Spirituality of Imperfection Rev

Total Page:16

File Type:pdf, Size:1020Kb

Spirituality of Imperfection Rev Spirituality of Imperfection Rev. Hannah Petrie October 15, 2017 LGBTQ History Month’s Emerging Canon By Rev. Irene Monroe (published in LA Progressive and HuffPost Oct 2017) Winston Churchill once said that “History is written by the winners.” When the Stonewall Riots occurred in 1969, the history of more than a century-long oppressed people finally got national attention. And, since that historical moment, the suppressed and closeted oral histories of our fierce and courageous LGBTQ brothers and sisters began to be documented – openly and uncensored. In less than half a century later a new field of inquiry called Queer Studies began to tell our stories. And, as a young discipline, it’s still on a fact-gathering mission . For example, Queer Studies forced the once deliberated and hidden omission of [gay, African American] Bayard Rustin from the historical annals of the 1960’s Black Civil Rights Movement to his rightful place as a key figure. Usually mentioned as merely a historical footnote, we can no longer accurately talk about the historic 1963 March on Washington without Bayard Rustin. Rustin, inarguably, is one of the tallest trees in our forest, was the strategist and chief organizer of the March that catapulted the Rev. Dr. Martin Luther King onto a world stage. Sadly, he’s still largely an unknown due to the heterosexism that canonized the history. Queer histories, however, are not without their blind spots, too. For example, African American LGBTQ communities have always existed in Harlem, residing here since this former Dutch enclave became America’s Black Mecca in the 1920s. The visibility of Harlem’s LGBTQ communities, for the most part, was forced to be on the “down low.” But gay Harlem, nonetheless, showcased it inimitable style with rent parties, speakeasies, sex circuses, and buffet flats as places to engage in protected same-gender milieux. And let’s not forget Harlem’s notorious gay balls. During the 1920s in Harlem, the renowned Savoy Ballroom and the Rockland Palace hosted drag ball extravaganzas with prizes awarded for the best costumes. Harlem Renaissance writer Langston Hughes depicted the balls as “spectacles of color.” And, As expected, however, African American ministers railed against these communities as they continue to do today . It leads you to believe that the only shakers and movers in the history of people of African descent in the U.S. were and still are heterosexuals. And because of these biases, the sheroes and heroes of LGBTQ people of African descent—like Pat Parker, Audre Lorde, Essex Hemphill, Joseph Beam, and Bayard Rustin—are mostly known and lauded within a subculture of black life. Deceased African-American poet and activist Pat Parker, in her book Movement in Black, talked about how society did not embrace her multiple identities. “If I could take all my parts with me when I go somewhere, and not have to say to one of them, ‘No, you stay home tonight, you won’t be welcome, because I’m going to an all-white party where I can be gay, but not Black.’ Or I’m going to a Black poetry reading, and half of the poets are antihomosexual, or thousands of situations where something of what I am cannot come with me. The day all the different parts of me can come along, we would have what I would call a revolution.” The Stonewall Riot was a revolution. And, it wasn’t just white! The historical facts are not all gathered. 1 … On the first night of the Stonewall Inn riot, African-Americans and Latinos were the largest percentages of the protesters, because we heavily frequented the Stonewall Inn. For black and Latino homeless youth and young adults who slept in nearby Christopher Park, the bar was their stable domicile. The Stonewall Inn being raided was nothing new—gay bars in the Village were routinely raided in the 1960s, but many believe the decision to raid Stonewall that fateful night happened because the police were increasingly incensed by how many LGBT people of color hung out there. The Stonewall riots of June 27-29, 1969, in Greenwich Village started on the backs of working-class African-American and Latino queers who patronized that bar. Those brown and black LGBTQ people are not only absent from the photos of that night but have been bleached from its written history. LGBTQ History Month can be a public acknowledgment of correcting the record. SERMON I want to talk about the courage every human being has to muster when it comes to embracing our flaws. Some religions say that it’s faith in God or Christology that works to correct our short-comings. That, not only will divine intervention “fix” you – but wait, there’s more! – faith and