Showing posts with label lesbian. Show all posts
Showing posts with label lesbian. Show all posts
Thursday, May 9, 2013
When Being Gay Is Outlawed, Only Outlaws Will Be Gay -- Oh, Wait ...
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Tuesday, April 23, 2013
Overlooking the Obvious Again
One thing I've learned over the years from speaking to classes and from online discussion is that very often a question has an unspoken assumption I don't hear at first. Discovering such an assumption may drastically change the way I answer the question.
Once, for example, a young woman told us that an older male relative, maybe a policeman, had referred to "gay rape" in her presence. This upset her a great deal, and the other panelists tried to answer it without succeeding in assuaging her concern. Finally we figured out that she had concluded that her relative meant that rape was a normal part of the gay male experience. I explained to her that he must have been talking about the rape of a male by another male, which he called "gay rape" just as many people refer to marriage between two men or two women as "gay marriage." When she understood that gay men don't usually rape each other, she was visibly relieved. Years later, I'm still baffled at how anyone could have drawn such a conclusion, but that was a learning experience in itself.
I just finished reading I Am Your Sister, the posthumous collection of Audre Lorde's nonfiction writings I wrote about yesterday, and I came again on the notion that, as one Third World queer writer phrased it, concern about women or non-heterosexuals is a "luxury," a monkey wrench thrown into the struggle for liberation. Or, as a young African-American man asked Audre Lorde in Germany in the 1980s, "Would you think that the Black women's liberation struggle causes harm to the overall struggle for Black freedom?" (The notable thing about Lorde's answer, which can be heard in Dagmar Schultz' documentary Audre Lorde -- The Berlin Years 1984-1992, is the way she changes her spoken delivery. Her voice goes up about an octave, sounding almost girlish. I presume that she did so in an attempt to make her forthright answer less threatening to her male interlocutor. I'm not sure it worked.)
Of course, this notion assumes that liberation is for men only. Lorde tells a chilling anecdote in I Am Your Sister:
Once, for example, a young woman told us that an older male relative, maybe a policeman, had referred to "gay rape" in her presence. This upset her a great deal, and the other panelists tried to answer it without succeeding in assuaging her concern. Finally we figured out that she had concluded that her relative meant that rape was a normal part of the gay male experience. I explained to her that he must have been talking about the rape of a male by another male, which he called "gay rape" just as many people refer to marriage between two men or two women as "gay marriage." When she understood that gay men don't usually rape each other, she was visibly relieved. Years later, I'm still baffled at how anyone could have drawn such a conclusion, but that was a learning experience in itself.
I just finished reading I Am Your Sister, the posthumous collection of Audre Lorde's nonfiction writings I wrote about yesterday, and I came again on the notion that, as one Third World queer writer phrased it, concern about women or non-heterosexuals is a "luxury," a monkey wrench thrown into the struggle for liberation. Or, as a young African-American man asked Audre Lorde in Germany in the 1980s, "Would you think that the Black women's liberation struggle causes harm to the overall struggle for Black freedom?" (The notable thing about Lorde's answer, which can be heard in Dagmar Schultz' documentary Audre Lorde -- The Berlin Years 1984-1992, is the way she changes her spoken delivery. Her voice goes up about an octave, sounding almost girlish. I presume that she did so in an attempt to make her forthright answer less threatening to her male interlocutor. I'm not sure it worked.)
Of course, this notion assumes that liberation is for men only. Lorde tells a chilling anecdote in I Am Your Sister:
In 1985 I had a dialogue with James Baldwin at Hampshire College in Massachusetts, not far from Boston. One of the most heated discussions was around the issue of the twelve murdered Black women, and sexual violence and assault against Black women in general within our Black communities. There were present two other Black women, two other Black men, one white man, and a young Black male student.It suddenly occurred to me that people who raise this objection are thinking in terms of struggle against the First World oppressor, and assume that women's and gay concerns are going to be added to the list of demands that the liberation movement makes of the oppressor. But the real issue is internal to the struggle for liberation: Third World men must stop oppressing Third World women and other Third World men. It's not surprising that such men should object to this condition: they have generally absorbed First World sexism and and anti-gay bigotry along with First World political theories like Marxism and psychoanalysis, using these principles to reinforce indigenous inequities. Still, it is easier for Third World men to stop oppressing other members of their own group than to demand that the First World stop doing so. (Do I need to add that this applies just as much to sexism and racism among gay white Americans?) All they need to do is stop harming their own people; this will add nothing to the burden of their struggle against the West. As Lorde told a mostly white female German audience in The Berlin Years, "Each one of you sitting here has some power. I know that makes you uncomfortable enough to laugh, but you are responsible for using that power, whatever it is. And that is not altruism, that is survival."
