queer sex in the metropolis? place,subjectivity and the Second World War

The strong links between cities and queer culture and its expression have occupied numerous scholars, including Henning Bech and Matt Houlbrook. Indeed, London has been viewed as a focal point of British queer urban culture for over 200 years and, as this article demonstrates, the advent of the Second World War did not preclude this centrality but ensured that the city became a focal point for service personnel on leave. Yet, the emphasis placed on the metropolises in analysing space and queer expression has rendered invisible the use of more transient spaces outside of the city. This article seeks to examine these ‘alternative’ or opportunistic sites of expression, using oral testimony from queer men who served with the British Armed Forces during the Second World War. The memories of these servicemen and the significance they place on space/locations demonstrate the need to engage with subjective sites or ‘geographies’ of queerness both inside and outside of the city between 1939 and 1945.     

MEMORIAL ACCOUNTS

Under the conditions of narrative construction, young queer men's coming out stories present memorial accounts of ‘always-having-been’ queer; a queer childhood. The ways in which coming out stories operate have developed significantly over the past decade, particularly resulting from the use of online, digital technologies where such narratives proliferate. This article presents some initial theorisation of the role of young men's coming out narrative in the constitution of performative queer identity with a focus on the construction of memory. The article presents an overview of the history of coming out and the ways in which this history has influenced the conventions and genre of the coming out narrative online. It addresses some of the ways in which such memorial accounts are performative acts themselves, seeking to stabilise queer masculine identity, and ends with a discussion as to whether or not online sites such as YouTube continue or disrupt such stabilising narratives.     

On Drugs: The Production Of Queer Filipino America Through Intimate Acts Of Belonging

With the highest recorded cases of HIV/AIDS among Asian/Pacific Islanders in the United States, queer Filipino Americans register as “toxic subjects” within epidemiological discourse. Yet, at what point do state-sanctioned norms of “abstinence only” and intimacy fail to deal with queer communities' lived practices? In this article, I address the tensions between public health discourse's framing of HIV/AIDS transmission within queer Filipino America and the actual experiences of this community on recreational drugs. Though the severity of HIV/AIDS experience within the queer Filipino American community is not to be underplayed, a reparative reading of these drug trips provide us with a productive notion of toxicity and alternative configurations of belonging, intimacy, and community-building. Through anecdotes and interviews, this article gestures towards how we can begin to think of queer Filipino American drug trips as community productions.     

In-Between: Genre and Gender Hybridity,and Pirkko Saisio's Novel Punainen erokirja

This article discusses intersections of genres and genders and their theorization in the contemporary literary scene and suggests a queer reading of a short-listed contemporary Finnish novel, written by the well-known author and theatre figure Pirkko Saisio. The aim of the article is to present feminist genre theories, influenced by Bakhtinian conception of genres, Foucauldian and Butlerian theorizations of genders and sexualities, and the critical discussions in queer studies. The article reads Saisio's novel as a demonstration through an adaptation of a theoretical concept, namely genre hybridity, combined with another concept adaptation, gender hybridity. The article concludes by suggesting that although the novel can be seen as a representative of an entirely new literary genre, that is queer literature, it works in its historical context better as a hybrid genre that refuses monolithic genre locations, and this way comes closer to the theoretical concept of the constantly hybrid, transgressing and boundary-breaking queer.     

Carnal teachings: raunch aesthetics as queer feminist pedagogies in Yo! Majesty's hip hop practice

This essay puts forward a notion of “raunch aesthetics,” theorizing raunch as an aesthetic, performative, and vernacular practice: an explicit mode of sexual expression that transgresses norms of privacy and respectability. Raunch aesthetics describe creative practices that often blend humor and sexual explicitness to launch cultural critiques, generate pleasure for minority audiences, and affirm queer lives. The author activates her formulation of raunch in analyzing Yo! Majesty, a hip hop group comprised of black female emcees who openly describe their sexual desire for women, and explores how the queer youth of color she works with have responded to their music. Working beyond the unexamined moralisms that give critiques of raunch culture their legitimacy, the author argues that Yo! Majesty's raunch aesthetics transmit queer and feminist teachings. While celebrating carnal pleasures, these artists critique heterosexism, subvert narratives about the incompatibility of belief in Christ and queer sexualities, and trouble notions concerning the emancipation of coming out of the closet and declaring a stable homosexual identity. In demonstrating how raunch aesthetics generate consciousness raising, the author discusses how her youth participants critically read and consume hip hop while negotiating unwieldy meanings of sexuality and gender presentation.     

why queer diaspora?

