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Gothic, in a sense, has always been 'queer'. This book illustrates the rich critical complexity which is involved in reading texts through queer theories. It provides a queer reading of such early Gothic romances as William Beckford's Vathek, Matthew Gregory Lewis's The Monk, and Charles Maturin's Melmoth the Wanderer. Building upon critical trend of desire between men, the book examines Frankenstein's engagement with sexual rhetoric in the early nineteenth century. It explores some ways in which the signifying practices of queerness are written into the language and, therefore, the signifying practices of Gothic fiction. Teleny's apparently medicalised representation of homosexual erotic love contains some strikingly Gothic elements. The book examines how the courtroom drama of the E. M. Forster's A Passage to India focuses on the monstrous possibility of miscegenation, an Indian accused of raping an Englishwoman. Antonia White's Frost in May can be contextualised to the concept of the 'lesbian Gothic', which helpfully illuminates the representation of adolescent female subjectivity and sexuality. Same-sex desire is represented indirectly through sensuous descriptions of the female body and intertextual allusions to other erotic texts. The book considers how the vampire has become an ambivalent emblem of gay sexuality in late twentieth-century Gothic fiction by examining Interview with the Vampire and Lost Souls. The understanding of the Gothic and queer theory in a pop video is achieved by considering how Michael Jackson's use of the Gothic in Thriller and Ghosts queers the temporality of childhood.

Civic reading practice in contemporary American and Canadian writing

Can reading make us better citizens? This book sheds light on how the act of reading can be mobilised as a powerful civic tool in service of contemporary civil and political struggles for minority recognition, rights, and representation in North America. Crossing borders and queering citizenship reimagines the contours of contemporary citizenship by connecting queer and citizenship theories to the idea of an engaged reading subject. This book offers a new approach to studying the act of reading, theorises reading as an integral element of the basic unit of the state: the citizen. By theorising the act of reading across borders as a civic act that queers citizenship, the book advances an alternative model of belonging through civic readerly engagement. Exploring work by seven US, Mexican, Canadian, and Indigenous authors, including Gloria Anzaldúa, Dorothy Allison, Gregory Scofield, Guillermo Gómez-Peña, Erín Moure, Junot Díaz, and Yann Martel, the book offers sensitive interpretations of how reading can create citizenship practices that foreground and value recognition, rights, and representation for all members of a political system.

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.

C an there be a queer Michael Jackson? In some ways the question is naive: Michael Jackson can be nothing but queer , if we take ‘queer’ to mean sexually ambiguous, protean, corporally illegible. Yet critically speaking, there is no queer Michael Jackson: the MLA on-line bibliography gives me no hits for Michael+Jackson+queer (or ‘+gay’ or

in Queering the Gothic
Matrilinearity, Sufism, and l’errance in the autofictional works of Abdellah Taïa

F ROM THE disquisition of gender and sexuality in the literary and film work of Shamim Sarif, Sally El Hosaini, and Rolla Selbak, I now move on to interrogate the interaction of the queer self with Islamicate ideologies and cultures as located in time and place. In the story ‘From Jenih to Genet’, originally published in Abdellah Taïa’s Le rouge du tarbouche (The red of the fez) in 2005, the author’s young autobiographical counterpart is taken by his distant cousin Ali on a pilgrimage to the Moroccan city of Larache. Taïa’s first two

in Queer Muslim diasporas in contemporary literature and film

INTRODUCTION: GEOGRAPHICAL MISCEGENATIONS AND FORSTER’S HOMOSEXUALITY 1 There were round white clouds in the sky, and white pools on the earth; the hills in the distance were purple. The scene was as park-like as England, but did not cease being queer. 2

in Queering the Gothic

4 Performing the border and queer rasquachismo in Guillermo Gómez-​Peña’s performance art Where Gregory Scofield’s negotiation of the practice and habitus of citizenship in Canada is focused on the Métis, a group whose rights and identity have been debated and unjustly dismissed for centuries, this chapter recrosses the 49th parallel and returns to the border between the United States and Mexico, the site that features most prominently in work by Mexican-​ American and self-​ identifying Chicano performance artist and cultural theorist Guillermo Gómez-​ Peña

in Crossing borders and queering citizenship

T HE LAST film explored in the ‘Queer interethnic desire’ section, Ferzan Özpetek’s cinematic debut, Hamam: The Turkish Bath , released in 1997, contains numerous thematic parallels with the two main works previously analysed, which also happen to be their creators’ first feature films. Like Kureishi and Frears’ My Beautiful Laundrette , Özpetek’s narrative is concerned with water and the act of cleansing. Whereas a laundromat was the most highly symbolic location in Kureishi’s script, a hamam , or Turkish bath, is one of the

in Queer Muslim diasporas in contemporary literature and film
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Female sexual agency and male victims

described by scholars such as George E. Haggerty in Queer Gothic ( 2006 ), Luce Irigaray in This Sex Which is Not One ( 1977 ) and Michel Foucault in The History of Sexuality (1976). Examining the intersections of sexuality and power within the representations of mother–son incest in the Gothic reveals the complexities of the radical destabilisations of gender and heteronormativity occurring

in Gothic incest
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Queering the Gothic

G othic has, in a sense, always been ‘queer’. The genre, until comparatively recently, has been characteristically perceived in criticism as being poised astride the uneasy cultural boundary that separates the acceptable and familiar from the troubling and different. 1 Gothic is, in this respect, a compromise, a balance between the conflicting

in Queering the Gothic