Jimmy and one of the older Black men were in agreement that under the tremendous pressures of racism, Black men could not be held responsible for their violence against Black women, since it was a response to an unjust system, and Black women were only incidental victims. One of the Black men went so far as to say:
"The Black male is not attacking the Black female; it would be a sheep if that's what was there ..." To this I replied, and still reply:
"Yes, but I'm not a sheep, I'm your sister ... who is learning to use a gun. If we wind up having to kill each other instead of our enemies, what a terrible waste for us all."
And at this point it was the young Black male student in the room who spoke up to the older men, in defense of his mother and sisters and their right to defend themselves in the street [179].
Friday, May 25, 2007
Hiding From Their Own Shadows
What's wrong with this picture? In 1972, a gay twenty-year-old visiting Manhattan has only one night to "find others like myself":
But facts do get in the way of a good story.
Now let's move ahead a few years. Fenton Johnson's Geography of the Heart is a moving account of the death from AIDS of his lover Larry Rose. It also tells of his own earlier life in "San Francisco in the late 1970s, those innocent and exhilarating years when it first seemed possible for gay men and lesbians to live and love openly" (79). Notice how the "years when it first seemed possible for gay men and lesbians to live and love openly" creep forward in time. For Mark Thompson, 1972 was still the Dark Ages; for Johnson, the late 1970s -- in San Francisco, mind you -- were just the beginning of the Enlightenment.
Or not: In 1979 ("my second year in San Francisco" [81]), Johnson found a new place to live, out of the fast lane. One acquaintance at the time, "a painfully young man," had "just been discharged from the navy because he was gay, a nice instance of discrimination that at the time we accepted as simply the way life worked and would always work."
Apparently "we" had never heard of Leonard Matlovich, a gay man who received national straight media coverage and was featured on the cover of Time magazine in 1975, for fighting to remain in the US military. Rapid growth of gay organizations and visibility had continued through the Seventies, all over the US and elsewhere. Since young Mark Thompson went cruising in Times Square and Central Park and ran shrieking from the reflections of himself he found there, gay activists had confronted the psychiatric establishment, and won: the APA de-pathologized homosexuality in 1973. Aside from Matlovich and other gay military personnel, there were openly gay politicians, from Elaine Noble to Allen Spears. And need I mention that 1979 was the year after the assassination of Harvey Milk? Evidently I need.
These events weren't entirely invisible in the straight media, and certainly could have been known by people who read even the Advocate, let alone other gay media. Johnson writes about the period without the intrusion of these current, local events into his portrait; and even today too many gay people accept discrimination "as simply the way life worked and would always work."
But maybe even 1979 is still too long ago. So let's move ahead to the 1980s, and a young lesbian attending a tiny liberal-arts college in Indiana. Although there was no gay organization there at the time,
But leave all that aside. Consider the impression this author gives that there were no gay resources in Indiana colleges in the 1980s, that it was necessary to go to New York to meet "students like myself who were struggling with their sexual identities." You'd think that Gretchen Stiers was the only gay person at DePauw in those days, which just isn't true. Even DePauw was not quite as bad as Stiers implies: there have been several attempts to get a gay organization going there since the 1970s. I was one of several gay men who visited DePauw from Indiana University in Bloomington (whose first student gay organization -- that I know of! -- was founded in 1970) in the mid-1970s to speak to the whole campus about being gay. Gretchen Stiers may not have known about such things at the time she was "struggling with her sexual identity", but how can it be that 15 years of gay organizing in Indiana (!) colleges and universities have still never intruded on her awareness?
And since we're now talking about women as well as men, how about the Michigan Women's Music Festival -- or if Michigan was too far out ("radical"?) for young Gretchen Stiers, the National Women's Music Festival took place every summer in Bloomington, an hour's drive from DePauw. There were women's bookstores in Bloomington and Indianapolis, also close to DePauw. By the time Stiers was coming out, Olivia Records was moving towards luppification, such as expensive ocean cruises.
But surely, the reader may protest, things changed in the 1990s? I wish I could say so (and don't call me Shirley!). Let's leave the coming-out genre for a moment, and listen to a gay man of 40, writing about gay life in New York City today:
The convenient amnesia continues. The director of one segment of If These Walls Could Talk 2, three short films about lesbians made for HBO in 2000, told the Advocate that they didn't even have a word for such relationships in 1930, when the couple in the segment would have met. Nonsense. Of course there was a word -- in fact there were several -- even if the women involved didn't want to use it. Even now, there isn't a word that's acceptable to all same-sex couples.
The writers I've quoted here are not by any means the only ones who express the perspective I'm criticizing -- if only they were! Unfortunately they seem to speak for many others, and even more important, they bespeak a willed amnesia that is too common among gay people. I'm not surprised to find such attitudes in gay people, like Andrew Sullivan, who have been appointed interpreters of gay life by the straight media, who mirror and reinforce the ignorance of straight editors, reporters, and readers; but to find them in people who are writing for a gay readership is dispiriting.
