Category Archives: Genres

Book Discussion: Homosexualities, Muslim Culture, and Modernity by Momin Rahman 

Attendees: Veronika, Jon Gary, Alexis, Pey, Colin, Edwina, Jun, Hui Qing (?), Raj, and Aaron.

Awesome discussion.

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Filed under Academic, Politics, Queer, Religion

Discussion: Larry Kramer’s FAGGOTS (1978)

urlA cozy, intimate discussion between Timmy and Aaron, like when the book club first started.

We discussed about:
-the run-on, stream-of-consciousness sentence structure.

-whether it’s dated (Timmy said parts are, Aaron thinks it’s refreshing).

-the sex: there are all kinds of sex, they can initially be sexy but eventually become farcical and comedic. It also seems like the sex acts define the person; we remember the character by recalling what sex acts he engages in. Sex is also separated from love, but it is also sex without shame.

-characters are doubles of each other, no distinct personality (Winnie and Timmy, Wyatt and Bon Bon, etc). They become one-dimensional, commercialized images, but there is also an insistence on the body.

-the issue of gay men with their fathers.

-although the gay men seem to be in  living hell,  the ending is a silver lining with Fred Lemish having a epiphany of what he wants.

Timmy concluded that although he didn’t like the book, he urged everyone to read it once as an initiation into the gay world.

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Filed under Class, Classics, Family, Gay, Larry Kramer, Love, USA

Queer Book Discussion: Last Exit to Brooklyn (1964) by Hubert Selby, Jr.

The best part about this book was how real it was. The worst part about this book was how real it was. Unanimously, both attendees of October’s book club meeting (Raj and Veronika – yes I totally procrastinated writing this because in true Veronika fashion I turned up without finishing the book) agreed that the raw, unfiltered writing was what enthralled and revolted both of us. I was hooked from the very first paragraph-long sentence, from the very first string of Brooklyn vulgarities, from the unabashed pervasive violence and from the flagrant defiance of conventional punctuation, sentence separation and spelling rules by Hubert Selby Jr. His immersive writing meant that we felt very much a part of this obscene world.

The fact that it was banned by British courts in 1967 made me excited to read it, though after reading a couple of explicitly violent scenes that honestly caused bile to rise in my throat, I can see how discretion is advised for sensitive readers.

Raj and I, being the only two who turned up, spoke at leisure about many aspects of the book. Raj has been to Brooklyn, and was able to say that the book was ‘very Brooklyn’ with authority.

We talked about the absence of religion in the book.

We talked about how what little love was depicted in the book was sadistic, sick and nauseating to read of.

We talked about how territorial the Brooklyn in the book was and how brassy the sex scenes were. We lingered on the idea of masculinity and how regardless of whether the characters were straight, gay, transgender or drag, they made a show of their masculine base, be it their brawns or their brains – the drag queens constantly needed to spar with their words or outshine with their wit.

We talked about the lack of any strong female characters, how the female characters resonated throughout as resourceful women who took on the childbearing roles, provided for the family (when the men mostly didn’t), who stuck to ‘their’ men through thick and thin (even when abused) and who generally had no self-respect as they conflated their domestic roles with martyrship.

Oh boy did we talk about Tralala. Raj pointed out how she was the only empowered woman in the book, and how even so, she seemed to be more of a ‘man trapped in a woman’s body’. We talked about how the men get bashed but never raped, and we talked about how irresistibly grotesque her insatiable sexuality was to read, and there was a tone of awe, maybe even respect with which we talked about how little she cared as she died.

We talked about how only tough queers were shown. Weak fragile queers were not shown, only weak women. Yet we didn’t raise the idea that Selby Jr. was a misogynist, just an accurate writer portraying an uncomfortably real world.

We also spoke at length about Harry. I initially hated him, but as Raj spoke about how, dislikable as Harry may be, he was an important to the union precisely because he was a convenient target of dislike by the corporate people, I started to, well, not like, but at least not thoroughly hate his character.

And of course, we enjoyed Raj’s Brooklyn-themed spread, with the beer cocktail, meatballs, sausages and cheese melts. Unfortunately, not a single bennie was in sight.

