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By Kathryn Bond Stockton

Shame, Kathryn Bond Stockton argues in Beautiful backside, attractive Shame, has frequently been a gathering position for the indicators “black” and “queer” and for black and queer people—overlapping teams who've been publicly marked as degraded and debased. but if and why have yes types of disgrace been embraced by means of blacks and queers? How does debasement foster points of interest? How is it used for cultured satisfaction? What does it supply for initiatives of sorrow and methods of inventive historic figuring out? How and why is it crucial to camp?

Stockton engages the domain names of African American stories, queer thought, psychoanalysis, movie concept, images, semiotics, and gender experiences. She brings jointly thinkers not often, if ever, learn jointly in one study—James Baldwin, Radclyffe corridor, Jean Genet, Toni Morrison, Robert Mapplethorpe, Eldridge Cleaver, Todd Haynes, Norman Mailer, Leslie Feinberg, David Fincher, and Quentin Tarantino—and reads them with and opposed to significant theorists, together with Georges Bataille, Sigmund Freud, Eve Kosofsky Sedgwick, Jacques Lacan, Roland Barthes, and Leo Bersani. Stockton asserts that there's no transparent, reflected relation among the phrases “black” and “queer”; fairly, likely definitive institutions connected to every are usually taken up or crossed via via the opposite. Stockton explores dramatic switchpoints among those phrases: the stigmatized “skin” of a few queers’ outfits, the outline of blacks as an “economic bottom,” the visible strength of interracial gay rape, the complex common sense of so-called same-sex miscegenation, and the ways that a well-known depiction of slavery (namely, Morrison’s Beloved) turns out sure up with depictions of AIDS. the entire thinkers Stockton considers scrutinize the social nature of disgrace as they research the buildings that make debasements attainable, bearable, pleasant, and artistic, even of their darkness.

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Beautiful Bottom, Beautiful Shame: Where “Black” Meets “Queer” (Series Q) by Kathryn Bond Stockton


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