DOCSLIB.ORG

A Diachronic Analysis of the Language of AIDS in Armistead Maupin's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Diachronic Analysis of the Language of AIDS in Armistead Maupin's ASp la revue du GERAS 71 | 2017 Anglais de spécialité et milieux professionnels A diachronic analysis of the language of AIDS in Armistead Maupin's Tales of the City Analyse diachronique du vocabulaire du SIDA dans les Chroniques de San Francisco d’Armistead Maupin Christelle Klein-Scholz Electronic version URL: http://journals.openedition.org/asp/4997 DOI: 10.4000/asp.4997 ISSN: 2108-6354 Publisher Groupe d'étude et de recherche en anglais de spécialité Printed version Date of publication: 1 March 2017 Number of pages: 179-171 ISSN: 1246-8185 Electronic reference Christelle Klein-Scholz, « A diachronic analysis of the language of AIDS in Armistead Maupin's Tales of the City », ASp [Online], 71 | 2017, Online since 01 March 2018, connection on 01 November 2020. URL : http://journals.openedition.org/asp/4997 ; DOI : https://doi.org/10.4000/asp.4997 This text was automatically generated on 1 November 2020. Tous droits réservés A diachronic analysis of the language of AIDS in Armistead Maupin's Tales of ... 1 A diachronic analysis of the language of AIDS in Armistead Maupin's Tales of the City Analyse diachronique du vocabulaire du SIDA dans les Chroniques de San Francisco d’Armistead Maupin Christelle Klein-Scholz 1 The paper focuses on Armistead Maupin's Tales of the City series, an American body of literature that was considered as “the first fiction […] to acknowledge AIDS.”1 This body of literature goes against Oscar Wilde’s statement that “all art is quite useless” (1890: 4); it can be termed “art” without the shadow of a doubt, and yet also has a specific purpose. This literature, which is often referred to as “AIDS literature,”2 consists of a number of novels that were written and published in the early years of the HIV/AIDS epidemic, i.e., the 1980s and early 1990s, and that are still being written and published, though the pace of publication has significantly declined. Those novels, of which Armistead Maupin’s Tales of the City series is one example among many, are mostly authored by gay men,3 and they stand at a crossroads between art and activism: they can be thought of as works of art and they also feature elements whose goal in the early years of the HIV/AIDS epidemic was to circulate knowledge about this new epidemic that was spreading among “disenfranchised” communities4 without the rest of the population taking full measure of the catastrophe. It is worth looking into the way the language of AIDS has evolved in those novels, because time is of the essence when it comes to HIV/AIDS in the 1980s and early 1990s: it took many years and many deaths for public authorities, mainstream media and the rest of the population to grasp what was at stake. It also took activism—several forms of activism, one of which was the publication of the novels in question. Another one was the creation of strong-willed activist associations, the best example being ACT UP, the “AIDS Coalition to Unleash Power whose motto is “SILENCE = DEATH” and one of whose goals was to empower people with AIDS, notably through language, as its motto indicates. This paper first gives some insights into the language of AIDS, then takes a closer look at the “before” ASp, 71 | 2017 A diachronic analysis of the language of AIDS in Armistead Maupin's Tales of ... 2 picture and at the “after” picture, 1996 being the great divide, i.e., the year when antiretroviral therapies were developed, changing the very nature of HIV/AIDS. 1. Do you speak AIDS? Terminological clarifications 2 Although most people know that “AIDS” stands for “Acquired Immune Deficiency Syndrome,” and therefore that AIDS is a “syndrome,” not a “disease,” the use of the word “disease” is, strikingly, almost systematic, whether it be in literature or in mainstream media. Several scholars have reflected upon this inaccuracy, and it seems that the explanation lies in what people expect from a diagnosis: in our postmodern times,5 a diagnosis is meant to unite a set of symptoms under a readable banner, a label that can be understood. A “disease” is something everyone understands; a “syndrome,” however, is precisely a set of clinical signs and symptoms. As a result, the word “syndrome” is exactly what people do not want from a diagnosis: the medical establishment is expected to come up with words that simplify and unite symptoms. This is why the word “disease” is still used: inaccuracy is chosen over unreadability. 