Unrequited Love and Gay Latino Culture: What Have You Done by D. Contreras

By D. Contreras

Drawing on a variety of fabric from artwork, theater, song, and literature, Contreras argues that old reminiscence is embedded in those kinds of artwork and will might be take us "somewhere greater than this place." The serious energies within the e-book come from Chicana/o and queer reviews. Contreras perspectives unrequited love as a utopian area of chance and transformation. The dialogue contains the lads within the Band, Arturo Islas, Paris is Burning, Judy Garland, and Kiss of the Spider Woman.

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Pretty soon everyone at the dance had heard about it and they were all laughing and making jokes. Everybody knew I had a crush . . and that I had asked him to be my friend . . What they didn’t know was . . that I would go on loving him years after they had forgotten my funny secret” (81). It is precisely this type of maudlin speech that critics like Pauline Kael deride: The fun of the homosexual vernacular and the interaction of the troupe of actors on-stage helped a little to conceal the play’s mechanics, in which each reveals ‘the truth’ about himself .

Alan and Hank are attracted to each other—despite their ostensibly different sexual orientations—because they are both “normal,” masculine, and because they don’t camp. Their conversation continues: ALAN: HANK: ALAN: HANK: MICHAEL: ALAN: HANK: ALAN: HANK: You’re married? What? I see you’re married. ) Oh. Yes. Hank’s married. You have any kids? Yes. Two. A boy nine, and a girl seven. You should see my boy play tennis—really puts his dad to shame. I have two kids too. Both girls. Great. (35) I quote these passages because in a play that is characterized and criticized for its outrageous and expressive campiness, these stand out as the dullest exchanges.

Meanwhile, Emory stands the least chance of “passing” in Alan’s straight world, since his behavior and his language indelibly mark him with the stigma of the unvalued, the despised, and the most pathetic. Camp and Race But if Emory is clearly the most “oppressed” of the group, and the subject of the physical abuse, it is interesting that his friendship with Bernard seems predicated on some type of shared bond. ) Emory and Bernard are thrown camp and the heartbreak of race / 35 together in the dynamics of the play, and their specific positions create a unique relationship between them.

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