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Filed under Classics, Hubert Selby Jr, Queer, USA

Discussion: Alison Bechdel’s The Essential Dykes to Watch Out For 


Veronika wrote: 

I really like the comics I dipped into. The way she captures every day politicising in the slice of life format is compelling for busy adults… I like the sustained way she did comic too! It’s not easy to create an appealing comic strip that panders exclusively to adult tastes. I mean, I usually associate comic strips to anthropomorphic animals or hyperbolic characters so at first flip it took a while for me to get used to reading unusually dense language for comic strips. I kinda see why XKCD strips the artwork to stick figures now, cause the dialogue is the focal point. For this, there were times when I felt a little too overwhelmed at the cramped drawings and dense text in the comics. Aaron did point me to a rather poignantly done comic strip in 2004 following the 9/11 event, and it was nice to see the art carry the weight of the message for once. I agreed with Aaron’s point that he finds the depiction of the fat or non-standard beautiful characters interesting. It adds to the raw, Real feel of the comics. Aaron thinks it is problematic that the text itself while promoting diversity, fails the inverse Bechdel test. However, I personally don’t think it’s problematic.


Aaron wrote: 

These are some of the discussion questions that I have prepared: 

1. In our discussion on Fun Home, we didn’t like the narcissistic nature of the graphic novel. In the introduction of DTWOF, Bechdel confided that she submitted a manuscript of a novel to Adrienne Rich. Rich rejected to publish  the novel because she, like us, found the storytelling narcissistic. But DTWOF comes in episodes, not a whole coherent narrative. Do you think DTWOF is narcissistic too? Or does the episodic form make the comics more inclusive and universal? 

2. The Bechdel Test originated from DTWOF. Think of your favorite movie and apply it to the test. Do you think the test is accurate or reliable? 

Now apply the inverse to DTWOF. Are there more than 2 male characters interacting with each other, talking about nonsexual topics? How are men generally portrayed in DTWOF?

3. In this interview, why did Bechdel feel uncomfortable about her characters being role models? 

4. In the same interview, she stated that she stopped DTWOF after more than a decade because it was no longer profitable. Does this affect the artistic integrity or the advocacy element of the comics for you? 

Also you may want to relate it to the characters in the comics who stick to their principles and those who don’t. 

5. In the interview, what is the “homosexual agenda” according to Bechdel? How is it reflected in her comics? 

6. Bechdel is constantly worrying about the homogenization of the world because big corporations are taking over the world. How does she negotiate that in her comics? 

7. What are some of the things that shock you in the comics? If you’re a gay man, what is the difference between the lesbian scene and the gay? 

8. Bechdel prides herself for being a feminist, which to her also means being antiestablishment. Is there a contradiction publishing things to make money?

9. Fat studies / disabled lesbians. Discuss. 

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Filed under Alison Bechdel, Class, Disability, Family, Graphic Novel, HIV/AIDS, Lesbian, Love

Dunno What Nth Discussion: Rainbow Rowell’s Carry On

simon-bazDunno what nth discussion because someone hasn’t written the past discussions yet. *passive aggressive mode on* Just kidding.

It’s back to the good old days, with Raj, Timmy and Aaron, like we were at the start of the book club 5 years ago. The book is a fan-fic of a queer Harry Potter—queer because he likes the person, not the sex—and a gay Edward Cullum.

static1.squarespaceThese are some of the things we talk about:

  1. Shallow and superficial: Simon wishes father is a footballer, mom is a model (8). All along, Agatha is trying to break out of the “blond cheerleader” typecast, yet at the end, she becomes the damsel-in-distress, and doesn’t even fight to save her life. She wishes she has nicer clothes so that she can die pretty (465). WTH.
  2. All characters are queer but with limited character development: Agatha seems to be the most interesting character because she tries to break out of her mold; none of the other protagonists does it. Simon plays his Chosen One role; Penny plays the Hermione role dutifully, and Baz the anti-hero.But Agatha struggles with her emotions, fakes her emotions (9, 74, 75), and claims “we are all monsters” (14), a deep thought coming from a putative “bimbo.” Unfortunately, the damsel-in-distress part is a big gaping plot hole.
  3. Treatment of LBGTQ characters: These characters are not human. Baz is a vampire, Simon becomes a dragon/devil caricature; and Trixie is half pixie. There is something homophobic in that.

    That is not to say this book isn’t a book with good intentions. Baz’s difficulty of admitting he’s a vampire (262) mirrors the difficult coming out. His dad, preferring him to be Undead than to be queer, is heartbreaking (215, 279).

