Category Archives: Gender and Sexuality

Famous writing desks, southern hospitality and monuments to lost lives: King’s visits UNC

by Amy Murat and Charlotte Taylor-Suppe

In a time of Trump, Brexit and increasing separatist ideology, we three intrepid King’s travellers – Dr Emrys Jones, Charlotte and I -crossed the pond. And not without incident in the shape of an unexpected night stranded in NYC. Somewhat weary and dishevelled, we finally met with our partners from the University of North Carolina in a communal spirit of defiance. Our mission was twofold: firstly to foster collaboration between our two institutions strengthening a long tradition of friendship; secondly, to take part in a wide range of research activities, including a renowned conference run by the British Women Writers Association (BWWA), which UNC were hosting this year.

The conference theme of ‘Generations’ struck me as particularly apt for our trip. Not only did it reflect the historic and continued links between our two universities and nations, but also the sense of boundless generative creativity amongst different peoples across both time and place…

The conference saw a host of different cohorts of researchers coming together from various fields, and this same diversity was reflected in the historic lives of the many women writers under discussion. We heard some wonderful keynotes, including a talk from Andrew Stauffer on flowers and Victorian female reader reception as well as a fascinating joint speech from leading Elizabeth Barrett Browning scholars Marjorie Stone and Beverly Taylor on the “collaborative energies” of women writers.

Continue reading Famous writing desks, southern hospitality and monuments to lost lives: King’s visits UNC

The long read: Just Women and Violence

by Ella Parry-Davies, PhD researcher funded by King’s College London and the National University of Singapore, working on performance, place, and memory, and Myka Tucker-Abramson, Lecturer in Contemporary Literature. With a postscript from Kélina Gotman,  Lecturer in Theatre and Performance Studies

“The male is a biological accident: the Y (male) gene is an incomplete X (female) gene, that is, it has an incomplete set of chromosomes. The male is an incomplete female, a walking abortion, aborted at the gene stage. To be male is to be deficient, emotionally limited; maleness is a deficiency disease and males are emotional cripples.

SCUM is too impatient to wait for the de-brainwashing of millions of assholes. Why should the swinging females continue to plod dismally along with the dull male ones? Why should the fates of the groovy and the creepy be intertwined? A small handful of SCUM can take over the country within a year by systematically fucking up the system, selectively destroying property, and murder.”

(Valerie Solanas, “The Scum Manifesto”, 1967)

“If sexism is a by-product of capitalism’s relentless appetite for profit then sexism would wither away in the advent of a successful socialist revolution. If the world historical defeat of women occurred at the hands of an armed patriarchal revolt, then it is time for Amazon guerrillas to start training in the Adirondacks.”

(Gayle Rubin, “The Traffic in Women”, 1975)

“Homoexplosion is a radical queer/ trans group of fly fatherfuckers. We advocate people fucking in the street and burning shit—especially cops.”

(NYC Queers Bash Back Against NYPD, 2009)

Image via AP: Two protesters wearing black carry a black banner emblazoned with 'Queers Bash Back: Bash Any Face the Many'
Image via AP, 2009: Two protesters wearing black carry a black banner emblazoned with white text that reads ‘Queers Bash Back: Harm any face the many’.

We live in a moment of amplified violence, or at least a time in which certain kinds of violence have become more visible. New forms of surveillance, and heightened attention to the reported arming of both so-called individual terrorists or terrorist cells, as well as hostile nations, often speaks less to new threats than to carefully crafted states of emergency. However, at the same time, we are seeing an increasing incidents of hate crimes, intensified and increasing police brutality and state violence, and the continued expansion of the War on Terror.

Continue reading The long read: Just Women and Violence

Painting in circles and loving in triangles: the Bloomsbury Group’s queer ways of seeing

Featured image: Duncan Grant © Tate

by Ellie Jones, PhD researcher funded by the Arts and Humanities Research Council and Tate. Her thesis centres on expressions and perceptions of queerness and race in early twentieth century British art.

“Dearest, at this moment I would give my soul to the Devil if I could kiss you and be kissed.”

In the summer of 1908, the Bloomsbury artist Duncan Grant wrote anguished letters to his sometime lover and lifelong friend, the economist John Maynard Keynes. In the infancy of their romance, the pair had been forced to spend time apart while Grant holidayed with family friends, a period of separation which served only to deepen their emotional closeness. Absence, after all, makes the heart grow fonder.

Grant’s letters expose a longing for the comfort of commonality, the security we find in shared experiences. He needed the company of someone who understood what it meant to be a gay man living in Britain before decriminalisation in 1967. “How much I want to scream sometimes here for want of being able to say something I mean,” one letter reads: “It’s not only that one’s a sodomite that one has to hide but one’s whole philosophy of life; one’s feelings for inanimate things I feel would shock some people.”

Duncan Grant, Bathing, 1911 © Tate

These letters are revealing of the ways Grant linked his sense of alienation, at the hands of his sexuality, to a broader sense of difference relating to the way he perceived the world around him. He understood his queerness as a central organising structure of his vision and his personhood; his “whole philosophy of life”. By making an explicit connection between his sexual alterity and his way of seeing, he leads us to consider: in what ways do our sexual pleasures and fantasies inform the way we see the world? Continue reading Painting in circles and loving in triangles: the Bloomsbury Group’s queer ways of seeing

YouTube, iPads, and Videotape: archives of HIV/AIDS activism

Featured image: Living With AIDS (1987-1999), Gay Men’s Health Crisis records, Manuscripts and Archives Division, New York Public Library.

by Dan Udy, LAHP/ AHRC PhD researcher working on “Going Viral: Queer (Re)Mediations in the YouTube Decade”

When Sarah Schulman and Jim Hubbard began filming interviews for the ACT UP Oral History Project in 2002, the history of HIV/AIDS activism was largely consigned to videotape. Having aligned with the emergence of handheld camcorders, it was the first political movement to be documented on video and from within its ranks: amateur recordings, artist tapes, and independent TV productions all formed a staggering cultural archive that tracked how marginalized communities took healthcare, research, and advocacy into their own hands during the early years of the HIV/AIDS crisis.

