Browsing: Art Memo

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I first discovered the 1928 lesbian novel The Well of Loneliness when I was growing up in my academic parents’ house full of books. I became aware that this book had been banned in England, and I believed this was because the English legal system of the time still enforced Victorian morality, unlike the legal system in the U.S., where I was growing up “free.” I didn’t read the novel again until I was a fifty-year-old English instructor in Canada, looking for something new to say about it. I was amazed at how much the book seemed to have changed.

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Throughout the 1970’s and 1980’s, women’s bookstores and concert events carved out important spaces for cultural expressions of lesbian feminism in North America. During the latter part of that era I belonged to a private lesbian club called Herizon in Binghamton, New York, a community with a large lesbian population …

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… Rick performed with the American Ballet Theatre, Pittsburgh Ballet Theatre, and Cleveland Ballet, where he met his wife. After retiring from dance, he got an MBA from Harvard, moved to San Francisco, and started marketing financial services for Charles Schwab. …

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Can three decades have passed since I sat in a darkened Manhattan cinema transfixed by the cherubic-faced Robby Benson giving the performance of a lifetime as the innocent and emotionally troubled Billy Joe in the movie Ode to Billy Joe? Any gay person watching that landmark flick could immediately identify with the conflicted protagonist and both sympathize and empathize with his plight.

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This charming, delightfully queer pastoral, which was originally published in 1966, has been brought back by Little Sister’s Classics, a series of books created by Arsenal Pulp Press and the Vancouver bookstore Little Sister’s to revive gay and lesbian literary classics.

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This charming, delightfully queer pastoral, which was originally published in 1966, has been brought back by Little Sister’s Classics, a series of books created by Arsenal Pulp Press and the Vancouver bookstore Little Sister’s to revive gay and lesbian literary classics.

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THE POWER of performance art-its ability to connect with you viscerally-is in the fact that it’s performed live. You the viewer may or may not commit to the performer on stage (or wherever), but when you do, there’s no hiding the effect. Indeed the reaction of the audience is intrinsically connected to the performance itself and informs the work’s effectiveness. But what if the performance went on with viewers who weren’t physically there but instead participated in real time in cyberspace? …

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“I don’t know if I will live to finish this. … I’ve watched too many sicken in a month and die by Christmas, so that a fatal sort of realism comforts me more than magic. All I know is this: The virus ticks in me.”

WITH these challenging words, which would soon become famous, Paul Monette began his 1988 work, Borrowed Time: An AIDS Memoir. In the same year, …

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… Despite the absence of relevant letters and notebooks, 1903 was actually a fertile writing period for [Gertrude] Stein, who appears to have coped with the grief following her breakup with Bookstaver. She either wrote or blocked out two novellas, Q.E.D. and Fernhurst, and also wrote extensive notes for what would eventually become her massive novel, The Making of Americans …

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