Love and Money: Queers, Class, and Cultural Production by Lisa Henderson PDF

By Lisa Henderson

ISBN-10: 0814790577

ISBN-13: 9780814790571

Love and funds argues that we can’t comprehend modern queer cultures with no searching through the lens of social type. Resisting outdated divisions among tradition and economic climate, identification and privilege, left and queer, acceptance and redistribution, Love and cash deals supple techniques to taking pictures type event and sophistication shape in and round queerness. opposite to wide-spread dismissals, now not each queer tv or motion picture personality is like Will Truman on Will and Grace—rich, white, fit, specialist, indifferent from politics, neighborhood, and intercourse. via ethnographic encounters with readers and cultural manufacturers and such texts as Boys Don’t Cry, Brokeback Mountain, come what may, and marriage ceremony bulletins within the manhattan occasions, Love and funds sees either queerness and sophistication throughout a variety of idioms and practices in lifestyle. How, it asks, do readers of Dorothy Allison’s novels use her paintings to discover a queer category voice? How do gender and race dealer queer type myth? How do self sustaining filmmakers move from side to side among and queer sectors, altering either locations as they pass and demanding queer rules approximately undesirable trade and undesirable style? With a watch to the nuances and harms of sophistication distinction in queerness and a desire to use tradition to forge queer and sophistication affinities, Love and funds returns classification and its politics to the examine of queer existence.

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Extra resources for Love and Money: Queers, Class, and Cultural Production

Example text

Boys Don’t Cry had unnerved me since its release. Like many viewers, I knew to expect Brandon’s murder and the abjection, intimidation, and violence that preceded it. But while most of the violence comes from those fictional others in the social world of the film, gender malevolence also comes from the film’s plot, particularly the romantic recuperation of Brandon as The Class Character of Boys Don’t Cry >> 27 Teena in a late (and short-lived) rendering of his and Lana’s love affair as a lesbian relationship.

And queer bodies? We are, in history and principle, a mess of inversion, temptation, abomination before God and government, anal fascination, unproductive desire, infantile drama, illness out of bounds, consumptive decadence. Even our stereotypical strengths mark us as excessive: too stylish, too expressive, too aggressive, politically uncivil, too shameless or shamed, too vulnerable to mental anguish born of bodily condemnation, too needful of recognition, too funny, and, often, just too angry.

Civil union and other homosexual commitment announcements, which started appearing in the Sunday edition of the New York Times in 2002, for example, also reproduce an equation in which a putative meritocracy meets quasimarital attachment. Time was, wedding announcements were a staple ingredient of the society page. Their brides, grooms, and families drew from an aristocratic stratum whose denizens often already knew each other, though other readers were welcome to look on. But times have changed (Brooks 1997).

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Love and Money: Queers, Class, and Cultural Production by Lisa Henderson

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