3 Most people know what “AIDS” stands for, but fewer people know the precise difference between being HIV-positive and having AIDS. And the reason is that there are two official definitions, one by the Centers for Disease Control and Prevention (CDC)6 and one by the World Health Organization (WHO).7 The CDC definition takes into account a biological marker, the CD4+ cell count, and/or the presence of one or several opportunistic infections that are part of an official list (revised in 1993); the WHO definition (revised in 2007) only takes into account clinical manifestations, and can therefore be used in contexts where CD4+ cell count testing is not available. This two- tier system reflects and aims to manage the heterogeneity of the epidemic,8 but it also causes the very name of the disease to be unstable. The focus of this paper being the diachronic dimension of the specialized language of AIDS, it is interesting to point out that, when the CDC definition was revised in 1993, the inclusion of the CD4+ cell count aimed to make the definition of AIDS more encompassing. In that respect, the following example is noteworthy; it so happens that, when the CDC revised the definition of AIDS, writer David Feinberg had already been tested positive for HIV, and the broadening of the definition of AIDS resulted in his fitting the new definition, as he mentions in Queer and Loathing: I’m getting AIDS this Wednesday, April 19, at 12:01 AM because my T-cells have consistently been under 200 for the past year and the Center for Disease Control’s definition of AIDS is scheduled to change on April 1 to include […] the fewer- than-200 T-cells criteria. April fool! I’ve got AIDS. (1994: 90) 4 Given that AIDS is the final stage of HIV infection,9 crossing the threshold between “being HIV-positive” and “having AIDS” is quite significant, as author Mark Doty points out in Heaven’s Coast: For many people, there’s a clear line of demarcation which marks the crossing from being HIV-positive to having AIDS. That’s a telling grammatical distinction, the difference between being and having, between a condition and a possession. AIDS is a possession one is possessed by. (1996: 139)10 5 One last issue that needs to be raised is that of the name of the virus. Christening the virus was actually a several-step process: it was first dubbed “LAV” in 1983 (that was the name given by the French team who discovered it, and they chose cautiousness: “Lymphadenopathy-Associated Virus” was chosen because early AIDS patients usually ASp, 71 | 2017 A diachronic analysis of the language of AIDS in Armistead Maupin's Tales of ... 3 suffered from a swelling of the lymph nodes); it was tagged “HTLV-III” in 1984 (that was the name given by the American co-discoverer, who thought the virus was bound to be a close relative of the retroviruses he had already discovered, “HTLV-I” and “HTLV- II”—it turned out not to be the case), and it ended up being called “HIV,” which is actually a compromise agreed upon in 1986 by the International Committee on the Taxonomy of Viruses in the midst of the feud between the two teams. Interestingly enough, in one of the most recent AIDS novels, A Horse Named Sorrow (2012), whose plot is set in the early years of the epidemic, Trebor Healey goes so far as to avoid naming the virus altogether: Jimmy came from Buffalo, New York, and he had the acronym with him on the train platform the day I met him. […] “I got something I gotta tell ya.” He stared for another second. “I got it.” Any faggot worth his salt knew what it was too. […] The mother of all acronyms. […] I don’t dignify it with a name. (2012: 5–76) 6 The question that needs to be asked to conclude this first section is the following: is the language of AIDS a specialized language? No such book as a dictionary of HIV/AIDS exists, but the “Terminology Guidelines” regularly published and revised by UNAIDS come close. UNAIDS is the Joint United Nations Programme on HIV/AIDS, and it freely provides a number of reference documents that include the “Terminology Guidelines,” the latest version (published in 2015) being a sixty-page booklet whose first two sentences are worth quoting: “Language shapes beliefs and may influence behaviours. Considered use of appropriate language has the power to strengthen the global response to the AIDS epidemic” (2015: 3). The first part of the booklet, entitled “Preferred terminology,” consists in a table that features, on the left-hand side, the phrases and terms you are not to use and, on the right-hand side, those you should prefer: for example, page 8, it is recommended not to use “fight and other combatant language (e.g., struggle, battle, campaign or war),” the explanation (given in the middle column of the table, entitled “Background”) being the following: “Avoid such terms unless in a direct quotation or because of the specific context of the text.
