Camping the gothic: que(e)ring sexuality in Truman Capote's Other Voices, Other Rooms

Since its release in the late 1940s, Other Voices, Other Rooms has remained an arguably unpopular novella in the works of Truman Capote; its criticism is thus far from recent. Most critiques explore the work in its historical milieu of Southern-gothic fiction, either intentionally or unintentionally avoiding the very prominent queer themes. This article acknowledges Capote's use of gothic paradigms and the text's process of undermining gothic motifs to highlight its two adolescent queer characters. Moreover, the text's own Camp discourse is the liberating force that extinguishes the looming Southern-gothic background to expose the sexual possibilities for its young characters. Amidst the sea of late forties and fifties fiction that frequently ensconced the death of the homosexual character, this novella serves as an exception: through a humorous Camp aesthetic, the text gives birth to its inherent queer desires.     

A critique of neoliberalism with fierceness: queer youth of color creating dialogues of resistance

As a form of deregulated capitalism that has run amok, commodifying all that is in its path, and as a cultural means of commodifying Black and brown bodies, neoliberalism has taken a serious toll on the lives of working-class queer youth of color. Although it has hijacked spaces of cultural representation and material production, neoliberal capitalism is far from transparent. Through resistance, activism and performance queer youth of color have now started to shape a critique of oppressive structures, neoliberal policies, and pedagogical practices that are critical of their intersecting identities. This article examines neoliberalism's impact on education, focusing on educational policy and how these policies have affected queer youth of color in the urban centers of our major cities. This article also considers the contributions made by educators writing from the perspective of critical pedagogy in addressing the plight of queer youth of color in U.S. schools while employing the example of the dance group, Innovation, as way of addressing the havoc of neoliberalism in the lives of queer youth of color through performance and activism. This group has not only transformed notions of gender, race, class and sexuality that challenge major tenants of neoliberalism, but has also served as potent sites for the development of a critical pedagogy for working-class queer youth of color. Through sites of resistance rooted in progressive struggle, queer youth of color must be enabled by critical transformative intellectuals committed to encouraging youth to critically evaluate and challenge ideologies while displaying an allegiance to egalitarianism.     

Identifying the death gender -- the ghost of masochism in queer subject

This article re-assesses the theories of death, narcissism and identification from a selection of essays by Sigmund Freud and Jacques Lacan in order to demonstrate that gender is generated out of masochism and the 'death drive' (Todestrieb). In closely reading and amending key sections of Judith Butler's queer theories, the author argues against her Foucaltian claim that the queer subject is constituted in the face of a sadistic Law, which s/he is forced to eroticise and internalise, and therefore conflate with her/his own masochism. It is argued that the subject's masochism is a queer attempt not to be; to bridge the constitutional split enforced by the Lacanian idea of the assumption of subjectivity through misidentification, and to become a living mortuary for the (dead) identifications that found the subject on his/her illusory ground through the (contingent) foreclosure of the Other.     

Walt Whitman,Our Great Gay Poet?

ABSTRACT

This article surveys the critical debates around Walt Whitman's “Calamus” cluster, arguing that a “queer” reading of Whitman—one that does not see him as, for example, a closeted homosexual who censored his work for fear of being “outed”—is both historically accurate and politically efficacious. While previous efforts to reclaim Whitman as “our great gay poet” are understandable—particularly given critical readings of Whitman that denied the homoeroticism of his poems—today, a reading of Whitman as homosexual threatens to simplify our understanding of the history of homosexuality and to blunt the power of Whitman's poetry to continue to “queer” normative understandings of sex and gender identity categories and their relationship to politics.     

Life-Stories and Storied Lives: Genre and Reports of Lived Experience in Gay Personal Literature

ABSTRACT

Personal literature may be written either as a life story such as an autobiography or memoir or as an autobiographical novel. Using the three volumes comprising the memoir of author Paul Monette and the three volumes comprising the autobiographical fiction trilogy of journalist and novelist Edmund White, this article explores the goal of each author for selecting a particular genre in which to write about lived experience. Each author enjoyed an elite education and came to adulthood in postwar America in the decade prior to the gay rights era beginning in the 1970s, and each writer participated in the sociosexual culture emerging over the succeeding decade. Each writer became HIV+ in the 1980s (Monette died of complications attending AIDS in 1995), and each writer experienced the loss of his lover to AIDS. While Monette and White each experienced the anti-gay prejudice of postwar American society, Monette's youth was less troubled than that of White who grew up in a complex family with a distant yet harsh father toward whom he was also sexually attracted. While Monette's goal in writing a memoir was that the suffering of his generation of gay men should be remembered, White's goal was more personal, choosing autobiographical fiction in his effort to overcome his feelings of shame about being gay founded on his desire for his father.     

