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Queer Modernisms (Foundlings (Paul's Case: "It was the old…
Queer Modernisms
Foundlings
Nightwood
: "Some country that he has devoured rather than resided in, some secret land [...], for the Jew seems to be everywhere from nowhere" (10)
Paul's Case
: "It was the old depression exaggerated; all the
world had become Cordelia Street"
Nightwood
: "In the Vienna of Volkbein’s day there were few trades that welcomed Jews" (16)
Nightwood
: Guido had lived as all Jews do, who, cut off from their people by accident or choice, find that they must inhabit a world whose constituents, being alien, force the mind to succumb to an imaginary populace. (14)
Passing
: "It was the idea of being ejected from any place, even in the polite and tactful way in which the Drayton would probably do it, that disturbed her" (19)
Passing
: "Nevertheless, Irene felt, in turn, anger, scorn, and fear slide over her" (19)
Homosexuality
Homosexual Relationships
Parturition
: "Thank God"
The Breasts of Tiresias
:
"The Princess of Bergame they say is marrying a girl today"
(Act 2 Scene 4)
Sodom and Gomorrah
: "And here the word fertilize must be understood in a moral sense, since in the physical sense the union of male with male must be sterile, but it is no small matter for a person to be able to encounter the sole pleasure which he is capable of enjoying" (31)
Love Letter from Vita to Virginia
: "Also, you have invented a new form of Narcissism, -I confess,- I am in love with Orlando- this is a complication I had not foreseen. Virginia, my dearest, I can only thank you for pouring out such riches" (October 1928)
Nightwood
: "She belonged to Nora, and that if Nora did not make it permanent by her own strength, she would forget" (84)
Strange Meeting
: "And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled"
Paul's Case
: "The young man offered to show Paul the night side of the town, and the two boys went together after dinner, not returning to the hotel until seven o'clock the next morning"
Ode to Walt Whitman
: "Nor against the men with that green look in their eyes, who love other men and burn their lips in silence"
Passing
: "An attractive-looking woman, was Irene's opinion, with those dark, almost black, eyes and that wide mouth like a scarlet flower against the ivory of her skin" (16)
Inversion
Gender Trouble [Butler]
: “Gender proves to be performative—that is, constituting the identity it is purported to be. In this sense, gender is always doing, though not doing by a subject who might be said to preexist the deed”
Orlando
: "Legs, hands, carriage, were a boy's, but no boy ever had a mouth like that"
Sodom and Gomorrah:
"To such an extent had he momentarily assumed the features, the expression, the smile thereof, was a woman"
Ode to Walt Whitman
: “Not for a moment, Walt Whitman, lovely old man, have I failed to see your beard full of butterflies, […] old man, beautiful as the mist”
Effeminacy
Breasts of Tiresias
: "The Husband (dressed as a woman): the Husband removes the skirt, which is impeding his movements [...] Really he's right. Since my wife is a man, it's right for me to be a woman" (Act 1 Scene 7)
Transgenderism
Orlando
: "Truth! we have no choice left but confess — he was a woman”
Breasts of Tiresias:
"Therese: But Therese who is no longer a woman
Husband: This is too much
Therese: And as I have become a fine fellow
Husband: It must have escaped my attention
Therese: From now on I'll have a man's name Tiresias"
(Act 1 Scene 2)
Ode to Walt Whitman
: "That's why I don't raise my voice, Walt Whitman, against the little boy who writes the name of the girl on his pillow, nor against the boy who dresses as a bride"
Condemnation of Childbirth
Parturition
:
"The irresponsibility of the male
Leaves woman her superior Inferiority.
