Ashley W. Carter

QED A Journal in GLBTQ Worldmaking

Information Activism: A Queer History of Lesbian Media Technologies

信息行动主义：女同性恋媒体技术的酷儿历史

Abstract “Queer Activism in the Queen City” explores how LGBTQ+ organizations in the Lehigh Valley (Pennsylvania) operated during the 1990s to address HIV/AIDS, to develop antidiscrimination legislation in Allentown and the Commonwealth of Pennsylvania, and to promote coalitional organizing to address intersectional forms of oppression. Drawing on materials from the Lehigh Valley LGBT Archive, the article addresses the impact of activism outside of major metropolises through discussion of regional AIDS organizations, Pride festivals, regional LGBTQ+ publications, Mennonite organizers, and political organizing to promote trans-inclusive antidiscrimination legislation in Allentown and the Commonwealth of Pennsylvania. The article offers a strong account of how activists from the 1990s in a current battleground state contributed powerfully to fights for equity in our region that continue to have ramifications for contemporary regional activism. Further, with a focus on a small region of Pennsylvania and attention to the import of local LGBTQ+ community archives, the article showcases the value of hyperlocal LGBTQ+ history for granting researchers a better understanding of the decade of the 1990s outside of coastal metropolises, thereby contributing to new research in our field that calls for attention to understudied communities.

Mary Catherine Foltz

Queer Activism in the Queen City: Vignettes about 1990s LGBTQ+ Organizing in a Small Urban Center of Eastern Pennsylvania

皇后城中的酷儿行动：宾夕法尼亚州东部一个小型城市中心1990年代LGBTQ+组织的片段

Godfried Asante

Disruptive Situations: Fractal Orientalism and Queer Strategies in Beirut

颠覆性情境：贝鲁特的分形东方主义与酷儿策略

Laura Torre

A Third University Is Possible

第三所大学是可能的

Abstract Queer Nation, founded in New York City in 1990, is one of the earliest activist groups to be organized around the term queer. This article provides a history of the founding chapter of Queer Nation and maps the group's political ideals and strategies, highlighting tensions within and outside the organization about race and gender, liberalism, and antiassimilationism, among other issues. In doing so, the article also offers a framework for thinking about antinormativity in the history and historiography of queer politics and theory.

Christina B. Hanhardt

“To Mystify, Terrify, and Enchant”: Queer Nation and the Historiography of Queer Politics

“迷惑、恐吓与迷恋”：酷儿国家与酷儿政治史学

Vivek Tejuja's memoir So Now You Know: Growing up Gay in India is an honest, light-hearted yet heart-breaking tale of his experience growing up gay in India. Tejuja is a queer writer at Verve Magazine and the author of the blog The Hungry Reader. His articles include his experiences navigating his gay desire in the world of online dating and body image issues in the Indian cultural milieu. The memoir is a journey of sexual awakening of the author, his teen love for his best friend Deepak, tackling high school and his conservative family and his love for movies, music and art. It's a journey chronicling all the relationships that played a role in the author's rejections, isolation and eventual self-discovery. The incidents are situated in the 90s whereas the memoir was published in 2019, a year after the landmark judgement by the Supreme Court of India decriminalizing homosexuality. Yet the positive reception of the novel indicates its relevance in a twentieth century India that continues to marginalize homosexual identities.The memoir is an important work in bringing to the fore the physical and psychological violence of the Indian middle class heteronormative family on gay teens. But amid the growing queer literature in twentieth-century India, what sets Tejuja's memoir apart is its fresh and timely perspective on the influence of the Indian film industry in propagating homophobia and consequently on the author's life. Tejuja depicts a complex and layered intersectionality of Indian gay identities with modern visual popular culture. On one hand, it provides utopian alternatives to queer identities to embody diverse genders and find liberation yet on the other hand it presents queer identities through a heteropatriarchal gaze, proliferating false stereotypes.Thoroughly engaging with a swift pace and lucid language, the very first page of the memoir sets its premise and tone: 8 year old Tejuja is deeply enamored by a transgender character after watching Sadak (1991) and mimics them, twirling and dancing in front of his family. Instead of being entertained there is silence and his uncle violently hits him to let him know that behaving in a feminine manner when you are a man is wrong: "My uncle walked right up to me and slapped me. I couldn't even cry because of course you are raised with one rule: boys do not cry, no matter what. I hid my tears and decided never to perform again, to not sashay and walk, to not be who I was" (p. 15). Tejuja chronicles the constant policing of his gender nonconforming body and his sexuality from a heteronormative society and his own family and school comes to embody the state's homophobia and oppression of homosexual identities.It is in the dance and sensuality of Sridevi, a cult heroine, that a young Tejuja finds his sexual awakening and liberty to express him. He comes to terms with his gender nonconformity mimicking actress Hema Malini's attires and Sridevi's feminine sensuality. It was incidentally through Indian cinema that he and other children in his school discover the word gay. The author writes how movies like Mast Kalandar (1991) portrayed a gay man Pinku, as overtly feminine and sidekick to a macho cisheterosexual hero. Tejuja notes how characters such as these were made to lend humor and laughs to the audience. After the movie, Tejuja is bullied by being called Pinku, which quickly escalated to more offensive name-calling like "sissy," "pansy," and "faggot."Tejuja foregrounds how pop culture shapes young minds in the absence of sex and gender education in schools and families. Indian pop culture with shows like Dekh Bhai Dekh (1993) depicted gay men as flamboyant, with bright clothes and effeminacy. Tejuja writes about the adverse impact of such stereotypes on his own understanding of his sexuality; it led to self-policing where he tried to change his voice, mannerisms and appearance. Such an intersection of popular culture and gender expands the scope of Tejuja's memoir, and transcends its relevance beyond its time. From the ignorant portrayal of homosexuality in Dostana (2008) to the recent outrage of the queer community against movies like Laxmmi (2020) signify that the Indian Film Industry continues to be a primary influence in the perpetuation and misrepresentation of queer identities.Another deeply insightful and important aspect the memoir offers is the author's reflection of Indian cinema's impact gender roles and how marginal identities too end up imbibing them. In envisioning relationships, a young Tejuja considers himself to be the woman in the relationship as he wanted to be submissive in sexual intercourse and a nurturer—a role designated to women in Indian heteronormative culture and mimicked by popular culture. He later introspects how the heterosexual gender roles, the dichotomy of masculinity and femininity in appearance and behavior in the romance movies of director Yash Chopra, that pervaded Indian cinema in the 1990s and early 2000s, played a vital role in his binary understanding of gender roles in love and desire.Through the course of the memoir it's discovered that the violence on his body is not just physical but has emotional and psychological repercussions. He tries to watch straight porn and fall in love with his female friend in order to remedy his sexuality. He is bullied with homophobic slurs by his classmates and society and taken to a therapist as is the case with many queer individuals who come out to their families. The exclusion that gay identities face in India is poignantly foregrounded in the lack of support from his family, especially in the case of his mother, "There was a time when my mom knew everything about me and when I decided to tell her the most important thing of my life, we drifted apart (p. 99).However, the moments of kindness and acceptance by his sister offers an unforgettable hope to his readers amidst the pain and loneliness of being gay. He writes of secretly dressing like Sridevi one day and dancing in his room when his sister walks in on him but instead of the ridicule he expected, she joins him and in her own way lends him her acceptance. In the end of the memoir, what results is an inspiring narrative of self-discovery to self-acceptance, a continuous process of unlearning and relearning the harmful preconceptions of being a queer Indian man and finding the right people who will understand and support you.With the advent of technology coupled with globalization, visual culture has increasingly become an important tool in forging identities of minority genders beyond its present sociocultural setting to affect and inspire GLBTQ+ communities across the world. In similar vein, Tejuja's layered relationship with Indian cinema has global relevance; his memoir transcends the geocultural border of India and becomes reflective of GLBTQ+ identities worldwide who have struggled to find accurate representation and familial support. The memoir becomes a part of "queer worldmaking" in its simultaneous subversion and transformative potential of art, cinema and queer sexuality, instilling a sense of cross-cultural queer belonging and a shared hope for familial acceptance, inclusivity, and community.

