Theory Q – serie

Sex, or the Unbearable is a dialogue between Lauren Berlant and Lee Edelman, two of our leading theorists of sexuality, politics, and culture. In juxtaposing sex and the unbearable they don't propose that sex is unbearable, only that it unleashes unbearable contradictions that we nonetheless struggle to bear. In Berlant and Edelman's exchange, those terms invoke disturbances produced in encounters with others, ourselves, and the world, disturbances that tap into threats induced by fears of loss or rupture as well as by our hopes for repair. Through virtuoso interpretations of works of cinema, photography, critical theory, and literature, including Lydia Davis's story "Break It Down" (reprinted in full here), Berlant and Edelman explore what it means to live with negativity, with those divisions that may be irreparable. Together, they consider how such negativity affects politics, theory, and intimately felt encounters. But where their critical approaches differ, neither hesitates to voice disagreement. Their very discussion-punctuated with moments of frustration, misconstruction, anxiety, aggression, recognition, exhilaration, and inspiration-enacts both the difficulty and the potential of encounter, the subject of this unusual exchange between two eminent critics and close friends.

Offering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility. Focused on the notion of what Douglas Sirk termed the "impossible situation" in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk's prompt. His analysis hones in on melodrama's original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven's opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making it resistant to normative forms of value and a powerful tool for creating new potentials.

Offering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility. Focused on the notion of what Douglas Sirk termed the "impossible situation" in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk's prompt. His analysis hones in on melodrama's original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven's opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making it resistant to normative forms of value and a powerful tool for creating new potentials.

Jean Genet (1910–1986) resonates, perhaps more than any other canonical queer figure from the pre-Stonewall past, with contemporary queer sensibilities attuned to a defiant non-normativity. Not only sexually queer, Genet was also a criminal and a social pariah, a bitter opponent of the police state, and an ally of revolutionary anticolonial movements. In Disturbing Attachments, Kadji Amin challenges the idealization of Genet as a paradigmatic figure within queer studies to illuminate the methodological dilemmas at the heart of queer theory. Pederasty, which was central to Genet's sexuality and to his passionate cross-racial and transnational political activism late in life, is among a series of problematic and outmoded queer attachments that Amin uses to deidealize and historicize queer theory. He brings the genealogy of Genet's imaginaries of attachment to bear on pressing issues within contemporary queer politics and scholarship, including prison abolition, homonationalism, and pinkwashing. Disturbing Attachments productively and provocatively unsettles queer studies by excavating the history of its affective tendencies to reveal and ultimately expand the contexts that inform the use and connotations of the term queer.

Jean Genet (1910–1986) resonates, perhaps more than any other canonical queer figure from the pre-Stonewall past, with contemporary queer sensibilities attuned to a defiant non-normativity. Not only sexually queer, Genet was also a criminal and a social pariah, a bitter opponent of the police state, and an ally of revolutionary anticolonial movements. In Disturbing Attachments, Kadji Amin challenges the idealization of Genet as a paradigmatic figure within queer studies to illuminate the methodological dilemmas at the heart of queer theory. Pederasty, which was central to Genet's sexuality and to his passionate cross-racial and transnational political activism late in life, is among a series of problematic and outmoded queer attachments that Amin uses to deidealize and historicize queer theory. He brings the genealogy of Genet's imaginaries of attachment to bear on pressing issues within contemporary queer politics and scholarship, including prison abolition, homonationalism, and pinkwashing. Disturbing Attachments productively and provocatively unsettles queer studies by excavating the history of its affective tendencies to reveal and ultimately expand the contexts that inform the use and connotations of the term queer.

It passes for an unassailable truth that the slave past provides an explanatory prism for understanding the black political present. In None Like Us Stephen Best reappraises what he calls “melancholy historicism”-a kind of crime scene investigation in which the forensic imagination is directed toward the recovery of a “we” at the point of “our” violent origin. Best argues that there is and can be no “we” following from such a time and place, that black identity is constituted in and through negation, taking inspiration from David Walker’s prayer that “none like us may ever live again until time shall be no more.” Best draws out the connections between a sense of impossible black sociality and strains of negativity that have operated under the sign of queer. In None Like Us the art of El Anatsui and Mark Bradford, the literature of Toni Morrison and Gwendolyn Brooks, even rumors in the archive, evidence an apocalyptic aesthetics, or self-eclipse, which opens the circuits between past and present and thus charts a queer future for black study.

