We have the right to demand collective and "common" ownership of the biocodes of gender, sex, and race. We must wrest them from private hands, from technocrats and from the pharmacoporn complex. Such a process of resistance and redistribution could be called technosomatic communism. (Preciado, 2013: 352) This statement, from Paul B. Preciado's book Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era (2013), refigures the call to arms as a call to testosterone. The text sets a fictionalised first-person account of Preciado's self-styled experiments with the synthetic androgen Testogel against a bold theory of gender in the era of hormone pharmacology. First published in Spanish in 2008, Testo Junkie appeared in a French edition translated by Preciado that same year, and an English translation by Bruce Benderson in 2013. Just as Testogel has precipitated Preciado's gendered transformation, so the book has undergone its own metamorphosis across successive editions and printings. While early editions give the author's name as Beatriz Preciado, rendered in the text as "BP", Testo Junkie was recently republished with a new name on the cover: Paul B. Preciado. A note on the fourth printing reads, "Understand that Paul absorbs and assumes all that was once BP" (Preciado, 2013: 10). This note reflects not only the author's shifting gender identity, but his exploratory relationship with the first-person narrative mode. Indeed, the book's opening sentence-"This book is not a memoir" (Preciado, 2013: 11)explicitly refuses the conventions not of gender but of genre. Testo Junkie is many things at once: a fictionalised account of its author-narrator's use of synthetic androgens, an alternative history of post-Fordism, and a manifesto for gender revolution. Perhaps unsurprisingly, this final dimension of Testo Junkie-its manifesto for 'technosomatic communism'-has been the most controversial (Preciado, 2013: 352). The book's central thesis argues that the post-industrial economy is structured around the material production of sexual subjectivity by means of molecular and multimedia technologies-drugs and pornography, in other words. Rather than simply describing this 'pharmacopornographic regime', Preciado finds the seeds of resistance in its biopolitical mechanisms (Preciado, 2013: 35). Modifying Judith Butler's theory of gender performativity to encompass the 'bioperformative' practices of hormonal supplementation, he writes that Feminist Encounters: A Journal of Critical Studies in Culture and Politics, 2(2), 19