‘Why Queer Diaspora?’ intervenes at the intersection of queer theory and diaspora studies to ask how the conditions of geographical mobility produce new experiences and understandings of sexuality and gender identity. More particularly, this essay argues against a prevalent critical slippage between queer and diaspora, through which the queer is read as a mobile category that, like diaspora, disrupts the stability of fixed identity categories and thus represents a liberatory position within the material and geographical displacements of globalization. Instead, I posit that the work of ‘queering’ diaspora must be to examine the new articulations of normative and queer as they emerge in the transformations of the late twentieth century. To this end, the essay looks to two contemporary documentaries, Remote Sensing (Ursula Biemann, 2001) and Mariposas en el Andamio/Butterflies on the Scaffold (Margaret Gilpin and Luis Felipe Bernaza, 1996), as models of alternative articulations of the queer and the diasporic. Ultimately, I argue, it is a focus on the labour through which the seemingly natural categories of gender and sexuality are produced, that a queer diasporic criticism might offer.     

Beyond 90°: the angularities of black/queer/women/lean

This essay argues for detailed attention to the materiality of black queer women’s spatial coordinates, the literal points of contact with the surfaces we traverse, as sites where categories of race, gender, and sexuality are disciplined and negotiated. It does so through a brief history of how Man’s 90° relationship to the ground, a verticality and perpendicularity that valorizes a physical comportment that is also the structuring condition for one’s political capacities, is produced by enforcing black and indigenous subjects to the ground, invariably defining the categories of Otherness as 0° and 180°. Through a reading of Rashaad Newsome’s performance Shade Compositions, the author argues a reading of the angles that exceed 0°/90°/180° may provide paths for reorienting the possibilities of black queer presence in the field of the political. If 90° signals a delimited political field, then, one governed by notions of rational civility that are always exclusive of black and black queer bodies, might the angularities surrounding, say, 120° reveal sites of productive incivility that are inextricable from the lives, experiences, and certainly bodies of black queer women themselves?     

Jewish joke telling in Muttersprache Mameloschn: performing queer intervention on the German stage

This essay explores the central role of Jewish joke telling in Sasha Marianna Salzmann’s play Muttersprache Mameloschn (first performed in 2012). Subversively revealing the problematic of essentializing cultural, national, and even sexual identity, Jewish joke telling figures as a performance of social and political resistance and disidentification in this play. Engaging with Jack Halberstam’s queer epistemology of failure and José Esteban Muñoz’s theory of queer disidentification, I propose that the act of Jewish joke telling by a young lesbian plays out as a new queer project of intervention in this play that confronts both antisemitism and culturally positioned sexual hegemony.     

Cross way cross civil war chronicles,part iii

What possibilities might melancholia offer for a queer ethics, and what might it mean to perform such an ethics onstage? In this essay the author analyzes mobile figurations of U.S. nationalism, violence, and visuality as theorized in the work of contemporary queer chorographers Bill T. Jones and Keith Hennessy. The author suggests that Jones's 1989 Untitled and Hennessy's 2006 Sol Niger evidence shifts in racialized sexuality and empire from the 1980s to the War on Terror, even as they both mark convergences between geopolitics and biopolitics. Reading these works together – despite their markedly different aesthetics and tones – elucidates a queer ethics rooted in and capable of contending with our contemporary political moment of war and U.S. empire building. Further, these works model how dance and other embodied, collective practices can engender what Jill Dolan calls “utopian performances” or possibilities for critique and transformation rooted in moving social bodies.     

Performing the Filipina “mail-order bride”: Queer neoliberalism,affective labor,and homonationalism

The 2005 video/performance art piece, Always a Bridesmaid, Never a Bride, by the Filipina American performance-art ensemble, the Mail Order Brides, examines the role of affective labor in constituting gay marriage as a form of US homonational belonging. In a contemporary context of capitalist globalization, Always a Bridesmaid, Never a Bride critiques the subjugation of the third-world woman worker within a queer neoliberal logic, highlighting the inability of the mainstream US LGBT movement to address issues of race, migration, and labor. The Mail Order Brides enact forms of feminist camp and ethnic drag to denaturalize the affective labor that is embodied within the figure of the Filipina “mail-order bride.” In doing so, Always a Bridesmaid, Never a Bride links an analysis of transnational Filipina labor with a critique of queer cultural politics in the US In its critique of queer neoliberalism, Always a Bridesmaid, Never a Bride builds on and contributes to queer of color social movements committed to racial and economic justice.     

Onlining queer acts: Digital research ethics and caring for risky archives

This essay considers how the current compulsion to digital reproduction – the urge to digitize, network, and online previously not-online materials – offers researchers of and within queer circuits the opportunity to defamiliarize and denaturalize our participation in academic systems of exploitation and to reorient our work towards decolonizing research economies, habits, protocols, and relationships. It takes the Cabaret Commons, the authors’ speculative digital archive of and for trans- feminist and queer (TFQ) grassroots performance scenes in Canada, Mexico, and the United States, as its point of departure. The authors frame TFQ performance and party scenes as negotiated intimacies, cultivating ethics of vulnerability and risk, which operate within and as networked intimate publics. Reading across decolonial, queer, feminist, and trans- ethics and methods, this essay revisits the value of ephemerality, of strategic evaporation, non-storage, and forgetting in online research contexts.     

