Queer Ricans: Cultures and Sexualities in the Diaspora (review)

Is "queer" a particularly relevant denomination for Puerto Rican cultural production because of the deep and abiding contradictions of Puerto Rican society, which swings back and forth between two dominant parties (statehood vs. commonwealth status), but with a firm imaginary in a party that cannot seem to win elections (independence)? Or is it because of the peculiar relationship it has with the U.S. mainland, which hardly prizes its Spanish-speaking heritage and its quality as a nation of people of color? Or is it simply because, as Puerto Ricans profit from the dynamics of queer American society they only seem to exist in greater abundance than in Argentina, Mexico, Colombia, Brazil? Can the influence of American feminism account for the appreciable concentration of Puerto Rican lesbians? Does the possibility of unrestricted residence in the United States. mainland enhance access to a wider array of movement politics, performance spaces, publications venues, and university and other institutional positions than would be possible in Puerto Rico or in any other Latin American society? Finally, does the stateside training of so many outstanding Puerto Rican scholars like Lawrence La Fountain-Stokes simply mean that there is a larger pool of critical voices to register, analyze, and—yes—promote Puerto Rican queers? Certainly, whatever the other reasons, it was the availability of the latter that allowed us to give a particularly prominent representation of Puerto Ricans in the 1994 Latin American Writers on Gay and Lesbian Themes: A Bio-Critical Sourcebook.

Let me underscore from the outset that La Fountain-Stokes's point of reference is the extensive representation of Puerto Rican queers in American society, a large majority of whom write in English, work with U.S.-based institutions, and publish in English-language and U.S.-based forums. While some may move back and forth between the mainland and the island and publish in Spanish outside the mainland (in Puerto Rico or elsewhere), the emphasis of his study is on Puerto Rican queers in the U.S. Indeed, as La Fountain-Stokes articulates at the outset of his study, his purpose is to overcome the elision of sexuality in examinations of mainland-island patterns of migration and to "transform Puerto Rican migration studies paradigms by showing how attitudes toward stigmatized forms of same-sex sexuality and gender variance provoke and affect migration, and how artists, writers, filmmakers, dancers, choreographers, and performers have documented and discussed this fact" (ix).

La Fountain-Stokes, who is himself a highly accomplished queer Puerto Rican writer and a scholar with well-established credentials in the field, makes use of a range of three theoretical perspectives in organizing this study: (1) the sociohistorical question of migratory patterns between the U.S. mainland and the island of Puerto Rico, a question that has mostly been cast in political and economic terms, but which the author insists must be revised in terms of an inventory of sexualities and sexual identities that are exercised and performed in terms of the differences between life in one or another locale and, one might add, in terms of the experience of life in the United States in differing locales; (2) the question of theorizing sexuality, particularly the axis/continuum between heterosexual and nonheterosexual and the continuum between different and differing instantiations of the nonheterosexual, but primarily between gay and queer; and (3) theoretical postulates relating to queerness that may or may not intersect and collide with matters of national and/or ethnic identity. The very phrase "queer [Puerto] Ricans" is structurally ambiguous: are we talking about Puerto Ricans who are queer (as opposed to Puerto Ricans who are not queer, a restrictive qualification), or are we talking about all Puerto Ricans, one of whose characteristics is that they are queer, an extensive qualification)? La Fountain-Stokes's inventory of analysis makes clear that the former is the basic emphasis of his research, but the actual performative content of many of the examples of cultural production he...