Straight Eye for the Gay Guy: Composing Queerness

Drawing on the work of Didier Eribon and his theorization of the construction of gay male subjectivity, this article examines different “texts,” broadly defined, that grapple specifically with straight men attempting to represent male homosexuality: Norman Mailer's essay, “The Homosexual Villain”; the Bravo reality television series Boy Meets Boy, and Michael Griffith's short story, “Hooper Gets a Perm.” These texts represent attempts by straight authors to grapple with queer experience in ways that move the imagination of queers beyond simple stereotypes or uncritical explorations of the sexual “other.” In the process of examining these texts, the following questions are addressed: What happens when a straight man attempts to represent a gay man? Does he “get it right,” and is such a question even useful? More specifically, what is the value in having straights imagine queerness? Is such an imagining possible? Is such desirable? And, if so, what are the contours of such an imagining—as well as its possibilities and limitations, pedagogically, personally, and politically? Ultimately, I contend that the straight imagining of queerness offers rich potential for mutual understanding; furthermore, attempting to understand what goes into the making of those representations tells us much about how queerness circulates in our culture as a subject, a figure of discussion, contention, and representation.     

Drag king magic: performing/becoming the other

This chapter seeks to theorize drag king practice through the lenses of alterity, liminality, and performance theory, while attempting to complicate and reinvigorate discussions of identity raised by drag. I examine the ways in which drag king performance plumbs the concept of "the Other," and forces confrontation with a complex field of desire. Contemporary "queergirl" existence negotiates a range of desirable and desiring Others, from the polarities (i.e., butch-femme) unique to queer structures of desire, to the desire of those on the cultural margins for the power of those at the center, and vice versa. I employ anthropological theories of performance, mimesis, and liminality to establish a framework through which drag kings may be viewed as crucibles of this desire and agents of this power exchange. By performing maleness, drag kings expand and redraw the definitional boundaries of the male, interfere with the cultural power of mainstream maleness, and simultaneously transfer some of this power to themselves as queer women. At the same time, drag king existence forces a renegotiation of queergirl desire to encompass a range of masculinities. By performing/becoming the Other, drag kings engage in a practice of magic which transforms both margin and center.     

Ephebophilia and the creation of a spiritual myth in the works of Ralph Nicholas Chubb

The writings of Chubb, a boy-lover inclined to spiritualism will be studied with a view to understanding how he created an exonerative myth to reconcile his sexual interest with his desire for spiritual fulfillment. In this myth Chubb is the prophet of a deity who looks like a young boy and loving boys has spiritual significance. Chubb's pre-modern perception of his sexual orientation helps us to understand the changing views of homosexuality. This study may help in understanding the relationship between sexual desire and the development of personal myths.     

“Nobody Don’t Really Know What That Mean”: Understandings of “Queer” among Urban LGBTQ Young People of Color

ABSTRACT

Drawing from in-depth, semi-structured interviews with 40 urban LGBTQ young people of color, I explore their uses, understandings, and meanings of “queer.” With several notable exceptions—those who at least occasionally self-identified as queer—most of the young people avoided using the term altogether. Although the majority expressed confusion about what “queer” meant, many understood it to be somehow related to sexuality or being gay, but considered it potentially insulting. I discuss the relevance of these findings for work in queer fields, where research participants may not explicitly identify as queer or make use of the word.     

Some myths and anomalies in the study of Roman sexuality

This paper seeks to dispel several myths prevalent in the scholarship on Roman sexuality: that a freed slave was still obligated to serve his former master's sexual demands (I.A.), that the cinaedus cannot be the same as the modern male homosexual because the cinaedus was thought capable of performing cunnilinctus (I.B.), that exoleti were male prostitutes (I.C.), that the Romans were implacably hostile to lesbianism and that they constructed the lesbian as a phallic monstrosity (II.). It also draws attention to some neglected, unfamiliar, or misinterpreted evidence-anomalous on the current understanding of Roman sexuality, where women, boys, and lower-class men are supposed to have equal standing as potential passive sexual partners for adult men-for adult men whose sexual partners are exclusively male, and either active or passive: exoleti as active partners (I.C.), a puer delicatus who is prized for a masculine appearance rather than a feminine one (I.D.), and the Warren Cup, which glorifies a world of exclusively male-male sexuality (I.E.).     