Load more

Recommended publications
  • Dining with Anna and Friends
    Dining with Anna and Friends This list of restaurants, bars, delis, and food stores are related in one way or another to The Tales of the City (books and/or films) as well as to The Night Listener. They are grouped by neighborhoods or areas in San Francisco. Some have already been included in existing walking tours. More will be included in future tours. Many establishments – particularly bars and clubs – featured in Armistead Maupin’s books have since closed. The buildings were either vacant or have been converted into other types of businesses altogether (for example, one has been turned into a service for individuals who are homeless) at the time this list was created. For these reasons, those establishments have not been included in this list. As with the rest of the content of the Tours of the Tales website, this list will be periodically updated. If you have updates, please forward them to me. I appreciate your help. NOTE: Please do not consider this list an exhaustive list of eating/drinking establishments in San Francisco. For example, although there are several restaurants listed in “North Beach” below, there are many more excellent places in North Beach in addition to those listed. Also, do not consider this list an endorsement of any place included in the list. The Google map for this list of eating establishments: Dining with Anna and Friends. Aquatic Park/Fisherman’s Wharf/and the Embarcadero The Buena Vista Bar, 2765 Hyde Street (southwest corner of Hyde and Beach; across the street from the Powell-Hyde cable car turntable): Mary Ann Singleton was twenty-five years old when she saw San Francisco for the first time.
    [Show full text]
  • The Queer" Third Species": Tragicomedy in Contemporary
    The Queer “Third Species”: Tragicomedy in Contemporary LGBTQ American Literature and Television A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department English and Comparative Literature of the College of Arts and Sciences by Lindsey Kurz, B.A., M.A. March 2018 Committee Chair: Dr. Beth Ash Committee Members: Dr. Lisa Hogeland, Dr. Deborah Meem Abstract This dissertation focuses on the recent popularity of the tragicomedy as a genre for representing queer lives in late-twentieth and twenty-first century America. I argue that the tragicomedy allows for a nuanced portrayal of queer identity because it recognizes the systemic and personal “tragedies” faced by LGBTQ people (discrimination, inadequate legal protection, familial exile, the AIDS epidemic, et cetera), but also acknowledges that even in struggle, in real life and in art, there is humor and comedy. I contend that the contemporary tragicomedy works to depart from the dominant late-nineteenth and twentieth-century trope of queer people as either tragic figures (sick, suicidal, self-loathing) or comedic relief characters by showing complex characters that experience both tragedy and comedy and are themselves both serious and humorous. Building off Verna A. Foster’s 2004 book The Name and Nature of Tragicomedy, I argue that contemporary examples of the tragicomedy share generic characteristics with tragicomedies from previous eras (most notably the Renaissance and modern period), but have also evolved in important ways to work for queer authors. The contemporary tragicomedy, as used by queer authors, mixes comedy and tragedy throughout the text but ultimately ends in “comedy” (meaning the characters survive the tragedies in the text and are optimistic for the future).
    [Show full text]
  • Book Author Copies a Boy's Own Story White, Edmund 2 a Density Of
    Book Author Copies A Boy's Own Story White, Edmund 2 A Density of Souls Rice, Christopher A Family Matter Silverstein, Charles A Fearful Freedom Kaminer A History of Their Own Anderson and Zinsser A Room of One's Own Woolf A Sounding of Women Ward Academic Women Simeone Afterglow Barber, Karen Against Our Will Brownmiller, Susan 2 Allan Stein Stadler, Matthew Amateur city Forrest An Arrows Flight Merlis, Mark And Jill Came Tumbling After Stacey, Bereaund, Daniels And Say Hi To Joyce Pierce and Murdock 2 And The Band Played On Shuilts 2 Angel Lust Brass, Perry Another Voice Milman and Kanter APA: The Easy Way P.Houghton and T.Houghton Ara's Field Marks, Laurie J. Are You Ready Isensee, Rik Arkansas Leavitt As Max Saw It Begley, Louis Autobiography as Activism Perkins Backlash Faludi, Susan Beamtimes and Lifetimes Traweek Bear Me Safely Over Joseph, Sheri Before Stonewall Weiss and Schiller Bertram Cope's Year Fuller, Henry Blake Besame Mucho Manrique and Dorris Beyond AIDS Melton Beyond God the Father Daly Beyond Her Sphere Harris Big Shot Thomas, Patricia Bingo Rita Mae Brown Birds of a Feather Calhoon, Jackie Birthing From Within England and Horowitz Body Language Craft, Michael Bones Hove, Chenjerai Borderline Breneman, Terri Borrowed Time Monette, Paul Bourbon Street Blues Herren, Greg Brad Smith, Ken Breaking Barriers Rowan, Carl Breaking the Surface Louganis and Marcus 2 Bushfire Barber, Karen 3 Cabin Fever Schmidt, Carol Car Pool Kallmaker, Karin Cast in Doubt Tillman Catfight Tenenbaum, Leora Changing Women in a Changing Society Huber, Joan Cherished Love Kennedy Chloe Plus Olivia Faderman, Lillian Choices Toder, Nancy 3 Class Reunion Hill.
