I often notice how students can gain the capacity to use certain critical methodologies through engaging with very different texts - how a graphic novel about gentrification and an anthology about Hurricane Katrina and a journalistic account of war profiteering might all lead to very similar classroom conversations and critical engagement. I'm particularly interested in this when teaching law students who often resist reading interdisciplinary materials or materials they interpret as too theoretical.

We must experiment, fail, and try again, but beginning with a critique of legal reform and a commitment to center the most vulnerable moves us away from some of the most common, obvious pitfalls of neoliberal social movement strategies.

I am often talking about the ideas collected in Normal Life in contexts that are not academic, or that are full of people who are not primarily engaging as theorists or theory-readers. Being able to make ideas visual, especially critical ideas about movements that can be difficult to hear because of attachments we have to certain national narratives, or because of ways that we see ourselves, is especially useful.

As trans advocacy has institutionalized and developed, the context of the undemocratic nature of US non-profits and the ways that white, wealthy individuals can intensely influence the directions of advocacy have increasingly come to the surface for trans activists.

Choosing an agenda that supports the apparatuses of racial violence always pays better.

One of the concepts I was having trouble illustrating was the concept that administrative systems create narrow categories of gender and force people into them in order to get their basic needs met - what I call "administrative violence." I had images of forms with gender boxes and ID cards with gender markers, but I also wanted an image that would capture how basic services like shelters are gender segregated.

I am not arguing that we should never use legal reform as a tactic. Instead, I argue that it should not be a goal.