your ensuing piety earns you a slot in heaven, and an eternity that is pleasing. By contrast, our liberal faith of Unitarian Universalism doesn’t much fuss over the matter of eternity. We focus on the here and now. The fancy theological term is “ontological” – or that which concerns human beings universally. Things like relationships, work, play, rites of passage; how we navigate the content of our emotional and ethical lives. Religious liberals tend to focus on what is within our human means to deal with. It is a spirituality of imperfection, based not on some revelation or dogma, but against the reality of everyday living. We don’t believe we are born hopelessly imperfect, nor are we foolish enough to believe we’re born perfect. We are born with a mixed bag of traits, and it’s up to us what we do with them. First we have to have the courage to know ourselves well enough to know what our strengths and our struggles are. When we have this courage to self-examine, we discover some interesting paradoxes. Where once we thought there was weakness and smallness, there is actually bigness in our humility. We, incredulously, may discover greater freedom in embracing our imperfections. We embrace the paradoxes of my favorite Call to Worship – that there is strength in our vulnerability, and more meaning in questions than answers. In a spirituality of imperfection, we do the work of acknowledging and accepting our limitations, and in so doing, find unexpected peace. It’s the work of evolving our souls; this effort put forth is the stuff of contentment and restoration. It’s what some say life is all about – this meaning we find in, as Whitney Houston sang, “the greatest love of all.” To not only love our selves warts and all, but to consider how our struggles can be 2 our strengths. For religious liberals, it may be as close as we get to redemption, to absolution. Think of the times in your life you have been at your best, and earned some recognition. Those moments of achieving perfection can feel exultant, but it’s fleeting, it never lasts. The natural laws of entropy and change always mess it up. But hard-earned self-knowledge is enduring and priceless, in all its wabi-sabi glory, in all its sweat, grit, and messiness. I believe it’s the one thing we CAN take with us when we die. Achieving spiritual growth matters in this life, whether or not we get to live another life after this one, whether or not “eternity” is a thing. Each of our flaws represent doorways of opportunity to learn and become better people – not for the sake of achieving perfection, but for the sake of this growth. For the sake that we may be an inspiration to others, and in this small but significant way, we may change the world, just by improving ourselves. So that is one of the take-home messages today: that the pursuit of self-knowledge is far more important than the pursuit of perfection. The bad news is that getting to know thyself is often a painful and arduous process. If anyone’s ever done a 12-step style “inventory,” you know what I’m talking about. The good news is that the work often yields something worthwhile. Let’s illustrate this with an example. Mental illness. Such as depression. Or Bi- polar disorder. I’d like to ask for a show of hands. Who in this room loves someone or is someone with some form of mental illness? (That’s a lot of us). I want to talk about depression. It’s pretty common. A lot of us have it – I am a moderate depressive, myself, and have been since my teens. And yet, there came a point in my ministry, about five years ago, when I realized that depressed people are often suffering alone, because that’s one of the symptoms of depression, to isolate ourselves. So I came up with an idea that I called SOS, which stands for Sailors of Sadness. It was a camaraderie group where we shared tips on how we stay afloat, for those of us who identify as depressives, or struggle with anxiety. Sailors of Sadness because we navigate depression. The waters may be calm some days, and other days the waters may be rough, but with help and with our own wits, we navigate those waters. Like a diabetic or any chronic condition, it’s something we have to work with each day, and make the best of. The SOS group was a way to make my depression, or enhanced sensitivity to the world, an asset, rather than a liability. This group still exists at my last post, and while some meetings were better than others, what I recall was that the magic was in each of us all admitting together that we have this condition that society stigmatizes and refuses to see – to the point, for example, that the very seriously 3 mentally ill often end up in our prisons because no other institution in our society is designated to provide humane care.
