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This book explores representations of queer migrant Muslims in international literature and film from the 1980s to the present. It brings together a variety of contemporary writers and filmmakers of Muslim heritage engaged in vindicating same-sex desire from several Western locations. The book approaches queer Muslims as figures forced to negotiate their identities according to the expectations of the West and of their migrant Muslim communities. It coins the concept of queer micropolitical disorientation via the work of Gilles Deleuze and Félix Guattari, Sara Ahmed and Gayatri Gopinath. The author argues that depictions of queer Muslims in the West disorganise the social categories that make up contemporary Western societies. The study covers three main themes: queer desire across racial and national borders; Islamic femininities and masculinities; and the queer Muslim self in time and place. These thematic clusters examine the nuances of artistic depictions of queer Muslims’ mundane challenges to Western Islamophobia and Islamicate heteronormativity. Written in a scholarly but accessible style, this is a timely contribution to the controversial topic of Islam and homosexuality, forging understanding about the dissident position of Muslims who contravene heteronormative values and their equivocal political position in the West.

assumptions about European and Near Eastern sexualities. Simultaneously, the filmmaker’s Turkish inception enables his challenge to dominant Islamist and Kemalist homophobia in contemporary Turkey. This double orientation towards Western and Eastern audiences is most subversively articulated in a derelict Turkish bath and the family house containing it, where private and public spaces are queered, and where personal and communal discourses and desires are visibly confronted, particularly the systemic character of Turkish homophobia. I undertake here a rereading of Hamam

in Queer Muslim diasporas in contemporary literature and film
Exploring gender, anti-racism, and homonormativity in Shamim Sarif ’s The World Unseen (2001) and I Can’t Think Straight (2008)

she became a filmmaker. 1 Her debut novel, The World Unseen , first published in 2001, constitutes an exploration of racial tensions and Muslim homosexuality during South African apartheid, and as such it is partly inspired by Sarif’s diasporic family history. Sarif’s literary efforts are eminently intersectional, invested as she is in taking to task the racist imperative as well as the attendant homophobia of South African apartheid and of the nation’s white and coloured communities. Although a generation removed from Sarif’s personal

in Queer Muslim diasporas in contemporary literature and film
Matrilinearity, Sufism, and l’errance in the autofictional works of Abdellah Taïa

undertaken in Morocco, where systemic homophobia continues to be rife. Taïa’s diasporic plight lends his writing a melancholic tone, torn as he is between his longing for Morocco and his self-imposed exile, as between his fascination with Paris and his disenchantment with the French Republic’s treatment of its ethnic minorities, particularly Muslims. 4 Alexandru Matei ( 2014 ) recognises a double cultural identity in Taïa: he lives in Paris, where he writes about Morocco from his current French cultural milieu, albeit, I would add, with a decidedly postcolonial

in Queer Muslim diasporas in contemporary literature and film

politicized arena of the parliament or publicly subsidized theatres is directly connected to the perceived over-impact of homosexuals on Polish culture. Wałęsa’s statement exposes a lack of grounding allotted to gay people in the national imaginary and further condenses a bedrock of state-sponsored homophobia in public discourse that had not been as apparent throughout most of the 1990s, at a time when sexuality was not recognized as a political category that underpinned civil liberties and homosexuality in particular was all but excluded from the civic sphere. Queer

in After ’89
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Queering Islam and micropolitical disorientation

Muslims are the victims of systemic homophobia or of state retribution, such harsh living conditions, often intersecting with issues of war or financial scarcity, sometimes entail migration to countries where homosexual acts are not punished by the state: notably in Europe and North America, where, in turn, perceptions of their incompatible sexual orientations and religious identities can result in internal conflict. This study argues that the fight against homophobia and Islamophobia ought to be a joint one: it is only through a double critique that we can start

in Queer Muslim diasporas in contemporary literature and film
HBO’s True Blood

Blood’s rich title sequence knowingly invokes the homophobia of the real-world Westboro Baptist Church, whose members are notorious for picketing the funerals of gay people and their placard slogan ‘God Hates Fags’. 30 The vampire in Gothic fiction is able to simultaneously evoke anxieties about both racial and sexual transgression. H. L. Malchow yokes together the

in Open Graves, Open Minds
Marie Helena Loughlin

human species and the ‘natural’ order (66–8). Like their sixteenth-century predecessors Bale (Online Companion), Beard (see 1.2.1) and Prynne (see 1.3.1), the following writers engage in virulent xeno-homophobia, painting ‘homosexuality’ as a foreign vice bent on the destruction of the English nation. However, they also begin to treat more systematically and at greater length the relationship between ‘homosexuality,’ masculinity, class identity, and the English national character. Plain Reasons, Hell upon Earth, Dunton’s ‘He-Strumpets’, and Ward’s London Clubs are all

in Same-Sex Desire in Early Modern England, 1550–1735
Open Access (free)
Don’t Ever Wipe Tears Without Gloves as a reparative fantasy

Tears Without Gloves simultaneously engaged in a politics of nation. While enabling mourning work for gay audiences, it attempted to rewrite the national history by projecting the nation’s near past of the 1980s as an age of homophobia and intolerance against the contemporary, official self-​image of Sweden as ‘gay-​friendly’ (Swedish Institute, 2018). In other words, Don’t Ever Wipe Tears Without Gloves resignified vulnerability, the injury of the HIV/​AIDS epidemic on gay men, as a productive resource for the national self-​image, thus enabling the integration of

in The power of vulnerability
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A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)

perpetuate it in others, such as gender violence and the enforcement of traditionalist family honour. As regards the inheritance and subversion of inherited values, Jarrar’s fiction explores how this inheritance also involves an internalisation of Arab homophobia, steeped as it is in Islamicate dogma, which makes her characters conflicted about their queerness. Although Nidali’s most lasting sentimental relationship is with the aforementioned boy Fakhr, she has intermittent relationships with girls that, she gradually realises, disorganise her

in Queer Muslim diasporas in contemporary literature and film