    [Show full text]
  • Introduction: Placing the Self Within the Frame 1 New Storytelling
    Notes Introduction: Placing the Self within the Frame 1. This is performed by the Mamas and the Papas (see Chapter 6). 2. For various opinions on the potential of textual analysis see Childs (2006), Kovala (2008) and McKee (2003). 3. Although Gwen Haworth’s documentary is relevant to lesbian discourse, as Haworth, a male to female transsexual, expresses lesbian desire, I have not included this work in my book, as the focus is largely transsexual. Despite this, Haworth’s documentary is highly contiguous to the theoretical ideas expressed within this book, concerning self-reflexive narrative expression and sexual diversity. 4. Also there are still laws which oppress non-heterosexuals within the Western world. 5. It is important to note that this often includes production funding from Anglocentric sources, which bears its own implications of textual influence. 1 New Storytelling: Transitions from the Past 1. Howard Auster had changed his name to Howard Austen early in his career, on advice from Gore Vidal to avoid advertising his Jewish identity at a time when it was hard to obtain work as a Jew (Vidal, 1995). In Gore Vidal’s mem- oir, Howard’s name is restored to the original spelling; hence I have adopted it here. 2. I use the term ‘literature’ in the general sense as ‘serious writing’, esteemed by authority such as academia. 3. I am only discussing the media of radio in this chapter, as a precursor to later developments in television, film and new media through the World Wide Web. 4. It is important to note that in some non-Western countries conversely homo- sexuality under certain circumstances may be considered to offer positive myths.
    [Show full text]
  • Brian Bateman Collection
    Collection Name: Brian Bateman Collection Gifted to the Archives in 2016, the Brian Bateman Collection consists of two boxes of materials representing over twenty years of Brian's involvement in legal, political, spiritual, and educational advocacy for the LGBTQ+ communities in Southern Arizona. Also included in the collection are booKs from his personal library and other memorabilia. Series 1: JIM TOEVS FOR CONGRESS Box Folder Title Date Detailed Description Container List By Date Container List (1991) Created Date range for each box 1 1.01 JIM TOEVS FOR CONGRESS (1991) S1: B1: 1991-1992 This folder contains news clippings, Angela M. Labistre December 20, 2018 F1.01 event invitations, and other campaign Champion materials related to Tucsonan Jim Toevs' Series 2: ARIZONA HUMAN RIGHTS Box Folder Title Date Detailed Description Container List By Date Container List FUND Created 1 2.01 NEWSLETTERS S2: B1: F2.01 1998-2003 The contents of this folder include issues Angela M. Labistre December 20, 2018 of the AHRF Newsletter (released Champion quarterly, then monthly to AHRF members). Also included is a newsletter from The Experience , an organization in 1 3.01 NEWS CLIPPINGS - AHRF S2: B1: F3.01 2000-2004; Some This folder contains magazine and Angela M. Labistre December 20, 2018 items not dated newspaper clippings from Arizona and Champion national media sources which feature coverage of legal/political actions campaigned for by AHRF, as well as 1 4.01 AZ HUMAN RIGHTS FUND S2: B1: F4.01 1991-2004 ; Some This folder contains materials related to Angela M. Labistre December 20, 2018 items not dated over a decade of annual AHRF-hosted Champion events, organizational artifacts (e.g., meeting minutes, memos), correspondence with community 1 5.01 AHRF LEGAL WORK S2: B1: F5.01 1995-2004 This folder contains materials pertaining Angela M.
