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Unconventionality and queerness in Katherine Everett’s life writing
Mo Moultonc

Katherine Everett's 1949 memoir, Bricks and Flowers, narrates a remarkable life. Born into the Anglo-Irish gentry in the 1870s, Everett escaped an abusive mother by moving to Britain as a teenager. This chapter provides a key to understanding a life like Everett's, which seems simultaneously to invite and to resist a queer reading. It argues that it is possible to arrive at a richer understanding of life outside the conventions of heteronormativity and, perhaps, of homonormativity as well. The chapter describes queer critical history in Everett's life-writing, of the strange-to-us category of unconventionality. Homosexuality, or the possibility of it, appears only in muted and intermittent ways in Bricks and Flowers. For Everett, however, the war put a temporary break in her unconventional career as a builder and pushed her towards more typical means of earning a living for a woman: nursing and working as a personal companion.

in British queer history
Charles Upchurch

There is something of a paradox in the discussion of sex between men in Britain in the nineteenth century. The John Grossett Muirhead and Richard Archdall prosecutions are the two most prominent trials related to sex between men in the 1820s. The association between Frederick Withers and Archdall had begun in July of that year when Archdall 'had requested a servant fitting Withers's description' from the National Guardian Institution. The Vere Street incident initially led to The Times paying increased attention to a wide range of prosecutions involving sex between men. The denial of homosexual blackmail as the reason for Viscount Castlereagh's suicide has most often been coupled with a dismissal of the idea that Castlereagh had homosexual desires. For radicals, Castlereagh was one of the most hated political figures of the day owing to his longstanding opposition to parliamentary reform.

in British queer history
Henry Scott Tuke
Jongwoo Jeremy Kim

Henry Scott Tuke's career as an artist was deeply committed to the visual proliferation of youths, clad or unclad. The homoeroticism of Henry Scott Tuke's naturalism can be understood as part of his effort to contemporise what was considered to be a lost Hellenic tradition of 'man-manly love'. Paintings of fishermen and other workers were central to Tuke's efforts to bring Greek homoeroticism to his modern time. Tuke's yearning injects a subtle form of homoerotic fantasy into what is apparently a dramatic narrative of working-class men in a storm. Violating the picture plane, Tuke challenges the boundary of the pictorial illusion separated from the viewer's reality. Tuke's naturalistic portrayal of Cornish working-class lads and their lives, with its 'sexless' 'view of labour', is animated by this complex homoerotic desire.

in British queer history
Anna Green and Kathleen Troup

others, in his introduction to British Queer History. 16 Poststructuralists argue that language, as well as representing the world, is creative of it. Language and texts, as collections of signs, are thus reconceived as a social and political force, for which entity the term language is insufficient. ‘Language’ in its multiple meanings has therefore been replaced in poststructuralist parlance by ‘discourse’, ‘a linguistic unity or group of statements which constitutes and delimits a specific area of concern, governed by its own rules of formation with its own modes

in The houses of history