Queerness in Lee Maracle´s Ravensong

“At the beginning of the twentieth century, a homosexual subculture, uniquely Afro-American in substance, began to take shape in New York’s Harlem. Throughout the so- called Harlem Renaissance period, roughly 1920 to 1935, black lesbians and gay men were meeting each other [on] street corners, socializing in cabarets and rent parties, and worshiping in church on Sundays, creating a language, a social structure, and a complex network of institutions.” Richard Bruce Nugent, who was considered the “perfumed orchid of the New Negro Movement” said, “You did what you wanted to. Nobody was in the closet. There wasn’t any closet.”

In the 1980’s and 1990’s, society wasn’t the most accepting of places for people who were different from the “social norms”. Now I know, people today still struggle with trying to fit in and be “normal” but it was different. Being a gay man living in San Fransisco at the time, which had a large gay population, Richard Rodriguez had a hard time dealing with the discrimination he faced. Richard Rodriguez was an American journalist who wrote and published a memoir about his life as a gay man. In October of 1990, Rodriguez published his memoir “Late Victorians” in Harper’s Magazine, a critically acclaimed publication of the time. In his memoir, Rodriguez describes what it was like to realize he was gay and watch as the country changed to become a more accepting place. He does this by setting up how things can change and then explaining the actual ways things change for the gay population.

As Tamsin Wilton explains in her piece, “Which One’s the Man? The Heterosexualisation of Lesbian Sex,” society has fronted

With reference to the Stonewall riots of 1969, it is important to understand that the riot by the Lesbian and Gay Rights Movement came at a time when the civil rights movement was in its high peak. The riots for equality by the Gay and Lesbian groups and activists came at a time when Americans minority groups were fighting for identity in the typical American culture. Then again, it is significant to note that the trends that surround the Stonewall riots were the intense hatred towards the homosexual individuals that had hit the United States in the 1950s and 1960s. The Gay and Lesbian people had to seek solace in Homosexual perceived bars and night clubs as they feared for their life due to their ‘awkward’ sexual orientation at the time (Ruta, 2013). Similarly, another trend that characterized the Stonewall riot was the Cold War policies that had earmarked Homosexual individuals and organization as security threats. With the rising tension due to the cold war, the United States government had blacklisted Gay and Lesbian groups and individuals as an easy target for blackmail by the Communist groups. As a result, they faced constant harassment from police in the 1940s all through to the Stonewall riot in 1969. The uprising is as a result of the civil rights movement that allowed for many minorities and interest groups to come out and fight for their rights.

Throughout the 1950’s, the United States belonged to the Leave It To Beaver era. Families were structured around a strong, hard working father and a wonderful homemaker mother. Children were brought up with solid ideologies on what society expects from them and were warned about living a different and dangerous life. Only one-year separates Tennessee William’s Cat on a Hot Tin Roof and James Baldwin’s Giovanni’s Room from there publishing dates during this decade of unwavering beliefs. These texts were seen as extremely controversial during their time due to their themes of homosexuality. Sexual orientation was an awkward topic during such a “to the book” time period and these texts pushed the limits, making them remarkable and memorable works. Both Tennessee Williams and James Baldwin explore the panic men experience while trying to comprehend what sexual orientation they belong to and highlight the masculine gay man. These texts also examine the woman’s role in the mist of it all.

The articles by Roderick Ferguson (2004) in his book literally highlights the regulation that established sociological schools of thought impose upon the ‘queer people of color,’ or anyone who is different in terms of sexual orientation and non-white. In the very early part of the book, Ferguson depicts the imagery of a black drag-queen prostitute from Marlon Riggs’ ‘Tongues Untied.’ He goes on to describe the way capitalism, in general, and the American system in particular has conveniently excluded many like her – people of alternative sexual preferences with both African American culture and Leftist Liberal thought rooted in the heterogeneity. (Ferguson, 2004, p. 3). It is at this point that through the work of Chandan Reddy, Ferguson reminds the reader that the core of Leftist-Liberal Marxist thought revolves around the abolishment of race, gender and sexuality.

This approach to queer subtext has been has always been a part of Western media as we as we explored in the film “The Celluloid Closet” (1995). Queer representation for many years was an continuous uncategorized personification that was vaguely acknowledged but to those who understood the subtext, it became an undercurrent of complex coded information that eventually paved the way for the integration of queer identification within the hetero film storylines. Doty speaks about this and also mentions that at some point in time representation of queer culture and sexuality

Jane Johnston Schoolcraft, America’s first Female Native American writer and poet, exemplifies a unique multicultural influence in her writing as a result of her intermarried parents. Robert Dale Parker (2009), in his paper “Contemporary Anticolonialist Reading and the Collaborative Writing of Jane Johnston Schoolcraft,” describes her controversial writings “as representing the cacophonous medley of internal contradictions that she lived in” (p.52). Specifically, that of her poem Pensive Hours, which exhibits the layered nature of her works, shown through her Anglo-American heritage (with an emphasis towards Christian) tones hidden alongside her native spirituality, establishes Jane Johnston Schoolcraft as an American poet influenced by more than English Romanticism.

Howard, John. Men Like That: A Southern Queer History. Chicago: The University of Chicago Press, 1999. (hb). ISBN: 0-226-35471-7.

Within modern-day America, there are certain societal standards based on sexual relationships. Within the poem, the narrator, a young woman, questions why she has to “wear the brand of shame; /whilst he amid the gay and proud/still bears an honored name” (Harper 26-28). Within her poem, Harper exposes the hypocrisy of the

Another thought that pondered my mind through the course of this essay, was that of the continuous sense of isolation and confusion being felt by the poet, so early on in their life. This sense of isolation is unfortunately so prevalent in the LGBTQA community where it remains difficult to be who you are, or know where you stand in a world that can be so hateful. In many ways, I am sure we are all very familiar with the feeling of loneliness and needing to isolate in one way or another. It is incredibly difficult to be and feel comfortable with yourself when so many people are telling you how you are supposed to look, feel, be and act all the time. However, it is especially troublesome when you do not have a supportive community around you and that remains the harsh reality for so many people today who live without support.

Queer theory could potentially offer the most qualitative of methodologies for collecting and analysing data. As it questions, even defies, the notions of objectivity and the essentiality of fact, queer theory opens more “texts” for study, and more bodies of knowledge to compile, compare, and evaluate.2

To begin my analysis on the queer narrative in The Hours, we must fist discover what

In Foucault and Queer Theory Spargo defines queer theory as a nebulous group of cultural criticism and analysis of social power structures relating to sexuality . It is these power structures and aspects of culture that are responsible for the discourse that creates and informs ones understanding of gender, race, and sexuality. However these aspects of identity do not exist separately from one another, but are constructed in tandem throughout history. These layers of identity inform each other in a way that is difficult if not impossible to separate. They do not act independently with an additive effect but intersect constructing their own unique set of experiences and perspectives. In this paper I will be exploring queer theory

This critical commentary is developed on the book Ravensong by Lee Maracle. This critical commentary will also incorporate pieces of Adrienne Rich’s “Notes Toward a Politics of Location” and Simone de Beauvoir’s “Introduction” from the coursepack. The similarity among the pieces is the creation of an ‘other’. A group that is different than one’s own and, therefore, is looked upon as lesser. In the critical commentary, I will compare the readings and analyze each. If I have a thought that is not pertaining to paper, I will add it as a footnote. In Ravensong, the Coastal Salish are the norm. “[They are] the subject; [They are] the absolute. [Mallardvillians are] the other” (de Beauvoir, 1952[2011], p. 6).