Beginning in the late 1950s, representations of and narratives about sex proliferated on French and U.S. movie screens. Cinema began to display forms of sexuality that were no longer strictly associated with domesticity nor limited to heterosexual relations between loving couples. Women’s bodies and queer sexualities became intensely charged figures of political contestation, aspiration, and allegory, central to new ways of imagining sexuality and to new liberal understandings of individual freedom and social responsibility. In Making Sex Public Damon R. Young tracks the emergence of two conflicting narratives: on the one hand, a new model of sex as harmoniously integrated into civic existence; on the other, an idea of women’s and queer sexuality as corrosive to the very fabric of social life. Taking a transatlantic perspective from the late '50s through the present, from And God Created Woman and Barbarella to Cruising and Shortbus, Young argues that cinema participated in the transformation of the sexual subject while showing how women and queers were both agents and objects of that transformation.

It passes for an unassailable truth that the slave past provides an explanatory prism for understanding the black political present. In None Like Us Stephen Best reappraises what he calls “melancholy historicism”-a kind of crime scene investigation in which the forensic imagination is directed toward the recovery of a “we” at the point of “our” violent origin. Best argues that there is and can be no “we” following from such a time and place, that black identity is constituted in and through negation, taking inspiration from David Walker’s prayer that “none like us may ever live again until time shall be no more.” Best draws out the connections between a sense of impossible black sociality and strains of negativity that have operated under the sign of queer. In None Like Us the art of El Anatsui and Mark Bradford, the literature of Toni Morrison and Gwendolyn Brooks, even rumors in the archive, evidence an apocalyptic aesthetics, or self-eclipse, which opens the circuits between past and present and thus charts a queer future for black study.

Beginning in the late 1950s, representations of and narratives about sex proliferated on French and U.S. movie screens. Cinema began to display forms of sexuality that were no longer strictly associated with domesticity nor limited to heterosexual relations between loving couples. Women’s bodies and queer sexualities became intensely charged figures of political contestation, aspiration, and allegory, central to new ways of imagining sexuality and to new liberal understandings of individual freedom and social responsibility. In Making Sex Public Damon R. Young tracks the emergence of two conflicting narratives: on the one hand, a new model of sex as harmoniously integrated into civic existence; on the other, an idea of women’s and queer sexuality as corrosive to the very fabric of social life. Taking a transatlantic perspective from the late '50s through the present, from And God Created Woman and Barbarella to Cruising and Shortbus, Young argues that cinema participated in the transformation of the sexual subject while showing how women and queers were both agents and objects of that transformation.

Over the course of her long career, Eve Kosofsky Sedgwick became one of the most important voices in queer theory, and her calls for reparative criticism and reading practices grounded in affect and performance have transformed understandings of affect, intimacy, politics, and identity. With marked tenderness, the contributors to Reading Sedgwick reflect on Sedgwick's many critical inventions, from her elucidation of poetry's close relation to criticism and development of new versions of queer performativity to highlighting the power of writing to engender new forms of life. As the essays in Reading Sedgwick demonstrate, Sedgwick's work is not only an ongoing vital force in queer theory and affect theory; it can help us build a more positive world in the midst of the bleak contemporary moment.Contributors. Lauren Berlant, Kathryn Bond Stockton, Judith Butler, Lee Edelman, Jason Edwards, Ramzi Fawaz, Denis Flannery, Jane Gallop, Jonathan Goldberg, Meridith Kruse, Michael Moon, JosÉ Esteban MuÑoz, Chris Nealon, Andrew Parker, H. A. Sedgwick, Karin Sellberg, Michael D. Snediker, Melissa Solomon, Robyn Wiegman

Over the course of her long career, Eve Kosofsky Sedgwick became one of the most important voices in queer theory, and her calls for reparative criticism and reading practices grounded in affect and performance have transformed understandings of affect, intimacy, politics, and identity. With marked tenderness, the contributors to Reading Sedgwick reflect on Sedgwick's many critical inventions, from her elucidation of poetry's close relation to criticism and development of new versions of queer performativity to highlighting the power of writing to engender new forms of life. As the essays in Reading Sedgwick demonstrate, Sedgwick's work is not only an ongoing vital force in queer theory and affect theory; it can help us build a more positive world in the midst of the bleak contemporary moment.Contributors. Lauren Berlant, Kathryn Bond Stockton, Judith Butler, Lee Edelman, Jason Edwards, Ramzi Fawaz, Denis Flannery, Jane Gallop, Jonathan Goldberg, Meridith Kruse, Michael Moon, JosÉ Esteban MuÑoz, Chris Nealon, Andrew Parker, H. A. Sedgwick, Karin Sellberg, Michael D. Snediker, Melissa Solomon, Robyn Wiegman