It's a ritual part of the standard coming-out narrative to claim that in those dark days, one was totally alone and isolated, and there was none to help, nay not anywhere. One was the only sensitive (or "normal") gay person in New York City (or San Franciso, or America) in 1972 or 1979 or 1984, all the rest were predatory shadows. This may make for an archetypically mythic story, but like so many archetypically mythic stories it is a lie. Would it really ruin the tale to admit that yes, there were resources, even if the storyteller didn't know about them -- perhaps still doesn't want to know about them? After all, if all other gay people in Those Days were just extreme radicals and there were no alternatives to the clammy embraces of raincoated hordes in sticky-floored porn movie houses, then it seems sane and reasonable to have remained in the closet for so long. To admit that one ignored alternatives, that one was lagging behind history instead of its prisoner, sounds so much less heroic.
Erasing our history doesn't just encourage gay people to stay closeted: it encourages complacency among the antigay. How often I've heard apologists for bigotry say that you can't bring about change overnight, apparently because their awareness of gay activism has been edited down to the 1993 March on Washington at most. (The Millennium March of 2000 will now probably replace the 1993 March as the beginning of gay activism in this mythology.) The thirty-plus years since the Stonewall riots, the fifty-odd years since the founding of Mattachine, the full century since Magnus Hirschfeld came from Germany to the US to lecture on sex "intermediates" -- all down the memory hole. And worst of all, it is gay people, the very ones who lived through it and who should know better, who are erasing our history.
"How would I know I was gay if I didn't know what gay was," a young gay man asked rhetorically on the Internet, referring to his high school days in Iowa during the 1990s. No wonder so many people swallow the nonsense that there were no homosexuals before the word "homosexual" was coined -- they really believe that without a printed instruction manual, professionally-run training seminars, rainbow healing crystals, and the all-important Abercrombie & Fitch apparel, you don't even exist.
Ever since I can remember (and I came out in 1971), there have been people in US gay communities who've claimed that the war has been won, that no gay person suffers stigma, guilt, or shame anymore, or that (as a graduate student at a large midwestern state university put it in the late 1980s) most people have figured out their sexuality by the time they get to college, so they need no further education about gay history, politics, or culture. Even in large cities with large gay communities, this is clearly not true.
In Emma Donoghue's Passions Between Women, she notes how often 18th and 19th century women writers who referred to lesbianism in their work would hasten to add that they couldn't imagine what two women could do together. This forestalled the question that would follow if they admitted knowing: how did they know, hm? I detect a similar disclaimer in these tales of gay and lesbian isolation from the past 30 years: yes, I was That Way, but I didn't want to be, I didn't choose it, I couldn't imagine where to find others like myself, and when I did, they were predators and shadows, not like me at all, not what I meant at all. What gay interests are served by this erasure of history and of the present? What stigma are these openly gay writers trying to fend off?
BOOKS MENTIONED ABOVE:
Thompson, Mark. Gay Body: a journey through shadow to self. New York: St. Martin's Press, 1999.
Johnson, Fenton. Geography of the heart: a memoir. New York: Scribner, 1996.
Stiers, Gretchen A. From this day forward: commitment, marriage, and family in lesbian and gay relationships. New York: St. Martin's Press, 1999.
Mendelsohn, Daniel. The elusive embrace: desire and the riddle of identity. New York: Alfred A. Knopf, 1999.
Donoghue, Emma. Passions between women: British Lesbian culture 1668-1801. London: Scarlet Press, 1993. New York: HarperCollins, 1994.
Yet in an era before gay community centers and programs, or gay bookstores and the right kind of titles to line their shelves, where was a young queer person to go? All I knew -- all I had ever heard about -- were the seedy gay movie houses near Times Square. With trembling fingers, I paid for a ticket and entered one. Within minutes, I was back out on the streets in heart-pounding escape from a brigade in raincoats who had descended on me the moment I sat down. In fear and panic, I ran uptown and into Central Park. Hadn't I read somewhere that queers met there too? My foray into the greenery didn't last much longer than my interlude at the movies: it, too, was a dark and scary place. A brief encounter with a kindred soul? Hell, one could get killed here! I returned to my hotel room, dejected and hopeless. Instead of finding others like me, all I had discovered were shadows -- predatory and frightening.There's a great deal wrong with this passage from Mark Thompson's Gay Body (viii-ix), starting with the shoddy writing and proceeding through the Jungian demonization of the "shadows" he encountered. (Remember, Mark, those "shadows" are your shadow.) What I'd like you to notice now is Thompson's claim that in New York in 1972 there were no "gay community centers and programs, or gay bookstores and the right kind of titles to line their shelves." In fact, Craig Rodwell's Oscar Wilde Memorial Bookstore opened in Greenwich Village in 1967, five years before Thompson's night of the Long Raincoats. By 1972, New York Gay Activists Alliance had a community center in a converted firehouse. San Francisco's gay community center was founded in 1966. Chicago Gay Alliance had a center in the middle of the city. (At the age of twenty, with just one night to find others like myself, I visited it in April 1971.) The early 1970s were a time of explosive growth for such resources nationwide. Young Mark Thompson may not have known about these resources, but they did exist, and old Mark Thompson should know it by now.
