NOTES

Preface

1. Examples are too numerous to represent adequately here, but a few of the more prolific scholarly writers include , L. William Countryman, Robert E. Goss, Mark Jordan, Stephen D. Moore, Elisabeth Stuart, and Mona West. 2. One cannot hope to do justice to the scope of these writings with a brief representative list, but by way of offering a few possible starting points for further exploration, see works by Rebecca Alpert, Sandi Simcha Dubowski, Jyl Lynn Felman, Andrew Harvey, Judith Katz, Badruddin Khan, Winston Leyland, Devdutt Pattanik, Lev Raphael, and Karen Tulchinsky.

Introduction Spot the Homo: Definitions

1. I draw here on Dipesh Chakrabarty’s use of translation as a metaphor, for which he cites a range of criticism to explain how translation can represent the relationship between past and present: this relationship does not entail translating two radically different, incommensurable views that have no relationship to each other; nor is it about successfully making two different things neatly commensurable (17 and 263–264, n. 57). Adding the visual metaphor of transparence versus opacity, he avers that such translation projects aim for neither; instead, they aim for translucence. 2. Leo Bersani attests, “There has been an absurd and reductive misreading of the first volume of , a reading that claims that ‘the homosexual’ didn’t exist before the middle of the nineteenth century. I don’t think Foucault believed that for a single moment. I also think he would have been shocked by the frankly stupid confusion between the homosexual as a category of the psyche with elaborately defined characteristics (in large part, that is a modern invention) and the homosexual as an individual primarily oriented toward same-sex eroticism” (“A Conversation with Leo Bersani,” by Tim Dean, Hal Foster, and Kaja Silverman, 12). 3. Diana Fuss offers a similar view in Essentially Speaking, where she argues that the apparent distinction between “social constructionism” and “essentialism” is not at all as clear or impermeable as it might seem. 4. John Boswell notes, “To pretend that a single system of sexual categorization obtained at any previous moment in Western history is to maintain the unlikely in the face of substantial evi- dence to the contrary. Most of the current spectrum of belief appears to have been represented in previous societies” (1989: 34). 5. Jordan holds that a “sodomitic sin-identity, medicalized or camped, turned therapeutic or ironic, is still in many ways a sin-identity” (2001: 184). Edsall contends that the language of unnatural versus natural became that of healthy versus sick: “Doctors were the new priesthood” (44, 46). 188 Notes 6. In Susan Harvey’s words, “Ancient Christianity defined God as ineffable and inconceivable” (18). 7. Dinshaw (203); see also Terry Castle’s The Apparitional Lesbian and Leila Rupp’s A Desired Past. Valerie Traub’s The Renaissance of Lesbianism in Early Modern England supports this claim by contrasting the profusion of representations of sex between women in the early modern era in England with other time periods; she characterizes this profusion as historically unique. 8. Margaret Farley offers a concise overview of the Hellenistic influence on Christian understandings of the sexual body in her “Sexual Ethics.” 9. James B. Nelson attests, “Homophobia thrives on dualisms of disincarnation and abstraction that divide people from their bodily feelings and divide reality into two opposing camps” (385). 10. See Evans, 1996: 65–66; he notes, “For a strong argument that rationality in science and rationality in religious belief are analogous, see Michael C. Banner, The Justification of Science and the Rationality of Religious Belief (Oxford: Oxford University Press, 1990)” (1996: 66, n. 28). 11. Antonio Damasio offers an interesting possibility, but it remains hypothetical. 12. I confine my discussion of Catalina to the scholarly views presented in the 1996 edition of her memoirs because I use the debate staged in that one book to exemplify the more general debates about lesbian and gay history. For further analysis of Catalina, see Sherry M. Velasco’s study. Velasco largely agrees with Stepto and Stepto, arguing that, “Regardless of how we configure Erauso’s sexuality today (homoerotic, lesbian, ‘woman-loving butch,’ allegorical, and so forth), the early modern representations of [Erauso’s] erotic desire reveal the perception that she was a masculine woman who was attracted to other women and not to men” (69). 13. For an overview of theological writings on this topic, see Eugene F. Rogers, Jr.’s Theology and Sexuality: Classic and Contemporary Readings. 14. White defines these genres thus: “Romance is fundamentally a drama of self-identification symbolized by the hero’s transcendence of the world of experience, his victory over it, and his final liberation from it—the sort of drama associated with the Grail legend or the story of the resurrection of Christ in Christian mythology”; Satire is “dominated by the apprehension that man is ultimately a captive of the world rather than its master, and by the recognition that, in the final analysis, human consciousness and will are always inadequate to the task of overcoming definitively the dark force of death, which is man’s unremitting enemy”; “Comedy and Tragedy, however, suggest the possibility of at least partial liberation from the condition of the Fall and provisional release from the divided state in which men find themselves in this world. . . . In Comedy, hope is held out for the temporary triumph of man over his world by the prospect of occasional reconciliations of the forces at play in the social and natural worlds. Such reconciliations are symbolized in the festive occasions which the Comic writer traditionally uses to terminate his dramatic accounts of change and transformation. In Tragedy, there are no festive occasions . . . [Yet, by the end, there] has been a gain in consciousness for the spectators of the contest. And this gain is thought to consist in the epiphany of the law governing human existence which the protagonist’s exertions against the world have brought to pass” (8–9). 15. Linda Hutcheon notes that White is not the first in this general line of thinking: “In 1910 Carl Becker wrote that ‘the facts of history do not exist for any historian until he creates them’ ” (qtd. in Hutcheon, 90). 16. I am indebted to James Phelan for this point. 17. Frederic Jameson holds a similar view, specifically regarding history in terms of its textuality: history exists apart from texts, but because our access to it depends entirely on texts, according to Jameson, history denotes the transcendent reality that we cannot fully know. 18. I adapt this definition from Dallas Willard (talk given in Los Angeles on November 1, 2003). 19. Theologian Rowan Williams analyzes a related argument offered by David Jones, that the very “notion of sign implies the sacred” (86; for further points of connection with my project here, see also 84–86, 138, and 154). 20. According to Richard Walsh, the sense of mystery expressed in fantastic storytelling also characterizes Judeo-Christian traditions: “The ’s ancient ‘central impossibility’ (Irwin 1976) was its commitment to the divine sovereignty as a fantastic alternative to various imperial Notes 189 sovereignties,” but “[w]ith Constantine the fantasy ended”: “The subversive stories became the establishment’s property and were made the mythic basis of institutional religion. As a result, the biblical narratives ceased to challenge ‘reality’ and became its basis” (137–138). Since the Enlightenment enthroning of reason, however, “the ancient biblical narrative became an alternative to reason’s hegemony. Now, the fantastic crux, the ‘central impossibility,’ was miracle, rather than an alternative politics” (139). 21. Religious studies scholars widely agree on the significance of the divide between theology and religious studies, as Mark Taylor avers (12–13); in Critical Terms for Religious Studies (Taylor, ed.), Jonathan Smith goes so far as to hold the term religion to be “an anthropological not a theological category” (269). Throughout this book, I rely far more on the scholarship of theologians than religious studies scholars for precisely this reason: the participatory perspective of theological scholarship more effectively counters the objectification tendencies my project works to ameliorate. 22. I draw here on Phelan’s “Sethe’s Choice: Beloved and the Ethics of Reading” (2001). 23. Regardless of the extent to which a specifically queer reading might contribute to understanding the novel, sexual and affective desires in general certainly reside at its core. Beloved’s name defines her in terms of another’s desire for her. The sexual and affective connections thematized in the various characters’ relationships to Beloved foreground how such relationships especially were damaged and lost to history because of the oppression of slavery—families and lovers divided and broken, such that Paul D. at first does not even “fit” in a domestic space (the rhythms of his song are described as being too big for it), and the very names of Baby Suggs and Sethe serve as fractured or fragmentary evidence of sexual and affective relationships otherwise obliterated from historical record and even from memory (Morrison 1987: 40, 142, 62).