    Futhermore, there are two gay sex scenes between the homos, and gay sex scenes are always good, even if they are encoded. First scene: Baz and Simon’s fight scene with the dragon is written in erotic terms: “I did something I’ve never done before—something I probably wouldn’t try with anyone I was scared of hurting. [anal sex hurts.] I push I just push it into Baz” (239). “His arm straightens like a rodI push a little more magic. I worry that it’s too much… His shoulder is rock hard… it’s jerking itself…I stop pushing… letting Baz draw on my magic” (240).

    The second scene is more subtle (391).

  4. Sexism: No strong male characters, only strong female ones, like Fiona, Baz’s mother, etc.

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  5. Magic as metaphors:
    1. Class: The powerful magicians are always depicted as “rich and powerful,” kept within old families. Magic is also seen as hereditary, which reeks of biological essentialism; we can never transcend our DNA, which means the novel advocates a racist, sexist, homophobic philosophy.

      In a way, The Mage, wanting to liberate magic so that even people with a smidgeon of magic can go to Watsford, and eradicating school fees, can be seen as democratic.

      But Mitali, Penny’s mom, an Indian woman, who calls The Mage sexist for no apparent reason, wants a traditional Watsford, keeping magic for the best students. She also thinks that they are better than Normals (111, 261, 401). In a way, Mitali is supporting the system that oppresses her. Raj thinks that Mitali and Penny are portrayed as a stereotypical Indian family, which makes the novel racist.

      Unfortunately, the death of The Mage, especially at the hands of Baz from an Old Family and Penny, Mitali’s daughter, implies that Mage’s democratic ways are wrong; they revert to the old traditional methods.

      One could argue, as Raj did, that the Mage represents extreme democracy, ie, he is an extremist that he must be destroy. After all, in the end, he wants to be the most powerful magician of all time.

    2. Magic as Commodity: Magic is often viewed as something to be conserved and not to “waste” (38, 78, 186, 187); it is also seen as something to be “eaten” and consumed (47). We didn’t appreciate this cultivation of materialism.
    3. Magic as Objectification: Simon is often objectified because of his magic; he’s “power” (67), a “vessel” (123), “element” (181), “nuclear” (181, 242),  “generator” (258). Simon even objectifies himself, calling himself a “current” (337), and “I am magic” (455). Ebb is also a “generator” (284). Baz is used as a “wand” (254). Penny’s dad is a “book of footnotes” (247). Like the message of magic as a commodity, this sends the wrong message.
    4. Magic as ozone layer: Magic leaves holes, unfortunately, this is not explored further in the book.
    5. Magic as finding the right words (107)
    6. Magic as texture: Different people’s magic feels differently. An interesting concept that isn’t explored in the novel.
    7. Magic as Religion (197): If magic is seen as a religion, it would explain why Agatha finds it so hard to walk away from the magic community; to become a Normal is to be outcast.

      The theme of outcast recurs in the book, not just gay people—a vampire and a demon—are outcasts. Ebb’s brother, who chooses to leave the world of living to become a vampire, is ostracized by the magic community, and by Baz, Simon, and Penny who need his help badly, bearing in mind that Baz himself is a vampire and that Ebb’s brother is very powerful. Even the outcasts can outcast others.

      Ebb’s death can also be read as her rejection of her power. Because she rejects her immense power, because she lacks the training, she dies at the hands of The Mage.

      Superficially, this book seems to be a message of inclusion, but at a deeper level, the prejudice of the book shows. If you don’t want to be in the magic/religious community, you will be outcast and we will never accept you back, regardless of the direst situation. If you don’t practice your magic/religion, you’ll be punished, and in Ebb’s case, her punishment is death.

 

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Filed under Bisexuality, Class, Coming of Age, Ecology, Family, Food, Love, Queer, Race, Rainbow Rowell, Religion, UK, Young Adult

72nd Discussion: Yukio Mishima’s Confessions of a Mask

Moderator: Raj
Attendees: Alexius, Dominic, Ivan, Timmy

The biggest complain we had about the book was the way it was written: Dominic felt it was unlike the “Japanese style of writing”, comparing Mishima to Murakami. Raj thought the book was draggy, describing “mundane things in mundane ways.” Alexius did not like the ending and was left disappointed by the book. Timmy found it uninteresting as a whole.

