This book examines the queer implications of memory and nationhood in transcultural U.S. literature and culture. Through an analysis of art and photography responding to the U.S. domestic response to 9/11, Iraq war fiction, representations of Abu Ghraib and Guantánamo Bay, and migrant fiction in the twenty-first century, Christopher W. Clark creates a queer archive of transcultural U.S. texts as a way of destabilizing heteronormativity and thinking about productive spaces of queer world-building. Drawing on the fields of transcultural memory, queer studies, and transculturalism, this book raises important questions of queer bodies and subjecthood. Clark traces their legacies through texts by Sinan Antoon, Mohamedou Ould Slahi among others, alongside film and photography that includes artists such as Nina Berman and Hasan Elahi. In all, the book queers forms of cultural memory and national identity to uncover the traces of injury but also spaces of regeneration.

This book examines the queer implications of memory and nationhood in transcultural U.S. literature and culture. Through an analysis of art and photography responding to the U.S. domestic response to 9/11, Iraq war fiction, representations of Abu Ghraib and Guantánamo Bay, and migrant fiction in the twenty-first century, Christopher W. Clark creates a queer archive of transcultural U.S. texts as a way of destabilizing heteronormativity and thinking about productive spaces of queer world-building. Drawing on the fields of transcultural memory, queer studies, and transculturalism, this book raises important questions of queer bodies and subjecthood. Clark traces their legacies through texts by Sinan Antoon, Mohamedou Ould Slahi among others, alongside film and photography that includes artists such as Nina Berman and Hasan Elahi. In all, the book queers forms of cultural memory and national identity to uncover the traces of injury but also spaces of regeneration.

This book examines the queer implications of memory and nationhood in transcultural U.S. literature and culture. Through an analysis of art and photography responding to the U.S. domestic response to 9/11, Iraq war fiction, representations of Abu Ghraib and Guantánamo Bay, and migrant fiction in the twenty-first century, Christopher W. Clark creates a queer archive of transcultural U.S. texts as a way of destabilizing heteronormativity and thinking about productive spaces of queer world-building. Drawing on the fields of transcultural memory, queer studies, and transculturalism, this book raises important questions of queer bodies and subjecthood. Clark traces their legacies through texts by Sinan Antoon, Mohamedou Ould Slahi among others, alongside film and photography that includes artists such as Nina Berman and Hasan Elahi. In all, the book queers forms of cultural memory and national identity to uncover the traces of injury but also spaces of regeneration.