NYPL ACT UP Oral History iTunes - Ann Northrop
Veteran activist and broadcaster, Ann Northrop, NYPL ACT UP Oral History Archive

For over 20 years these tapes were consigned to personal collections and institutional archives such as the New York Public Library (NYPL), where the Manuscripts and Archives Division holds the most extensive public collection of such videos in the world. Here, facsimiles of original tapes could be watched on monitors, but the analogue nature of these materials made it difficult to circulate them beyond the library’s walls. Continue reading YouTube, iPads, and Videotape: archives of HIV/AIDS activism

On the trail of Doris Lessing

by Lara Feigel, Reader in Modern Literature

My research over the last few years has taken me to some unlikely places. You wouldn’t expect to find the papers of the very British novelist Rebecca West in Tulsa, Oklahoma, or the wartime diaries and letters of Elizabeth Bowen and Graham Greene in Austin, Texas. It’s odd spending a day in London in the Blitz and then emerging out of the air-conditioned archive into the Texan heat. One evening I even found myself being taught to two-step by a cowboy alongside a couple of other British academics.

But the most adventurous research trip I’ve been on was to Zimbabwe, where I went in August on the trail of Doris Lessing. Lessing grew up in Southern Rhodesia, as it then was, on a farm in the bush. She then moved at the age of eighteen (in 1937) to the capital city of Salisbury (now Harare) where in the space of the next decade she married twice, had three children, devoted herself to communism and wrote the novel that would make her name.

The Grass is Singing, first American edition cover, 1950.
The Grass is Singing, Doris Lessing, first American edition cover, 1950.

My books seem to be becoming increasingly personal. I still tell students that it’s the text that counts and that it’s important not to use the biography as a kind of code-breaker, enabling us to work out the intention or ‘true’ meaning of the text. But I’ve abandoned my early conviction that the life is irrelevant to the work, and have started to think that often it’s the intersection between the two (the way that the work is shaped by the life and, perhaps more interestingly, the way that the life is shaped by the work) that I have most to say about. With Lessing, though, I’ve decided to take the risky step of making it autobiographical as well as biographical, bringing myself into the narrative. Continue reading On the trail of Doris Lessing

Loving, Living and Resisting: a Postcolonial Conversation

By Diya Gupta, PhD researcher, Department of English – find her here.

Choti yeh hai teri saanp ki hi lehar Dogana

Khati hun tere vaste main zahar Dogana

(This plait of yours is the wave of a serpent, Dogana

I take poison because of you, Dogana)”

– Lines from nineteenth-century Urdu Rekhti poet Insha Allah Khan

 

What do we know about the representation of same-sex romantic and sexual relations in early nineteenth-century north India? And how does this relate to the transnational realm of early twentieth-century democratic thought? A postcolonial conversation on recent publications by two outstanding postcolonial scholars revealed how love and desire, revolutionary ethics and aesthetics, connect these two worlds in the final King’s in Conversation with series for 2015/16.

Continue reading Loving, Living and Resisting: a Postcolonial Conversation

Echoes in Wax of Virginia Woolf

Introduction by Max Saunders, Professor of English and Director of the Arts and Humanities Research Institute (AHRI)

The idea for Wax Virginia was developed by Prof. Clare Brant, Co-Director of the Centre for Life-Writing Research, and Ruth Richardson, Visiting Research Fellow of the Centre, who both worked closely with the artist Eleanor Crook, on the design of the installation. The project is characteristic of the creativity and imagination they have brought to the Centre. At the unveiling during the Arts & Humanities Festival people were astounded by the way the sculpture transformed the lobby space. It was just what was needed to realise the presence of Arts & Humanities at 22 Kingsway.

Watch a time-lapse video of the artist Eleanor Crook producing the work,  then read more about the project in a post from Catriona Livingstone.

Sitting at a table in Berlin, thinking about Aretha Franklin

By Penny Newell, PhD student in the English Department

Ever since I attended one of Lois Weaver’s Long Tables on Live Art and Feminism, I have been paying a special attention to tables. Tables structure conversations. Tables anchor discoveries. Tables form communities. Tables ground critique.

In Weaver’s Long Table, the table is a centrepiece of a performed conversation, in which you can choose whether or not to participate. It’s an amazingly simple yet effective performance work. It makes you re-think your critical relationship with tables. It makes you ask: Who sits at my table? Who can sit at my table? Who listens? Who speaks? Continue reading Sitting at a table in Berlin, thinking about Aretha Franklin

Wax Virginia

By Catriona Livingstone, PhD student in English Literature.

One of KCL’s most famous alumni has returned to the college, taking up ‘a room of her own’ in the lobby of the building named in her honour.

‘Wax Virginia’, a work by sculptor Eleanor Crook, was unveiled – or ‘unleashed’ – on Wednesday evening, at an exciting event organised by Professor Clare Brant, co-director of the Centre for Life-Writing Research at King’s, and well-attended by staff, students, and other Woolfish enthusiasts. The sculpture is the result of over 120 hours of work and careful research – Crook studied photographs of Woolf in order to trace the changes in her face over time and to select the particular moment – and emotion – which she wanted her sculpture of Woolf to occupy. Continue reading Wax Virginia