Chapter One Mysterious Hauntings and Revisionist Histories

1. “Sub rosa,” Webster’s Ninth New Collegiate Dictionary, 1989 ed. 2. Examinations of homoeroticism in Absalom include studies by Don Merrick Liles; John N. Duvall (101–118); Diane Roberts (28–37, 150–51, 166–68); Noel Polk (140–143); and Doreen Fowler (95–127). 3. I am indebted to Judith Sensibar for alerting me to Gwin’s work on this subject. 4. Matt Ramsey sounds a cautionary note about the extent to which Faulkner may be taken as antiheterosexist (“ ‘All That Glitters’: Reappraising ‘Golden Land,’ ” paper presented at the William Faulkner Society meeting at the 2005 MLA in Washington, DC). 5. See, for example, Peter Brooks’s otherwise admirable reading of the novel. 6. Diane Roberts also views these two questions as being linked (168). 7. The “warm and rosy orifice above the iron quad” ostensibly refers to the roommates’ dorm room window above the courtyard quadrangle outside it (176). In the context of the homoerotic activity in that room, however, this description potentially suggests the sub-rosa text of the novel—the illicit love that fascinates and confounds them—eroticizing the warm and rosy (both pink and rosebudlike) anus above the strong muscles of the quadricep or thigh. The “deep-breathing” exercises Shreve likes to do in that warm and rosy orifice resonate with the heavy and sometimes panting breathing of the roommates’ storytelling rhythms, as well as with sexual activity in general and perhaps anal intercourse especially as a relaxation technique (176). 8. “Bonfire,” The New Shorter Oxford English Dictionary, 1993 ed. I am indebted to Stephen Yenser for this etymological insight as well as for bringing to my attention the pun in bonfire on Bon’s name. 9. This language is repeated in Matthew 19: 4–6, 1 Corinthians 6: 16, and Ephesians 5: 31. 10. Andrea Dimino makes a similar claim, allying Rosa in this regard with the novel as a whole. 190 Notes 11. I owe this point, that the narrative authorizations in Chapter Eight are unique in the novel, to Don Merrick Liles (105). 12. See, for example, Duvall, 114–115; also Fowler, 120–121. 13. A pistol does appear, however, in a parallel moment for Quentin in The Sound and the Fury, wherein Quentin is similarly challenged by Dalton Ames. My reading of the parallels internal to Absalom does not preclude readings that choose to emphasize parallels external to the text. Likewise, my reading of Quentin’s gay desire in Absalom does not preclude his desire for his sister, Caddy, in The Sound and the Fury, nor the parallel between the Quentin-Caddy-Dalton erotic triangle and the Henry-Judith-Bon one. Indeed, it is precisely the ethical definition of Quentin’s gay desire that allows for such flexibility. 14. In consonance with my claim here, Stephen M. Ross argues that the title’s allusion to David invokes the whole of the biblical story of David and not just David’s war with Absalom. Joseph Boone connects the novel’s title specifically to the love “shared by the youthful David and Jonathan” (1077). 15. The novel’s stylistic structure mimics this structuring of patriarchy in that both draw on the law. Faulkner arguably suggests that his own writing style is a kind of transformed legalese: when Shreve and Quentin ape the legalese of Bon’s mother’s lawyer, for instance, the linguistic features they choose to exaggerate as being indicative of that legalese are very similar to those that typify Faulkner’s style. Moreover, Sutpen—the self-made man who is not fully trusted by his neighbors because his patriarchal lineage is questionable at best—speaks in a florid, overly formal style, appropriately enough, given the logic of the novel: he has not been adequately trained in the art of the gentleman’s rapier, as the law gets metaphorically described in the novel, because he is not, in fact, a gentleman, and so has had to teach himself a kind of homespun legalese. 16. In keeping with this claim, Dimino contends that Miss Rosa is multivocal, representing more than merely one character (192). 17. Duvall corroborates this point, particularly in relation to Rosa’s use of the word brief (Duvall 117). 18. Theodore Jennings, Jr. offers an insightful scholarly exploration of homoeroticism in the David story. 19. Indeed, in consonance with my reading of Absalom, Valerie Rohy theorizes queer retrospective illumination in terms of Sigmund Freud’s “notion of deferred action or Nachträglichkeit, the process through which a past moment belatedly assumes significance” (72); she analyzes Edgar Allan Poe’s “Ligeia” (1838) as enacting such queer retrospection, much as I argue here that Absalom does. 20. Notably, Faulkner was not alone in this antistereotypical portrayal, which otherwise astute scholars sometimes overlook: Chauncey, for example, holds that “gay-themed” novels of the early 1930s generally “focused on the flamboyant fairy,” yet one of his examples, Blair Niles’s 1931 Strange Brother, focuses rather on a protagonist who passes for heterosexual in every stereotypical way except that he falls in love with men, not women (Chauncey 324). 21. Daniel Mendelsohn’s review of the film corroborates and elaborates on this point.

Chapter Two Romancing the Past: The Uses of Identification

1. Carla Freccero offers a related view: “I also invoke identification and one of its common effects, anachronism, as two intimately related and hallowed temporal processes that make up—like and along with desire—queer time” (5). 2. Mohanty holds that “identities are not mysterious inner essences of groups of people but are fundamentally about social relations, especially relations among groups”; moreover, “to base Notes 191 definitions of identity on an idealized conception of experience (as essentialists do) or to deny experience any cognitive value whatsoever (as postmodernists might) is to cut with too blunt a theoretical knife” (239, 234). Savin-Williams employs a similarly relational, context-bound definition from a psychological perspective: “sexual identity represents an enduring self-recognition of the meanings that sexual feelings, attractions, and behaviors have for one’s sense of self. This self-labeling occurs within the pool of potential sexual identities that are defined and given meaning by the cultural and historic time in which one lives....and is not necessarily consistent with sexual orientation, fantasies, or behavior” (1998: 3). 3. Rictor Norton, 216–238. 4. My use of borderlands here owes especially to Gloria Anzaldúa’s discussion of the term in Borderlands/La Frontera: The New Mestiza. 5. See Taylor 1999: 106. 6. Renault’s denials and ambiguities in regard to gay or lesbian identification recall the denials and ambiguities in some of Walt Whitman’s writings—not only the denial he famously wrote in response to John Addington Symonds’s fan letter (see, for instance, Gregory Woods’s account of this exchange, 177–178), but also the expansive and self-challenging notion of identification in his poetry, which he summarizes thus: “Do I contradict myself ? / Very well then I contradict myself, / (I am large, I contain multitudes.)” (Song of Myself 1324–1326). 7. In keeping with the divergent shock value the novel attributes to gay male sex versus lesbian sex, Fanny’s graphic description of the two men having sex—but not that of the two women having sex—was removed from the 1750 edition of Fanny Hill and was restored only in late twentieth- century printings (230, n. 121). 8. For a paradigmatic example of this convention, see stanza 36 of John Keats’s The Eve of St. Agnes. 9. Interview with Sarah Waters and Andrew Davies on the DVD version of the BBC mini-series, Tipping the Velvet (2002).

