Cover

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Half Title, Series Info, Title Page, Copyright, Dedication, Epitaph

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Contents

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pp. vii-viii

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Preface

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pp. ix-xii

On my desk, stuck to a plastic file folder that holds the paper contents of the outline of what would eventually become this book, is a small yellow Post-it note. “NEVER FORGET,” it says. I wrote it at night. And it’s a good thing, because by morning, I already had. ...

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Acknowledgments

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pp. xiii-xvi

I am grateful to so many for their support and wisdom during the process of writing and rewriting this book. First, I must thank my teachers. My earliest teachers were my parents (who are also teachers by profession): you have instilled in me a love of learning and of justice, which forms the core of my character and provides me with the impulse to write. ...

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Introduction

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pp. 3-40

This book investigates how performance can transform the way we think and feel about trauma and memory, time and history. It also argues that such change is vital and possible at this historical moment. Specifically, I examine moments in performance when linear time is momentarily queered; history is disordered and disturbed; memory slips; ghosts linger; specters appear; ...

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Chapter 1. No Rock Straight Time Rain or Shine: Carlson/Strom Remember the Geyserlands

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pp. 41-66

May 17, 2009. Four a.m. I am wide awake in my bed at the Boston Youth Hostel. I’ve spent the past three days driving from Providence, Rhode Island, to Amherst, Massachusetts, from Amherst to Lincoln, from Lincoln to Boston—to see an exhibit of Carlson/Strom’s “New Performance Video” at the DeCordova Sculpture Park and Museum in rural Lincoln, Massachusetts. ...

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Chapter 2. When Elephants Are in Must: Peggy Shaw, Acts of Trans/fer, and the Present Future of Queer

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pp. 67-88

It is early April in Amherst, Massachusetts, which means that the air is wet and crisp, and the dogwood trees are just about to burst with pink. It is almost eight p.m. The house is packed. Butches, dykes, femmes, faggots, dandies, tranzies, queens, queers.2 And that is just my row. We’ve come to the Bartlett Hall Auditorium at the University of Massachusetts to see Peggy Shaw ...

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Chapter 3. Following the Ghosts: Repetition, Return, and the Disordering of America in floodlines (2004–2010)

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pp. 89-124

The floodlines project began at a storefront in Soho. Strolling my then-neighborhood streets of Lower Manhattan one weekday afternoon—shortly after September 11, 2001—I happened upon a photography exhibit, Here Is New York: A Democracy of Photographs.1 I walked around the crowded, white-walled room, gazing at the photographs ...

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Chapter 4. Teaching Time (a periplum)

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pp. 125-146

May 2012. I am sitting in the backseat of my friends Onni and Uditi’s baby blue Hyundai Matrix, my gaze fixed on the side of the road as it flits by. Tracy Chapman’s “Fast Car” fills our car and narrates my life, for the moment. When she gets to the refrain, that part about having a feeling, about belonging, about being someone, I break—tears rolling down my face. ...

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Epilogue. I Want to Play Airplane, or, It All Comes Back

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pp. 147-152

September 10, 2016. One day shy of the fifteen-year anniversary of September 11, 2001, I make a last-minute decision and hop the morning train from Philadelphia to New York’s Penn Station. Fun Home is closing after its eighteen-month run at Broadway’s Circle on the Square, and for a variety of reasons having to do with love and loss, ...

Notes

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pp. 153-168

Bibliography

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pp. 169-178

Index

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pp. 179-184