Monique Jenkinson - Faux Queen : A Life in Drag
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- Book:Faux Queen : A Life in Drag
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- Publisher:Bywater Books
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- Year:2022
- City:Ann Arbor
- Rating:3 / 5
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PRAISE FOR
FAUX QUEEN: A LIFE IN DRAG
Monique Jenkinson is the Jane Goodall of drag. As Fauxnique, she has also become one of its most admired primates. This book is a profound herstory of a uniquely fabulous tribe, as well as a deep dive into how to discover, then honor, your own transcendent path. Read and learn.
Justin Vivian Bond, trans-genre artist
Ive read many books about drag over the years and Monique Jenkinsons Faux Queen is officially my new favoriteand I swear its not just because Im in it! Her life story in drag is unique and inspiring. She beautifully and thoughtfully describes an outrageous, provocative, and magical time in San Francisco drag history thats often misunderstood in hindsight. Im so grateful to Monique for writing this incredible chronicle of our lives!
Peaches Christ, filmmaker and cult leader
If multiplicity is to your tasteMonique/Fauxnique can give you a FEAST. Heralding a career spanning three decades that meets at the oh-so-perilous intersections of drag, post-modern dance and performance art, feminist theory and critique, and activism, this woman is someone I hold dear as a local performance art hero and a sister who has always answered the phone whenever I called. STEAL THIS BOOK!
Brontez Purnell, author of 100 Boyfriends
An incredible window into the magical kiki of San Franciscos underground drag scene. A voice that is dazzling, sassy and philosophical all at the same time. In writing her memories, Monique/Fauxnique has gifted us a rare invitation to unlock the treasure of queer herstory through the eyes and vision of a faux queen. Taking us on a journey of ballet, punk and fake eyelashes Faux Queen is a living document of the deep connections and histories built by drag queens. I live!
Julin Delgado Lopera, author of Fiebre Tropical
Faux Queen is a playful, engaging, critically serious, counter-culturally crucial memoir that is full of joythe primal joys of art-making, fandom, connecting with like-minded weirdos, finding your place in the world and allowing your art and obsessions to lead you to it. I love this book.
Michelle Tea, author of Black Wave, Against Memoir and Valencia
Amble Press
Copyright 2022 Monique Jenkinson
By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of Bywater Books.
Amble Press First Edition: January 2022
eBook ISBN: 978-1-61294-222-3
Cover photo by Fontaine Weyman, 2008
Author photo by Robbie Sweeny, 2021
Cover design by TreeHouse Studio
This is a memoir. The events, places, and conversations are portrayed to the best of the authors memory. While all the stories in this book are true, the chronology of some events has been compressed. When necessary, the names and identifying characteristics of individuals and places have been changed to maintain anonymity.
THE FOLLOWING MUSIC LYRICS ARE REFERENCED IN THIS WORK:
This is the time. And this is the record of the time.
Anderson, Laurie. In the Air. Warner Bros. 1982
Well I went to school... Do it for the kids, yeah. Erlandson, Eric/Hole/Love, Courtney/Pfaff, Kristen/Schemel, Patty.
Rock Star. DGC. 1994.
Im gonna take my hips to a man who cares.
Harvey, PJ. Sheela-Na-Gig. Too Pure. 1992.
Sit back and enjoy the real McCoy.
Sioux, Siouxsie. Monitor. Polydor. 1981.
Why do we always come here? I guess well never know. Its like a kind of torture to have to watch the show.
Henson, Jim/Pottle, Sam. The Muppet Show Theme.
Arista Records. 1977.
We could be married and then wed be happy.
Asher, Tony/Love, Mike/Wilson, Brian.
Wouldnt It Be Nice.
Capitol Records. 1966.
Will I miss the sky? Will I miss the clouds?
Will I miss the city lights?
Ono, Yoko. Will I. Capitol Records/EMI. 1995.