Chapter Three Coming-Out Stories As Conversion Narratives

1. In her introduction to Isabel Miller’s Patience & Sarah, Emma Donoghue recounts how Alma Routsong (the real name of Isabel Miller) used a Ouija board to conjure Mary Ann Willson and Miss Brundidge, the actual historical figures on whom her characters, Patience and Sarah, are based (9). 2. E. Patrick Johnson argues in favor of such a reading of Go Tell It on the Mountain. 3. Catherine Colton notes that although “Nigel Thomas warns against confusing conjure and voodoo, describing the first as a ‘deadly art’ and the second as a ‘religion’ that aims toward spiritual wholeness . . . others, including Hurston and [Houston] Baker, see conjure as being part of voodoo” (34). 4. See, for example, Richard Rambuss’s Closet Devotions and Mark Jordan’s The Ethics of Sex (especially 164–166). 5. Janet R. Jakobsen and Ann Pellegrini offer a similar argument that draws not only on Richards’s work but also on related positions taken by Lisa Duggan, Michael W. McConnell, and Andrew Koppelman (Love the Sin 116–126). 6. Arthur J. Mielke’s Christians, Feminists, and the Culture of Pornography contributes a phenomeno- logical perspective on Christian debates about sexual behavior and pornography. He draws on a range of various sources that document how, in contemporary U.S. culture, one typically finds differences between male and female sexual behaviors that correspond generally to the differences noted by Savin-Williams and others in the degree of voluntarity and physicality reflected in studies of gay men and lesbians. Mielke projects this contemporary difference into history, 192 Notes suggesting that perhaps “Augustine’s anxiety about his inability to bring sexual feelings under rational control may ‘reflect the male experience of sexual arousal much more than the female’ ” (91, quoting Lisa Sowle Cahill’s 1992 Women and Sexuality). Focusing on the phenomenon of widespread pornography consumption especially by men in the , Mielke argues that, at least for many men, sexuality “typically begins not with the communicative possibilities of sex but with specific sexual acts, in particular, masturbation” (93). 7. The difference between these two uses of paralipsis resonates with Alison Case’s argument about the gendered history of the technique. Case contends that paralipsis is often used to heighten the sense of authority of male narrators in nineteenth-century narratives, but that in nineteenth-century instances of female narrators, what Phelan describes as paradoxical paralipsis (in which the narrator not only withholds information but actually offers information or value judgments that later clearly turn out to have been false, 1996: 103) is often used to heighten the sense of the authority of the narrative (not of the female narrator) precisely by making the female narrator seem unselfconscious (320). 8. See also James Creech, Closet Writing / Gay Reading, especially 48–51. An Arrow’s Flight resonates strongly with Creech’s argument for the merits of camp historiography. 9. This Homeric simile perhaps also alludes to Alfred, Lord Tennyson’s The Lady of Shalott— specifically the description of how the Lady first sees Sir Lancelot, which prompts her to risk an ominous curse by leaving her tower: “A bow-shot from her bower eaves, / He rode between the barley sheaves” (73–74). Tennyson’s bow-shot image figuratively unites love and war here, much as Merlis unites the two thematically in An Arrow’s Flight. 10. R. Bruce Brasell attests that, “For many gay men, the process of cruising is just as important as its desired result, sexual activity. From this perspective, the climax becomes not the consumma- tion of the sex act but rather the consummation of the cruise, the agreement to have sex” (63). Merlis implies that for many other gay men, this focus on the agreement derives from fear rather than enjoyment, with damaging results. 11. In The Homosexual as Hero in Contemporary Fiction, Stephen Adams writes, “By regarding the homosexual as a potential hero, my aim is not to suggest that there has been an effusion of liberal sentiments in the novel whereby is now equated . . . unthinkingly with goodness, but to explore, in a broader sense, a range of works in which the artistic vision of serious writers endows with heroic qualities the homosexual’s need to create his own values. To view the homosexual in these terms is part of a larger re-evaluation of the heroic ideal seen in the variety of outsiders, rebels, and victims with whom in the modern novel we are invited to sympathize or identify. If the post-war period can be characterized in one way by a pre- occupation with redefining traditional sexual roles and identities, then an important strand in this dialectic of ‘sexual politics’ has been the questioning of rigid concepts of manhood from the standpoint of the homosexual experience” (8). 12. Stephen D. Moore attests, “warfare was the quintessential performance of masculinity in the ancient Mediterranean world (whether literal war with an external enemy or metaphoric war with an internal enemy, one’s unruly passions and desires)” (5). 13. Sedgwick argues “that constructions of modern Western gay male identity tend to be, not in the first place ‘essentially gay,’ but instead (or at least also) in a very intimately responsive and expressive, though always oblique, relation to incoherences implicit in modern male heterosexuality” (1990: 145). 14. Ben Gove refers to this period as the “mythologized,” “sexually prolific ‘Age of Promiscuity’ ” (3). 15. See Janice Delaney, Mary Jane Lupton, and Emily Toth, The Curse: A Cultural History of Menstruation. 16. Taylor posits a creatively subjective foundation for ethics, a “seeing-good” (1989: 516). 17. For an elaboration pertinent to Merlis’s writing, see Steve Reece, The Stranger’s Welcome: Oral Theory and the Aesthetics of the Homeric Hospitality Scene. Notes 193 Chapter Four Familiar Stories from Strange Bedfellows: Chosen Community

1. Elizabeth Stuart draws on the work of Gerard Loughlin in reading such figures of the Christian body of believers as depicting a queer, especially transgendered body: “the church is represented as a female body with a ‘male head’ ”; at the same time, at least metaphorically, “Christ himself is represented as transgendered—a male with a very female body” (32). 2. The Man Who Fell in Love with the Moon © 2000 Tom Spanbauer; all quotations from the novel appear courtesy of Grove / Atlantic, Inc. 3. For extended analysis of the berdache figure, see studies by Lester B. Brown; Sue-Ellen Jacobs et. al.; and Will Roscoe. Harriet Whitehead’s argument contrasts provocatively with Walter L. Williams’s (see especially Williams 44–64, 87–109). 4. Lester Brown explains, “For lack of a better or more appropriate term, bisexuality is used here to describe the nature of American Indian sexuality. (Polymorphous perverse sexuality ...or pan sexuality . . . may also be appropriate or closer to the truth, but bisexuality is not necessarily misleading and is in more common use.)” (7–8). 5. Duane Champagne avers, “When suggesting American Indian cultures and religious traditions as a source of inspiration and foundation for challenging the present-day valuations of alternative sexuality and gender roles, I am not suggesting a return to the religious and social life of several centuries ago. . . . It is not possible, genuine, or desirable to recreate the gender roles and sexuality honored and respected by past Indian cultures” (xxii). 