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Love and Money

Queers, Class, and Cultural Production

Lisa Henderson

Publication Year: 2013

Love and Money argues that we can’t understand contemporary queer cultures without looking through the lens of social class. Resisting old divisions between culture and economy, identity and privilege, left and queer, recognition and redistribution, Love and Money offers supple approaches to capturing class experience and class form in and around queerness.
 
Contrary to familiar dismissals, not every queer television or movie character is like Will Truman on Will and Grace—rich, white, healthy, professional, detached from politics, community, and sex. Through ethnographic encounters with readers and cultural producers and such texts as Boys Don’t Cry, Brokeback Mountain, By Hook or By Crook, and wedding announcements in the New York Times, Love and Money sees both queerness and class across a range of idioms and practices in everyday life. How, it asks, do readers of Dorothy Allison’s novels use her work to find a queer class voice? How do gender and race broker queer class fantasy? How do independent filmmakers cross back and forth between industry and queer sectors, changing both places as they go and challenging queer ideas about bad commerce and bad taste?
 
With an eye to the nuances and harms of class difference in queerness and a wish to use culture to forge queer and class affinities, Love and Money returns class and its politics to the study of queer life.

Published by: NYU Press

Cover

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p. 1-1

Title Page, Other Works in the Series, Copyright, Dedication

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pp. 2-7

Contents

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pp. vii-viii

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Acknowledgments

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pp. ix-xii

Love and Money was long in the making. I am lucky to have patient colleagues at the University of Massachusetts Amherst who take my pace in stride and warmly receive my work as colleague, teacher, and administrator. For all its complexities, UMass is a place with a beating academic heart. The Depart-ment of Communication has been a multidisciplinary melting pot of critical ...

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Introduction: Love and Money, Queerness and Class

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pp. 1-24

Love and Money is a book of cultural critique and exploration at the cross-roads of queerness and class in the United States. Through f_ield studies and comparative criticism, it asks what dif_ference social class makes to queer subjectivity and representation, and what dif_ference queerness makes to class hierarchy and value. I argue that we cannot see queer cultures clearly ...

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1. The Class Character of Boys Don’t Cry

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pp. 25-30

What might be the value of reading Boys Don?t Cry (1nine.oldstylenine.oldstylenine.oldstyle) as a social class narrative? More precisely, how might we interpret the f_ilm as a story of transgender becoming and punishment in a representational f_ield whose class idioms are conspicuously coherent? I pose this question to explore popular discourses of transgender experience, the meanings of class ...

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2. Queer Visibility and Social Class

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pp. 31-59

In his beautiful essay ?Intellectual Desire,? Allan B?rub? (1nine.oldstylenine.oldstyleseven.oldstyle) disen-tangles a lifetime of border living and territorial and symbolic migration. Growing up poor of French Canadian descent in the United States and sur-viving the shame and hostility rained down on his speech community, his family?s Catholic religiosity, and their position and culture in the working ...

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3. Every Queer Thing We Know

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pp. 60-69

How to live? Be sof_t, get by, go slow, open up, f_ind others, try to be kind, funny if you have it in you. Get things done, think justly, create, learn your corner as best you can. There is nothing queer in this list as we know the term, but the gentle vertigo it releases?an unclinical venturesomeness in meeting parts of the world we don?t already understand?brings courage ...

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4. Recognition: Queers, Class, and Dorothy Allison

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pp. 70-100

Twenty years ago, shortly before Penn State University voted to include sexual orientation in its nondiscrimination policy, I crossed campus as a young faculty member, dressed in a suit and tie, wearing my hair short, dyed and spiky as bef_itted the moment, my mouth deeply tinted with red lipstick. A young white man walked past in the opposite direction, turned ...

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5. Queer Relay

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pp. 101-128

In April 200six.oldstyle, at the Anthology Film Archives in New York, I ran into dis-tinguished writer, artist, and cultural producer Sarah Schulman during the MIX-NY Queer Experimental Film and Video Festival. Schulman asked what had brought me to MIX, and I told her that I?d come to see a program of shorts that included writer-director Liza Johnson?s f_ilm Desert Motel (200five.oldstyle). ...

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6. Plausible Optimism

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pp. 129-154

In a universe structured in hierarchy and represented through narratives of recovery and enfranchisement, what is the place of fantasy, and which fan-tasies do we trust? Those questions may seem suspect, coming from a critic, since critique leads us away from fantasy (as wishful thinking or f_lights of fancy) to attach futures to the long labor of ideological exposure and jus-...

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Conclusion: A Cultural Politics of Love and Solidarity

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pp. 155-168

The period since World War II is very telling when it comes to the story of changes in cumulative income growth in the United States. According to Larry M. Bartels (200eight.oldstyle), Princeton professor of public and international af_fairs, the postwar period is not one of uniform upward distribution, where growth is concentrated at the top of the heap; instead, from 1nine.oldstylefour.oldstyleseven.oldstyle to 1nine.oldstyleseven.oldstylefour.oldstyle, ...

Notes

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pp. 169-178

References

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pp. 179-186

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Films

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pp. 187-188

Anderson, Jane, Martha Coolidge, and Anne Heche, directors. 2000. If These Walls Apatow, Judd, director. 200five.oldstyle. The 40-Year-Old Virgin. Universal City, CA: Universal Bigelow, Kathryn, director. 1nine.oldstylenine.oldstyle1. Point Break. Tokyo: JVC Entertainment Networks.Bogart, Paul, director. 1nine.oldstyleeight.oldstyleeight.oldstyle. Torch Song Trilogy. New York: New Line Cinema.Brest, Martin, director. 1nine.oldstyleeight.oldstylefour.oldstyle. Beverly Hills Cop. Los Angeles: Paramount Pictures. ...

Television Programs

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pp. 189-190

Index

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pp. 191-200

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About the Author

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pp. 201-214

Lisa Henderson is Professor of Communication and Chair of the Depart-ment of Communication at the University of Massachusetts Amherst. She is also a founding member of the Lesbian, Gay, Bisexual and Transgender Studies Interest Group of the International Communication Association, and in 2011 received the Roy F. Aarons Award of the Association for Educa-...


E-ISBN-13: 9780814790595
Print-ISBN-13: 9780814790571
Print-ISBN-10: 0814790577

Page Count: 224
Publication Year: 2013