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. No camp, no parody, no narrow identity politics. Only a human truth. Hollinghurst portrays nothing more (or less) than the stark reality of grief in all its existential awfulness. Acknowledgements I would like to thank Laura Ashe, Alexandra Harris, Erica McAlpine, Kathryn Murphy and Maria del Pilar Blanco for their invaluable comments on drafts of this chapter. Poetry, parody, porn and prose 57 Notes 1 William Lee Howard, Confidential Chats with Boys (London: Richards, 1913) 103. 2 Jay Hatheway, The Gilded Age Construction of Modern American Homophobia
observes, the vocabulary of shared humanity had itself come under severe but necessary scrutiny, both from the activists of different identity politics and from deconstruction. The changing political environment does not go un-registered in Olson’s writing, as in the important Maximus poem ‘I have been an ability – a machine’ in which, as Michael Kindellan discusses here, Olson takes stock of an American national discourse that so excludes his friend, the poet LeRoi Jones (MP, 495–9). Equally, by the 1960s the balance of Olson’s pre-occupations had tipped, becoming less
century later, in 2008, the Irish playwright and novelist Sebastian Barry similarly observed, ‘The fact is, we are missing so many threads in our story that the tapestry of Irish life cannot but fall apart. There is nothing to hold it together.’38 The evolution of this tapestry metaphor signals the shift in national identity politics from a debate about the necessary or unnecessary homogeneity MUP_Schultz_Haunted.indd 5 03/04/2014 12:23 Introduction 6 of Irish civilization to a program that establishes ambiguity as the one crucial characteristic of Irishness in the
thread that has remained pure, virgin and uninfluenced by other threads nearby.’2 A century later, in 2008, Sebastian Barry similarly observed, ‘The fact is, we are missing so many threads in our story that the tapestry of Irish life cannot but fall apart. There is nothing to hold it together.’3 The evolution of this tapestry metaphor signals the shift in national identity politics from a debate about the necessity or possibility of homogenization to a program that establishes dispossession as the one crucial characteristic of Irishness in both the twentieth and twenty
, they are also stories in which desire functions as what Peter Brooks calls the ‘motor force’ of narrative.40 At the start of virtually every romance a desire is present, usually in a state of initial arousal, that is so intense (because thwarted or challenged) that action – some kind of forward narrative movement designed to bring about change – is demanded. Sexual desire (whether wanted, unwanted or feared) is one of the most common initiatory devices, but a desire for offspring, material wealth, a lost identity, political or religious dominion, or simply aventure
: Princeton University Press. Brunila, K. and L.-M. Rossi (2017). ‘Identity politics, the ethos of vulnerability, and education’, Educational Philosophy and Theory, 50:3, pp. 287–98. https://doi.org/ 10.1080/00131857.2017.1343115. Butler, J. (2004). Precarious Life: The Powers of Mourning and Violence. London: Verso. Carter, A. (2015). ‘Teaching with trauma: Trigger warnings, feminism, and disability pedagogy’, Disability Studies Quarterly, 35:2, http://dsq-sds.org/article/view/ 4652/3935 (accessed 17 December 2017). Cecire, N. (2014). ‘On the “neoliberal
is the result of a three-year grant (RJ 2013–2016). From 2017, it has been administered by the National Library of Sweden (see also Snickars, 2015). 18 However, in times of right-wing populism the vulnerability of national archives dedicated to liberal identity politics is likely to increase. 19 www.cinema.ucla.edu/collections/outfest-ucla-legacy- project-lgbt-moving- image-preservation (accessed 20 February 2017). 20 Meanwhile, the Swedish Archive for Queer Moving Images and Filmarkivet.se have initiated a collaboration in 2018. REFERENCES Axelsson
novel, if it ‘wants to remain true to its realistic heritage and tell how things really are, … must abandon a realism that only aids the façade in its work of camouflage by reproducing it’ (Adorno 1991 : 32). In this respect, to what extent is the identity politics of the realist mode intimately allied to what Robert Young has termed the logic of the ‘white mythology’ (Young 1990 ), the radical
responsibility, community’ in a society where the ‘individual can only rarely and with difficulty understand himself and his activities as interrelated in morally meaningful ways with those of other, different Americans’. 17 The reasons given for this crisis of citizenship varied according to political perspective. Those on the Right pointed to the decline of ‘family values’, local voluntary association, faith, and morality – all of which are often traced to the cultural revolution of the 1960s, and the concomitant rise of feminism and identity politics – as causing a
constituted within the colonial gaze, language and understandings. Revisionist re-readings are still additional readings of Western texts: responses from Western speaking positions, with recourse to Western identity politics … Colonised subjects cannot be retrieved from a Eurocentric past and restored to their pre-colonial existence, their pre-discursive positions. (Schaffer 1998: 99) However, if we do not attempt this task, we risk leaving racist statements unchallenged (Butler, 1997). Condemnation of racist statements is