Queer,young, and homeless: A review of the literature

Queer (lesbian, gay, bisexual, transgender, intersex, questioning, two-spirited) youth are greatly overrepresented in the homeless youth population. The present review critically analyzes the literature on queer youth homelessness, with a particular focus on (a) methodological issues; (b) entries into homelessness; (c) programming needs; (d) targeted programming; and (e) exits out of homelessness. Results from this review demonstrate that homeless queer youth are a unique population who require specialized services, implemented by sensitive and knowledgeable staff. Recommendations focus on practical implications, policy implications, and ideas for future research.     

Sex Positive: Feminism,Queer Theory,and the Politics of Transgression

From the feminist ‘sex wars’ of the 1980s to the queer theory and politics of the 1990s, debates about the politics of sexuality have been at the forefront of contemporary theoretical, social, and political demands. This article seeks to intervene in these debates by challenging the terms through which they have been defined. Investigating the importance of ‘sex positivity’ and transgression as conceptual features of feminist and queer discourses, this essay calls for a new focus on the political and material effects of pro-sexuality.     

The Between

Thinking with this special issue's group of feminist thinkers – some artists and others scholars – this introduction makes a strong case for co-authorship and a more collaborative humanities, while also insisting that the couple form – that stalwart object of queer and feminist theory – is neither a known quantity nor an exhausted entity, but rather, a field ripe for analysis. Situated squarely within performance studies, this introduction pivots away from questions of ontology and toward method and performativity, in order to ask: what modes of intellectual practice, erotic exchange, political work, and aesthetic experimentation happen uniquely within couple forms, in their most capacious and non-self-same iterations? What queer and feminist work can they do? What, in other words, is possible in the infinity, if indeed it is an infinity, between one and two?     

A king named Nicki: strategic queerness and the black femmecee

This article explores the deployment of race, queer sexuality, and femme gender performance in the work of rapper and pop musical artist Nicki Minaj. The author argues that Minaj's complex assemblage of public personae functions as a sort of “bait and switch” on the laws of normativity, where she appears to perform as “straight” or “queer,” while upon closer examination, she refuses to be legible as either. Rather than perpetuate notions of Minaj as yet another pop diva, the author proposes that Minaj signals the emergence of the femmecee, or a rapper whose critical, strategic performance of queer femininity is inextricably linked to the production and reception of their rhymes. This article engages a pair of music video releases that reflect the range of Minaj's gender performances as cinematic lenses into the strategic moves that Minaj is able to make from her femmecee stance. King Nicki's hypervisibility as a black femmecee and refusal to cede to any regime of recognition confound the multiple common senses that seek to produce her as a compliant subject.     

Teacher Support Moderates Associations among Sexual Orientation Identity Outness,Victimization, and Academic Performance among LGBQ+Youth

Journal of Youth and Adolescence - Lesbian, gay, bisexual, queer, and youth with other minority sexual orientations (LGBQ+) who are more out to others about their sexual orientation identity may...     

Queering the World or Worlding the Queer? New Readings of Anna Kavan’s Who Are You?

Abstract

This essay explores world-literary and queer approaches to Anna Kavan’s little discussed 1963 novel Who Are You?. It argues that world-literary scholarship demonstrates the centrality of white colonial masculinity to capitalist modernity, while a queer reading highlights the anxious performativity at the heart of such power. The most distinctive feature of Kavan’s text is its unusual format, whereby the story is told once, in detail, before immediately being retold, in more concise fashion and with some adjustments. What both fields add to the analysis of this formal deviation is a shared concern with the failings of normative order—whether that be the bourgeois, heteropatriarchal family or the capitalist system itself—and, in turn, the relationship of such failure to narrative disjuncture.     

The Dutch Homo-Emancipation Policy and its Silencing Effects on Queer Muslims

The recent Dutch homo-emancipation policy has identified religious communities, particularly within migrant populations, as a core target group in which to make homosexuality more ‘speakable’. In this article we examine the paradoxical silencing tendencies of this ‘speaking out’ policy on queer Muslim organisations in the Netherlands. We undertake this analysis as the Dutch government is perhaps unique in developing an explicit ‘homo-emancipation’ policy and is often looked to as the model for sexuality politics and legal redress in relation to inequalities on the basis of sexual orientation. We highlight how the ‘speakability’ imperative in the Dutch homo-emancipation policy reproduces a paradigmatic, ‘homonormative’ model of an ‘out’ and ‘visible’ queer sexuality that has also come to be embedded in an anti-immigrant and specifically anti-Muslim discourse in the Netherlands. Drawing on the concept of habitus, particularly in the work of Gloria Wekker, we suggest that rather than relying on a ‘speakability’ policy model, queer Muslim sexualities need to be understood in a more nuanced and intersecting way that attends to their lived realities.