To celebrate the launch of the new Queer@King’s goes to Church series, in collaboration with KCL Chaplaincy, Victoria Carroll reflects on the sacrilegious artwork and drag performance of Jerome Caja (pronounced Chi-a), an important figure in the queer arts scene that flourished in early 1990s San Francisco.
From books banned in Boston to films cut in Maryland: in the summer of 2019 PhD candidate Katie Arthur visited five archives in four US states to grapple with questions of queerness and obscenity in the censorship cases of author William S. Burroughs and filmmaker John Waters.
From Thursday 16th May to Sunday 19th May The Store X Gallery at 180 The Strand will be hosting FOUND: A Harold Feinstein Exhibition , the UK’s first ever exhibition of the legendary, 20th century American photographer Harold Feinstein. The exhibition is accompanied by screenings at the Curzon DocHouse of Andy Dunn’s film Last Stop Coney Island: The Life and Photography of Harold Feinstein.
Dr. Michael Collins, Senior Lecturer in Twentieth-Century American Literature and Culture in The School of English, chatted with the curator Carrie Scott about Feinstein’s work and legacy, American photography at mid-century, and the place of optimism in art.
Fiona Anderson is a Lecturer in Art History in the Fine Art department at Newcastle. Her work explores queer social and sexual cultures and art from the 1970s to the present with a particular focus on cruising cultures, the HIV and AIDS crisis, queer world making practices, and the politics of urban space. Here, Fiona speaks to Mark Turner about her new book, Cruising the Dead River: David Wojnarowicz and New York’s Ruined Waterfront (University of Chicago Press, 2019).
Mark Turner is a Professor of Nineteenth and Twentieth-Century Literature in the English Department at King’s. He is the author of Trollope and the Magazines (2000), Backward Glances: Cruising the Queer Streets of New York and London (2003), and recently co-edited, with John Stokes, a major new edition of Oscar Wilde’s journalism for Oxford University Press. He has written about queer urban cultures and curated ‘Derek Jarman: Pandemonium’ at Somerset House in 2014. Mark is currently working on a project about the American gallerist Betty Parsons and her queer artists, particularly Forrest Bess. He co-founded the Queer@King’s research centre with colleagues in Arts and Humanities in 2003-4.
Katie Arthur is a PhD student in English at King’s researching the relationship between queerness and obscenity in the works of William Burroughs and John Waters.
Christine received her PhD from King’s in November 2018 and is now a Research Fellow in the English Department at the University of Warwick. Christine’s supervisors at King’s College London were Jane Elliott and John Howard. Her PhD was examined by Nicole King (Goldsmiths) and Celeste-Marie Bernier (Edinburgh). As part of the Leverhulme funded project ‘World Literature and Commodity Frontiers: The Ecology of the ‘long’ 20th Century’ run by Mike Niblett (Warwick) and Chris Campbell (Exeter), Christine is writing a monograph tentatively entitled The Novel of Extraction.
Harriet is a PhD student in the English department and co-editor of the King’s English blog.
Harriet Thompson (HT): I wanted to start by congratulating you on completing your PhD last year. The catalyst for our conversation was the news that you’ve recently been awarded one of only six Elsevier Outstanding PhD Thesis Prizes granted at King’s in January 2019, and the only award granted to a thesis in the Faculty of the Arts and Humanities. I know your thesis explores the integration of African immigrant literature into the economic, political, and cultural fabric of the United States. I wonder if you could talk about how your research relates to ongoing debates about the value of migration and particularly the issue of which migrant persons are deemed valuable or disposable?
Christine Okoth (OK): Thank you so much – I’m still quite shocked that I even have a PhD let alone that my examiners thought it was good enough for a prize! In what is probably a familiar tale, I had no idea what my thesis would eventually become when I started at King’s in 2014. It all started with Lisa Lowe’s Immigrant Acts, a book that I encountered during my masters and that remains my favourite academic monograph. In it, Lowe develops a theory of Asian American political and cultural production as a kind of antithesis to the American national project. The history of Asian exclusion, which, by the way, isn’t taught nearly widely enough in UK universities, serves as the backdrop to Lowe’s argument. The idea that immigration legislation relates closely to the position that cultural production by immigrants holds within the U.S. nation-state stayed with me. I wanted to ask more questions about how the sudden popularity of African migrant literature – Adichie’s Americanah and Teju Cole’s Open City for example – related to shifts in U.S. immigration legislation. These novels weren’t exactly narratives of exclusion but are instead emergent genres of integration that take place against the backdrop of a changing political discourse around immigration.