities are portrayed. Overall, Thom’s break away from the typical trans* memoir genre, allows her to explore the layered and entangled aspects of trans* experiences and communities.

Transnormativity

A framework developed by Austin H. Johnson, transnormativity can be described as “a regulatory normative ideology that structures interactions in every arena of social life” (Johnson, 2016, p. 466). Transnormativity assumes that there is a correct way for a trans* person to transition. This ‘correct’ way, centers on a medical transition, deeming a transition valid only once undergoing gender reconstruction surgery. The focus on a medical transition, continues to uphold the gender binary. It assumes only two genders, needing trans* folks to conform to one of the two assumed genders in order to be considered legitimate (Johnson, 2016, p. 467). The need to be confined into a binary system of gender upholds cis-heteronormativity as well, which dictates that it is correct and right for a person’s gender to align with their assigned sex at birth (Vipond, 2015, p. 24). Overall, transnormativity is used to force trans* people to continue to conform to colonial, neo-liberal discourses and uphold binary conceptions of gender.

Complexities in Trans* Communities

Different Approaches to Resistance

As I stated above, the deviance from the traditional trans* memoir genre allows Thom to move away from transnormative reflections of trans* folks through her ability to incorporate several characters. In this example, Thom uses conflict to demonstrate that there is no universal trans* experience. In her memoir, a trans* woman is killed and two characters, Kimaya and Valaria, the goddess of war, argue about the right approach to resistance. On one hand, Valaria, the goddess of  war, encourages fighting back and using violence. On the other hand, Kimaya encourages a peaceful way of resistance, centered on communal love and support. These two approaches reflect the multiplicity

of trans* experiences. In this example, neither character is right or wrong in their approach, as both approaches to resistance are valid. Valaria, the goddess of war, advocates for fighting back, for trans* folks to be able to live, rather than survive (Thom, 2022, p.73). This echoes many scholars and activists voices that view anger as an important tool to be utilized in protest. Malatino (2021) explains that trans* rage plays an important role in infrapolitical work (p. 834). Rage, often being policed and subdued amongst trans* folks, is only allowed to be expressed within trans* communities (Malatino, 2021). Therefore, within trans* communities, rage acts as a tool to build solidarity and encourage acting as a group. Moreover, Lorde (1981) describes that “anger is loaded with information and energy (p.  280), and can act as a conduit for creating social change. In Thom’s memoir, the anger the trans* femmes feel after the death of one of their own, springs them into action, acting as a catalyst to fight back. However, other scholars, including Thom herself, value an approach to resistance more similar to the character Kimaya. As Thom (2024) describes, to combat transphobia, it is necessary to engage with those who spread it. Similarly to Kimaya, Thom (2024) advocates for engaging in education, coalition building and solidarity work. In doing so, targeted communities are better able to respond to transphobia by those spreading it (Thom, 2024). The different approaches to resistance that the two characters have, allows Thom to show the complexities in trans* experiences and the different approaches to activism. A tactic perhaps harder to convey through the traditional “mad-lib” memoir that situates trans* experiences within a cis-heteronormative and transnormative framework.

Jealousy and Envy Amongst Trans* Women

The second example I am going to look at demonstrates the expansive spectrum of emotions that can come up within trans* communities. In an interview with Metonymy Press, Thom (2016) explains her motivations for her memoir, in which she explains wanting to show the complexities and mixed emotions of joy, love, anger and envy within trans* communities. Specifically, she also mentions the way in which trans* women, like all women, are driven to compete with one another, a theme that comes through in the present example. In her memoir, there is a moment when the protagonist is with the character Kimaya, who tells her she has feminine features, and strangers would not be able to tell that she is trans* (Thom, 2022, p. 60). Kimaya tells her this with jealousy and envy in her eyes, and tells the protagonist of the privilege she has in being able to pass as a cis person. This example establishes that trans* women are driven to compete with one another because of wider transnormative ideas that deem it necessary  for trans* people to pass as cis in order for their experience to be validated.

The pressure for trans* people to pass is rooted in transnormativity and feed into wider binary conceptions of gender. Trans* folks must conform to cisgender standards in order to be validated, reinforcing the idea that being cisgender is normal, and thus, that being trans* is abnormal. Additionally, transnormative narratives encourage and enforce a medical transition. In order to keep within a binary framework of gender, it is deemed necessary for trans* people to undergo medical reassignment surgery for their experience to be legitimate, thus upholding the equation of sex with gender. Anderson (2020) explains that a trans* persons transition is considered complete if a stranger can pass them and not identify them as trans (p. 53). The goal to pass as cisgender is assumed to be something all trans* folks want within a transnormative framework. Rooted in colonial, neoliberal discourses, trans* folks must assimilate into the gender binary and assume gender norms to be a legitimate trans* person (Vipond, 2015, p. 28).

What I truly appreciate about this part in Thom’s memoir is, not only that she makes visible the complex feelings brought up in trans* communities, like envy, but the fact that she includes a character whose narrative does align with transnormative ideas. Thom includes this narrative without blaming, undermining, or invalidating this character or her experience. This narrative is included because a medical transition is what some trans* folks desire. It is justs not what all trans* folks desire. Instead, Thom attributes her feelings of jealousy and envy to structural issues that make Kimaya jealous of the protagonist’s feminine features.