6. On the subject of female friendship, Bray cites Lillian Faderman’s Surpassing the Love of Men, Valerie Traub’s The Renaissance of Lesbianism, and Martha Vicinus’s Intimate Friends. 7. Jaime Hovey’s A Thousand Words challenges the view that modernist representations of queer subjects emphasize the isolated outcast: she shows that such representations often invite a subversive sense of group intimacy. 8. Scott Roulier supports this view of genealogical identification: “genealogies (and presumably other historical narratives) are not, even in their own ‘self-understandings,’ monolithic and transparent determinants of identity. They subvert and contest as much as they locate. But they do locate. Genealogical inquiry, with its sometimes painful probing, does not detract from but enriches identity . . . the horizon of human entwinement does not retreat, but surrounds and helps to ‘center’ identities of grand complexity” (1997: 9). 9. In 1894 Charles Fletcher Lummis published a sampling of stories he had collected from the Pueblo Indians in New Mexico, titled The Man Who Married the Moon and Other Pueblo Indian Folk-Stories. The title story bears no relationship to Spanbauer’s novel, but a note Lummis offers in his introduction resonates with the novel’s emphasis on the limitations of storytelling: “An absolutely literal translation [of these stories] would be almost unintelligible to English readers” (6). 10. See also Valerie Smith, “The Documentary Impulse in Contemporary African-American Film,” 61–62. 11. In chronological order, Dunye’s films include Janine (1990, 10 min.), She Don’t Fade (1991, 24 min.), Untitled Portrait (1993, 3 min.), The Potluck and the Passion (1993, 30 min.), Greetings from Africa (1994, 8 min.), The Watermelon Woman (1996, 90 min.), and The Stranger Inside (2001). 12. Jeannine DeLombard explains, “Dunye coined the term to emphasize her work’s focus on herself, as both character and ‘real’ person” (“Creative Difference,” from the Philadelphia City Paper, May 13–20, 1993; qtd. in Cynthia Fuchs 206, n. 20). 13. Trinh describes this documentary objectification as “a form of legitimized (but unacknowledged as such) voyeurism and subtle arrogance—namely, the pretense to see into or to own the others’ minds, whose knowledge these others cannot, supposedly, have themselves” (66, emphasis original); discussed in Braidt, 183–184. 194 Notes 14. For an extended discussion of this problematic, see Arthur L. Little, Jr.’s Shakespeare Jungle Fever, especially page 97 but also Chapter Two as a whole. 15. Cheryl Dunye, talk given at the University of California, Los Angeles, Spring 1998. 16. Specifically, she quotes part of the line, “R-E-S-P-E-C-T / Take care, T-C-B [taking care of business].” 17. As Dunye explains, “I’m still an invisible person. I always have to work on that anger that I have at being treated as ‘other,’ so that is why I make my work” (Haslett and Abiaka 6). 18. In this scene as throughout the film (from the opening, in which Dunye serves as the videogra- pher for a wedding), The Watermelon Woman attests to and also works to subvert the symbolism of the cultural role Margaret Jordan analyzes in African American Servitude and Historical Imaginings. 19. As Rigney attests, “the current popularity of cultural history is closely linked to the idea that the function of history as such should be to allow identification with our fellows in the past, while simultaneously recognizing their difference” (137). She cites Natalie Zemon Davis’s Women on the Margins: Three Seventeenth-Century Lives (1995) as one such example that thereby works to “establish an ethical relationship with the past” (136). 20. I am indebted to Jacob Hale for this cautionary metaphor (326). WORKS CITED

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Lesbian romance set in nineteenth-century Nevada. Bartlett, Neil. Mr. Clive and Mr. Page. London: Serpent’s Tail, 1996. Gay desire and frustration in 1920s England. Boone, M. Broughton. Tahoma. Ormond Beach, FL: Cape Winds Press, 2000. Lesbian romance set in the Washington Territory during the late nineteenth century. Bram, Christopher. Father of Frankenstein. New York: Plume, 1995. Fictional account of the suicide of openly gay film director James Whale, famous for his Frankenstein and Bride of Frankenstein, who died in 1957 (see film version by Bill Condon). ———. The Notorious Dr. August: His Real Life and Crimes. New York: HarperCollins, 2000. Gay romance set in the United States and Europe, spanning from the 1860s to the 1920s. Brown, Rita Mae. Six of One. New York: Bantam Books, 1978. Lesbian romances beginning in early twentieth-century Maryland. Burgess, Anthony. A Dead Man in Deptford. New York: Carroll & Graf, 1993. Fictionalized life of sixteenth-century playwright Christopher Marlowe. Callen, Paulette. Charity. New York: Simon & Schuster, 1997. Lesbian romance set in late nineteenth-century South Dakota. Clarke, Caro. The Wolf Ticket: A Novel. Ithaca, NY: Firebrand Books, 1998. Lesbian romance set in Europe after World War II. Condon, Bill, dir. Gods and Monsters (film, 1998, 106 min.). Fictional account of the suicide of openly gay film director James Whale, famous for his Frankenstein and Bride of Frankenstein, who died in 1957 (adapted from Father of Frankenstein by Christopher Bram). 206 Annotated Bibliography Currer-Briggs, Noel. Young Men at War. London: GMP, 1996. Fictionalized life of the author in Europe before and during World War II. Donoghue, Emma. Life Mask. New York: Harcourt, 2004. Fictionalized romance among the eighteenth-century English actress Eliza Farren, sculptor Anne Damer, and the twelfth Earl of Derby. Doyle, Patrick. Cherry Rosebud. San Diego: Greenleaf, 1969. Erotic gay romance set in the United States after World War I. Duffy, Maureen. Alchemy. London: HarperCollins, 2006 (originally published in 2004). Lesbian romance set in late sixteenth-century England and paralleled with one set in the present day. Dunne, Nann. The War Between the Hearts. Gainesville, FL: Intaglio, 2005. Lesbian romance set during the Civil War. Dunye, Cheryl, dir. The Watermelon Woman (film, 1996, 90 min.). A present-day documentary filmmaker discovers the lesbian romances of a famous African American actress from the early twentieth century. Dykewomon, Elana. Beyond the Pale. Vancouver: Raincoast Books, 1997. Lesbian romances among Russian immigrants in early twentieth-century . Ennis, Catherine. South of the Line. Tallahassee, FL: Bella Books, 1989. Lesbian romance set during the Civil War in Nashville. Evans, Rodney. Brother to Brother (film, 2004, 90 min.). Fictionalized recollections of Bruce Nugent and other writers of the Harlem Renaissance. Faulkner, William. Absalom, Absalom! New York: Vintage International, 1990 (originally published in 1936). Gay romance set in the South during the Civil War, recounted by college roommates at Harvard in 1910. Flagg, Fannie. Fried Green Tomatoes at the Whistlestop Café. New York: Ballantine, 1987. Lesbian romance set in rural 1930s Alabama, recounted in the 1980s (see film version by Jon Avnet). Freedman, Nancy. Sappho: The Tenth Muse. New York: St. Martin’s Press, 1998. Fictionalized life of Sappho of Lesbos, the seventh-century BCE Greek poet. Frye, Ellen. The Other Sappho: A Novel. Ithaca, NY: Firebrand Books, 1989. Lesbian romance set in ancient Greece during the time of Sappho, the seventh-century BCE Greek poet. Galford, Ellen. Moll