But facts do get in the way of a good story.
Now let's move ahead a few years. Fenton Johnson's Geography of the Heart is a moving account of the death from AIDS of his lover Larry Rose. It also tells of his own earlier life in "San Francisco in the late 1970s, those innocent and exhilarating years when it first seemed possible for gay men and lesbians to live and love openly" (79). Notice how the "years when it first seemed possible for gay men and lesbians to live and love openly" creep forward in time. For Mark Thompson, 1972 was still the Dark Ages; for Johnson, the late 1970s -- in San Francisco, mind you -- were just the beginning of the Enlightenment.
Or not: In 1979 ("my second year in San Francisco" [81]), Johnson found a new place to live, out of the fast lane. One acquaintance at the time, "a painfully young man," had "just been discharged from the navy because he was gay, a nice instance of discrimination that at the time we accepted as simply the way life worked and would always work."
Apparently "we" had never heard of Leonard Matlovich, a gay man who received national straight media coverage and was featured on the cover of Time magazine in 1975, for fighting to remain in the US military. Rapid growth of gay organizations and visibility had continued through the Seventies, all over the US and elsewhere. Since young Mark Thompson went cruising in Times Square and Central Park and ran shrieking from the reflections of himself he found there, gay activists had confronted the psychiatric establishment, and won: the APA de-pathologized homosexuality in 1973. Aside from Matlovich and other gay military personnel, there were openly gay politicians, from Elaine Noble to Allen Spears. And need I mention that 1979 was the year after the assassination of Harvey Milk? Evidently I need.
These events weren't entirely invisible in the straight media, and certainly could have been known by people who read even the Advocate, let alone other gay media. Johnson writes about the period without the intrusion of these current, local events into his portrait; and even today too many gay people accept discrimination "as simply the way life worked and would always work."
But maybe even 1979 is still too long ago. So let's move ahead to the 1980s, and a young lesbian attending a tiny liberal-arts college in Indiana. Although there was no gay organization there at the time,
To DePauw's credit, with the college's support I was able to attend a number of national women's studies conferences in the Midwest as well as a large antinuclear weapons conference at Riverside Church in New York City. These conferences literally [?] saved my life. They allowed me to meet not only other feminist women but students like myself who were struggling with their sexual identities. The women and men I met gave me the reassurance I needed that being a lesbian was not "abnormal." At the time, it felt like just being lesbian, gay, or bisexual was extremely radical and in itself a political statement (Stiers, xiii).When I first read this, I immediately wondered: How does "extremely radical" connect to "abnormal"? Or does Stiers approve of "political statements"? She's so incoherent I can't be sure. Let's consider the historical context again: by the 1980s, what might be called the professionalization of the gay movement was well underway, with frequent calls to put the radicalism of the 70s behind us. More gay military, more gay politicians, more gay pastors and priests and rabbis, more laws forbidding discrimination based on sexual orientation, even in towns in Indiana. Businessman David Goodstein had bought the Advocate, no radical publication to begin with, and used it to further an avowedly conservative agenda. Gay religious groups were the fastest-growing segment of the gay movement. And by the mid-1980s, AIDS had put a wholly different face on the gay male community. If being gay seemed "radical" at that time to Gretchen Stiers, it was despite all these developments.
But leave all that aside. Consider the impression this author gives that there were no gay resources in Indiana colleges in the 1980s, that it was necessary to go to New York to meet "students like myself who were struggling with their sexual identities." You'd think that Gretchen Stiers was the only gay person at DePauw in those days, which just isn't true. Even DePauw was not quite as bad as Stiers implies: there have been several attempts to get a gay organization going there since the 1970s. I was one of several gay men who visited DePauw from Indiana University in Bloomington (whose first student gay organization -- that I know of! -- was founded in 1970) in the mid-1970s to speak to the whole campus about being gay. Gretchen Stiers may not have known about such things at the time she was "struggling with her sexual identity", but how can it be that 15 years of gay organizing in Indiana (!) colleges and universities have still never intruded on her awareness?
And since we're now talking about women as well as men, how about the Michigan Women's Music Festival -- or if Michigan was too far out ("radical"?) for young Gretchen Stiers, the National Women's Music Festival took place every summer in Bloomington, an hour's drive from DePauw. There were women's bookstores in Bloomington and Indianapolis, also close to DePauw. By the time Stiers was coming out, Olivia Records was moving towards luppification, such as expensive ocean cruises.