Recommended publications
  • Triptych Eyes of One on Another
    Saturday, September 28, 2019, 8pm Zellerbach Hall Triptych Eyes of One on Another A Cal Performances Co-commission Produced by ArKtype/omas O. Kriegsmann in cooperation with e Robert Mapplethorpe Foundation Composed by Bryce Dessner Libretto by korde arrington tuttle Featuring words by Essex Hemphill and Patti Smith Directed by Kaneza Schaal Featuring Roomful of Teeth with Alicia Hall Moran and Isaiah Robinson Jennifer H. Newman, associate director/touring Lilleth Glimcher, associate director/development Brad Wells, music director and conductor Martell Ruffin, contributing choreographer and performer Carlos Soto, set and costume design Yuki Nakase, lighting design Simon Harding, video Dylan Goodhue/nomadsound.net, sound design William Knapp, production management Talvin Wilks and Christopher Myers, dramaturgy ArKtype/J.J. El-Far, managing producer William Brittelle, associate music director Kathrine R. Mitchell, lighting supervisor Moe Shahrooz, associate video designer Megan Schwarz Dickert, production stage manager Aren Carpenter, technical director Iyvon Edebiri, company manager Dominic Mekky, session copyist and score manager Gill Graham, consulting producer Carla Parisi/Kid Logic Media, public relations Cal Performances’ 2019 –20 season is sponsored by Wells Fargo. ROOMFUL OF TEETH Estelí Gomez, Martha Cluver, Augusta Caso, Virginia Kelsey, omas McCargar, ann Scoggin, Cameron Beauchamp, Eric Dudley SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS Lisa Oman, executive director ; Eric Dudley, artistic director Susan Freier, violin ; Christina Simpson, viola ; Stephen Harrison, cello ; Alicia Telford, French horn ; Jeff Anderle, clarinet/bass clarinet ; Kate Campbell, piano/harmonium ; Michael Downing and Divesh Karamchandani, percussion ; David Tanenbaum, guitar Music by Bryce Dessner is used with permission of Chester Music Ltd. “e Perfect Moment, For Robert Mapplethorpe” by Essex Hemphill, 1988.
    [Show full text]
  • Journal of Haitian Studies, Volume 19, Number 1, Spring 2013, Pp
    7KH/HJDF\RI$VVRWWR6DLQW7UDFLQJ7UDQVQDWLRQDO +LVWRU\IURPWKH*D\+DLWLDQ'LDVSRUD Erin Durban-Albrecht Journal of Haitian Studies, Volume 19, Number 1, Spring 2013, pp. 235-256 (Article) 3XEOLVKHGE\&HQWHUIRU%ODFN6WXGLHV8QLYHUVLW\RI&DOLIRUQLD 6DQWD%DUEDUD DOI: 10.1353/jhs.2013.0013 For additional information about this article http://muse.jhu.edu/journals/jhs/summary/v019/19.1.durban-albrecht.html Access provided by Illinois State University (29 Mar 2016 16:46 GMT) The Journal of Haitian Studies, Volume 19 No. 1 © 2013 THE LEGACY OF ASSOTTO SAINT: TRACING TRANSNATIONAL HISTORY FROM THE GAY HAITIAN DIASPORA Erin Durban-Albrecht University of Arizona INTRODUCTION This essay uses Michel-Rolph Trouillot’s notion of power and the production of history as a starting point to explore the ways that Assotto Saint (1957-1994), a gay Haitian American who was once a well-known player in the Black gay and AIDS activist cultural movements in the United States, is remembered and written about in contemporary venues.1 I argue that the politics of remembrance pertaining to Saint’s cultural work and activism has significant consequences for our understanding of late twentieth century social and cultural movements in the United States as well as gay Haitian history. I explore the fact that Saint’s work has fallen out of popularity since his death in 1994, except in limited identitarian, mostly literary venues. The silences surrounding his work that I describe in this essay are peculiar considering that Saint not only had important social connections with artists who are well-known today, but also, unlike artists with less access to financial resources, he left behind a huge archive of materials housed in the Black Gay and Lesbian Collections at the Schomburg Center for Research in Black Culture as well as a rich and prolific corpus of published work.
    [Show full text]
  • Black/Out Is a Magazine By, for and —Ann Chapman; P
    B LACK/OUT The Magazine of the National Coalition of Black Lesbians and Gays Volume 1 Number 1 Summer 1986 $3 Simon Nkodi: On Trial for Treason by James Charles Roberts page 6 Working for Liberation and Having a Damn Good Time! by Barbara Smith page 13 Poetry: Julie Blackwomon Dan Garrett Stephen F. Langley Sonia Sanchez page 18 v-lisi: $ i^K" CONTENTS BLACK/OUT NEWS Publisher NCBLG National Conference on AIDS Among Blacks National Coalition of Black Lesbians and Gays, Inc., a non-profit organization that provides advocacy on by Craig G. Harris 4 issues affecting Black Lesbians and Gays. Simon Nkodi: On Trial for Treason by James Charles Roberts 6 Board of Directors Timothy Lee: Murder or Suicide? Michelle Parkerson, Co-chair by James Charles Roberts Louis Hughes, Jr., Co-chair 6 Gwendolyn Rogers, Secretary Clifton A. Roberson, Treasurer Joseph F. Beam NEWS BRIEFS Angela Bowen Gays, Lesbians and bisexuals of color convene; Hemphill receives Audre Lorde NEA grant; Bowen at NOW march; Parkerson, Hemphill and Jones Marietta G. Mason receive Residency for New Works grant ••. 5 Luvenia Pinson Betty Powell Barbara Smith Lawrence Washington FEATURES Charles Williams The NCBLG Family Gathers: A Conference Report Dan Weddo by Craig G. Harris 10 Executive Director Working for Liberation and Having a Damn Good Time! by Barbara Smith 13 Gil Gerald Two Views on The Color Purple Publications Committee It's Not for Me to Say by Angela Bowen 15 Editor All in the Family by R. Harris 15 Joseph F. Beam Associate Editors Angela Bowen DEPARTMENTS Barbara Smith OUT/LOOK "Black Pride and Solidarity: The New Movement Dan Weddo of Black Lesbians and Gays" by Gil Gerald 3 News Correspondents James Charles Roberts, Philadelphia OUT/POSTS News from the Chapters 7 Colin Robinson, New York OUT/LET "Caring for Each Other" by Joseph Beam 9 Typesetting/Design Essex Hemphill COMING OUT by Angela Bowen 12 Cover Art POETRY Sonia Sanchez, Dan Garrett, Stephen F.