    [Show full text]
  • Beautiful — the Carole King Musical Friday, January 24, 2020; 7:30 Pm; Saturday, January 25, 2020; 2 & 7:30 Pm; Sunday, January 26, 2020; 1 & 6:30 Pm
    Beautiful — The Carole King Musical Friday, January 24, 2020; 7:30 pm; Saturday, January 25, 2020; 2 & 7:30 pm; Sunday, January 26, 2020; 1 & 6:30 pm Paul Blake Sony/ATV Music Publishing Jeffrey A. Sine Richard A. Smith Mike Bosner Harriet N. Leve/Elaine Krauss Terry Schnuck Orin Wolf Patty Baker/Good Productions Roger Faxon Larry Magid Kit Seidel Lawrence S. Toppall Fakston Productions/Mary Solomon William Court Cohen BarLor Productions Matthew C. Blank Tim Hogue Joel Hyatt Marianne Mills Michael J. Moritz, Jr. StylesFour Productions Brunish & Trinchero AND Jeremiah J. Harris PRESENT BOOK BY Douglas McGrath WORDS AND MUSIC BY Gerry Goffin & Carole King Barry Mann & Cynthia Weil MUSIC BY ARRANGEMENT WITH Sony/ATV Music Publishing STARRING Kennedy Caughell James D. Gish Kathryn Boswell James Michael Lambert Matt Loehr Rachel Coloff Matthew Amira Isaiah Bailey Edwin Bates Danielle Bowen Antoinette Comer Rosharra Francis Kevin Hack Torrey Linder Nick Moulton Kimberly Dawn Neumann Eliza Palasz Ben Toomer Nazarria Workman Hailee Kaleem Wright SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Derek McLane Alejo Vietti Peter Kaczorowski Brian Ronan CASTING BY WIG & HAIR DESIGN MAKE-UP DESIGN ASSOCIATE DIRECTOR ASSOCIATE CHOREOGRAPHER Stephen Kopel, CSA Charles G. LaPointe Joe Dulude II David Ruttura Joyce Chittick ORCHESTRATIONS, VOCAL AND MUSIC ARRANGEMENTS MUSIC SUPERVISION AND ADDITIONAL MUSIC ARRANGEMENTS Steve Sidwell Jason Howland PRODUCTION STAGE MANAGER PRODUCTION MANAGEMENT MUSIC DIRECTOR MUSIC COORDINATOR Joel Rosen Juniper Street Productions, Inc. Alan J. Plado John Miller EXECUTIVE PRODUCERS TOUR BOOKING, ENGAGEMENT GENERAL MANAGER Sherry Kondor MANAGEMENT, PRESS & MARKETING Charlotte Wilcox Company Christine Russell Broadway Booking Office NYC CHOREOGRAPHED BY Josh Prince DIRECTED BY Marc Bruni www.harriscenter.net 2019-2020 PROGRAM GUIDE 23 Beautiful — The Carole King Musical continued KENNEDY CAUGHELL JAMES D.