But surely, the reader may protest, things changed in the 1990s? I wish I could say so (and don't call me Shirley!). Let's leave the coming-out genre for a moment, and listen to a gay man of 40, writing about gay life in New York City today:
I have, of course, like most of the gay men I know, spent a good deal of time complaining about the bar scene. The complaining -- that if you're a single gay man the only way to meet other single gay men, the only way to find someone to play with, is to stray into that familiar space, probably ugly, most likely badly lighted, filled with strangers and music you wouldn't choose yourself, and wait against a wall with the drink in your hand until you finally slide into a conversation with someone whom you can't see quite well enough and who is probably only looking for a one-night stand anyway, unlike you who, you tell yourself, are looking for a Relationship -- this complaint is a necessary lie. A lie, because I am pretty sure by now that we go to these places in order not to connect, but rather to exist in the exquisite moment when our desirability is still perfect, unspoiled by contact; necessary, because who could acknowledge that this was what he really wanted -- to be a flawless image rather than a living person, to have a narrative rather than a life, to be tragic rather than to live -- and not go mad? [Mendelsohn, 195f]Ahem. Andrew Holleran said the same thing 20 years ago in Dancer from the Dance, and better: with humor, for one thing, to balance the self-pity. But I don't believe that a) all bars in New York City, even in Chelsea, are like this; or b) there are no other ways in New York to meet eligible men (discussion groups? amateur sports? Spinoza and other gay Jewish groups?). The author of this passage cruises certain streets and bars in Chelsea, and Internet chat rooms, and simply ignores the existence of other possibilities -- as well as the existence of gay men who use those alternatives. At least the author admits that he isn't really interested in "connecting", or in environments where he might do so.
The convenient amnesia continues. The director of one segment of If These Walls Could Talk 2, three short films about lesbians made for HBO in 2000, told the Advocate that they didn't even have a word for such relationships in 1930, when the couple in the segment would have met. Nonsense. Of course there was a word -- in fact there were several -- even if the women involved didn't want to use it. Even now, there isn't a word that's acceptable to all same-sex couples.
The writers I've quoted here are not by any means the only ones who express the perspective I'm criticizing -- if only they were! Unfortunately they seem to speak for many others, and even more important, they bespeak a willed amnesia that is too common among gay people. I'm not surprised to find such attitudes in gay people, like Andrew Sullivan, who have been appointed interpreters of gay life by the straight media, who mirror and reinforce the ignorance of straight editors, reporters, and readers; but to find them in people who are writing for a gay readership is dispiriting.
It's a ritual part of the standard coming-out narrative to claim that in those dark days, one was totally alone and isolated, and there was none to help, nay not anywhere. One was the only sensitive (or "normal") gay person in New York City (or San Franciso, or America) in 1972 or 1979 or 1984, all the rest were predatory shadows. This may make for an archetypically mythic story, but like so many archetypically mythic stories it is a lie. Would it really ruin the tale to admit that yes, there were resources, even if the storyteller didn't know about them -- perhaps still doesn't want to know about them? After all, if all other gay people in Those Days were just extreme radicals and there were no alternatives to the clammy embraces of raincoated hordes in sticky-floored porn movie houses, then it seems sane and reasonable to have remained in the closet for so long. To admit that one ignored alternatives, that one was lagging behind history instead of its prisoner, sounds so much less heroic.
Erasing our history doesn't just encourage gay people to stay closeted: it encourages complacency among the antigay. How often I've heard apologists for bigotry say that you can't bring about change overnight, apparently because their awareness of gay activism has been edited down to the 1993 March on Washington at most. (The Millennium March of 2000 will now probably replace the 1993 March as the beginning of gay activism in this mythology.) The thirty-plus years since the Stonewall riots, the fifty-odd years since the founding of Mattachine, the full century since Magnus Hirschfeld came from Germany to the US to lecture on sex "intermediates" -- all down the memory hole. And worst of all, it is gay people, the very ones who lived through it and who should know better, who are erasing our history.
"How would I know I was gay if I didn't know what gay was," a young gay man asked rhetorically on the Internet, referring to his high school days in Iowa during the 1990s. No wonder so many people swallow the nonsense that there were no homosexuals before the word "homosexual" was coined -- they really believe that without a printed instruction manual, professionally-run training seminars, rainbow healing crystals, and the all-important Abercrombie & Fitch apparel, you don't even exist.
Ever since I can remember (and I came out in 1971), there have been people in US gay communities who've claimed that the war has been won, that no gay person suffers stigma, guilt, or shame anymore, or that (as a graduate student at a large midwestern state university put it in the late 1980s) most people have figured out their sexuality by the time they get to college, so they need no further education about gay history, politics, or culture. Even in large cities with large gay communities, this is clearly not true.