Space,Agency, and the Transfiguring of Lesbian/Queer Desire

In this study, the author uses ethnographic and interview data from Pussy Palace, a lesbian/queer bathhouse in Toronto, Canada, to examine the ways in which the bathhouse space impacted participants' sexuality, behaviors, and notions of self. The Toronto Women's Bathhouse Committee (TWBC), an explicitly feminist and queer organization, is responsible for putting on Pussy Palace events and in creating an atmosphere that is simultaneously sexual and safe. Findings indicate elements of both spatial praxis and sexual agency, wherein individuals expressed being able to “take risks,” “find their sexuality,” and “discover who they are” in a safe space, where nonnormative bodies and sexualities are to be celebrated. Although participants expressed feeling “liberated,” many also described feeling anxious, awkward, and insecure. Within a sexual space where bodies are exposed and highly salient, these anxieties worked to inhibit and curtail bodily expression. The author concludes by discussing the significance of spaces like Pussy Palace for lesbian/queer individuals when it comes to sexual expression and the need for further research when it comes to examining lesbian/queer sexualities and public sexual cultures.     

Queering Ethnicity in the First Gay Films From Ex-Yugoslavia

Between 2002 and 2005 four of the Yugoslav successor states produced major feature films with lesbian or gay protagonists: Maja Weiss's Guardian of the Frontier (Slovenia, 2002), Dalibor Matani?'s Fine Dead Girls (Croatia, 2002), Dragan Marinkovi?'s Take a Deep Breath (Serbia, 2004), and Ahmed Imamovi?'s Go West (Bosnia and Hercegovina, 2005). As with other films from Eastern Europe that portray queer characters, all of these films were shot by straight directors, and the queer characters are not representations of real local queer communities, but instead are used as metaphors to address topics the filmmakers find more important, such as ethnicity and national identity. The ethnic hatreds that fueled the wars of the 1990s were mobilized through the heterosexual matrix. In these films anxieties about ethnicity are worked out through plots involving queer sexuality, though they work differently for male and female couples: female bodies can be conventionally objectified by the heterosexual male gaze, while male couples become the focus for anxieties about male rape.     

Preposterous Histories

This article explores maternal desire, loss, and control by reading Carolee Schneemann's performance Interior Scroll (1975) through Tracey Emin's photographic print I've Got It All (2000). More specifically, I consider Schneemann's work on the energy of female sexuality and maternal desire through Emin's recurrent visualizations of sexuality and maternal loss. The artists' refusal to disengage with the commodified (dis)pleasures of femininity leads me to consider the differently contextualized handling of these issues in each artwork. I explore the mediation of the body of each artist by positioning Emin's work as a “source” for my reading of Schneemann's performance. Invoking the notion of “preposterous history” (Bal 1999), I argue that the concepts of the “live” and the “mediated” are differently intensified by operating outside of the constraints of chronology. Hence the inter-generational dialogue between these particular female artists, whose work has been produced at different historical moments, is itself generative of thoughts and ideas that are irreducible to the individual works.     

Reporting The Women's Movement

This article examines and compares how four British and American newspapers reported the second-wave feminist movement during its most active political period, 1968–1982. Through the use of both content analysis and critical discourse analysis, this study reveals that despite socio-political differences, both US (The New York Times, the Chicago Tribune) and UK (The Times, Daily Mirror) newspapers used a similar range of discourses when addressing the women's movement and its members. While coverage overall can best be described as fragmented and contradictory, I argue that on the surface, there was significantly more “positive” or supportive articles on the women's movement than previous scholars have noted. However, these news stories rarely addressed the ways in which capitalism and patriarchy oppress women as a group, and often created a demarcation between “legitimate” and “de-legitimate” feminists, the latter being anyone who deviates from traditional feminine norms. Such constructions therefore were not only politically incapable of challenging women's oppression, but helped construct feminism as a dirty word, a connotation which still exists today. This paper will also address the emergence and eventual dominance of oppositional discourses, examining the patriarchal and capitalist ideologies used in both countries to rebuff the movement, its members and their goals.     