In Sexual Hegemony Christopher Chitty traces the five-hundred year history of capitalist sexual relations by excavating the class dynamics of the bourgeoisie's attempts to regulate homosexuality. Tracking the politicization of male homosexuality in Renaissance Florence, Amsterdam, Paris, and London between the seventeenth and nineteenth centuries, as well as twentieth-century New York City, Chitty shows how sexuality became a crucial dimension of the accumulation of capital and a technique of bourgeois rule. Whether policing male sodomy during the Medici rule in Florence or accusing the French aristocracy of monstrous sexuality in the wake of the French Revolution, the bourgeoisie weaponized both sexual constraint and sexual freedom in order to produce and control a reliable and regimented labor class and subordinate it to civil society and the state. Only by grasping sexuality as a field of social contention and the site of class conflict, Chitty contends, can we embark on a politics that destroys sexuality as a tool and an effect of power and open a front against the forces that keep us unfree.

In Sexual Hegemony Christopher Chitty traces the five-hundred year history of capitalist sexual relations by excavating the class dynamics of the bourgeoisie's attempts to regulate homosexuality. Tracking the politicization of male homosexuality in Renaissance Florence, Amsterdam, Paris, and London between the seventeenth and nineteenth centuries, as well as twentieth-century New York City, Chitty shows how sexuality became a crucial dimension of the accumulation of capital and a technique of bourgeois rule. Whether policing male sodomy during the Medici rule in Florence or accusing the French aristocracy of monstrous sexuality in the wake of the French Revolution, the bourgeoisie weaponized both sexual constraint and sexual freedom in order to produce and control a reliable and regimented labor class and subordinate it to civil society and the state. Only by grasping sexuality as a field of social contention and the site of class conflict, Chitty contends, can we embark on a politics that destroys sexuality as a tool and an effect of power and open a front against the forces that keep us unfree.

In Gay Liberation after May ’68, first published in France in 1974 and appearing here in English for the first time, Guy Hocquenghem details the rise of the militant gay liberation movement alongside the women’s movement and other revolutionary organizing. Writing after the apparent failure and eventual selling out of the revolutionary dream of May 1968, Hocquenghem situates his theories of homosexual desire in the realm of revolutionary practice, arguing that revolutionary movements must be rethought through ideas of desire and sexuality that undo stable gender and sexual identities. Throughout, he persists in a radical vision of the world framed through a queerness that can dismantle the oppressions of capitalism and empire, the family, institutions, and, ultimately, civilization. The articles, communiques, and manifestos that compose the book give an archival glimpse at the issues queer revolutionaries faced while also speaking to today’s radical queers as they look to transform their world.

Long awaited after No Future, and making queer theory controversial again, Lee Edelman’s Bad Education proposes a queerness without positive identity-a queerness understood as a figural name for the void, itself unnamable, around which the social order takes shape. Like Blackness, woman, incest, and sex, queerness, as Edelman explains it, designates the antagonism, the structuring negativity, preventing that order from achieving coherence. But when certain types of persons get read as literalizing queerness, the negation of their negativity can seem to resolve the social antagonism and totalize community. By translating the nothing of queerness into the something of “the queer,” the order of meaning defends against the senselessness that undoes it, thus mirroring, Edelman argues, education’s response to queerness: its sublimation of irony into the meaningfulness of a world. Putting queerness in relation to Lacan’s “ab-sens” and in dialogue with feminist and Afropessimist thought, Edelman reads works by Shakespeare, Jacobs, AlmodÓvar, Lemmons, and Haneke, among others, to show why queer theory’s engagement with queerness necessarily results in a bad education that is destined to teach us nothing.

The contributors to this volume assert the importance of queer kinship to queer and trans theory and to kinship theory. In a contemporary moment marked by the rising tides of neoliberalism, fascism, xenophobia, and homo- and cis-nationalism, they approach kinship as both a horizon and a source of violence and possibility. The contributors challenge dominant theories of kinship that ignore the devastating impacts of chattel slavery, settler colonialism, and racialized nationalism on the bonds of Black and Indigenous people and people of color. Among other topics, they examine the “blood tie” as the legal marker of kin relations, the everyday experiences and memories of trans mothers and daughters in Istanbul, the outsourcing of reproductive labor in postcolonial India, kinship as a model of governance beyond the liberal state, and the intergenerational effects of the adoption of Indigenous children as a technology of settler colonialism. Queer Kinship pushes the methodological and theoretical underpinnings of queer theory forward while opening up new paths for studying kinship.Contributors. Aqdas Aftab, Leah Claire Allen, Teagan Bradway, Juliana Demartini Brito, Judith Butler, Dilara Çalışkan, Christopher Chamberlin, Aobo Dong, Brigitte Fielder, Elizabeth Freeman, John S. Garrison, Nat Hurley, Joseph M. Pierce, Mark Rifkin, Poulomi Saha, Kath Weston