In Emma Donoghue's Passions Between Women, she notes how often 18th and 19th century women writers who referred to lesbianism in their work would hasten to add that they couldn't imagine what two women could do together. This forestalled the question that would follow if they admitted knowing: how did they know, hm? I detect a similar disclaimer in these tales of gay and lesbian isolation from the past 30 years: yes, I was That Way, but I didn't want to be, I didn't choose it, I couldn't imagine where to find others like myself, and when I did, they were predators and shadows, not like me at all, not what I meant at all. What gay interests are served by this erasure of history and of the present? What stigma are these openly gay writers trying to fend off?
BOOKS MENTIONED ABOVE:
Thompson, Mark. Gay Body: a journey through shadow to self. New York: St. Martin's Press, 1999.
Johnson, Fenton. Geography of the heart: a memoir. New York: Scribner, 1996.
Stiers, Gretchen A. From this day forward: commitment, marriage, and family in lesbian and gay relationships. New York: St. Martin's Press, 1999.
Mendelsohn, Daniel. The elusive embrace: desire and the riddle of identity. New York: Alfred A. Knopf, 1999.
Donoghue, Emma. Passions between women: British Lesbian culture 1668-1801. London: Scarlet Press, 1993. New York: HarperCollins, 1994.
Thursday, May 24, 2007
Impossible Desires: Queer Diasporas and South Asian Public Cultures
by Gayatri Gopinath
Durham NC: Duke University Press, 2005
Okay, what I want to know is: How could Gayatri Gopinath write a book on queers in the South Asian diaspora without even mentioning Chutney Popcorn? I suppose it could be argued that Nisha Ganatra's desi-dyke indie film doesn't merit the extended discussion Gopinath grants to Bend It Like Beckham, Monsoon Wedding, or Ian Iqbal Rashid's 1996 short film Surviving Sabu, but that's the point: it should at least be argued.
At first I thought Gopinath's "queer diasporas" might reckon with the way so many Euro-American lesbians and gay men have imagined ourselves as a diaspora, the exiled children of Lesbos or Sodom scattered among the nations, searching for the lost history of our people and a way back to our homeland. The association of queers with certain places is rich with possibility for her theme; but no.
Despite Gopinath's avowed intent to "take queer female diasporic subjectivity as the starting point" (79) of her discussion, she devotes most of her first hundred pages to South Asian diasporic boy culture, from the British Asian bands Cornershop and ADF to Nobel Laureate V. S. Naipaul, mostly to defend them against imputations of sexism or homophobia. While Gopinath speculates freely about the inner lives of South Asian males, she has little to say about female subjectivity: women remain objects, not subjects, in this book.
She does get excited over a single scene in the film East is East (2000, dir. Damien O'Donnell), in which a young "biracial" woman, working with her brothers behind the family fish and chips shop, does a Bollywood-inspired lip synch routine crossed with the chimney sweeps' dance from Mary Poppins. Gopinath sees this as "a resounding rejection of the father-son drama of Oedipal hatred" (83), and "a powerful rejoinder to Enoch Powell's calls for an all-white Britain, in that it evokes an alternative realm of public culture that is available to South Asian immigrants in the diaspora" (88). Whooo! look out Enoch Powell, Mina is in da house! I agree it's an entertaining scene, but I'm not persuaded it's queer. (Gopinath's analysis, though, is like, totally gay.) For Gopinath, though, as for many of her fellow scholars, the word "queer" functions performatively: it is the intrepid scholar who queers the diaspora merely by using the word.
Gopinath declares at the outset that "The concept of a queer diaspora enables a simultaneous critique of heterosexuality and the nation form while exploding the binary opposition between nation and diaspora, heterosexuality and homosexuality, original and copy" (11). These binaries flood back into her writing as fast as she disowns them, however: "home" and diaspora, queer and gay/lesbian, East and West, appear as mutually exclusive categories, rather than the amorphous, overlapping zones they are.
This gets her into trouble when she finally essays an extended analysis of queer South Asian texts. She refuses even to consider the possibility of any common ground between queer South Asians and queer "Euro-Americans" (and her fond notion that Americans and Europeans share a single construction of homosexuality shows just how ignorant she is). Consider Ismat Chughtai's 1940 Urdu story "The Quilt", in which a Muslim Indian tomboy observes a neglected wife cavorting with her female servant under the eponymous bedspread. Gopinath sternly informs the reader that "the text refuses to allow particular configurations of homoerotic desire to settle into stable structures of sexual identity" (148). So there! and never mind that the story's author herself referred to the relationship as "lesbian."
Comparing "The Quilt" to Deepa Mehta's 1996 film Fire, in which two sisters-in-law fall in love, Gopinath claims that for South Asian women "this privatized, seemingly sanitized `domestic' space can simultaneously function as a site of intense female homoerotic pleasure and practices", against a supposed Western "narrative of`lesbian' sexuality as needing to emerge from a private domestic sphere into a public, visible, `lesbian' subjectivity" (155). This is a false antithesis. Homoeroticism has often been nurtured and harbored by domestic space in the West (see, for just one famous example, Radclyffe Hall's 1928 lesbian novel The Well of Loneliness), and Fire ends with flight and exile for the two lovers. After denying it for several pages, Gopinath grumpily admits that "the two women eventually do leave the confines of the household rather than continue to exist within it", but that's far too mild: Radha, the older woman, is abandoned by her husband and mother-in-law in the hope that she'll burn to death.