Cutpurse: Her True History. Ithaca, NY: Firebrand Books, 1985. Fictionalized life of Moll Cutpurse (originally Mary Frith), the seventeenth-century English outlaw figure. Gaspar de Alba, Alicia. Sor Juana’s Second Dream. Albuquerque: The University of New Mexico Press, 1999. Fictionalized life of the famous seventeenth-century Mexican writer, Sor Juana Inés de la Cruz. Gilbert, Brian, dir. Wilde (film, 1997, 117 min.). Fictionalized romance between Oscar Wilde and Lord Alfred Douglas. Glück, Robert. Margery Kempe. New York: High Risk Books, 1994. Parallels between a present-day gay romance and English mystic Margery Kempe (c.1373–c.1440). Grumbach, Doris. The Ladies. New York: W.W. Norton, 1993 (originally published in 1984). Fictionalized romance between Eleanor Butler and Sarah Ponsonby, the “Ladies of Llangollen,” in late eighteenth-century Ireland and Wales. Gunn, Rufus. A Friendship of Convenience. London: GMP, 1997. International intrigue and gay and lesbian romances in a fictionalized account of Anthony Blunt, Joe Losey, and others in 1956 London. Harris, Christopher. Theodore. Gardena, CA: Dedalus, 2000. Fictionalized life of Theodore of Tarsus, who traveled from the Mediterranean to England in the seventh century to help solidify the Christian church there. Harrison, Don. The Spartan. Boston: Alyson Publications, 1982. Gay romance set in the classical period of ancient Greece. Annotated Bibliography 207 Hayes, Penny. The Long Trail. Tallahassee, FL: Bella Books, 1986. Lesbian romance set in Texas after the Civil War. ———. Yellowthroat. Tallahassee, FL: Bella Books, 1986. Lesbian romance set in the Old West. ———. Grassy Flats. Tallahassee, FL: Bella Books, 1992. Lesbian romance set during the Great Depression in Idaho. ———. Kathleen O’Donald: A Novel. Tallahassee, FL: Bella Books, 1994. Lesbian romance set among immigrant communities in New York during the early 1900s. Herbert, Andrew, dir. Song of the Loon (film, 1970, 79 min.). Erotic gay romance set in the nineteenth-century American West (adapted from the novel by Richard Amory). Herring, Peggy J. Distant Thunder. Tallahassee, FL: Bella Books, 2003. Lesbian romance set in the Old West. Hoffman, W.A. Brethren: Raised by Wolves, Vol. 1. Aurora, CO: Alien Perspective, 2006. Gay romance set among late seventeenth-century buccaneers in the West Indies. Holland, Agnieszka, dir. Total Eclipse (film, 1995, 112 min.). Fictionalized account of the romance between French poets Paul Verlaine and Arthur Rimbaud, set in 1870s France. Hughes, Peter Tuesday. Gay Nights at Maldelangue. San Diego: Phenix, 1969. Gothic erotic gay romance set in late nineteenth-century Maine. ———. The Master of Monfortin. Santee, CA: Blueboy Library, 1977. Gothic erotic gay romance set in late nineteenth-century Maine. Hunter, M.S. The Buccaneer. Boston: Alyson Publications, 1989. Campy tale of gay romance aboard pirate ships in the seventeenth-century Caribbean. Jarman, Derek, dir. Sebastiane (film, 1976, 85 min., Latin with English subtitles). Fictionalized account of the death of fourth-century Roman martyr, Sebastian. ———, dir. Caravaggio (film, 1986, 93 min.). Fictionalized life of Italian painter Michelangelo Merisi da Caravaggio (1573–1610). ———, dir. Edward II (film, 1992, 90 min.). Adaptation of Christopher Marlowe’s Edward II, about the early fourteenth-century English king’s romance with Piers Gaveston. Jensen, Michael. Frontiers. New York: Pocket Books, 1999. Fictionalized life of John Chapman (later known as Johnny Appleseed) set in the early nineteenth-century frontier West. ———. Firelands. Los Angeles: Alyson Books, 2004. Gay romance set in the Ohio frontier of 1799. Kanievska, Marek, dir. Another Country (film, 1984, 90 min.). Fictionalized gay romance in a 1930s English public school (adapted from the play by Julian Mitchell). Katz, Judith. The Escape Artist. Ithaca, NY: Firebrand Books, 1997. Lesbian romance set in early twentieth-century Jewish immigrant communities in Buenos Aires. Kennedy, Hubert. Sex and Math in the Harvard Yard: The Memoirs of James Mills Peirce. San Fransisco: Peremptory Publications, 2002. Fictionalized life of Harvard mathematician James Mills Peirce (1834–1906). Lai, Larissa. When Fox Is a Thousand. Vancouver: Arsenal Pulp Press, 2004 (originally published in 1995). Lesbian and gay romances set in contemporary Vancouver and in China during the ninth-century T’ang Dynasty. Lamb, Cynthia. Brigid’s Charge. Corte Madera, CA: Bay Island Books, 1997. Lesbian romance set in eighteenth-century New Jersey. Lippincott, Robin. Mr. Dalloway. Louisville, KY: Sarabande Books, 1999. Bisexual romance set in 1920s England as a fictional addition to Virginia Woolf ’s Mrs. Dalloway. Leavitt, David. While England Sleeps. New York: Houghton Mifflin, 1995 (revised from the 1993 edition). Fictionalized gay romance set in London in the 1930s. Maas, L.J. Tumbleweed Fever. Port Arthur, TX: Renaissance Alliance Publishing, 2000. Lesbian romance set in the Oklahoma Territory during the late nineteenth century. 208 Annotated Bibliography Maas, L.J. Prairie Fire. Port Arthur, TX: Renaissance Alliance Publishing, 2002. Sequel to Tumbleweed Fever, above. Mackle, Elliott. It Takes Two. Los Angeles: Alyson Publications, 2003. Murder mystery and gay romance set in post–World War II Florida. Martin, Michelle. Pembroke Park. Tallahassee, FL: Bella Books, 1986. Lesbian romance set in early nineteenth-century England. Martinac, Paula. Out of Time. Seattle: Seal Press, 1990. Lesbian romances of the early twentieth century haunt the present day. Mathias, Sean, dir. Bent (film, 1997, 104 min.). Gay romance in a German concentration camp during World War II (adapted from the play by Martin Sherman). McCann, Maria. As Meat Loves Salt. New York: Harcourt, 2001. Gay romance set in seventeenth- century England. Meagher, Maude. The Green Scamander. Boston: Houghton Mifflin, 1933. Lesbian romance centering on legendary Amazon Queen Penthesilia, set in the ancient Mediterranean during the Trojan War. Merlis, Mark. American Studies. New York: Penguin, 1994. Fictionalized recollection of a professor of American literature who commits suicide in the 1950s, modeled on a composite of the actual scholars F.O. Matthiessen and Newton Arvin. ———. An Arrow’s Flight. New York: St. Martin’s Press, 1998. Gay romance among legendary heroes of the Trojan War, paralleled with the advent of AIDS in the United States in the early 1980s. Miller, B.L. and Foster, Vada. Josie and Rebecca: The Western Chronicles. Tacoma, WA: Justice House Publishing, 2000. Lesbian romance set in the Old West. Miller, Isabel (pen name of Alma Routsong). Patience & Sarah. Vancouver: Arsenal, 2005 (originally published in 1969 under the title A Place for Us). Lesbian romance set in early nineteenth-century Connecticut and New York state. Mitchell, Julian. Another Country. Oxford, UK: Amber Lane, 1982. Drama fictionalizing gay romance in a 1930s English public school (see film version by Marek Kanievska). Mott, William. Athens Rising: A Tale of Harmodious and Aristogiton. New York: iUniverse, 2003. Fictionalized account of Harmodius and Aristogiton in fifth-century BCE Athens. Novan, T. and Rickard, Taylor. Words Heard in Silence. Falls Church, VA: Cavalier Press, 2004. Lesbian romance set during the Civil War. O’Neill, Jamie. At Swim, Two Boys. New York: Scribner, 2001. Gay romance set in Dublin before and during the Easter Uprising of 1916. Pearson, M.J. The Price of Temptation. Providence, RI: Seventh Window, 2005. Erotic gay romance set in nineteenth-century England. Phillips, Thomas Hal. The Bitterweed Path. New York: Rinehart & Co., 1950 (reissued by the University of North Carolina Press, 1996). Gay romance set in late nineteenth-century Mississippi. Piercy, Rohase. My Dearest Holmes. London: GMP, 1988. Gay romantic variation on Sir Arthur Conan Doyle’s mysteries set in late nineteenth-century England. Porter, Darwin. Hollywood’s Silent Closet. Staten Island, NY: Georgia Literary Association, 2000. Gay romances set in Hollywood in the 1920s. Radclyffe. Innocent Hearts. Port Arthur, TX: Renaissance Alliance Publishing, 2002. Lesbian romance set in the nineteenth-century Montana Territory. Redhawk, D. Jordan. Tiopa Ki Lakota. New York: Fortitude, 2004. Lesbian romance set in the Old West. Renault, Mary (pen name of Eileen Mary Challans). The Last of the Wine. New York: Vintage Books, 1956. Gay romance set in Athens during the fifth-century BCE Peloponnesian War. Annotated Bibliography 209 ———. Fire from Heaven. New York: Vintage Books, 1969. Fictionalized life of the fourth-century BCE Greek emperor, Alexander the Great, and Hephaistion (see also Oliver Stone, Alexander). ———. The Persian Boy. New York: Vintage Books, 1972. Fictionalized account of the fourth- century BCE Greek emperor, Alexander the Great, and the Persian eunuch, Bagoas. Rice, Anne. Cry to Heaven. New York: Ballantine Books, 1982. Gay romances focusing on castrati in eighteenth-century Italy. Sax, Geoffrey, dir. Tipping the Velvet (film, 2003, 178 min.). Lesbian romances set in late nineteenth- century England (adapted from the novel by Sarah Waters). Schulman, Sarah. Shimmer. New York: Avon Books, 1998. Lesbian romance in post–World War II McCarthy era New York City. Schwab, Rochelle H. A Different Sin. San Diego: Los Hombres Press, 1993. Gay romance set in the United States during the Civil War. See, Lisa. Snow Flower and The Secret Fan. New York: Random House, 2005. Romance between women set in nineteenth-century China. Selvadurai, Shyam. Cinnamon Gardens. New York: Harcourt, 1999. Lesbian and gay romances set largely in 1920s Sri Lanka. Shearer, Beverly. And Love Came Calling. Tucson, AZ: Rising Tide Press, 1998. Lesbian romance set in the Old West. Sherman, Martin. Bent. New York: Applause Books, 1979. Drama about a gay romance in a German concentration camp during World War II (see film version by Sean Mathias). Sims, Ruth. The Phoenix. Cranston, RI: The Writer’s Collective, 2005. Gay romance set in late nineteenth-century England. Spanbauer, Tom. The Man Who Fell in Love with the Moon. New York: Grove Press, 1991. Bisexual romances set in early twentieth-century Idaho. Spielberg, Steven, dir. The Color Purple (film, 1985, 153 min.). Lesbian romance set in the early twentieth-century southern United States (adapted from the novel by Alice Walker). Stevens, David. The Waters of Babylon: A Novel about Lawrence after Arabia. New York: Simon & Schuster, 2000. Fictionalized life of T.E. Lawrence. Steward, Samuel M. Murder Is Murder Is Murder. Boston: Alyson Publications, 1985. Mystery story fictionalizing Gertrude Stein and Alice B. Toklas as sleuths in early twentieth-century Paris. ———. The Caravaggio Shawl. Boston, Alyson Publications: 1989. A Stein-Toklas mystery (see above). Stinson, Susan. Martha Moody: A Novel. Midway, FL: Spinsters Ink Books, 1995. Lesbian romance set in the Old West. Stone, Oliver, dir. Alexander (film, 2004, 175 min.). Fictionalized life of the fourth-century BCE Greek emperor, Alexander the Great, and Hephaistion (see also Mary Renault, Fire from Heaven). Sturtevant, Katherine. A Mistress Moderately Fair. Los Angeles, CA: Alyson, 1st U.S. edition, 1988. Lesbian romance set in London during the seventeenth century. Taverner, Jay. Rebellion. London: Onlywomen Press, 1997. Lesbian romance set in England during the Jacobite Uprising of 1715. Taylor, Benjamin. Tales Out of School. New York: Warner Books, 1995. Gay romance set in 1907 Galveston Island, Texas. Tóibín, Colm. The Master. New York: Scribner, 2004. Fictionalized life of American novelist Henry James (1843–1916). Truong, Monique. The Book of Salt. New York: Houghton Mifflin, 2003. Fictionalized gay romance of a Vietnamese cook working for Gertrude Stein and Alice B. Toklas in early twentieth-century Paris. 210 Annotated Bibliography Vidal, Gore. Live from Golgotha: The Gospel According to Gore Vidal. New York: Penguin, 1992. Campy fictionalization of St. Paul’s evangelizing with St. Timothy in the Mediterranean world of the first century. Virga, Vincent. Gaywyck. New York: Avon, 1980. Gothic gay romance set in late nineteenth-century Long Island. Walker, Alice. The Color Purple. New York: Washington Square Press, 1982. Lesbian romance set in the early twentieth-century southern United States (see film version by Steven Spielberg). Walsh, Aisling. Fingersmith (film, 2004, 180 min.). Lesbian romance set in late nineteenth-century England (adapted from the novel by Sarah Waters). Warner, Sylvia Townsend. Summer Will Show. New York: Penguin, 1987 (originally published in 1936). Bisexual romance set in Paris in the mid-nineteenth century. Waters, Sarah. Tipping the Velvet. New York: Riverhead Books, 1998. Lesbian romance set in late nineteenth-century England (see film version by Geoffrey Sax). ———. Affinity. New York: Riverhead Books, 1999. Lesbian romances set in a late nineteenth- century English prison. ———. Fingersmith. New York: Riverhead Books, 2002. Lesbian romance set in late nineteenth- century England (see film version by Aisling Walsh). ———. The Night Watch. New York: Penguin, 2006. Lesbian romances set during World War II. Welsh, Louise. Tamburlaine Must Die. Edinburgh: Canongate Books, 2004. Fictionalized account of sixteenth-century playwright Christopher Marlowe. West, Gabriella. Time of Grace. Dublin: Merlin, 2001. Lesbian romance set in Ireland during the 1916 Easter Uprising. Williams, John A. Clifford’s Blues. Minneapolis: Coffee House Press, 1999. Survival of a gay African American jazz musician in a German concentration camp during World War II. INDEX

Abiaka, N., 171, 194 on sexuality and transcendence, 78–79, Abraham, Julie, 84 92, 103, 111–12, 143, 192 Absalom, Absalom! (Faulkner), 41–71, 81, Austin, J.L., 31 102, 119, 124, 184, 189–90 Adams, Stephen, 192 Bagemihl, Bruce, 116 affective histories, 154, 159–60 Bakhtin, Mikhail, 125 See also choice; see also foundling texts; Balch, David, 147, 148 see also kinship Baldwin, James, 39, 106–108, 159 AIDS, 34, 129, 135, 137, 140, 155 Barker, Ellen, 110 Alexander (Stone), 72, 94 Barnes, Djuna, 159 Alexander, M. Jacqui, 25 Bataille, Georges, 79, 112 Alexander the Great, 72–73, 82–84, Beloved (Morrison), 36–39, 88–89, 124, 86–87, 90, 92–94 126, 189 Allison, Dorothy, 39, 159 berdache tradition, 153–54, 160, 193 American Studies (Merlis), 136 Berlant, Lauren, 102, 104 anachronism, viii–ix, xi, 1, 7–8, 73, 100, Bersani, Leo, 10, 44, 145, 187 190 Bettelheim, Bruno, 80 Angelou, Maya, 163 Bhabha, Homi, 75, 154 antifoundationalism, 18, 30 Billops, Camille, 174 antisystemic analysis, ix, x, 13, 27, 166–67 Birdcage, The (Nichols), 147 Apparitional Lesbian, The (Castle), 38, 69 bisexuality, 3, 5, 154, 193 Aristotle, 119–20 See also terminology, sexual Arrow’s Flight, An (Merlis), 34, 103, 111, Bitterweed Path, The (Phillips), 70 127–37, 140–44, 192 black lesbian history, 167–74, 178, 183 Arvin, Newton, 136 Blaeser, Kimberly, 161 atavism, x–xi, 40 Blake, William, 