    [Show full text]
  • Production Sound Mixer Feature & TV Resume
    LORI DOVI cas Production Sound Mixer 310.351.7247 [email protected] Credits: Director: Production Co: SUICIDE SQUAD (Los Angeles) David Ayer Warner Bros. Feature-Jarred Leno, Will Smith NOCTURNAL ANIMALS Tom Ford NA Prods, Focus Features Feature-Jake Gyllenhall, Amy Adams THE TRIALS OF CATE MCCALL Karen Moncrieff Sunrise Productions Feature- Kate Beckinsale, James Cromwell, Nick Nolte Prod: Marc Bienstock FRIGHT NIGHT (3D Project) Craig Gillespie Dreamworks Feature-Colin Farrell, Toni Collette Ray Angelic, Michael DeLuca, Shelly Strong A SINGLE MAN Tom Ford Fade to Black Productions, Weinstein Co Feature starring Colin Firth & Julianne Moore Prod: Andrew Miano, Bob Salerno (Numerous Awards & Nominations) THE HARD TIMES OF RJ BERGER David Katzenburg MTV/ New Remote Productions TV Series Seth Grahame-Smith Prod: Craig Cannold TERMINATOR SALVATION (2nd Unit) McG & Charles Gibson The Halcyon Co & Warner Bros. Pictures Feature-Christian Bale, Helena Bonham Carter Prod: Jeffrey Silver, Moritz Borman THE BURNING PLAIN Guillermo Arriaga 2929 Productions Feature-Kim Basinger, Charlize Theron Prod: Walter Parkes, Laurie MacDonald, Ray Nominated Golden Lion-Venice Fest 500 DAYS OF SUMMER Marc Webb Fox Searchlight Pictures Feature-Zooey Deschanel, Joseph Gordon-Levitt Prod: Mason Novick, Nominated Best Sound-MPSE Golden Reel Jessica Tuchnisky, Mark Waters CARRIERS Alex & David Pastor Paramount Vantage/This is That Prod. Feature-Chris Pine, Piper Perabo Producers: Anthony Bregman, Ray Angelic SUNSHINE CLEANING Nominated Sundance Grand Jury Prize
    [Show full text]
  • Film Locations in San Francisco
    Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
    [Show full text]
  • Armistead Maupin
    Armistead Maupin [00:00:05] Welcome to The Seattle Public Library’s podcasts of author readings and library events. Library podcasts are brought to you by The Seattle Public Library and Foundation. To learn more about our programs and podcasts, visit our web site at w w w dot SPL dot org. To learn how you can help the library foundation support The Seattle Public Library go to foundation dot SPL dot org [00:00:44] Today's program with Armistead Maupin. My name is David. I'm a librarian here and I have just a few words before we get started. This program today is sponsored by the Seattle Public Library Foundation, which is celebrating its 30th anniversary this year. The foundation is made up of thousands of people in our community who give gifts, large and small to support our libraries. To all of the foundation donors who are here with us today. Thank you so much for your support. I would also like to recognize and thank The Seattle Times for their continued support for programming at the Seattle Public Library. We are delighted to be partnering with Seattle Pride Fest on this program. Also, thanks, go to the Elliott Bay Book Company for coordinating the book sales here this afternoon. As I said earlier, if you don't have all of his books, they can fix that for you. And if you do have all of his books. Think what a joy it would be to give those books to somebody else. Maybe if a fresh new set.
    [Show full text]
  • Title Author Publication Year Publisher Format ISBN
    Audre Lorde Library Book List Publication Title Author Publisher Format ISBN Year '...And Then I Became Savin-Williams, Ritch Routledge Paperback 9780965699860 Details Gay': Young Men's Stories C ]The Big Gay Book Psy.D., ABPP, John D. 1991 Plume Paperback 0452266211 Details (Plume) Preston ¿Entiendes?: Queer Bergmann, Emilie L; Duke University Readings, Hispanic 1995 Paperback 9780822316152 Details Smith, Paul Julian Press Writings (Series Q) 1st Impressions: A Cassidy James Mystery (Cassidy Kate Calloway 1996 Naiad Pr Paperback 9781562801335 Details James Mysteries) 2nd Time Around (A B- James Earl Hardy 1996 Alyson Books Paperback 9781555833725 Details Boy Blues Novel #2) 35th Anniversary Edition Sarah Aldridge 2009 A&M Books Paperback 0930044002 Details of The Latecomer 1000 Homosexuals: Conspiracy of Silence, or Edmund Bergler 1959 Pagent Books, Inc. Hardcover B0010X4GLA Details Curing and Deglamorizing Homosexuals A Body to Dye For: A Mystery (Stan Kraychik Grant Michaels 1991 St. Martin's Griffin Paperback 9780312058258 Details Mysteries) A Boy I Once Knew: What a Teacher Learned from her Elizabeth Stone 2002 Algonquin Books Hardcover 9781565123151 Details Student A Boy Named Phyllis: A Frank DeCaro 1996 Viking Adult Hardcover 9780670867189 Details Suburban Memoir A Boy's Own Story Edmund White 2000 Vintage Paperback 9780375707407 Details A Captive in Time (Stoner New Victoria Sarah Dreher 1997 Paperback 9780934678223 Details Mctavish Mystery) Publishers Incidents Involving Anna Livia Details Warmth A Comfortable Corner Vincent
