This essay focuses on the possibility of social and personal transformation which was opened up by the gay liberation movement in France, which the author terms a "revolution of desire."
Following the convulsions of 1968, one element uniting many of the disparate social movements that arose across Europe was the pursuit of an elusive “authenticity” that could help activists to understand fundamental truths about themselves—their feelings, aspirations, sexualities, and disappointments. This volume offers a fascinating exploration of the politics of authenticity as they manifested themselves among such groups as Italian leftists, East German lesbian activists, and punks on both sides of the Iron Curtain. Together they show not only how authenticity came to define varied social contexts, but also how it helped to usher in the neoliberalism of a subsequent era.
[While acknowledging that the development of France's homosexual communities was influenced by America, Martel highlights the differences arising from the fact that homosexuality has not been criminalised in France as in the United States] -- back cover.
At the time of her death in after a long battle with cancer, Eve Sedgwick had been working on a book on affect and Proust, and on the psychoanalyst Melanie Klein. This volume, edited by Jonathan Goldberg, brings together a collection of her last work.
Mixing documents, interviews, fiction, theory, poetry, psychiatry and anthropology, "Polysexuality" became the encyclopedia sexualis of a continent that is still emerging. Originally conceived as a special Semiotext(e) issue on homosexuality at the end of the 70s, “Polysexuality" quickly evolved into a more complex and iconoclastic project whose intent was to do away with recognized genders altogether, considered far too limitative. The project landed somewhere between humor, anarchy, science-fiction, utopia and apocalypse. In the few years that it took to put it together, it also evolved from a joyous schizo concept to a darker, neo-Lacanian elaboration on the impossibility of sexuality. The tension between the two, occasionally perceptible, is the theoretical subtext of the issue. Upping the ante on gender distinctions, "Polysexuality" started by blowing wide open all sexual classifications, inventing unheard-of categories, regrouping singular features into often original configurations, like Corporate Sex, Alimentary Sex, Soft or Violent Sex, Discursive Sex, Self- Sex, Animal Sex, Child Sex, Morbid Sex, or Sex of the Gaze. Mixing documents, interviews, fiction, theory, poetry, psychiatry and anthropology, "Polysexuality" became the encyclopedia sexualis of a continent that is still emerging. What it displayed in all its forms could be called, broadly speaking, the Sexuality of Capital. (Actually the issue being rather hot, it was decided to cool it off somewhat by only using “capitals” throughout the issue. It was also the first issue for which we used the computer). The "Polysexuality" issue was attacked in Congress for its alleged advocation of animal sex. Includes work by Alain Robbe-Grillet, Félix Guattari, Paul Verlaine, William S. Burroughs, Georges Bataille, Pierre Klossowski, Roland Barthes, Paul Virilio, Peter Lamborn Wilson, and more.
Michael Warner, one of our most brilliant social critics, argues that gay marriage and other moves toward normalcy are bad not just for the gays but for everyone. In place of sexual status quo, Warner offers a vision of true sexual autonomy that will forever change the way we think about sex, shame, and identity.
The subject of this original and provocative work is the white male body, a counterpoint in gender studies to the many readings of the representation of the female body. To look at the construction of this figure, the author examines a group of discontinuous works that are representative of the discontinuity in the intermittent representation of the male body. Especially in nineteenth-century narrative, where Edgar Allan Poe and Guy de Maupassant write astutely on the subject, there is never continuity in representing the male body. "The Pit and the Pendulum" and Bel-Ami are flickering, episodic investigations into the male body as subject, as sentient feeling, as the subject of torture or of adulation. Not until the twentieth century can this male subject be continuously represented. Though the male body is often at center stage, in works that treat it as a metonymy of its own phallic and phallocentric power, this body has less often been seen relative to pleasure and pain, to aesthetics, to human vulnerability. An introductory chapter explores a work by Alberto Moravia, Io e lui, as well as various manifestations of the male body's most salient part, the penis, in contemporary discourse and aesthetics. Another chapter deals with writings about the forbidden activity of masturbation and focuses on the work of three disparate writers: Paul Bonnetain, Michel Tournier, and Philip Roth. In the final chapter, the author discusses several works that focus on the representation of the male body during the gay liberation movement in France and the subsequent celebration of the male body, ending with the inscription of the male body in the literature of AIDS. Among the authors discussed are Guy Hocquenghem, Hervé Guibert, and Michel Foucault.