Cover

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Title Page

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Copyright Page

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Contents

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p. v

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Preface

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pp. vii-x

Every year, countless Americans from the forty-eight contiguous states flock to Hawaii, making tourism that state's number one industry. Travel agents, hotels, and airlines entice tourists by shaping the Aloha State into the land of beauty, romance, and imagination. A recent Vacations by Sheraton brochure, for instance, announces, "Hawaii is as much a place of mind as it is a place on the map. A peaceful paradise where golden sunshine ...

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Acknowledgments

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p. xi

I am grateful to Eric Gardner, Robert Nowatzki, and Michael Thurston for their careful reading of each draft of this book. Our many hours of conversation about this project have been invaluable. I especially thank Michael Berube for his ongoing assistance, encouragement, and inspiration, and for his thoughtful criticism of my work at various stages. ...

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Introduction: Reading the Queer Renaissance

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pp. 1-31

In one of the most fabulous moments in the introduction to her Epistemology of the Closet, Eve Sedgwick considers the analysis and recovery work being done in gay and lesbian literary studies on the Harlem Renaissance, the New England Renaissance, and the Renaissance in Italy and England. As Sedgwick sees it, an antihomophobic inquiry into each of these renaissances ...

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Chapter One Boys' Own Stories and New Spellings of My Name: Coming Out and Other Myths of Queer Positionality

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pp. 32-68

In The Beautiful Room Is Empty, Edmund White's nameless narrator envisions a day when gay people will claim the right to define themselves: "Then I caught myself foolishly imagining that gays might someday constitute a community rather than a diagnosis" (226). This exhilarating thought comes to White's protagonist as he finds himself in the middle of ...

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Chapter Two Queer Locations/Queer Transformations

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pp. 69-115

"Vito Russo pointed out in cinema . . . that historically, the gay character always had to end up with his head in the oven or in some similar state/' Henry Louis Gates, Jr., explained in a 1991 interview "It was like a Hays rule that you had to come to a bad end. Giovanni's Room isn't really an exception to this; and in Randall Kenan's book you get a brilliant tormented ...

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Chapter Three Unlimited Access? Queer Theory in the Borderlands

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pp. 116-154

I want to begin in a queer place. My central text in this chapter is Gloria Anzaldua's eclectic mix of theory, poetry, and nonfiction prose in her 1987 collection Borderlands I La Frontera: The New Mestiza, and my central subjects are those Anzaldua calls los atravesados: "the squint-eyed, the perverse, the queer, the troublesome, the mongrel, the mulato, the halfbreed, the half ...

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Chapter Four Queer Identities in a Crisis

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pp. 155-204

And then came Angels in America. There is something predictable, perhaps, about ending with the play that has received more attention than any gay or lesbian work of the past fifteen years, and indeed, more attention than any American play of the past half century. Tony Kushner's Angels in America: A Gay Fantasia on National Themes is a two-part, ...

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Epilogue: Post-Queer?

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pp. 205-213

By concluding with Sarah Schulman, ACT UP, and queers in the street, I have come full circle, since my first chapter concluded with Audre Lorde and the resistant identities she observed being shaped and reshaped in the streets a decade earlier: "My lasting image of that spring .. . was of women whom I knew . . . and women whose names were unknown to me, leading ...

Notes

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pp. 215-236

Works Cited

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pp. 237-248

Index

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pp. 249-257