139 audience, role of, 39, 97–99, 100, Boone, Joseph, 47, 190 130–31, 165–66, 170–72, 174–76, Booth, Wayne, 126 183–84 Boswell, John, 5, 157, 187 Augustine Braidt, Andrea, 169, 172–73, 193 conversion narratives and, 67, 111–12, Brasell, R. Bruce, 192 114, 121, 122, 126–27, 140 Bravmann, Scott, 75, 84, 142 212 Index Bray, Alan, 146, 155–58, 193 Cleland, John, 90 Bringing Up Baby (Hawks), 4 Cleopatra Jones, 171, 179 Bristow, Joseph, 10 Cohn, Dorrit, 32–33 Brody, Jennifer DeVere, 171, 179 Color Purple, The (Walker), 1, 102–111, Brokeback Mountain (Lee), 70–71 117, 118, 119, 124, 127, 140, 144, Brooks, Peter, 47, 189 167, 184 Brown, Lester, 154, 193 Colton, Catherine, 108–109, 191 Brown, Raymond, 115, 121, 147, 165 coming out, definition of, 62, 115–16 Brown, Rita Mae, 95 See also choice; see also Christian Bultmann, Rudolf, 25 conversion; see also transition Burg, B.R., 128 arguments Butler, Judith, 14, 31, 32, 85–86 coming-out historiography, 47, 51, 65–71 call-and-response, 109 confession, 122 camp, 4, 44, 127–28, 130–31, 139, 176, Confessions (Augustine), 67–68, 111–12, 192 114, 121, 122, 126–27, 140 distinguished from kitsch, 130 Conrath, Alan Brady, 83 Camus, Albert, 152 conversion. See Christian conversion Carden, Mary, 81 Corber, Robert J., 136 Cardiff, Gladys, 110 Countryman, William, 147, 187 Cartesian epistemological tradition, Crane, Hart, 39, 159 16–18, 19, 23–25, 46, 78, 120 Creech, James, 119, 120, 192 Case, Alison, 192 cross-dressing, 20–21, 97–100, 130, 153 Castle, Terry, 38, 69, 188 See also drag Cather, Willa, 39, 159 Cavell, Stanley, 26 Damasio, Antonio, 188 Chakrabarty, Dipesh, 24–25, 26–27, 33, Damian, Peter, 90 68, 117, 118, 152, 154, 187 Dancer from the Dance (Holleran), 128, Champagne, Duane, 154, 193 137–41 Chauncey, George, 4, 9, 54, 62, 190 de Erauso, Catalina, 20–21, 188 choice de Saussure, Ferdinand, 12 role in coming-out, conversion, and Dean, Tim, 10–11 ethics, 46, 65–68, 81, 110–28, deconstructive strategies of analysis, 140, 142, 149, 160 12–15, 30–31 family history and, 145–60, 167–69, Delaney, Janice, 192 173, 179–83 DeLombard, Jeannine, 193 Christian conversion, coming out and, Demon Lovers (Stephens), 11 65–71, 102–108, 111–16, 118, Derrida, Jacques, 12, 31, 59–61, 71, 120, 120–28, 137–43, 144 124–25, 133, 151–52, 157 See also transition arguments Descartes, René, 16, 17 Clarke, Cheryl, 168, 169 Devaney, M.J., 18, 77 Clarke, Shirley, 170 Diamond, Lisa, 6, 113, 115–16, 149–50 class, 61–62, 64–65, 75–76, 95, 101, 144, Dickens, Charles, 95 149–50, 177 Dimino, Andrea, 189 Index 213 Dinshaw, Carolyn Fire from Heaven (Renault), 72, 90, 93–94 acts vs. identities and, 8 Fitzmyer, Joseph, 115, 121, 147, 165 Freccero and, 14 Fone, Byrne, 44 on Foucault, 77, 122 Forster, E.M., 114 identifications as “partial connections,” Foucault, Michel 2, 75–76, 79–80 acts vs. identities and, 8, 9–10 queer history and, ix, 7, 12 “birth” of the homosexual and, 21 on sexuality and Christianity, 11 Butler and, 14 Donoghue, Emma, 191 confession and, 122 drag, 130–31, 153, 154, 164, 165 homosexual identity and, 3–4, 76–77, See also cross-dressing 78, 187 Duggan, Lisa, 40, 191 foundling texts, 39–40, 70, 158–59 Dunye, Cheryl See also affective histories; see also filmography, 193 kinship sexual identity and, 76 Fowler, Doreen, 189, 190 Watermelon Woman, The, 32, 146, Fradenburg, Louise, 119 159–60, 167–84 Franklin, Aretha, 178 Duvall, John, 189, 190 Freccero, Carla, x, 8, 13–14, 60, 119, Dyer, Richard, 80 190 Frye, Northrop, 80 Eco, Umberto, 166 Frykenberg, Robert, 154–55 Edelman, Lee, 12, 30–31, 32, 145–46 Fuchs, Cynthia, 172, 193 Edsall, Nicholas, 7, 10, 11, 187 Fuss, Diana, 187 Erzen, Tanya, 77, 114, 148 ethical turn, 125 Gallagher, Lowell, 17 ethics Garber, Linda, 75–76 morals and, 45–46 Garber, Marjorie, 20–26, 80 the transcendent and, 59–61, 151–53 gay and lesbian historical fiction, See also choice; see also exile; see also definition of, xi, 2 identification gay and lesbian history, 7–10, 11, 44–45 Evans, C. Stephen, 18–19, 151, 152, 188 gay, definition of, 3–4 exile, ethics of, 128–37, 140–44 See also terminology, sexual gender, 5–6, 31, 59, 62, 76, 82–83, 84, Faderman, Lillian, 113, 193 87–89, 90, 92, 98–101, 109, 116, Faggots (Kramer), 135–36, 137 149, 153–54, 159, 169, 179, 193 fairy tales, 1, 80, 102, 105–106 See also masculinity; see also sexism family. See kinship; see also choice genitals, symbolism of, 5, 12, 92–98 Families We Choose (Weston), 148–49 See also vagina, symbolism of Fanny Hill (Cleland), 90–92, 191 Gleckner, Robert, viii fantastic, definition of, 33–34 Glück, Robert, 75 Farley, Margaret, 188 Go Tell It on the Mountain (Baldwin), Faulkner, William, 39, 41–71, 74, 76, 106–108, 159, 191 102, 105, 119, 124, 177, 184, Goldberg, Jonathan, 12, 76–77 189, 190 Gove, Ben, 192 214 Index Graafsma, Tobi, 77 historical fiction and, 28–29, 32–34 Gray, Thomas, viii, ix, 97, 157, 158 Renault and, 82, 85, 87, 92–94 Griffiths, Paul, 121 Hobson, Christopher, viii Green Scamander, The (Meagher), 70 Holleran, Andrew, 128, 137–40, 142 Gutterman, David, 185 Hollywood, 174–76, 184 Gwin, Minrose, 43 home, symbolism of, 104–106, 140, 142–43 Homographesis (Edelman), 12 Haggerty, George, viii homophobia. See heterosexism Hale, C. Jacob, 194 hooks, bell, 25 Halley, Janet, 113 Hovey, Jaime, 159, 193 Hallock, John, xi Hughes, Langston, 107 Halperin, David Hurston, Zora Neale, 108, 191 Foucault and, 8, 21 Hutcheon, Linda, 35, 188 homosexual identity and, x, 3–4, 6 identification and, 74–75, 80, 85, 120 identification Renault and, 85 choice and, 112–15, 116 Hansen, Christian, 170 difference and, 73–81, 100–101 Harding, Sandra, 16, 142 ethics and, 44–46, 57, 60, 74, 112 Harper, Phillip Brian, 25–26 geography as metaphor for, 45, 60, Harris, Trudier, 107, 108 121–22, 142 Harvey, Susan, 23, 188 imago dei and, 79, 151 Haslett, T., 171, 194 narrative and, 121 Hatch, James, 174 parallels between Christian and queer hauntings, 38, 42–71, 74, 104–105, 106, representations of, 75, 77–80 124, 131–33, 191 identity, vs. acts, 8–10, 90–92 hauntology, 60 intuition, vs. abstract analysis, 15, 19, Hegel, Georg Wilhelm Friedrich, 26–27 22–23, 25–26, 33, 37, 68, 99–100, Heidegger, Martin, 23, 27, 154 151–52, 186 Herman, David, 17, 124 See also story logic heterosexism Baldwin and, 106 Jacobs, Sue-Ellen, 153, 193 Brokeback Mountain and, 70 Jakobsen, Janet, 26, 117, 191 coming-out narratives and, 62, 105, Jameson, Frederic, 188 112, 116 Jars of Clay, 77 family and, 146, 149–50 Jennings, Jr., Theodore, 190 Faulkner and, 43, 44, 47, 54, 57 Johnson, E. Patrick, 191 gay and lesbian history and, 2, 44 Johnson, Mark, 45 masculinity and, 133, 135 Jordan, Margaret, 194 “sentimental” and, 136 Jordan, Mark sexual desire and, 171 on historical confusion in sexual Waters and, 98–99 terminology, 8–10, 90, 187 historical fiction, 27–30, 32–35, 80–81 on Christianity and homosexuality, History of Sexuality, Volume 1 (Foucault), 9–10, 22, 45, 77–78, 79–80, 122, 8, 77, 187 187, 191 Hoberman, Ruth Juhasz, Alexandra, 168, 179 Index 215 Kant, Immanuel, 35, 157 Lupton, Mary Jane, 192 karaoke. See audience, role of Lynch, Michael, 108 Katz, Jonathan, 44–45 Keats, John, 191 MacIntyre, Alasdair, 46, 117, 121, 123 Kelly-Gadol, Joan, 33 Man Who Fell in Love with the Moon, The Kempe, Margery, 75 (Spanbauer), 145–46, 150–51, Kierkegaard, Søren, 15, 18, 23 153–54, 160–67, 193 kinship Margery Kempe (Glück), 75 as a metaphor for history, 146 Marx, Karl, 26–27, 152, 155 conjuring and, 104–105, 167–68 masculinity, 3, 4, 5, 