In "The Wedding Complex" Elizabeth Freeman explores the
significance of the wedding ceremony by asking what the wedding
becomes when you separate it from the idea of marriage. Freeman
finds that weddings--as performances, fantasies, and rituals of
transformation--are sites for imagining and enacting forms of
social intimacy other than monogamous heterosexuality. Looking at
the history of Anglo-American weddings and their depictions in
American literature and popular culture from the antebellum era to
the present, she reveals the cluster of queer desires at the heart
of the "wedding complex"--longings not for marriage necessarily but
for public forms of attachment, ceremony, pageantry, and
celebration.
Freeman draws on queer theory and social history to focus on a
range of texts where weddings do not necessarily lead to legal
marriage but instead reflect yearnings for intimate arrangements
other than long-term, state-sanctioned, domestic couplehood.
Beginning with a look at the debates over gay marriage, she
proceeds to consider literary works by Nathaniel Hawthorne, William
Faulkner, Carson McCullers, Vladimir Nabokov, and Edgar Allan Poe,
along with such Hollywood films as "Father of the Bride," "The
Graduate," and "The Godfather." She also discusses less well-known
texts such as Su Friedrich's experimental film "First Comes Love"
and the off-Broadway, interactive dinner play "Tony 'n' Tina's
Wedding."
Offering bold new ways to imagine attachment and belonging, and
the public performance and recognition of social intimacy, "The
Wedding Complex" is a major contribution to American studies, queer
theory, and cultural studies.
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