You'd think, reading Gopinath, that American lesbians and gay men chose "identity" and "visibility" out of sheer perversity, instead of as a defensive response to assault and expulsion by our families and straight society in general. "Homonormative" American lesbians and gays are busily burrowing their way back into the "private domestic space" Gopinath accuses them of trying to escape. (Two words: "PFLAG"and "marriage.") And Gopinath's main theme is a demand for more queer female visibility in South Asian culture.
Gopinath completely misses elements of both works that a queer reading, diasporic or not, ought to highlight. There's the bitterly satirical humor of "The Quilt"; its use of a naive narrator to allow the reader to label what the narrator can't; and the author's argument, when the story was tried for obscenity in 1943, that it was important to expose these nasty goings-on, instead of sweeping them under the rug. There's the familiar closeting strategy of Deepa Mehta's insistence that "the lesbian relationship in [Fire] is merely a symbol of an extreme choice my heroines make. ...[I]t is not a lesbian film ... rather, I think of it as humanistic" (157). It's hard to think of a queer movie since The Children's Hour that we haven't been told isn't "about homosexuality." Gopinath is annoyed with Mehta for resorting to "the rhetoric of women's emancipation and personal choices" when her film was under literal attack by Hindu fascists who stormed the theaters in which it was shown, but it's hard to see why, when she can't make up her own mind whether Fire's heroines are lesbians or not.
But Gopinath's blind spots and blunders are normal in her field: the faux-impersonal style, the ignorance about the American gay life and culture it attacks, the invidious East-West dichotomies, the historical naiveté turn up in work after work of contemporary queer scholarship. (Gopinath seems genuinely surprised to find similarities between the experiences of Punjabi women sweatshop workers in the West Midlands and Chinese women sweatshop workers in San Francisco. Girl, read Elana Dykewomon's great sweatshop novel Beyond the Pale!)
I don't mean to jump on the anti-queer theory bandwagon here. Gopinath's problem is her misuse, through assiduously cultivated ignorance, of theories whose radical potential has been contained through the inertia of great institutions. Like so many of her colleagues in the academy, Gopinath seems to believe that merely invoking the deities "Post-colonial! Queer diaspora! Impossible desires! Destabilized identities!" will magically transform her very middle-of-the-road work into something innovative, even radical. Alas, when the smoke clears Impossible Desires is just another unremarkable contribution to that genre of neo-Orientalist ephemera known as post-colonial studies. Gopinath's theorizing isn't queer enough: whoever believes on the names of Fanon, Said, and Foucault will not be saved. And her elision of queer female South Asian subjectivity remains mysterious.
by Gayatri Gopinath
Durham NC: Duke University Press, 2005
Okay, what I want to know is: How could Gayatri Gopinath write a book on queers in the South Asian diaspora without even mentioning Chutney Popcorn? I suppose it could be argued that Nisha Ganatra's desi-dyke indie film doesn't merit the extended discussion Gopinath grants to Bend It Like Beckham, Monsoon Wedding, or Ian Iqbal Rashid's 1996 short film Surviving Sabu, but that's the point: it should at least be argued.
At first I thought Gopinath's "queer diasporas" might reckon with the way so many Euro-American lesbians and gay men have imagined ourselves as a diaspora, the exiled children of Lesbos or Sodom scattered among the nations, searching for the lost history of our people and a way back to our homeland. The association of queers with certain places is rich with possibility for her theme; but no.
Despite Gopinath's avowed intent to "take queer female diasporic subjectivity as the starting point" (79) of her discussion, she devotes most of her first hundred pages to South Asian diasporic boy culture, from the British Asian bands Cornershop and ADF to Nobel Laureate V. S. Naipaul, mostly to defend them against imputations of sexism or homophobia. While Gopinath speculates freely about the inner lives of South Asian males, she has little to say about female subjectivity: women remain objects, not subjects, in this book.
She does get excited over a single scene in the film East is East (2000, dir. Damien O'Donnell), in which a young "biracial" woman, working with her brothers behind the family fish and chips shop, does a Bollywood-inspired lip synch routine crossed with the chimney sweeps' dance from Mary Poppins. Gopinath sees this as "a resounding rejection of the father-son drama of Oedipal hatred" (83), and "a powerful rejoinder to Enoch Powell's calls for an all-white Britain, in that it evokes an alternative realm of public culture that is available to South Asian immigrants in the diaspora" (88). Whooo! look out Enoch Powell, Mina is in da house! I agree it's an entertaining scene, but I'm not persuaded it's queer. (Gopinath's analysis, though, is like, totally gay.) For Gopinath, though, as for many of her fellow scholars, the word "queer" functions performatively: it is the intrepid scholar who queers the diaspora merely by using the word.
