Inclusivity at Sirens: Kate Larking

Sirens is about voice: the voices of each individual attendee, how those voices come together in conversation, and how those conversations create a community. At Sirens, we want everyone to have an opportunity to use their voice, whether that’s as part of our programming schedule or late into the night over tea.

But we also know that building a space for those conversations—a space where everyone is willing to speak and, equally important, where everyone is willing to listen—is not so simple. So often, we as a society build barriers that prevent people from speaking, and so often those barriers are based on gender, sexuality, race, religion, ability, or other identity—and so often those barriers also help others ignore those voices.

This year, we are featuring a series of posts addressing diversity, inclusion, and intersectionality at Sirens in order to highlight voices that are both vital to our community and are too often unheard.

Sabrina Chin and Amy Tenbrink, Conference Chairs


I’m Kate Larking, reading and writing enthusiast, and I am one of the few people who has had the pleasure of attending Sirens every single year. I have been on the literary convention circuit for ten years, nine of them spent visiting Sirens each and every October. It’s quite the commitment, given the Canadian-American exchange rate and the international travel fares. But is it a pilgrimage I gladly make.

Sirens is more than a conference that focuses on women and other marginalized identities in speculative fiction. Sirens has become a community—a family—to me, my writing, and my reading. I’ve developed into the person I am because my wonderful experiences there, above all other conventions. If I only have the opportunity to attend one conference a year, I would choose Sirens—no contest, no comparisons needed.

Sirens’s growth this year has far surpassed expectations. After all, since I’ve been attending, the conference has held steady at a certain size. But for the 80% more new people, I am exhilarated—so many new voices, new experiences, new reading recommendations, and new friends to make!—and yet terrified. Sirens has become a safe place for me where I can be challenged to grow. I’m afraid of what may happen to the literary sphere I love. But the actions of the coordinators, assembling a group to write on intersectionality to ensure a lovely and lively community while at Sirens, gives me hope.

So let me illustrate to you what Sirens means to me:

When I was asked to write an article on intersectionality at Sirens, I immediately felt unqualified. Anyone would, after all. Each and every one of us is a single person among the world’s population. But I have come to understand that I am a cross-section of identities.

I am a cis white married lesbian mother, and a born-and-raised atheist Canadian. I am under the influence of depression more often than I—well, anyone—would like. This identity contributes to everything I do and everything I experience. Primarily, everything I create and everything I read.

My main creative project at the moment is the queer space opera webcomic, Crash and Burn. I work with a non-binary illustrator, Finn, and together we challenge existing prevalent queer narratives. We work hard to retain control over the comic, which means self-publishing, hand-selling at conventions, and speaking up about queer identities both in real life and fiction. The more I work on the comic and interact with readers in public spaces, the more aware I am of microaggressions and the weight they carry. Each time someone makes an insensitive statement (or asks a question) about the comic or us, the heavier it is to carry on through the day.

Actual statement at a convention: “Queer space opera? Who thinks of this stuff?”

It doesn’t stop at dialogue. The derogative and challenging rhetoric continues online, in review channels and in award nomination roundups:

Actual review excerpt: “I notice that the artist found it necessary to note that ‘they’ is/are ‘agender,’ and uses the pronouns ‘they’ and ‘them’ in the preface; I do wonder why not use ‘xe’ and ‘xem’ as in the work? It would feel fitting—unless Finn is more than one person.”

As a queer person, working creatively in the face of these hurtful assumptions and comments can be difficult (understatement). On one hand, you want to create more, and assert the presence of these queer identities more. On the other hand, you are exhausted, frustrated, irritable, furious, and still trying to maintain a professional and affable exterior as required at a conference or convention. But it isn’t a queer person’s job to act as a sole ambassador and educator on their identity.

To combat these microaggressions and identity-challenges, we’ve deployed a few marketing tactics:

  1. We put “Queer space opera” on our biggest banner.
  2. Finn made a misgendering jar—like a swear jar but queer. Misgender one of us, pay a dollar (all proceeds go to an LGBT-supportive charity).
  3. We deployed flags from various queer identities represented in our work on the table, as a queer shorthand, to make that representation visible to those identities.

The banner does its job, I have to say. People see us across the hall, come over, and hear what we are about. And we love these passionate, enthusiastic, welcoming readers. They are kind and generous; they listen to our voices and learn from the context of our discussions of what they might need to Google and read up on later.

It works in other ways, too. Other people glance at the word queer and self-select away from our table. More often than not, it’s caregivers guiding their young charges away from us, as though we are more offensive than the scantily-clothed, misogynistic portrayal of women in comics at the table next to us. (In all honesty, we expect to meet the kids in person in a few years when this happens.) So while we’re fine with people self-selecting out, some of those would-be microaggressions become full-fledged aggressions.

Actual statement at a convention: “I want to let you know that I am not buying this because it is queer.”

I’m sharing these anecdotes because I want to make something very clear about these conventions versus this one:

Sirens is different.

One thing that unites us at Sirens is that we love developed, complex voices in speculative fiction. We embrace worlds that are different from our own and seek out the experiences of those who live within them. At Sirens, we don’t attack character identities in our discussions, criticize cultures, or apply an arbitrary-binary the character may or may not belong in.

The reason we read, the reason we gather, and the reason we discuss is to open our eyes, challenge our identity-based perspectives on the world, support representation and those represented, and grow together. And when we go home, we are stronger, wiser, better-informed, supported and supportive in our community.


Kate Larking is a book buyer for an independent bookstore. In her off hours, between binge-watching anime and leveling-up game characters, she writes speculative fiction for both young adult and adult markets. Her queer space opera comic, Crash and Burn, was a finalist for the 2016 and 2017 Aurora Award for best English Graphic Novel. She cofounded Anxiety Ink, a community of writers dealing with the stress and challenges of writing. She resides in Calgary, Alberta, with her wife, daughter, and six pets.

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