For this discussion, we forewent our usual style and went through the book chapter by chapter.

Chapter One – which we deemed “Resurrection” because of an experience the narrator went through when he was four.

Believability
We started doubting the narrator’s credibility from the start of the book. Timmy thought it was all “fluff and bluff,” while Dominic opined that the book seemed like a semi-autobiography of the writer… a romanticized version of himself as the narrator.

Childhood
Timmy was amazed by how well-read the narrator was, even questioning his accessibility to such literature at that age. Raj added on his penchant for changing the (fairy) tales that he read, which added (and accentuated) his morbid nature from that age onwards.

Donning the mask      
According to Timmy, the turning point was when he started playing dress-up as Tenkatsu. This went on as he started being masculine in front of his cousins.

Obsession with death
“Maybe he finds life hopeless?” Alexius joked.

Joan of Arc
Raj noted the narrator’s disgust of Joan after finding out that the martyr was a she, declaring that incident as the “first disappointment of his life.” (Joan of Arc was Raj’s favourite of the book)

Chapter Two – “Boys with Toys,” because:

“The Toy”
The matter of the narrator referring his penis as “the toy” was brought up. Timmy quipped that the narrator thought his penis had a mind of its own; Raj observed that he was very detached to his member despite being an adolescent in this chapter. Alexius offered that perhaps he was ashamed of his homosexuality.

From St. Joan to St. Sebastian
Raj made mention of the narrator moving on from one historical figure to another, noting his preference for “virile, lean (guys) with muscles and wearing very little,” adding that St. Sebastian may have been the narrator’s role model at that point of time. According to Timmy, this may also be a continuation of the narrator’s sexual awakening. (St. Sebastian was Dominic’s pick as favourite.)

Omi
Was he gay? Raj and Timmy said no, while Alexius said yes. (Both Alexius and Timmy picked Omi as their favourites.)

Delusions of grandeur, S&M, and armpits were also discussed during this chapter. Overall, we felt that this chapter did not make a lot of sense – just like an adolescent’s mind, according to Timmy – and contained “too much fantasizing,” according to Raj.

Chapter Three – for which we termed “Regressed Suppression” as the narrator did not face any pressures from external forces, only internal conflicts.

Raj found this chapter “bizarre,” which probably had to do with the myriad sub-topics we touched on but barely managed to delve deeper into:

  • The narrator acting more of a teenager, which included mimicking his peers (Raj noted his obsession with kissing, which he found interesting) in his attempt to appear straight;
  • His body, which he seemed to be embarrassed about;
  • War and the military (according to Raj, women were front and centre in this chapter because “the men went to fight”);
  • Voyeurism;
  • Dying young.

Chapter Four – “The Beginning of the End”

A continuation from the previous chapter, where the narrator was labelled “the last virgin alive” by Raj and his desperation to have sex (“everybody’s doing [and done] it, so I should too.” – Timmy) despite ending up not doing it. We didn’t get the chance to discuss more about Sonoko and their relationship.

“So when did the mask come off?” asked Raj.
“It didn’t,” Timmy replied.

And that concluded our discussion, followed by an apology from Alexius who regretted recommending the book as well as did not find it as appealing upon second reading.

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Filed under Classics, Coming of Age, Disability, Family, Gay, Japan, Time, War, Yukio Mishima

71st Discussion: Dorothy Allison—Bastard Out of Carolina

This discussion note is written by Brian (who blogs at Foreign Influence).

Attending: Raj, Alexius, Paul (a first-timer), Sharad, Brian, and Dominic

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Bastard out of Carolina is a difficult book to finish. The Boatwright family in 1950s/1960s Greenville County, South Carolina—kinship, poverty, violence, abuse, humiliation, self medication, criminality, illegitimacy, and constant questions of beauty and ugliness. For some of us, the book was too traumatic to read without multiple breaks. For some, it was overly complicated or unnecessarily melodramatic in places. For others, the pace of the book was distracting: too many leaps or slow lags without a steady narrative. Even after some of us did manage to finish reading, we kept returning to questions of realism, silence, characterization, and the place of this book in American gay culture. The book did lead to some arguments—even about the weather in that part of the Southern United States.

