Cruising Utopia: The Then and There of Queer Futurity (Sexual Cultures)

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The long-awaited second instalment in Samantha Shannon's Sunday Times and New York Times-bestselling series Tunuva Melim is a sister of the Priory.

that's the inversion i think; while munoz is pushing that queerness is about enacting something that doesn't exist and Hope-fully, that does kind of just mean that you are really living something that doesn't exist right now.

Other additions include colour reproductions of work that previously appeared in black and white, and a new foreword, ‘Before and After’, in which Joshua Chambers-Letson, Tavia Nyong’o and Ann Pelligrini reflect on the book’s legacy. but maybe Munoz is skipping steps here because it is obvious to his intended readers, that if people watch a play and see within it a queer utopia they will become more radicalized or feel more community or something, so that this book really didn't feel the need to connect any dots to why reading utopia into drag performances will ultimately like, do anything. As he moves continually between one historical moment and the present, Muñoz gleefully undermines the linear, sequential logic of traditional cultural history. In this interesting study of queerness and identity politics, Munoz (performance studies, New York Univ. Brilliant, extraordinary, and necessary, Muñoz’s critical refusal of queer pragmatism, his commitment to the utopian force of the radical attempt—the radical aesthetic, erotic, and philosophical experiment—is indispensable in an historical moment characterized by political surrender and intellectual timidity passing itself off as boldness.

there is the suggestion that these traces can change your outlook and give you Hope, and that Hope is important for change, but not very many bones beyond that. The opening passage speaks to Muñoz’s investment in concrete utopias (following Marxist philosopher Ernst Bloch, who acts as Cruising Utopia’s primary intellectual influence), which he understands as linked to specific historical liberation struggles and (real or potential) collectivity. These new essays alone justify getting hold of this tenth anniversary edition of Cruising Utopia, alongside the new foreword, which offers an excellent introduction to the ideas (and outsized reputation) of the original text. Perfect example of how academic pontification on social justice can actively work towards rescinding the hard-won victories of marginalized groups. Muñoz offers a radical political vision and critique, but does not fall into the trap of sheer negativity present in so much criticism.

In the other new essay, ‘Race, Sex, and the Incommensurate: Gary Fisher with Eve Kosofsky Sedgwick’, Muñoz utilises incommensurability as a way of thinking about queer politics. For an academic text, I found this to be pretty readable, and while I struggled a little when Muñoz was talking about dance and movement, his explication of queer literature and songs (I will never see "Take Ecstasy With Me* the same way) was superb. The academic nonsense the majority of the book falls prey to is the worst kind: constantly outlining justifications and clarifications of non-points in anticipation of criticism from other theory-saturated navel-gazers. No obstante, me alegró leer que cuando se encuentra con sus amigos los maricones, disfruta de ser el más camp. Cruising Utopia: The Then and There of Queer Futurity is a book in the field of queer theory by José Esteban Muñoz, published in 2009.

Fisher has by and large become a meme at this point, which is also disheartening, and also frustrating and seemingly contrary to the spirit of Fisher’s work.José Esteban Muñoz’s Cruising Utopia: The Then and There of Queer Futuritybreathed new life into North American queer studies when first published in 2009. it doesn't work the same with two men, as in there is not the same potential for sex-based exploitation. The two additional essays I do think demonstrate that Munoz was aware of this problem with the work.

Building on the queer-of-colour critique developed in his previous book, Disidentifications: Queers of Color and the Performance of Politics, Cruising Utopia was situated at the intersection of performance studies, critical utopianism and a then-emergent literature on queer temporality. The time has come to turn to failed visionaries, oddballs, and freaks who remind queers that indeed they always live out of step with straight time.I “invoke” (to borrow the bludgeoned verb from Munoz) Fisher to ask what are those of us left to do with these tasks assigned by dead men who largely wrote on the exact same problems as one another: a precarious present, and a look both forward and backward to that which never arrived and that which is yet to arrive. my beef i think is , especially post-hennessy "profits and pleasure", feeling a little unromanced by the Utility of looking for queer utopia in art. He discusses the uneasy reception to the 1996 book Gary in Your Pocket, written before Fisher’s death from AIDS-related complications in 1994, and edited by his graduate supervisor and friend Sedgwick.