He is running upstairs
I am climbing a distorted mountain of agony
Incidentally with the exhaustion of control"
The Breasts of Tiresias
: "The more children I have the richer I'll be and the better able to live [...] To supply the whole world for a whole year with cod paste and garlic, isn't it wonderful to have a numerous family" (Act 2 Scene 3)
Nightwood
: "Amid loud and frantic cries of affirmation and despair Robin was delivered. Shuddering in the double pains of birth and fury, cursing like a sailor […] As he came toward her she said in a fury, ‘I didn’t want him!’ Raising her hand she struck him across the face" (75)
Passing
Passing
: "The Drayton, ma'am?" he suggested. "They do say as how it's always a breeze up there" (12)
Orlando
: "At any rate, it was not until she felt the coil of skirts about her legs and the Captain offered, with the greatest politeness, to have an awning spread for her on deck, that she realized with a start the penalties and the privileges of her position"
Looking Backwards
Passing
: "'That time in Chicago.' The words
stood out from among the many paragraphs of other words, bringing with them a clear, sharp remembrance, in which even now, after two years, humiliation, resentment, and rage were mingled" (9)
When the solider dies, the truth of the homosexual feelings will be left untold: the truth that he never got to tell the soldier before his death
Being sexually attracted to or having sexual desires for someone of the same sex
This text suggests that something between these two men happened beyond an act of friendship
Irene notices Clare's appearance. She is preoccupied by female beauty and does not pay much attention to the man.
Loy ends her poem with this phrase following commentary on the dynamic of men and women. The feminist poem criticizes men, thus, the sarcasm of this quote implies that she values female/female relationships over female/male
Same-sex relationships
This analogy to flower pollination alludes to how men cannot bear children in a homosexual relationship
Ruth Negga is set to play Clare Kendry in the 2020 film release of Passing
From the trailer of the short film adaptation made in 1980
Vita's response to Virginia after receiving and reading her special copy of Orlando that was given to her on publication day. Orlando is said to be a long love letter from Virginia to Vita.
Describing the pain of childbirth rather than its beauty represents a deviation from the heteronormative idea of a married couple being together and how giving birth should be seen as a a miracle of life. Men are only briefly mentioned in this poem, but are not painted in a good light. Thus, Loy devalues men in this family unit and focuses more on the mother and child, implying that queer families should be accepted
Pro Childbirth
Robin has a painful experience with childbirth and once she births her son, she often left home, until finally admitting she never wanted to have her son.
After Robin leaves Felix and her son, she meets Nora at the circus and they quickly begin a relationship with each other
Being in distress with surroundings due to being alienated from that community and environment
Despair, loneliness, shame, pain, and bitterness associated with the queer experience
When drinking at the Drayton, a place only for white people, Irene feels anxious that she will be recognized for her dance as being black and not belonging
These are the feelings that occupy Irene's mind at the Drayton, somewhere she feels she might not accepted. Though it is not clearly being associated with queerness, the emotions are reminiscent of those tied to looking backwards
The depression and feeling of despair is like that of looking backwards, but feeling exiled from those at Cordelia is set in the context of foundlings
A reversal of traits; typically associated with the opposite gender
Butler argues that gender identity is not from biological factors, rather, it is from one's actions
That time in Chicago involving Irene and Clare makes Irene feel uncomfortable and embarrassed even though a fair amount of time has passed
Butterflies and being beautiful is usually associated with females, so there is juxtaposition happening between the butterflies and the beard
.
A man exhibiting traits that is typical of a woman/not being masculine; being a "bad" man
Changing from man to woman or from woman to man
A defining moment of Orlando is when Orlando wakes up as suddenly a woman. Orlando has physically changed genders, but she is pleased with this changed, and is not too shocked by it
The husband declares himself a woman and is wearing a skirt, but the tone is almost mocking when this change is justified because his wife has changed into a man. Therefore, having the skirt on is his interpretation of being a woman
Tilda Swinton curated art pieces that were inspired by Woolf's Orlando
Orlando is a 1992 film loosely based on the book
Therese changes her sex and becomes a man
When someone can be accepted as or "pass" as a member of another identity group
The cab driver suggests Irene to the Drayton, which is only for white people. Irene lives in a black community and is black, but because she has light enough colored skin, she can sometimes pass as white to onlookers
After Orlando's fantastical transformation, she is able to pass as a woman even though she used to be a man. However, this example is different because Orlando actually is a woman at this point. This is related to passing because Orlando is still perceived as a woman when she was not always one
The boy is imagining himself as/ becoming a girl
