Bound together’s conclusion ruminates on two series by the artist Monica
Majoli, who sees her works as both ‘surrogates’ and ‘envelopes’ for herself.
In luminous oil paintings of gay male piss orgies and monochromatic gouaches
of suspended rubbermen, Majoli visualizes leather scenarios that center the
masochist’s body and experiences. Each extrapolates from an archive of lived
experiences of an other, forcing Majoli to grapple with questions about
subjectivity and sociality. Like Majoli, these paintings have become, over
the years, ‘surrogates’ and ‘envelopes’ for the author and the work of
collecting, archiving, and entering the scene of leathersex. Connection
begets connection, and the transmission of sexual gifts is discussed as a
hallmark of leather and queer cultures more broadly.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.