    [Show full text]
  • Adult Fiction Books
    Adult Fiction Books A Select List of Brown County Library Adult Fiction Books Click on each title below to see the library's catalog record. Then click on the title in the record for details, current availability, or to place a hold. For additional books and items on this theme, ask your librarian or search the library’s online catalog. Contemporary and Historical Fiction: Boyfriend Material by Alexis Hall Boys of Alabama by Genevieve Hudson Call Me By Your Name by Andre Aciman Carol by Patricia Highsmith (originally published as The Price of Salt) The Color Purple by Alice Walker Confessions of the Fox by Jordy Rosenberg Conventionally Yours by Annabeth Albert The End of Eddy by Édouard Louis Freshwater by Akwaeke Emezi Giovanni’s Room by James Baldwin The Hours by Michael Cunningham The Lady’s Guide to Celestial Mechanics by Olivia Waite Less by Andrew Sean Greer Lot by Bryan Washington Maurice by E. M. Forster Maybe the Moon by Armistead Maupin Mostly Dead Things by Kristen Arnett My Lady’s Choosing: An Interactive Romance Novel by Kitty Curran and Larissa Zagerias The Night Listener by Armistead Maupin On Earth We’re Briefly Gorgeous by Ocean Vuong Made by the Brown County Library 7/19 *=First in a series Oranges are Not the Only Fruit by Jeanette Winterson Orlando by Virginia Woolf Patsy by Nicole Dennis-Benn Red at the Bone by Jacqueline Woodson Red, White & Royal Blue by Casey McQuiston Ruby Fruit Jungle by Rita Mae Brown The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid Something to Talk About by Meryl Wilsner Tack and Jibe by Lilah Suzanne Tales of the City by Armistead Maupin* The Thirty Names of Night by Zeyn Joukhadar This is How It Always Is by Laurie Frankel Tipping the Velvet by Sarah Waters The Well of Loneliness by Radclyffe Hall You Exist Too Much by Zania Arafat Science Fiction/Fantasy/Horror: Autonomous by Annalee Newitz Black Leopard, Red Wolf by Marlon James* The Black Tides of Heaven by JY Neon Yang* The Deep by Rivers Solomon and Daveed Diggs Docile by K.
    [Show full text]
  • From Future Homemaker of America to the Lesbian Continuum: the Queering
    FROM FUTURE HOMEMAKER OF AMERICA TO THE LESBIAN CONTINUUM: THE QUEERING OF MARY ANN SINGLETON IN ARMISTEAD MAUPIN'S TALES By Sara Katherine White ____________________________________ Matthew W. Guy, Ph.D. Christopher J. Stuart, Ph.D. Associate Professor of English Professor of English (Chair) (Committee Member) ____________________________________ Heather Palmer, Ph.D. J. Scott Elwell Assistant Professor of English Dean of Arts and Sciences (Committee Member) A. Jerald Ainsworth, Ph.D. Dean of the Graduate School FROM FUTURE HOMEMAKER OF AMERICA TO THE LESBIAN CONTINUUM: THE QUEERING OF MARY ANN SINGLETON IN ARMISTEAD MAUPIN'S TALES By Sara Katherine White A Thesis Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Degree of Master's in English The University of Tennessee at Chattanooga Chattanooga, Tennessee December 2012 ii Copyright © 2012 By Sara Katherine White All Rights Reserved iii ABSTRACT Armistead Maupin's Tales of the City series is a turning point in homosexual literature in twentieth century America. This paper mainly examines the character of Mary Ann Singleton and the “queering” of her character. The writings of Michel Foucault, Judith Butler, Adrienne Rich, Eve K. Sedgwick, and Simone de Beauvoir are vital in understanding how a straight woman journeys onto the lesbian continuum as a revolt against gender roles (defined by Butler and Beauvoir) and as a result of her friendship with Michael Tolliver. Michael's character provides a discourse (as defined by Foucault) on homosexuality and through this discourse, he provides a contrast to the dysfunctions of compulsory heterosexuality in Mary Ann's journey.
    [Show full text]