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An act of queering citizenship
Zalfa Feghali

the consolidation of identity and regroupment while supporting more effective efforts for inclusion in the larger society’.40 In this model, dissident citizenship ‘encompasses the often creative oppositional practices of citizens who, either by choice or (much more commonly) by forced exclusion from the institutionalized means of opposition, contest current arrangements of power from the margins of the polity’.41 Crossing borders and queering citizenship shows how reading can be one of these creative oppositional practices. Reading and the civic subject To map how

in Crossing borders and queering citizenship
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Why queer(y) citizenship?
Zalfa Feghali

dismantling of borders –​physical or figurative, political or socially constructed, geographical or psychic –​gestures towards a citizenship that is founded on principles vastly different than those we might recognise today. Anzaldúa, Allison, Scofield, Gómez-​Peña, Moure, Díaz, and Martel may represent only a few ‘ways’ of being ‘peripheral’, but their readerly solutions to the problem of civic exclusion are applicable beyond one particular minority group, and are elegant, creative, and transformative. Notes 1 Thomas King, ‘Borders’, in One Good Story, That One

in Crossing borders and queering citizenship
Zalfa Feghali

result of the mestiza’s need to ‘work out a synthesis’ of her constituent parts (Borderlands p. 102). According to Anzaldúa, ‘its energy comes from continual creative motion that keeps breaking down the unitary aspect of each new paradigm’ (p. 102).55 The new mestiza also overcomes the trauma and subsequent silencing and denial of colonial conquest, violence, and rape. Anzaldúa sees this new mestiza consciousness as ‘greater than the sum of its severed parts’ (p. 102). As such, her new mestiza is capable of crossing all borders and questioning all social constructions

in Crossing borders and queering citizenship
Zalfa Feghali

species, described as ‘the oldest species in the universe, committed to observing and compiling knowledge on all aspects of the universe without any interference’.29 The Watchers, then, possess limitless knowledge and powers, and in the Marvel Comic Universe are intended to act as neutral observers –​something Yunior, who we discover at the end of the novel is now a writer and teacher of composition and creative writing, recognises as a useful trait in a narrator. However, one Watcher, Uatu, reveals himself to the Fantastic Four and is later put on trial for

in Crossing borders and queering citizenship
Zalfa Feghali

] may constitute an “I” that becomes a place of creative and, by implication, political intervention’.67 To Scofield, as with many other Indigenous writers, writing ‘is a means of affirming the cultures, of clarifying lies, of speaking truth, of resisting oppression, of asserting identity, of self-​ empowerment, of survival, of moving beyond survival’.68 For Scofield, Métis and two-spirit vernaculars 83 the turning point in his writing was, as he puts it, ‘realizing that all of this stuff was the past. That it was gone. That I had captured it and here it was. But I

in Crossing borders and queering citizenship