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Brian and Raj very much liked Bastard and the responses it evoked, even though Raj thought characters aged too quickly within the novel’s pace and Brian thought the novel could have developed some racial themes more fully.

Sharad and Dominic were generally positive, although more ambivalent toward the believability of the story and skeptical about the moral of the tale. Dominic summed the book’s message up as “Don’t be poor.” He didn’t like the presentation of that message.

Alexius and Paul didn’t like the book. Alexius thought Bone—the main character—never said or did anything; she never developed as a character. Paul thought the book tried to develop too many themes; it had little emotional depth. He asserted that his standard for gay and lesbian literature is Michael Cunningham’s The Hours, and that Bastard did not match up.

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After a long discussion of the poverty and violence in the novel in general, we talked about its portrayal of crime and incarceration. Going to jail makes these men adults, and you can beat someone in a fair fight or out of justified revenge as long as you don’t kill them. We noted that girls become women by having babies and boys become men by committing crimes.

(Bone is close to her Uncle Earle—the only (?) likeable male character in the book—and commits a crime with her cousin Grey. Does this put her between the men and women in the novel, like her Aunt Raylene, who late in the book describes her love for another woman?)

Then, we discussed the theme of fire. Many things and people burn in this book, and fire is always mentioned around Bone’s encounters with other girls she seems drawn toward—such as the Black girl in the apartment and the Albino friend Shannon.

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We also discussed race, skin tone, and hair in relation to questions of being pretty or ugly. Being pretty is a constant obsession in the novel. Everyone worries about it, and it is always related to being fairskinned and blond haired. Brian pointed out that the characters tease any children with curly hair, saying they are “from the wrong side of the family,” and Raj raised this question of the “curse” some children hinted at. Alexius linked this curse to themes of “destiny” in the book—to the idea that there is no way out of the cycles portrayed.

Raj brought up questions of the power of “unconditional love,” of course.

We discussed Anney in detail. Her jobs and economic situations. We discussed her relations with Bone’s unnamed father, her husband Lyle—who dies soon after their marriage—and her second husband Glen, the man-child prone to violent outbursts—who abuses Bone. Anney is a mother, a housewife, a waitress, and a mill worker. Always barely making ends meet. The ambiguity of one of the economic arrangements in the book led us to ask if Anney might have engaged in sex work of one sort or another once.

Considering themes of humiliation and legitimacy, we considered why Anney is so concerned about Bone’s birth certificate—even though no one else appears to be. Sharad thought it was a point of pride. Paul suggested it was a matter of social stigma. Dominic asserted that if being poor was bad, being poor and a bastard was even worse, and Anney wanted to keep Bone from that double humiliation.

We discussed whether or not Shannon’s immolation was a suicide or an accident. Raj and Dominic said, “Yes.” Sharad hedged. Paul said the scene was emblematic of being consumed by religion. Brian thought maybe. Alexius asked, “Who is Shannon?”

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The religious/gospel singing passages were interesting but didn’t garner much of our interest.

It seemed as if the book was introducing many homosocial/homosexual moments involving Bone: Bone’s links to Granny at first, the exchange of looks with the Black girl, Shannon, and then the “queer utopia” (???) of Aunt Raylene’s home. (Raylene who ran away with a woman once and now lives alone is also called “Ray.”) We debated if Raylene might be the moral voice of the novel but could not decide. Brian invested a lot in Raylene’s statement to Bone that, “‘People are the same,’ she said in a whisper. ‘Everybody just does the best they can’” and tried to find some morality in it.

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We asked about the book’s portrayal of straight culture. Paul thought it was stereotypical. Raj thought the story was biased against everyone. No one does well in this environment. Dominic reminded us that Anney and Lyle are a positive couple. But, Lyle dies right away, for no apparent reason. Sharad brought up ideas of toxic masculinity and constant economic dependency. Alexius mumbled something.

In closing, we brought out our favorite characters:

Raj: Granny doesn’t move! There’s stability to parts of this culture.

Dominic: Serving it real! There is so much food in the book, and Anney serves it all.

Sharad: You can’t get more right than the Boatwrights! The whole family is engrossing.

Paul: I didn’t like anyone.

Alexius: I liked the weather.

Brian: Raylene! Who doesn’t want to live alone at a bend in the river?

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Filed under Class, Classics, Dorothy Allison, Family, Lesbian, USA