Take a cruise to China, or a plane to Spain... Meet a girl on a boat, meet a boy on a plane.
Oakey, Phillip/Wright, Phillip Adrian.
The Things That Dreams
Are Made Of. Virgin. 1981.
Fuck the mothers, kill the others.
Sioux, Siouxsie. Night Shift. Polydor. 1981.
I still have my hands, I still have my telephone,
I still have my allergies.
Monk, Meredith. The Tale. ECM. 1980.
You arent never goin anywhere.
Gordon, Kim/Moore, Thurston/Renaldo, Lee/Shelley, Steve.
Tunic (Song for Karen). DGC. 1990.
I did go from wanting to be someone, now Im drunk
and wearing flip-flops on Fifth Avenue.
Wainwright, Rufus. Poses. Dreamworks. 2000.
Keats and Yeats are on your side, while Wilde is on mine.
Morrissey/Marr, Johnny. Cemetery Gates.
Rough Trade. 1986.
Sometimes Ive been to cryin for unborn children that
might have made me complete.
Hirsch, Ken/Miller, Ron. Ive Never Been To Me.
Universal. 1982.
Go out on the lawn! Put your swimsuit on!
Brownstein, Carrie/Tucker, Corin.
Im Not Waiting. Chainsaw. 1996.
When I think of those East End lights, muggy nights/The curtains drawn in the little room downstairs.
John, Elton/Taupin, Bernie.
Someone Saved My Life Tonight.
MCA Records. 1975.
For my blood family & my drag family.
For Mitzi, Tom, Marc & Kevin.
SLAY, ILLUSION
When I try to remember one of the first times I saw Fauxnique performaround 2008, when San Franciscos drag subculture became my unofficial beat as a freelance alt weekly arts reporterI see myself on a Sunday, walking into a bar in the Castro in the middle of the day. Near the door, in a little circle of bar floor space cleared for performancethe kind of improvised ritual performance space Ive come to associate with that place and timeFauxnique stands, making angular turns and gestures, reflected and reproduced in a video monitor while ominous, discordant music plays: Laurie Andersons From the Air.
I knew this song from my own misfit teenage years in the 90s spent seeking arty escape hatches from suburban life on Bainbridge Island, Washington: my queer friends and I, like Monique and hers not so long before us, ran to music for solace and for provocation, for some mirror, too, in which we might catch a reassuring glimpse of our own outcast inner lives, worshipping Nina Hagen and Yoko Ono and The Slits. Now Fauxnique was lip-synching, or maybe she wasnt:
This is the time. And this is the record of the time.
And I was there reveling in this postmodern glory because the search had, naturally, continued: into the clubs and bars of the Bay, dark and sticky rooms where generations of art-damaged seekers mixed and mingled, recognizing one another in, if nothing else, this shared mission of discovery and of love: love of music and, more often than not, of the women who made it; love of irreverence and of subversion; love of absurdity, of play, of making things, of breaking things, of casting spells, of glamour.
It all came together in drag. In those years in San Francisco, drag appeared to be enjoying a special moment, part of a long and continuing process of mutation. Drag was busy both celebrating and transcending itself: the drag scene there was also a performance art movement, one that predated and foreshadowed drags storming the gates of popular culture.
Drag has always been here and it always will be: to slightly alter what Jeff Goldblums Dr. Ian Malcolm says of life itself in Jurassic Park: drag finds a way. (Incidentally, Jeff Goldlbum appeared as a guest judge on Rupauls Drag Race in 2020, where he got himself into hot water; questions he posed to one contestant, Jackie Cox, an Iranian Canadian, about Islam being anti-homosexuality and anti-woman led to outcry and argument online.) Who could have known that one of the ways it would find would be Fauxnique, the first faux queen winner of San Franciscos biggest drag pageant, which started as a parody of a drag pageant, doing, essentially, a conceptual dance number in the middle of the day, at a gay bar in the Castro, to a song from Laurie Andersons Big Science ?
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