Fat Monica,Fat Suits,and Friends

This paper examines narratives about fatness that are represented and reproduced by the character of “Fat Monica” played by Courteney Cox in a fat suit on the sitcom Friends. By drawing on David T. Mitchell's framework for analyzing “narrative prosthesis,” I examine how Fat Monica's narratives on Friends represent complex intersections of identities. I argue that fat suits often evoke fatness to support limited and clichéd narratives; however, fat suits may also enable new means of representing and understanding fatness. Through an analysis of the ways in which Fat Monica is represented in the episodes she appears in, three key uses of Fat Monica's fatness are discussed. Firstly, I examine the comic uses of Fat Monica and their relationship between fatness and humour. Next, I examine how Fat Monica storylines represent interlocking narratives of fatness, femininity, and sexual desire. Lastly, I consider how Fat Monica represents the construction of the normative body and claims about fatness and authenticity. Ultimately, Fat Monica illustrates how fatness relates to understandings of humour, gender, social class, and heterosexuality.     

Engaged with eBay

eBay promises individuals varied identity positions but renders the most traditional roles—particularly wedding engagements and marriages between a woman and a man. The company indicates that “you can get it on eBay” and the site satisfies desires, fulfills consumer needs, and connects people. Yet, eBay also controls the messy and queer aspects of collecting, and institutes a normalizing structure that compels most individuals to follow eBay's directives, attend to its moral codes, and facilitate community trust. I use close visual and textual analysis and feminist and collecting literature to interrogate how eBay deploys narratives about engagement rings, weddings, and heterosexual unions. I also consider the related ways women sellers list their personal wedding dresses. By providing representations of their weddings and marriages, these women support eBay's normalizing structure and trouble some of its functions. Studying such practices is important because wedding cultures and related rituals ordinarily articulate gender, race, and sexuality positions; conceptions of the individual, family, community, and state; connections between love and consumerism; and the standards by which people are expected to live their lives.     

Gay/Queer Dynamics and the Question of Sexual History and Identity

This article examines how the essentialist/constructionist and gay/queer divides have been structured by a division between closed and open notions, and it then argues that these gay and queer notions also interrelate. It argues that unhistoricist queer theory has recently drawn attention to this closed/open interrelationship by inadvertently raising (a) doubts about the irreducible openness of queer; (b) questions about its fundamentalism; and (c) reservations about its ability to handle the re-emerging issues of consonances between sexual concepts across history and the importance, usages, and allure of sexual identities. I argue that these concerns are well grounded, and that queer theory may thus have reached its expiration date.     

Queering Bollywood: alternative sexualities in popular Indian cinema

In this essay, I demonstrate through numerous examples taken from four identifiable Hindi film subgenres queer themes which, though nontransgressive in their native Indian context, acquire subversive value and serve as queer points of identification when viewed from a non-nationalist bias. Watching particular films with this "queer diasporic viewing practive," sex/gender play which is normative (yet still coded) in the land of the films' production can be reclaimed as queer through the differently subjective lens of transnational spectatorship, a lens removed from patriarchy, sexism, and homophobia. This particularly becomes apparent in the Bollywood dance sequence-the frequent site of Hindi sex/gender play-whose coded queer desires are much easier to de-code (or re-code) when in the diaspora.     

“Old Sodom” and “Dear Dad”: Vanbrugh's Celebration of the Sodomitical Subject in The Relapse

Although the sodomitical discourse of the early-eighteenth century was fraught with competing ideologies and significations, this did not preclude the formation and expression of a sodomitical identity founded upon male same-sex desire. Orvis takes the case of Coupler, the sodomite staged in Sir John Vanbrugh's play The Relapse; or, Virtue in Danger (perf. 1696; pub. 1697). Vanbrugh's portrayal of this unabashed, unapologetic sodomite—a sodomite, moreover, who is accepted by the dramatis personae of the play he inhabits—suggests not only that the possibility of a sodomitical desiring subject was widely acknowledged by the theatergoing public of early-eighteenth-century England, but also, and perhaps more importantly, that sodomites were not always understood as monstrous Others against which normative identities were constructed.     

Some Spatial Politics of Queer-Feminist Research: Personal Reflections From the Field

ABSTRACT

This article addresses methodological issues emerging from research conducted with Trans in the Center, an LGBT activist group in Tel Aviv, Israel. It addresses some complex issues related to the politics and ethics of applying queer and feminist methodology to qualitative research in a trans, queer, and feminist community space. The focus is on two issues: the researcher’s positionality vis-à-vis the participants and selecting the appropriate methodology in relation to the characteristics of the group under study. Such issues demonstrate how queer and feminist principles are articulated and interwoven in geographical-spatial research in two different dimensions: in the research practice and methodology and in the practices and the spaces created by the activity of the researched group itself. I conclude with insights arising from the attempt to apply feminist and queer paradigms in both theory and research, and I call for their integration into geographical research.