    [Show full text]
  • Love, Liberation, and the Rise of Black Lesbian and Gay Cultural Politics in Late Twentieth Century America
    “Out of This Confusion I Bring My Heart” Love, Liberation, and the Rise of Black Lesbian and Gay Cultural Politics in Late Twentieth Century America by David B. Green Jr. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2015 Doctoral Committee: Associate Professor Maria E. Cotera, Chair Professor Frieda Ekottto Assistant Professor Brandi S. Hughes Assistant Professor Victor R. Mendoza When you love as we did you will know There is no life but this And history will not be kind Melvin Dixon (I)Eye dedicate this work to My Brother O.B. Green Who was taken too soon from this earth ii Acknowledgements I believe…no—wait—I remember. Yes. I remember the exact moment when I received a call from Jesse Huffnung-Garskof. Jesse called to inform me that I had been admitted into the Program in American Culture here at the University of Michigan. I was in Der Rathskeller, the main lunch drag at the University of Wisconsin’s student union. In the middle of grabbing one of their delicious cheeseburgers, I struggled to retrieve my cell phone. “Hello?...hello yes, this is David.” Moments later I was screaming. “Really?!” Yes, I was admitted into a doctoral program at the University of Michigan— one of two programs that accepted me. I knew nothing about this university. To tell the truth, I had never heard of the University of Michigan. Seriously. When I was completing my Master’s thesis and applying to doctoral programs, a colleague, Eric Darnell Pritchard—who had completed his Master’s degree in African American Studies and Doctoral degree in English Rhetoric at Wisconsin and now works as an Assistant Professor at the University of Texas at Austin—encouraged me to apply to Michigan.
    [Show full text]
  • ITL Frontmatter
    thein A BLACK GAY ANTHOLOGY thein A BLACK GAY ANTHOLOGY edited by Joseph Beam New Introduction by James Earl Hardy WASHINGTON, DC www.redbonepress.com In the Life: A Black Gay Anthology Copyright © 1986 by Joseph Beam; © 2008 by Estate of Joseph Beam New Introduction, “And We Continue to Go the Way Our Blood Beats...” copyright © 2008 by James Earl Hardy Individual selections copyright © by their respective author(s) Published by: RedBone Press P.O. Box 15571 Washington, DC 20003 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means without permission in writing from the publisher, except in the case of reviews. 08 09 10 11 12 10 9 8 7 6 5 4 3 2 1 Second edition Cover design by Eunice Corbin Logo design by Mignon Goode Joseph Beam cover photo copyright © 1985 by Sharon Farmer Permissions acknowledgments appear on pp. 219. Artwork on p. 1 by Deryl Mackie; photograph on p. 23 by Joseph Beam; artwork on p. 45 by Don Reid; artwork on p. 69 by Vega; artwork on p. 115 by Tawa; photograph on p. 173 by Joseph Beam. Printed in the United States of America ISBN-13: 978-0-9786251-2-2 ISBN-10: 0-9786251-2-9 www.redbonepress.com for my parents, Dorothy and Sun F. Beam for loving for Kenyatta Ombaka Baki for believing for Addie and Charles for our future Contents And We Continue to Go the Way Our Blood Beats..., by James Earl Hardy / ix Acknowledgments / xv Introduction / xix Coming of Age, Brad Johnson / xxv Stepping Out The Boy with Beer, Melvin Dixon / 2 With My Head Held Up High, Gilberto Gerald / 14 Cut Off from Among Their People On Not Being White, Reginald Shepherd / 24 Beautiful Blackman, Blackberri / 35 Don’t Turn Your Back on Me, Stephan Lee Dais / 37 Cut Off from Among Their People, Craig G.
