I was born a Zionist, because I didn't have a choice about that. It was the ether of my family life, but I certainly broke with it as I asked more questions about it. And that doesn't mean I want to see the destruction of a people, it means I want to see a state structure that might embody more substantially the basic principles of democracy.

Look, "Gender trouble" includes a critique of the idea that there are two ideal bodily forms, two ideal morphologies: the masculine and the feminine. I want to suggest that today the intersex movement is very engaged with criticizing that idea.

The important thing is to think about theory in life in that way. And I think we don't have to be theorists, we don't have to have gone to the academy, or to the university to learn theory and to be a theorist of gender.

I must say, I feel the reception of my work is none of my business.

Visual renditions of war not only establish what can be seen, and the audio-track established what can be heard, but the photographs also "train" us in ways of focusing on targets, ways of regarding suffering and loss.

I reject totally the characterization of a transwoman as a mutilated man. First, that formulation presumes that men born into that sex assignment are not mutilated. Second, it once again sets up the feminist as the prosecutor of trans people. If there is any mutilation going on in this scene, it is being done by the feminist police force who rejects the lived embodiment of transwomen. That very accusation is a form of "mutilation" as is all transphobic discourse such as these.

So for instance in rap music, you very often hear words that would seem very racist, or very misogynous or very homophobic but in some of those instances, the words are being taken back or redefined so that they lose their injurious quality.