By Lisa Henderson
Love and funds argues that we can’t comprehend modern queer cultures with no searching through the lens of social category. Resisting previous divisions among tradition and economic system, identification and privilege, left and queer, attractiveness and redistribution, Love and funds bargains supple techniques to taking pictures type event and sophistication shape in and round queerness. opposite to normal dismissals, no longer each queer tv or motion picture personality is like Will Truman on Will and Grace—rich, white, fit, expert, indifferent from politics, neighborhood, and intercourse. via ethnographic encounters with readers and cultural manufacturers and such texts as Boys Don’t Cry, Brokeback Mountain, by some means, and marriage ceremony bulletins within the manhattan instances, 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 classification voice? How do gender and race dealer queer category fable? How do self sustaining filmmakers pass from side to side among and queer sectors, altering either locations as they cross and not easy queer principles approximately undesirable trade and undesirable flavor? 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 type and its politics to the examine of queer lifestyles.
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Extra resources for Love and Money: Queers, Class, and Cultural Production
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. It’s a lot of excess to manage on one’s way back to the fold. But that’s what the promise of mobility exacts. In class and sexual forms, the movement from the outer limits to the hypocritical edges of the charmed circle (Rubin 1984/1993) demands management and bodily self-regulation.
Here, too, shame and excess are rapid infusers of cultural hierarchy, at work in commercial image and everyday expression and equally at work in the move out of shame into respectability and status. That’s the trade: a superabundance of queer and class shame for the mean distribution of status and regard, some spared and others sacrificed over and over again. 2 Queer Visibility and Social Class In his beautiful essay “Intellectual Desire,” Allan Bérubé (1997) disentangles a lifetime of border living and territorial and symbolic migration.
Some are what she calls juxtapolitical (8), running parallel to politics or even as relief from the antagonism and loss that official political worlds impose, but still essential to political futures as a source of collective sensibility and feeling. I offer my comparison of Brokeback Mountain and By Hook or By Crook to arrive at optimism as a critical, collective, and juxtapolitical affect, rooted in friendship, not only in market-authored narratives of individual survival and transcendence. Love and Money concludes with reflections on criticism as itself a form of cultural production and political intervention.
Love and Money: Queers, Class, and Cultural Production by Lisa Henderson