In Abundance, Anjali Arondekar refuses the historical common sense that archival loss is foundational to a subaltern history of sexuality, and that the deficit of our minoritized pasts can be redeemed through acquisitions of lost pasts. Instead, Arondekar theorizes the radical abundance of sexuality through the archives of the Gomantak Maratha Samaj-a caste-oppressed devadasi collective in South Asia-that are plentiful and quotidian, imaginative and ordinary. For Arondekar, abundance is inextricably linked to the histories of subordinated groups in ways that challenge narratives of their constant devaluation. Summoning abundance over loss upends settled genealogies of historical recuperation and representation and works against the imperative to fix sexuality within wider structures of vulnerability, damage, and precarity. Multigeneric and multilingual, transregional and historically supple, Abundance centers sexuality within area, post/colonial, and anti/caste histories.

In Gay Liberation after May ’68, first published in France in 1974 and appearing here in English for the first time, Guy Hocquenghem details the rise of the militant gay liberation movement alongside the women’s movement and other revolutionary organizing. Writing after the apparent failure and eventual selling out of the revolutionary dream of May 1968, Hocquenghem situates his theories of homosexual desire in the realm of revolutionary practice, arguing that revolutionary movements must be rethought through ideas of desire and sexuality that undo stable gender and sexual identities. Throughout, he persists in a radical vision of the world framed through a queerness that can dismantle the oppressions of capitalism and empire, the family, institutions, and, ultimately, civilization. The articles, communiques, and manifestos that compose the book give an archival glimpse at the issues queer revolutionaries faced while also speaking to today’s radical queers as they look to transform their world.

Long awaited after No Future, and making queer theory controversial again, Lee Edelman’s Bad Education proposes a queerness without positive identity-a queerness understood as a figural name for the void, itself unnamable, around which the social order takes shape. Like Blackness, woman, incest, and sex, queerness, as Edelman explains it, designates the antagonism, the structuring negativity, preventing that order from achieving coherence. But when certain types of persons get read as literalizing queerness, the negation of their negativity can seem to resolve the social antagonism and totalize community. By translating the nothing of queerness into the something of “the queer,” the order of meaning defends against the senselessness that undoes it, thus mirroring, Edelman argues, education’s response to queerness: its sublimation of irony into the meaningfulness of a world. Putting queerness in relation to Lacan’s “ab-sens” and in dialogue with feminist and Afropessimist thought, Edelman reads works by Shakespeare, Jacobs, AlmodÓvar, Lemmons, and Haneke, among others, to show why queer theory’s engagement with queerness necessarily results in a bad education that is destined to teach us nothing.

The contributors to this volume assert the importance of queer kinship to queer and trans theory and to kinship theory. In a contemporary moment marked by the rising tides of neoliberalism, fascism, xenophobia, and homo- and cis-nationalism, they approach kinship as both a horizon and a source of violence and possibility. The contributors challenge dominant theories of kinship that ignore the devastating impacts of chattel slavery, settler colonialism, and racialized nationalism on the bonds of Black and Indigenous people and people of color. Among other topics, they examine the “blood tie” as the legal marker of kin relations, the everyday experiences and memories of trans mothers and daughters in Istanbul, the outsourcing of reproductive labor in postcolonial India, kinship as a model of governance beyond the liberal state, and the intergenerational effects of the adoption of Indigenous children as a technology of settler colonialism. Queer Kinship pushes the methodological and theoretical underpinnings of queer theory forward while opening up new paths for studying kinship.Contributors. Aqdas Aftab, Leah Claire Allen, Teagan Bradway, Juliana Demartini Brito, Judith Butler, Dilara Çalışkan, Christopher Chamberlin, Aobo Dong, Brigitte Fielder, Elizabeth Freeman, John S. Garrison, Nat Hurley, Joseph M. Pierce, Mark Rifkin, Poulomi Saha, Kath Weston

In Abundance, Anjali Arondekar refuses the historical common sense that archival loss is foundational to a subaltern history of sexuality, and that the deficit of our minoritized pasts can be redeemed through acquisitions of lost pasts. Instead, Arondekar theorizes the radical abundance of sexuality through the archives of the Gomantak Maratha Samaj-a caste-oppressed devadasi collective in South Asia-that are plentiful and quotidian, imaginative and ordinary. For Arondekar, abundance is inextricably linked to the histories of subordinated groups in ways that challenge narratives of their constant devaluation. Summoning abundance over loss upends settled genealogies of historical recuperation and representation and works against the imperative to fix sexuality within wider structures of vulnerability, damage, and precarity. Multigeneric and multilingual, transregional and historically supple, Abundance centers sexuality within area, post/colonial, and anti/caste histories.

