Cruising Utopia: The Then and There of Queer Futurity (Sexual Cultures)

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Cruising Utopia: The Then and There of Queer Futurity (Sexual Cultures)

Cruising Utopia: The Then and There of Queer Futurity (Sexual Cultures)

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LA and its scene helped my proto-queer self, the queer child in me, imagine a stage, both temporal and physical, where I could be myself or, more nearly, imagine a self that was in process, a self that has always been in the process of becoming. Hotjar sets this cookie to know whether a user is included in the data sampling defined by the site's pageview limit.

Ann Pellegrini is Professor of Performance Studies and Social and Cultural Analysis at NYU and author of Love the Sin: Sexual Regulation and the Limits of Religious Tolerance (NYU, 2003).and instead to talk of his art, and how his amphetamine-usage made him airy and thin and already not-of-this-plane(maybe reaching for a different utopian plane? so maybe i'm just having difficulty onboarding onto this project, but i respect the challenge of this project, of reading utopianism and hope into tragic or banal or just fucked-over lives.

there is something to the juxtaposition of what is-now and what can be or is-but-isn't-the-whole-world-it-just-is-in-this-moment that is beautiful in a sad way. For example, the fourth chapter, ‘Gesture, Ephemera and Queer Feeling’, opens with a childhood memory that segues into a description of contemporary ‘lounge-punk’ cabaret duo Kiki and Herb. He discusses the uneasy reception to the 1996 book Gary in Your Pocket, written before Fisher’s death from AIDS-related complications in 1994, and edited by his graduate supervisor and friend Sedgwick. Joshua Chambers-Letson is Associate Professor of Performance Studies at Northwestern University and author of After the Party: A Manifesto for Queer of Color Life (2018).

He engages with queer photography, art, literature, and performance as windows into the possibility of queer utopia.

Publication dates are subject to change (although this is an extremely uncommon occurrence overall). Perfect example of how academic pontification on social justice can actively work towards rescinding the hard-won victories of marginalized groups.The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Opening with the audacious claim that ‘queerness is not yet here’, the first page of Cruising Utopia introduces the reader to the book’s central thesis – that queerness is a future-oriented, profoundly utopian mode of being and doing in the world. That said, it was a let down to have so many of those sources be almost exclusively men,mostly cis, mostly able-bodied, mostly thin. Casting his vision of a radical gay aesthetic through the prisms of literature, photography and performance, the author dismisses commonplace concerns like same-sex marriage as desires for ‘mere inclusion’ in a ‘corrupt’ mainstream.

Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. To this end, Muñoz puts the historical archive — the New York School poets, the Judson Memorial Church dance theatre and Warhol’s Factory — into conversation with contemporary queer art and performance (mostly that of Black and Latinx artists) and personal recollections of growing up a gay Cuban American punk in suburban Miami. Queerness is a structuring and educated mode of desiring that allows us to see and feel beyond the quagmire of the present.

The foreword offers an intimate introduction to Cruising Utopia, with the three authors having been close friends and colleagues of Muñoz at New York University and the current editors of Sexual Cultures, an influential book series Muñoz co-founded with Pelligrini.



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