Reviewed by:

• Trans Care by Hil Malatino
• Dan Paz

Trans Care, written in the context of western, queer, trans and non-binary experience, is part of University of Minnesota Press’s Forerunners: Ideas First series. These books, short in length and sometimes long and wild in sentiment, are meant to provide a [End Page 597] more immediate and open-access space for scholars to speculate, analyze, and think out loud.

Rather than producing a guide or manual, Hil Malatino illustrates how daily negative affect impacts queer, trans, and non-binary lives. One of the topics that Malatino takes up is the harm of misgendering. Malatino critiques misgendering as a microaggression that is not simply offensive to an individual’s sensibilities but is instead ultimately an ontological refusal of the legitimacy of trans existence. In response to such attacks, Malatino uses photography as a metaphor to describe a culture of trans care that pushes beyond the frame of rote institutional mores to provide a temporally generative space for thinking about trans existence and imagining its possibilities. Malatino looks for relations between the lived experiences documented by photographs, the aesthetics and limits of the photograph, and the photograph’s audience, leveraging what French photography theorist Roland Barthes would call the overall cultural interplay between personal and collective responses to visual representations in the “studium.”

In this reading, the image depicts both the cultural and structural aspects of society, while shaping and interacting with our lives. In the first chapter, “Surviving Trans Antagonism,” Malatino describes the anticipation of his upcoming top-surgery to explore aftercare as a world of living and wellness; a vulnerability “that facilitates and supports emergence into a radically recalibrated experience of both body-mind and the world it encounters” (3). He uses contemporary photographic mise en scene, contextualizing a single frame of space in time, to decenter Eurocentric and normative concepts of family, picking apart “dominant imaginaries of how care labor does and should operate” (7). Malatino asks, “how are queer and trans folx living in the world, and how is the world living around us?”

Recently, my partner underwent gender affirming surgery, and it’s been difficult to reckon with the degree of queer kin interdependence required to make our lives work. They had a very alarming fainting spell the day after top surgery while on a host of medications. Stumbling to answer a series of dated and irrelevant questions on a 911 phone call to paramedics, I was both confused and infuriated: “Is she a female?” “What was the assigned gender at birth?” “Is there female genitalia?” How would the gender of my partner inform or disrupt the urgency of medical response? Fortunately, my partner survived the fainting spell, however, this experience crystallizes what Malatino calls a “gendered panopticon” (27): a method of constant, state-sanctioned surveillance where hetero-normative gender binaries are pervasively reproduced, often with fatal consequences. Keenly, Malatino’s use of transivity and photographic theory destabilizes the static image of this gendered panopticon. Surveillance looks for what it recognizes in its limited institutional vernacular.

In “Something Other Than Trancestors,” Malatino continues a mode of critical reflection in this memorable chapter on his archival research as both detachment and survivance. He mentions a photograph of Claude Cahun as a formative device in “[t]he standard feminist analysis which circulates around the gender transitivity of the image—is Cahun training to become, or unbecome, a woman?” (51) As a limited gender analysis, he redirects these dialectics into a larger, more expansive refusal, suggesting how all these conventions might perform misrecognitions that, when metabolized in aggregate, can impact transness, queerness, and non-binary subject formations, leaving lasting marks. Malatino describes the foreclosure of transcestors to singular identities as a western, colonizing gesture. Instead, he suggests that a trans aesthetic practice could open a space of possibility in the “links between transition, gender instability, and desire” (52). Such links offer variance in what Jordan Reznick—writing on photographs by Claude Cahun and Marcel Moore—refers to as “more comprehensive frameworks for making sense of trans subjectivity” (“Through the Guillotine Mirror: Claude Cahun...

审阅者：

• Hil Malatino 的跨性别护理
• 丹·帕斯

《跨性别关怀》是在西方、酷儿、跨性别和非二元经历的背景下撰写的，是明尼苏达大学出版社的先驱者：创意第一系列的一部分。这些书篇幅较短，有时又长又狂野，旨在为学者们提供一个[完第597页]更直接、更开放的空间来推测、分析和思考。

希尔·马拉蒂诺并没有制作指南或手册，而是阐释了日常负面情绪如何影响酷儿、跨性别者和非二元生活。马拉蒂诺讨论的话题之一是性别歧视的危害。马拉蒂诺批评性别歧视是一种微侵犯，它不仅是对个人情感的冒犯，而且最终是对跨性别存在合法性的本体论拒绝。针对此类攻击，马拉蒂诺用摄影作为隐喻来描述一种跨性别关怀文化，这种文化超越了死记硬背的制度习俗的框架，为思考跨性别存在并想象其可能性提供了一个暂时的生成空间。马拉蒂诺利用法国摄影理论家罗兰·巴特（Roland Barthes）所说的“工作室”中个人和集体对视觉表现的反应之间的整体文化相互作用，寻找照片记录的生活经历、照片的美学和局限性以及照片观众之间的关系。 ”。

在本文中，图像描绘了社会的文化和结构方面，同时塑造了我们的生活并与之互动。在第一章“跨性别对抗中求生存”中，马拉蒂诺描述了他对即将进行的顶级手术的期待，以探索术后护理作为一个生活和健康的世界；一种“促进和支持身心及其所遇到的世界经历彻底重新调整的脆弱性”（3）。他使用当代摄影布景，将单一的空间框架置于时间背景中，以欧洲中心和规范的家庭概念去中心化，剔除“关于护理劳动如何运作和应该如何运作的主导想象”（7）。马拉蒂诺问道：“酷儿和跨性别者如何生活在这个世界上，我们周围的世界又是如何生活的？”

最近，我的伴侣接受了性别确认手术，很难估计我们的生活所需的酷儿亲属相互依赖程度。顶部手术后的第二天，他们在服用多种药物的情况下出现了非常令人震惊的昏厥。在打给医护人员的 911 电话中，我结结巴巴地回答了一系列过时且不相干的问题，我既困惑又愤怒：“她是女性吗？” “出生时指定的性别是什么？” “有女性生殖器吗？” 我伴侣的性别将如何影响或扰乱医疗响应的紧迫性？幸运的是，我的伴侣在昏厥中幸存下来，然而，这种经历具体化了马拉蒂诺所说的“性别圆形监狱”（27）：一种持续的、国家批准的监视方法，其中异性恋规范的性别二元性被普遍复制，往往会带来致命的后果。马拉蒂诺对传递性和摄影理论的运用敏锐地破坏了这个性别圆形监狱的静态形象。监视在其有限的制度语言中寻找它所认可的东西。

在《除了传人以外的事》中，马拉蒂诺在这一令人难忘的章节中继续了一种批判性反思的模式，他的档案研究既是超然的，也是生存的。他提到克劳德·卡洪的照片是“围绕图像的性别传递性进行的标准女权主义分析中的一种形成手段——卡洪正在接受训练，成为一名女性，还是不成为一名女性？” (51) 作为有限的性别分析，他将这些辩证法重新引导为更大、更广泛的拒绝，表明所有这些惯例可能如何进行错误识别，而这些错误识别在总体代谢时可能会影响跨性、酷儿性和非二元主体形成，从而留下持久的痕迹。马拉蒂诺将超越者对单一身份的排斥描述为西方的殖民姿态。相反，他认为跨性别美学实践可以在“转型、性别不稳定和欲望之间的联系”中打开一个可能性空间（52）。这些链接为乔丹·雷兹尼克（Jordan Reznick）在克劳德·卡洪（Claude Cahun）和马塞尔·摩尔（Marcel Moore）的照片上写道的“理解跨主体性的更全面的框架”（“通过断头台镜子：克劳德·卡洪……”）提供了差异。