In Boys Abducted, Abdulhamit Arvas explores the history of abducted boys in English and Ottoman literary and visual culture to examine the relationships between homoeroticism, race, and empire in the early modern period. The popular literary trope of the abducted beautiful boy-often eroticized as an exotic object of desire-intersects with the historical phenomenon of vulnerable youths who were captured and exchanged within the global traffic in bodies. Arvas offers a queer-historicist analysis of a wide array of Ottoman and English texts and genres ranging from poetry, drama, and travelogue to chronicles, maps, and visual arts. He shows how the boy in these representations crosses boundaries between nations and empires, embodying the tensions and dissonances between the aestheticized eroticism of literary and cultural representations and the violent history of abductions, conversions, and enslavements. In so doing, Arvas presents complex parallels and connections between the two societies, highlighting the circulation of sexual and racial discourses in imperial imaginings to uncover discursive formations and formulations of sexuality, race, and empire.

In As If!, Chase Gregory explores the stylistically strategic, often campy, and productively fraught cross-identifications of early queer criticism. Gregory calls this form of AIDS-era criticism as if! - a mode of writing in which authors struggle to read, write, and identify with and across categories of race, sexuality, and gender. Analyzing the work of Robert Reid-Pharr, Deborah McDowell, Barbara Johnson, and Eve Sedgwick, Gregory shows how their writing productively challenges fixed ideas of identity and knowledge production. Using these four writers as case studies of a larger trend within early queer criticism, Gregory demonstrates that even when critical attempts at relation are met by impasse, as if! criticism breaks down social relation, especially within those fields influenced by queer theory, deconstructionist feminist theory, and black feminist theory. By advocating a return to as if! criticism as a politically useful blueprint for contemporary cultural inquiry, Gregory draws attention to the obstacles to forging identification across difference and insists on the impossible project of solidarity across such difference.

In Boys Abducted, Abdulhamit Arvas explores the history of abducted boys in English and Ottoman literary and visual culture to examine the relationships between homoeroticism, race, and empire in the early modern period. The popular literary trope of the abducted beautiful boy-often eroticized as an exotic object of desire-intersects with the historical phenomenon of vulnerable youths who were captured and exchanged within the global traffic in bodies. Arvas offers a queer-historicist analysis of a wide array of Ottoman and English texts and genres ranging from poetry, drama, and travelogue to chronicles, maps, and visual arts. He shows how the boy in these representations crosses boundaries between nations and empires, embodying the tensions and dissonances between the aestheticized eroticism of literary and cultural representations and the violent history of abductions, conversions, and enslavements. In so doing, Arvas presents complex parallels and connections between the two societies, highlighting the circulation of sexual and racial discourses in imperial imaginings to uncover discursive formations and formulations of sexuality, race, and empire.

In As If!, Chase Gregory explores the stylistically strategic, often campy, and productively fraught cross-identifications of early queer criticism. Gregory calls this form of AIDS-era criticism as if! - a mode of writing in which authors struggle to read, write, and identify with and across categories of race, sexuality, and gender. Analyzing the work of Robert Reid-Pharr, Deborah McDowell, Barbara Johnson, and Eve Sedgwick, Gregory shows how their writing productively challenges fixed ideas of identity and knowledge production. Using these four writers as case studies of a larger trend within early queer criticism, Gregory demonstrates that even when critical attempts at relation are met by impasse, as if! criticism breaks down social relation, especially within those fields influenced by queer theory, deconstructionist feminist theory, and black feminist theory. By advocating a return to as if! criticism as a politically useful blueprint for contemporary cultural inquiry, Gregory draws attention to the obstacles to forging identification across difference and insists on the impossible project of solidarity across such difference.

Eve Kosofsky Sedgwick is primarily known for her foundational work in queer and affect theory, but her artistic work with textiles remains largely unexplored. In Reparative Craft, Jason Edwards examines a range of her textile art from a ten-year period in which she was also writing Touching Feeling. Employing the reparative approach that Sedgwick pioneered and analyzing her works from a series of four exhibitions, Reparative Craft demonstrates the necessity of connecting Sedgwick’s fiber art practice to her work as a theorist. Richly illustrated and presented in full color, this volume invites readers to connect Sedgwick’s art with her theory, presenting a new model of reparative reading that exemplifies ideas of queer and trans craft so vital to Sedgwick’s body of work.