    [Show full text]
  • PDF Download Hold Tight Gently Michael Callen, Essex Hemphill
    HOLD TIGHT GENTLY MICHAEL CALLEN, ESSEX HEMPHILL, AND THE BATTLEFIELD OF AIDS 1ST EDITION PDF, EPUB, EBOOK Martin B Duberman | 9781595589453 | | | | | Hold Tight Gently Michael Callen, Essex Hemphill, and the Battlefield of AIDS 1st edition PDF Book Views Read Edit View history. By: Matt Richards , and others. Most Helpful Most Recent. Every reader contribution, whatever the amount, makes a tremendous difference. In its most recent May report, with data through , the Centers for Disease Control CDC shows a vast disparity of new infections among racial-ethnic groups in the United States. Thanks for shopping indie! The author points out that these two men were very different and never met. Reviews - Please select the tabs below to change the source of reviews. Great Indian Festival. Copy link. It is not case- sensitive. Back to top. In Hemphill's poetry, he portrays loneliness as a collective feeling. Daringly imagined and beautifully written, Hold Tight Gently is a major work of modern history that chills us to the bone even as it moves us to tears. Details Look Inside Customer Reviews. This is despite the fact that young gay black men have fewer partners, less unprotected sex, and lower rates of recreational drug use than other gay men. Get to Know Us. Report typos and corrections to: feedback alternet. The biographer renders Hemphill and Callen with respect and grace—just the way they should be. Poetry Foundation. Medical Apartheid is the first and only comprehensive history of medical experimentation on African Americans. The New Press is a nonprofit public-interest book publisher. Follow us:.
    [Show full text]
  • AIDS in Cultural Bodies
    AIDS in Cultural Bodies AIDS in Cultural Bodies: Scripting the Absent Subject (1980-2010) By Sathyaraj Venkatesan and Gokulnath Ammanathil AIDS in Cultural Bodies: Scripting the Absent Subject (1980-2010) By Sathyaraj Venkatesan and Gokulnath Ammanathil This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Sathyaraj Venkatesan and Gokulnath Ammanathil All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8915-6 ISBN (13): 978-1-4438-8915-5 Dedicated to The people living with HIV/AIDS CONTENTS List of Abbreviations .................................................................................. ix Chapter One ................................................................................................. 1 Introduction Chapter Two .............................................................................................. 11 Plotting the Crisis: HIV/AIDS and African American Response Chapter Three ............................................................................................ 27 HIV/AIDS, Abjection and Social Death Chapter Four .............................................................................................
    [Show full text]
  • Aradicalhistory & Legacy
    A R A D I C A L H I S T O R Y & L E G A C Y l e a h d t i n r n o i P o t M o v e D This Pride Month Devotional: Radical History & Legacy is meant to be a resource for you to think through different topics and remember the people and efforts in radical LGBTQ+ history. This devotional covers many difficult topics, so take the time you need. Each topic or person has an experpt from an article with questions to help you think through the information. Please use this devotional to write, draw, or think through any or all of the questions. Ask questions that come up for you that we didn't write down. This is not all encompassing, so view this as a jumping off point into learning about radical LGBTQ+ history and legacy. We would also love to see what you created in response to the questions or information that you think is important for others to know! If you want to share, tag @jcpride2020. We hope everyone comes away having more carefully examined their own lives, values, and worldview and how we fit into the legacy created by the people before us. Terms & Definitions Abolition the practice or ideology of abolishing a system, practice, or institution (like police, prisons, ICE, etc.) AIDS Epidemic a public health crisis where many people were getting HIV/AIDS with little care for people affected, mostly because it heavily effected LGBTQ+ and Black people Anti-capitalism political ideology and movement that wants to replace capitalism with another economic system that brings liberation and justice anti-Queer/anti-LGBTQ against or opposed to
    [Show full text]
  • Young at Heart
