Theorizing the Queer Modernist Sh I come to this topic from the angle of a literary scholar who is currently collaborating with colleagues outside of literature departments in an attempt to recalibrate the notion of sexual scripts that was first developed by the social scientists John Gagnon and William Simon in the early seventies. The concept of sexual scripts launched in Sexual Conduct: The Social Sources of Human Sexuality seems to us worth reactivating because it involves a distinction among three levels: the cultural, the interpersonal, and the intrapsychic.
To study human sexuality in cultural products, this division seems to us a good point of departure: it does not limit the analysis to either a close reading of individual symptoms or a sociological analysis of interactions, but combines the two with an emphasis on cultural structures, which allows us to be attentive also to regimes of patriarchal and heteronormative discourse. To bring the concept of sexual scripts up to date, however, we should take on board additional tools of more recent vintage and with a more specific disciplinary focus.
One of the more recent contributions to this field—one that is firmly focused on the study of literary modernism that concerns us here—is a study by Heather Love entitled Feeling Backward: Loss and the Politics of Queer History. A central paradox of any transformative criticism is that its dreams for the future are founded on a history of suffering, stigma, and violence. Oppositional criticism opposes not only existing structures of power but also the very history that gives it meaning. This may be something of a straw target when it comes to academic literary criticism with an interest in historical representations of non-normative sexualities Love provides no examples of the dismissive critics.
But it does arguably reflect the responses of a good many ordinary LGBT readers and book reviewers, as well as students in classrooms, who are inclined to reject the association between well-integrated LGBTs today and pre-emancipatory images of a depressing—and depressingly consistent—negativity.
And the objections formulated by Love may also account for the relative paucity of queer-theoretical work about such negative images from modernist literature. The emphasis on damage in queer studies exists in a state of tension with a related and contrary tendency—the need to resist damage and to affirm queer existence.
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Although many queer critics take exception to the idea of a linear, triumphalist view of history, we are in practice deeply committed to the notion of progress [ Critics find themselves in an odd position: we are not sure if we should explore the link between homosexuality and loss, or set about proving that it does not exist. This in turn contributes to our understanding both of modernity and modernism, for it helps us grasp. If modernization in the late nineteenth and early twentieth century aimed to move humanity forward, it did so in part by perfecting techniques for mapping and disciplining subjects considered to be lagging behind [ Aesthetic modernism is marked by a similar temporal splitting.
While the commitment to novelty is undoubtedly a dominant feature of modernism, no account of the movement is complete without attention to the place of the nonmodern in the movement—whether in primitivism, in the concern with tradition, in widely circulating rhetorics of decadence and decline, or in the melancholia that suffuses so many modernist artworks. This dialectical inversion would enable us to think of history not as a teleological progression from a closed-off past to a present that can freely choose from the knowledge of earlier generations but as a process whereby the present is reconfigured in terms that may seem anachronistic and alien to it.
It is hard to know what to do with texts that resist our advances.
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For reasons that are both obvious and significant, I was unable to focus on an individually authored short story collection that revolves entirely around LGBT and queer themes, since to my knowledge no such book has emerged from Anglophone modernist fiction unless it were the symptomatically posthumous collection by E. Forster, The Life to Come. I had to settle, rather, for individual stories by different writers. Fortunately, the resulting heterogeneity may be turned into an advantage when we wish to detect recurrent patterns that apply across a sufficiently diverse range of literary scripts.
Thus, my primary interest in studying them has been to assess to what extent and how precisely failures of sociality and negative affects prove to be just as central to them as they are to the case studies gathered by Love.
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This implies that my working methodology has been geared toward the analysis of selective textual moments and compositional features that allow for the identification of recurrent patterns. It is good to remind ourselves from the start, though, that such patterns have but limited validity in terms of their representativeness and should not be allowed to culminate in the establishment of a monolithic historical scenario that may be supposed to apply across the board to all queer literary representations from Anglophone modernism. My hope is, rather, that detecting a number of patterns will heighten our awareness of the cultural power of certain hegemonic social discourses during the early half of the twentieth century, and that this will deepen our analytical understanding whenever we grapple with queer literary representations from roughly a century ago.
The failure of sociality is registered here by the way the first-person narrator is able to be intimate with another farming boy, George, only when the two are away from the public realm and public acknowledgment of the village, while working the land or taking a swim in the pond. And even then the intimacy is of a heavily interior, psychological kind that must face multiple obstacles. Immediately after this scene, social awareness forces the two boys to discipline the frolicking on which they have finally started when they are interrupted by a girl.