Importance of Trans* Community Building

The third topic that emerges in Thom’s memoir is the importance of trans* communities in fostering a community and building solidarity. The relationships the protagonist builds with other trans* women culminate in a scene in which the community comes together to express their love, struggle and solidarity. Although I have demonstrated the conflict and complexities of trans* communities, what is more significant is the positive impact of trans* communities. Networks and communities for trans* folks are particularly important because they are a marginalized group that do not feel understood by non-trans people (Stone, 2020, p. 237).  Since we live in a cis-heteronormative society, “existing organizations and agencies routinely fail to meet transgender people’s needs” (Greene, 2021, 932). It therefore becomes necessary for trans* folks to create their own organizations and communities. Historically, and in present-day, marginalized groups create communities for survival (Le Vay, 2019, 203). Continuously  excluded

and demonized in main-stream society, it is critical for marginalized groups, like trans* folks to have a place to exist safely. These communities often emerge and are described as kinship bonds and chosen families. These connections, which entail “complex patterns of emotional, cognitive and practical interdependencies beyond the nuclear family”, exist not only to create bonds and love for trans* and other marginalized groups, but can also act as a way to resist cis-heteronormative structures like the nuclear family (Greene, 2021, p. 932). Kinship bonds act as a way to extend beyond biological ties and provide alternative intimacies as legitimate family forms. This is demonstrated in the documentary Paris is Burning, a film that demonstrates the ball culture in the 1980’s amongst primarily black and Latino gay men, drag queens and other queer identifying people. Within ball culture, houses were created to form new families, which had a ‘mother’ and her ‘children’ in which the mother would act as a mentor to teach, care and shelter her children (Le Vay, 2019, p. 203). The environment demonstrated in Paris is Burning, is similarly constructed in Thom’s memoir. The femmes create a Femme Alliance Building as a safe environment and space of resistance. This space is used for leaders, such as Kimaya, to provide support to the other femmes.

Moreover, creating communities specifically for trans* people, by trans* people is important. Stone (2020), explains that even amongst LGBTQ+ communities, trans* folks still feel isolated and unrecognized at times (p. 240). Therefore, communities made by trans* people, for trans* people are crucial in giving them a space to feel a sense of connection, shared identity and support among people they are able to relate to. Additionally, this also makes room to resist transnormativity. Having a space for trans* people to come and express themselves allow nuanced experiences to emerge, rather than being suppressed or overlooked. It

becomes a space for conversation and increased awareness to be raised by providing more than one narrative of transness. As demonstrated in Thom’s memoir, the femmes come together and share a multitude of experiences through dance, art and poetry in a setting where they can be vulnerable and raw. In this scene, there are several experiences of transness being expressed that are not identical, but multifaceted. In this way, community and kinship bonds become not only important for trans* folks, but alsoact as a tool to resist transnormativity.

Fierce Femmes and Notorious Liars is a memoir that breaks the mold for trans* authors. Thom’s use of fiction to expand reality creates a space to explore the vastness of what transness can look like. Her use of multiple characters acts as a way to critique the “mad-lib” narrative and the singular, universalizing trans* experience. Through her inclusion of conflict and jealousy alongside love and solidarity, Thom is able to challenge transnormative narratives.

References

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Barr, S. M., Budge, S. L., & Adelson, J. L. (2016). Transgender community belongingness as a mediator between strength of transgender identity and well-being.Journal of Counseling Psychology, 63(1), 87-97. https://doi.org/10.1037/cou0000127

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Le Vay, L. (2019). Queer futures: Chosen families and alternative intimacies. Surrogacy and the reproduction of normative family on TV (pp. 189-214). Springer International Publishing AG. https://doi.org/10.1007/978-3-030-17570-2_5.

Livingston, J. (Director). (1991). Paris is Burning [Film]. Miramax.

Lorde, A. (1997). The uses of anger. Women’s Studies Quarterly, 25(1/2), 278-285.

Malatino, H. (2021). The promise of repair: Trans rage and the limits of feminist coalition. Signs: Journal of Women in Culture and Society, 46(4), 827-851. https://doi.org/10.1086/713292

Metonymy Press. (2016, September 8). Kai Cheng Thom on her inspiration for Fierce Femmes and Notorious Liars [Video]. Youtube. Kai Cheng Thom, on her inspiration for Fierce Femmes and Notorious Liars

Stone, A. L., Nimmons, E. A., Salcido, R., & Schnarrs, P. W. (2020). Multiplicity, race, and resilience: Transgender and Non‐Binary people building community. Sociological Inquiry, 90(2), 226-248. https://doi.org/10.1111/soin.12341

Thom, K.C. (2024, October 1). To combat transphobia, we need to engage with the people who spread it. Xtra. https://xtramagazine.com/power/transphobia-talk-back-268219

Vipond, E. (2015). Resisting transnormativity: Challenging the medicalization and regulation of trans bodies. Theory in Action, 8(2), 21-44. doi:https://doi.org/10.3798/tia.1937-0237.15008