Edited By William M. Reynolds
Chapter Thirteen: SubalternDesires: Queer (in) Southern Story Lines: Looking at Movies and the Queering of/in the South.
Subaltern Desires: Queer (in) Southern Story Lines: Looking at Movies and the Queering of/in the South
Growing up in a small northern town in the U.K., on the wrong side of the boundaries of insider/outsider, hetero/homo, I discovered considerably early on in life what fun could be had with popular cultural texts. I first fell in love watching Mervyn LeRoy’s (1949) MGM film Little Women, and I couldn’t for the life of me understand why June Allyson wouldn’t want to marry her handsome neighbor Laurie played by Peter Lawford. My dyke friends tell me the character Little Jo was something of an inspiration in their formative years, and it has been remarked that
Even though Little Women brings its tomboy heroine to the expected end of marriage, this conclusion is so unsatisfying and incoherent that most readers reject it in favor of the far more queer middle of Jo’s plot, where meanings do not line up into a seamless univocal whole. In this way Alcott perhaps unknowingly presented all readers with an epistemological occasion to develop a queer reading praxis. (Quimby, 2004, p. 8)
My dissident and non-normative readings of cinematic texts became a way of world-making and self-making. Inhabiting the creases (Schechner, 1988) where the worlds of dominant and vernacular literacies converge, my queer reading praxis afforded a critical location from which to re/textualize the quotidian; to rethink the complexity of who “I” was...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.