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This is the first study of the shape and diversity of the literary
career in the 20th and 21st centuries. Bringing together essays on
a wide range of authors from Australia, Canada, the United States
and the United Kingdom, the book investigates how literary careers
are made and unmade, and how norms of authorship are shifting in
the digital era.
Pursuing the discursive or material effects of relational
queerness, this book reflects on how objects can illuminate,
affect, and animate queer modes of being. In the early 1990s the
queer theorist Eve Kosofsky Sedgwick defined queer as "multiply
transitive . . . relational and strange," rather than a fixed
identity. In spite of this, much of the queer theoretical
scholarship of the last three decades has used queer as a synonym
for anti-normative sexual identities. The contributions to this
volume return to the idea of transitivity, exploring what happens
when queer is thought of as a turning toward or turning away from a
diverse range of objects, including bodily waste; frozen cats;
archival ephemera; the writing of Virginia Woolf; the Pop art of
Ray Johnson; the podcast S-Town; and Maggie Nelson's memoir The
Argonauts. Relevant to those studying queer theory, this book will
also be of wider interest to those researching identity and the way
in which it is represented in a variety of artistic disciplines.
This book was originally published as a special issue of Angelaki.
Pursuing the discursive or material effects of relational
queerness, this book reflects on how objects can illuminate,
affect, and animate queer modes of being. In the early 1990s the
queer theorist Eve Kosofsky Sedgwick defined queer as "multiply
transitive . . . relational and strange," rather than a fixed
identity. In spite of this, much of the queer theoretical
scholarship of the last three decades has used queer as a synonym
for anti-normative sexual identities. The contributions to this
volume return to the idea of transitivity, exploring what happens
when queer is thought of as a turning toward or turning away from a
diverse range of objects, including bodily waste; frozen cats;
archival ephemera; the writing of Virginia Woolf; the Pop art of
Ray Johnson; the podcast S-Town; and Maggie Nelson's memoir The
Argonauts. Relevant to those studying queer theory, this book will
also be of wider interest to those researching identity and the way
in which it is represented in a variety of artistic disciplines.
This book was originally published as a special issue of Angelaki.
The first sustained study of the relations between literary
celebrity and queer sexuality, Categorically Famous looks at the
careers of three celebrity writers-James Baldwin, Susan Sontag, and
Gore Vidal-in relation to the gay and lesbian liberation movement
of the 1960s. While none of these writers "came out" in our current
sense, all contributed, through their public images and their
writing, to a greater openness toward homosexuality that was an
important precondition of liberation. Their fame was crucial, for
instance, to the growing conception of homosexuals as an oppressed
minority rather than as individuals with a psychological problem.
Challenging scholarly orthodoxies, Guy Davidson urges us to rethink
the usual opposition to liberation and to gay and lesbian
visibility within queer studies as well as standard definitions of
celebrity. The conventional ban on openly discussing the
homosexuality of public figures meant that media reporting at the
time did not focus on his protagonists' private lives. At the same
time, the careers of these "semi-visible" gay celebrities should be
understood as a crucial halfway point between the era of the open
secret and the present-day post-liberation era in which queer
people, celebrities very much included, are enjoined to come out.
The first sustained study of the relations between literary
celebrity and queer sexuality, Categorically Famous looks at the
careers of three celebrity writers-James Baldwin, Susan Sontag, and
Gore Vidal-in relation to the gay and lesbian liberation movement
of the 1960s. While none of these writers "came out" in our current
sense, all contributed, through their public images and their
writing, to a greater openness toward homosexuality that was an
important precondition of liberation. Their fame was crucial, for
instance, to the growing conception of homosexuals as an oppressed
minority rather than as individuals with a psychological problem.
Challenging scholarly orthodoxies, Guy Davidson urges us to rethink
the usual opposition to liberation and to gay and lesbian
visibility within queer studies as well as standard definitions of
celebrity. The conventional ban on openly discussing the
homosexuality of public figures meant that media reporting at the
time did not focus on his protagonists' private lives. At the same
time, the careers of these "semi-visible" gay celebrities should be
understood as a crucial halfway point between the era of the open
secret and the present-day post-liberation era in which queer
people, celebrities very much included, are enjoined to come out.
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