Housed in a mobile library and archive, Viola Johnson’s pin sash—a leather
garment onto which hundreds of metal pins and buttons have been
affixed—spotlights the terms of her expansive leathersexuality. Such a
sexuality, for Johnson, is predicated on a notion of service that primarily
manifests in the constant upkeep, revising, archiving, and presenting of
leather history, through the display and interpretation of her sash and
library. After detailing the genesis and social milieu of the Carter/Johnson
Leather Library and the significance of pins and buttons in leatherwear more
generally, this chapter focuses on a button reading ‘The L.A.P.D. FREED the
Slaves April 10, 1976.’ Initially made to protest the raid of a mock slave
auction at the Mark IV bathhouse in Los Angeles, the button underscores the
dyadic yet fungible terms of freedom and enslavement, and thus the
relationships between sexual power-play and non-consensual state
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.