Gopinath declares at the outset that "The concept of a queer diaspora enables a simultaneous critique of heterosexuality and the nation form while exploding the binary opposition between nation and diaspora, heterosexuality and homosexuality, original and copy" (11). These binaries flood back into her writing as fast as she disowns them, however: "home" and diaspora, queer and gay/lesbian, East and West, appear as mutually exclusive categories, rather than the amorphous, overlapping zones they are.
This gets her into trouble when she finally essays an extended analysis of queer South Asian texts. She refuses even to consider the possibility of any common ground between queer South Asians and queer "Euro-Americans" (and her fond notion that Americans and Europeans share a single construction of homosexuality shows just how ignorant she is). Consider Ismat Chughtai's 1940 Urdu story "The Quilt", in which a Muslim Indian tomboy observes a neglected wife cavorting with her female servant under the eponymous bedspread. Gopinath sternly informs the reader that "the text refuses to allow particular configurations of homoerotic desire to settle into stable structures of sexual identity" (148). So there! and never mind that the story's author herself referred to the relationship as "lesbian."
Comparing "The Quilt" to Deepa Mehta's 1996 film Fire, in which two sisters-in-law fall in love, Gopinath claims that for South Asian women "this privatized, seemingly sanitized `domestic' space can simultaneously function as a site of intense female homoerotic pleasure and practices", against a supposed Western "narrative of`lesbian' sexuality as needing to emerge from a private domestic sphere into a public, visible, `lesbian' subjectivity" (155). This is a false antithesis. Homoeroticism has often been nurtured and harbored by domestic space in the West (see, for just one famous example, Radclyffe Hall's 1928 lesbian novel The Well of Loneliness), and Fire ends with flight and exile for the two lovers. After denying it for several pages, Gopinath grumpily admits that "the two women eventually do leave the confines of the household rather than continue to exist within it", but that's far too mild: Radha, the older woman, is abandoned by her husband and mother-in-law in the hope that she'll burn to death.
You'd think, reading Gopinath, that American lesbians and gay men chose "identity" and "visibility" out of sheer perversity, instead of as a defensive response to assault and expulsion by our families and straight society in general. "Homonormative" American lesbians and gays are busily burrowing their way back into the "private domestic space" Gopinath accuses them of trying to escape. (Two words: "PFLAG"and "marriage.") And Gopinath's main theme is a demand for more queer female visibility in South Asian culture.
Gopinath completely misses elements of both works that a queer reading, diasporic or not, ought to highlight. There's the bitterly satirical humor of "The Quilt"; its use of a naive narrator to allow the reader to label what the narrator can't; and the author's argument, when the story was tried for obscenity in 1943, that it was important to expose these nasty goings-on, instead of sweeping them under the rug. There's the familiar closeting strategy of Deepa Mehta's insistence that "the lesbian relationship in [Fire] is merely a symbol of an extreme choice my heroines make. ...[I]t is not a lesbian film ... rather, I think of it as humanistic" (157). It's hard to think of a queer movie since The Children's Hour that we haven't been told isn't "about homosexuality." Gopinath is annoyed with Mehta for resorting to "the rhetoric of women's emancipation and personal choices" when her film was under literal attack by Hindu fascists who stormed the theaters in which it was shown, but it's hard to see why, when she can't make up her own mind whether Fire's heroines are lesbians or not.
But Gopinath's blind spots and blunders are normal in her field: the faux-impersonal style, the ignorance about the American gay life and culture it attacks, the invidious East-West dichotomies, the historical naiveté turn up in work after work of contemporary queer scholarship. (Gopinath seems genuinely surprised to find similarities between the experiences of Punjabi women sweatshop workers in the West Midlands and Chinese women sweatshop workers in San Francisco. Girl, read Elana Dykewomon's great sweatshop novel Beyond the Pale!)
I don't mean to jump on the anti-queer theory bandwagon here. Gopinath's problem is her misuse, through assiduously cultivated ignorance, of theories whose radical potential has been contained through the inertia of great institutions. Like so many of her colleagues in the academy, Gopinath seems to believe that merely invoking the deities "Post-colonial! Queer diaspora! Impossible desires! Destabilized identities!" will magically transform her very middle-of-the-road work into something innovative, even radical. Alas, when the smoke clears Impossible Desires is just another unremarkable contribution to that genre of neo-Orientalist ephemera known as post-colonial studies. Gopinath's theorizing isn't queer enough: whoever believes on the names of Fanon, Said, and Foucault will not be saved. And her elision of queer female South Asian subjectivity remains mysterious.
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