    Recent Decline in Student Population Forces Faculty Cuts By KIMBERLY TAYLOR because we decided to get smaller ence is to protect people that are its hard to even see that cuts News Editor to maintain quality and partly be- currently in their positions Were happen because as the number of cause the number of high school not at this point talking about and students drop so does the number In an attempt to maintain a kids going to private colleges has I dont think well ever have to be of courses you need to offer It steady studentfaculty ratio gone down So were hoping that in a point of talking about elimi- really hasnt had any strong effect Denison will be bidding a farewell were not going to get any smaller nating tenured faculty from posi- upon the academic program to several faculty positions on cam- In fact our goal is to get bigger tions he said Morris said pus We try to have a 121 stu- Morris said Weve made about nine cuts The economics department dentfaculty ratio which is a good Professor of History Don at this point starting next year The has had two people resign and I J ratio explained Provost Charlie Schilling said I think the univer- goal is to get to around 12 but that believe we have authorization to Morris sity does have to be concerned again will depend in part on our add one of those back Lucier i Head of Faculty and Professor about its financial health It has to enrollment picture over the next said Provost Charlie Morris discussed of Economics Richard Lucier ex- meet its obligations We have to couple years Its nothing
    [Show full text]
  • Thinking Otherwise: the Politics of Black Queer Filmmaking
    THINKING OTHERWISE: THE POLITICS OF BLACK QUEER FILMMAKING CHRISTOPHER G. SMITH A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER'S OF ARTS GRADUATE PROGRAM IN INTERDISCIPLINARY STUDIES YORK UNIVERSITY, TORONTO, ONTARIO DECEMBER 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de Pedition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-62424-1 Our file Notre reference ISBN: 978-0-494-62424-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Performative Remnants: Re-Reading the Black Male Body in Mapplethorpeâ•Žs Black Book
    University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2015-2016: Penn Humanities Forum Undergraduate Sex Research Fellows 5-2016 Performative Remnants: Re-reading the Black Male Body in Mapplethorpe’s Black Book Erich Kessel University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/uhf_2016 Part of the English Language and Literature Commons Kessel, Erich, "Performative Remnants: Re-reading the Black Male Body in Mapplethorpe’s Black Book" (2016). Undergraduate Humanities Forum 2015-2016: Sex. 3. https://repository.upenn.edu/uhf_2016/3 This paper was part of the 2015-2016 Penn Humanities Forum on Sex. Find out more at http://www.phf.upenn.edu/ annual-topics/sex. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2016/3 For more information, please contact [email protected]. Performative Remnants: Re-reading the Black Male Body in Mapplethorpe’s Black Book Abstract Robert Mapplethorpe’s 1986 Black Book was subject of much political controversy in the years following its release. In the drama of this controversy, Mapplethorpe’s figure—as an Artist and an Author—grew more dominant in discourse at the same time that it was battered by right-wing attacks. The growth of his figure cast a dark shadow over the other bodies implicated in his project: those of the black men he photographed. How might a history of their place in this books creation be written, given an archival silence? This project will engage the model’s pose as a performance that resists Mapplethorpe’s gaze and the many imperatives that structure his photobook as a consumable object of racial fascination.
    [Show full text]
  • African American LGBT Writing, 1982-1991
    Black Shamelessness: African American LGBT Writing, 1982-1991 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Christopher S. Lewis, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: Valerie Lee, Ph.D., Advisor Koritha Mitchell, Ph.D. Debra Moddelmog, Ph.D. Copyright by Christopher S. Lewis 2012 Abstract For most of the twentieth century, black writers represented African Americans as sexually proper in realist forms as a means of combating racist discourse that considers all black sexuality depraved. In the 1960s and 1970s, black literary realism became explicitly associated with the Black Arts Movement’s heteronormative politics of black authenticity and pride. During the 1980s, however, many African American writers openly identifying as lesbian, gay, bisexual, and/or transgender (LGBT) explored black queer experiences in a range of literary forms, including performance poetry, realist fiction, and speculative fiction. Black Shamelessness considers this range of forms, finding literary genre to be critical terrain for the exploration of black queer politics. 1980s black LGBT writers like Alice Walker, Essex Hemphill, and Assotto Saint challenged the expectations of black literature by queering the archives of black realism with realist celebrations of queer sexualities. Meanwhile, writers like Audre Lorde, Samuel Delany, and Jewelle Gomez composed non-realist texts that question the value of queer subjects being folded into black literary realism. Black Shamelessness thus finds that black LGBT writers can be categorized in part by their relationship to realism and their responses to the politics of black authenticity.
    [Show full text]