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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.

Queer phenomenology, and cultural and religious commodifi cation in Hanif Kureishi’s My Beautiful Laundrette (1985) and The Buddha of Suburbia (1990)
Alberto Fernández Carbajal

phenomenology, especially regarding the confusion experienced by diasporic bodies and its relation to their surroundings. Ahmed observes that ‘bodies that experience being out of place might need to be orientated , to find a place where they feel comfortable and safe in the world’ ( 2006 , p. 158, emphasis added). P OWDERS , the revamped laundrette, is such a place of relative safety, where Omar can forge an affective connection with Johnny, albeit not without political complications. Disorientation and reorientation of the British Muslim subject of diasporic heritage is not

in Queer Muslim diasporas in contemporary literature and film
Alberto Fernández Carbajal

, which are still charged with Islamic and Christian homophobia, he cannot help signalling his characters’ lingering stumbling blocks with regard to forming viable same-sex relationships. Crucially, the relationship between Francesco and Mehmet is carefully kept under wraps, and only Marta knows about their erotic liaison because of her nocturnal visit to the Turkish bath. In the film, family life is visually organised around the dining table. In her study on queer phenomenology, Sara Ahmed ponders, ‘[t]‌he dining table is a table around which a “we” gathers. […] The

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)
Alberto Fernández Carbajal

and experienced a novelist than a filmmaker at depicting her characters’ sensations and interactions, in ways that chime with Sara Ahmed’s consideration of queer phenomenology. Ahmed surmises: We are turned towards things. […] We perceive them insofar as they are near to us, insofar as we share a residence with them. Perception hence involves orientation; what is perceived depends on where we are located, which gives us a certain take on things. (Ahmed, 2006 , p. 27) Location and

in Queer Muslim diasporas in contemporary literature and film
Abstract only
Queering Islam and micropolitical disorientation
Alberto Fernández Carbajal

disorientation is highly instrumental to my study. In her work on queer phenomenology, Ahmed contends with the well-established but contentious notion of sexual orientation, which, she argues, constructs heterosexuality as the neutral sexual state and homosexuality as being a particular ‘deviant’ orientation. She suggests that the notion of sexual orientation is born at the same time as the figure of the homosexual, and hence homosexuals are the only subjects considered to have an orientation as such. However, instead of flatly rejecting the concept, she interrogates it and

in Queer Muslim diasporas in contemporary literature and film