78, 87, 92–93, Christianity and gay and lesbian 129–35, 142, 192 conceptions of, 146–49, See also war, symbolism of 155–58 masturbation. See solo-sexual eroticism ethics, epistemology, and, 151–52 Matthiessen, F.O., 136 nonbiological, 39–40, 54, 145, McDaniel, Hattie, 177 155–60, 169 McDowell, John, 123 political debates about gay and lesbian, McGrath, Alister, 143 145–46 McHugh, Kathleen, 172 racism and, 179 McIntosh, Mary, 8 See also affective histories; see also McKanan, Dan, 79 choice; see also Absalom, Absalom!, Meagher, Maude, 70, 73 The Color Purple, TheMan Who Melville, Herman, 47 Fell in Love with the Moon, and The Mendelsohn, Daniel, 190 Watermelon Woman Menon, Madhavi, 12, 77 Kohlke, M.L., 95 Mercer, Kobena, 76 Kramer, Larry, 135 Merlis, Mark, 34, 103, 111, 127–37, 140–44, 192 Lacan, Jacques, 31 Merrick, Jeffrey, 9 Laguerre, Michel, 108 Mielke, Arthur, 191 Lakoff, George, 45 Mohanty, Satya, 12, 22, 77, 190–91 Lang, Sabine, 153, 193 Mohr, Richard, 21–22 Last of the Wine, The (Renault), 70, 72 Mondimore, Francis, 116 laughter, 130, 165–66 Moon, Dawne, 117–18 Lee, Ang, 70 Moore, Lisa, 84–90 lesbian, definition of, 3–4 Moore, Stephen, 78, 187, 192 See also terminology, sexual Moraga, Cherríe, 110 Levinas, Emmanuel, 151 Morrison, Toni, 36–38, 46–47, 88–89, Lewis, C.S., 34, 77 124–25, 126 Liles, Don Merrick, 189, 190 Mosquitoes (Faulkner), 43 Little, Jr., Arthur, 142, 194 multiculturalism, 124 Llewellyn, Mark, 95 Murphy, Roland, 115, 121, Locke, John, 26 147, 165 logos, 15–16, 19 Murray, Stephen O., 3, 6, 7 Lorde, Audre, 76 mystery, as unsolvable, 11–16 Lummis, Charles, 193 mythos, 15–16, 81 216 Index Nagel, Thomas, 22 definition of, ix–x, 36 Nealon, Christopher, 39–40, 70, 80, narratives, 32–36 158–160 See also sacred vs. secular Nelson, James, 188 Potluck and the Passion, The (Dunye), 76 Newton, Adam Zachary, 126 Powers, Peter, 105–106, 111 Nichols, Bill, 171 Proulx, E. Annie, 70 Nichols, Mike, 147 Proust, Marcel, 159 Nietzsche, Friedrich, 78, 146 Provincializing Europe (Chakrabarty), Norton, Rictor, 4, 128, 191 24–25 No Future (Edelman), 146 psychoanalytic criticism, 30–31, 32, 35, 76 objectification, 24–25, 26, 36, 78, 170, queer, definition of, 4, 7 172, 189, 193 See also terminology, sexual See also self-abstraction orgasm, 47, 49, 53, 57, 166 race Owlfeather, M., 153 ethical choice and, 112, 144 Hollywood and, 175–76 Paglia, Camille, 168, 177–78 identification and, 75–76, 175–79 Palmer, Richard, 25 identifications with ancient Greece paralipsis, 126–28, 192 and, 84, 142 passing, 130, 149–50 intuitive ways of knowing and, 25–26 Pellegrini, Ann, 191 kinship and, 149, 179, 180 performativity, 14, 31, 85–86, 125 objectification and, 170 Persian Boy, The (Renault), 72, 81–84, sexuality and, 42, 44, 46–47, 58–59, 90, 92, 94 62–64, 69, 70, 75–76, 84, 101, personal transformation. See transition 130, 149, 168–69, 180 arguments spirituality and, 25, 103–109 Petersen, Wolfgang, 72 Rambuss, Richard, 191 Phelan, James Raphael, Lev, 138–39, 187 Beloved and, 36–39, 88–89, 189 Reagon, Toshi, 168 on narrative and ethics, 125–26 Reece, Steve, 192 on realism as compatible with Reid, Thomas, 18, 30, 121 antifoundationalism, 30, 188 Reid-Pharr, Robert, 168 paralipsis and, 192 Renault, Mary, 70, 72–74, 81–90, the “stubborn” and, 36–38, 88–89, 92–95, 191 126–27 Renov, Michael, 171 Phillips, Thomas Hal, 70 Richards, David, 112, 116, 191 Philosophy of Sex and Love, The (Soble), 78 Ricoeur, Paul, 32–33, 121 Plato, 15, 78–79, 92, 103, 119–20 Rigney, Ann, 27–30, 33, 35, 36, 88, 89, pleasure, role in intellectual inquiry, 69, 165, 194 78–79, 119–20 Roberts, Diane, 59, 189 Polk, Noel, 52, 189 Rochester, John Wilmot, Earl, 96 pornography, 90–91, 170, 174, 191–92 Rogers, Jr. Eugene, 188 post-secular Rohy, Valerie, 190 aesthetics, 137–43 Rorty, Richard, 23 Index 217 Roscoe, Will, 153–54 Smith, Bruce, 12 Rosen, Stanley, 15 Smith, Jonathan, 189 Ross, Stephen, 190 Smith, Valerie, 171, 174, 179, 193 Roughgarden, Joan, 116 Soble, Alan, 78, 92 Roulier, Scott, 193 sodomy, 9, 12, 16, 90 Ryan, Marie-Laure, 34–35 Solomon, David, 45–46 solo-sexual eroticism, 49, 168, 170–71, sacred, the 173–75, 183, 192 vs. the secular, ix–x, 16, 19, 25, 35–36, Somerville, Siobhan, 59 108, 117, 140 Sound and the Fury, The (Faulkner), 52, sexuality and, 22–23, 26, 78–79, 68, 69, 190 102–104, 106, 111–12, 137–38, Sources of the Self (Taylor), 45, 74 142, 186 Spanbauer, Tom, 145–46, 150–51, Saint Foucault (Halperin), 80 153–54, 160–67 Saslow, James, 9 Specters of Marx (Derrida), 31, 59–61, Savin-Williams, Ritch, 3, 6, 7, 75, 77, 124–25 113, 114, 115–16, 149–50, 191 Stambaugh, John, 147, 148 Schulman, Sarah, 168, 177 Stambovsky, Phillip, 15–16, 17, 19 Scott, Sir Walter, 28 Stein, Edward, 10, 116 Sedgwick, Eve Kosofsky, 3–4, 9, 10, 12, Stephens, Walter, 11 25, 33, 44, 90, 112, 118, 130, 133, Stepto, Gabriel, 20–21, 188 134, 136, 160, 192 Stepto, Michele, 20–21, 188 self-abstraction, 17, 21–24, 120, 142, Stone, Oliver, 72, 94 144, 152–53, 154, 161–62, 170 Stonewall uprisings, 39, 72, 73, 94, See also objectification 158–60 Sensibar, Judith, 189 story logic, 15–19, 124 sentimentality, 136 See also transition arguments sexism, 23, 32–33, 44, 47, 78, 93, 96, Strehle, Susan, 81 106, 110–12, 130, 134–36, 144, 175 Stuart, Elizabeth, 165–66, 187, 193 See also gender; see also heterosexism; Sullivan, Andrew, 113 see also masculinity Sullivan, Laura, 173 sexual desire as mystery, ix, 9–12, 68–69, 78–79, Taylor, Charles, 17–18, 23, 35, 45, 46, 94–95, 97, 99–101, 116, 60, 74, 78, 117, 118, 120, 121, 166–67, 186 122–26, 142, 143, 148, 152, 164, choice and, 112–16 191, 192 coming-out stories and, 75, 114–15, Taylor, Mark, 189 118 terminology, sexual, viii, ix, 1–12, 90, 92, knowledge and, 14, 19, 22–23, 103, 99 111, 114–15, 121, 144 Tertullian, 19 narrative and, 19, 20, 48–51, 100, 166 Thomas, Wesley, 153, 193 sexuality, definition of, 10–12 Tipping the Velvet (Waters), 95–100, 119, See also terminology, sexual 166, 171, 191 Sister Sledge, 147 Todorov, Tzvetan, 33–34, 37 Smith, Bradley, 113 Toth, Emily, 192 218 Index transcendent, the, 30–32, 35–37, war, symbolism of, 56–57, 62, 131–34, 60, 78–81, 86, 92–93, 100–101, 140, 162, 192 103, 140–43, 151–53, See also masculinity 164–65, 188 Warner, Michael, 77 See also ethics Watermelon Woman, The, 160, 167–84, transgender, 153, 193 193–94 transition arguments, 17, 117–27, Waters, Sarah, 73–74, 92, 95–100, 130, 164 177, 191 See also story logic Weeks, Jeffrey, 8 translation as a metaphor for history, Weinstone, Ann, 80 ix, 7–8, 21, 187, 193 West, Cornel, 25 Traub, Valerie, 188, 193 Weston, Kath, 148–49, 156, 179 Trinh T. Minh-ha, 121, 172, 193 Whisman, Vera, 113, 116, 149 Troy (Petersen), 72 Whitbread, Helena, 21 Trumbach, Randolph, viii, 9 White, Edmund, 137, 159 Turner, Joseph W., 33 White, Hayden, 29–30, 40, 80, 188 two-spirit tradition. See berdache Whitehead, Harriet, 193 Whitman, Walt, 44–45, 99, 191 vagina, symbolism of, 5, 47, 95–97, 135, Williams, Bernard, 123 166–67, 177, 183 Williams, Rowan, 188 Van Leer, David, 170, 173 Williams, Walter, 193 Vance, Carole, 24–25 Wolterstorff, Nicholas, 18, 30, 121 Velasco, Sherry, 188 Woods, Gregory, 145, 191 Vizenor, Gerald, 161 Wordsworth, William, 140–41, 152 von Krafft-Ebing, Richard, 4 Yandell, Keith, 120–21 Wachman, Gay, 87 Yenser, Stephen, 189 Walker, Alice, 1, 102–111, 117, 118, 119, 124, 127, 128, 140, 144, Zami: A New Spelling of My Name 167, 184 (Lorde), 76 Walker, Ann, 157–58 Zilboorg, Caroline, 85, 86 Walsh, Richard, 188–89 Vivek, Slavoj, 118