Among all the people of Winesburg but one had come close to him. With George Willard [ Here the story centers on the single sexual encounter between the elderly upper-class protagonist Sir Richard Conway and the young working-class milkman who lends his name to the title—an encounter that occurs away from the public realm again, this time in the bushes of a generically depicted country estate visited by Conway. In this case, contrary to the previous two, we get an instance of sexual consummation and apparent satisfaction.
Yet, private and invisible as it might have seemed at the time, the encounter returns like a boomerang after Conway finds out, much later, that Snatchfold got arrested mere seconds after their sexual dallying and was condemned to a six-month prison sentence as a result. Forster gives a bittersweet twist to the ending when he turns Snatchfold into an unsung hero who has been remarkably loyal to his one-time sexual partner: although the milkman was given the chance to escape imprisonment on condition that he identify his older partner who was obviously of higher standing , Donaldson reports how the young man obstinately forwent the opportunity.
A kind of enduring sociality is thus created between Conway and Snatchfold, but it is a retroactive, politically sterile, publicly invisible, and paradoxical one for which the less powerful partner has been severely punished. And it is further complicated by the fact that Forster wrote this sexual fantasy for private delectation only. As in the case of his better-known novel Maurice , he did not feel he could publish such a story of surreptitious same-sex bonding during his lifetime. Her analysis reveals a whole set of characters and images that do not look forward to a more promising future, but unhelpfully and self-destructively back with regret, shame, or despair.
As a shrewd early-modernist writer, Lawrence shows himself alert to the formal possibilities this temporal gap offers. As a twenty-year-old schoolmaster living in another town somewhere in Pennsylvania and under his birth name Adolph Myers , Biddlebaum was betrayed by his involuntary habit of caressing the boys under his charge. Conway saw the reflection of his face once more in a mirror, and it was the face of an old man.
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He pushed Trevor Donaldson off abruptly, and went back to sit down by his liqueur-glass. He was safe, safe, he could go forward with his career as planned. He is undone by the unproductiveness of his own lucky escape, the impossibility to grieve publicly despite the waves of feeling washing over him, and the certain promise of continuing guilt.
This pattern, too, returns in multiple guises in all three narratives. I ran with my heavy clogs and my heart heavy with vague longing, down to the mill, while the wind blanched the sycamores, and pushed the sullen pines rudely, for the pines were sulking because their million creamy sprites could not fly wet-winged. The horse-chestnuts bravely kept their white candles erect in the socket of every bough, though no sun came to light them. Drearily a cold swan swept up the water, trailing its black feet, clacking its great hollow wings, rocking the frightened water hens, and insulting the staid black-necked geese.
What did I want that I turned thus from one thing to another? From the externally focalized position in which we are invited to watch the ritual, it seems like a form of private erotic prayer:. Lighting a lamp, Wing Biddlebaum washed the few dishes soiled by his simple meal and, setting up a folding cot by the screen door that led to the porch, prepared to undress for the night.
A few stray white bread crumbs lay on the cleanly washed floor by the table; putting the lamp upon a low stool he began to pick up the crumbs, carrying them to his mouth one by one with unbelievable rapidity. In the dense blotch of light beneath the table, the kneeling figure looked like a priest engaged in some service of his church. The nervous expressive fingers, flashing in and out of the light, might well have been mistaken for the fingers of the devotee going swiftly through decade after decade of his rosary.
He saw that little things can turn into great ones, and he did not want greatness. Arthur Snatchfold. Mansfield does so perhaps most ambiguously and in a decidedly more experimental form. Tim Devriese. Brussels is the most cosmopolitan city in the world! LGBTQ rights are a part of our culture now. Our city is a beacon of diversity. We have to be more visible for those who cannot be who they are. Every year, the City Council opens Pride. It's the real and honest celebration of being different, despite what 'normality' dictates. We still have a long way to go. I also need to be visible, I need to be heard.
The negative people. Of course, things have gotten better since , but and oppressive elements at the parade will not prevent me we still have a long way to go. Stigma and shame is still a big from celebrating Pride. Brussels needs more of those spaces.
Heart Brussels. We established protocols ers and Daughters? For example, there were always nightlife and cultural life. That boosts self-confidence and motivates peo- ple to believe in who they are and what they stand for. A You have to remember that it had been 15 years since there group can transform a place into a safe space. I hope that was a lesbian bar in Brussels - that was a big part of its success. It is inclusive.
Even though we have Tim Devriese. Our ple community owes them ac- knowledgement, recognition and support. Brussels has always had queer elements throughout its history. Everyone nts. Everyon e Tim Devriese. Over time, my eye became more sharp.
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