Aratrika Bose

So Now You Know: Growing Up Gay in India

现在你明白了：在印度成长为同性恋

Abstract This article uses a duoethnographic approach to trouble the notions of queerness and Chineseness. Writing from two different social locations as transnational queer Chinese women based in the United States—one a Singaporean queer Chinese woman, another a Mainland queer Chinese woman—we critically interrogate and reflect on our life and fieldwork experiences at the intersection of race, gender, sexuality, nationality, age, and class. We focus on transregional differences as well as inter-Asian connectivity to decenter the dominant Euro-American framework of queer theory, which assumes a universal, white queer position. Centering difference, misunderstanding, struggle, and tension in our writing, we reflexively unravel the (un)intelligibility and (im)possibilities of queer Chinese womanhood to complicate the notions of queerness and Chineseness. Joining current conversations on queer Asia, we explore the notion of queer Chineseness as a heuristic tool and a space for queer imaginary.

Terrie Siang-Ting Wong

Shuzhen Huang

Differently Chinese, Differently Queer: Queer Chineseness as Heuristic and Transnational Queer Imaginary

不同的中国，不同的酷儿：作为启发性和跨国酷儿想象的酷儿中国性

During my time as a graduate student getting my master's in creative writing, I attended a great deal of workshops. The piece I was working on was a novella where the main character begins to question their sexuality and the plot deliberately does not provide a satisfactory resolution to that question. Throughout the workshops, my peers would insist that I needed to write a sex scene; they believed the story was so steeped in eroticism that to not have a sex scene would both alienate my readers and be a disservice to the novella. In the end, I conceded; yet, because the eroticism was fundamentally nonsexual in nature, the result was a scene that did not satisfy my classmates' lust or really feel like it belonged in the book. Unable to articulate the distinction between erotics and sexuality at the time, I could not explain why the scene did not feel right. Years later, after reading Ela Przybylo's Asexual Erotics, I can better understand the kind of forces that pressured those of us in the workshop to insert sexual activity where it was not wanted.Asexual Erotics: Intimate Readings of Compulsory Sexuality argues that the notion that the erotic is fundamentally a component of the sexual is a fallacious construction forced upon Queer individuals by post-Freudian heteronormative societal forces. Przybylo, by applying Adrienne Rich's iconic theory of compulsory heterosexuality to the asexual spectrum, exposes the Freudian notion that all things erotic and desirous are inherently sexual is a fallacy derived from Freud's work prior to the exploration of the Death Drive. The application of Audre Lorde's concept of the "superficially erotic" as means of destabilizing the "regime of sexuality" defines the orientation of asexuality as a queer and revolutionary force (22). Asexuality becomes, itself, a disruption to any status quo, normative ideologies and forces, including sublimation. Sex then becomes a component of the erotic, instead of the erotic acting as a component of sex. Rather than sublimating unfulfilled or unfulfillable sexual desires into more socially acceptable life activities, asexual erotics "involves transference of the erotic into various activities, sex included" (22). Anticipating her critics, Przybylo makes a significant rhetorical effort to distinguish between desexualization, nonsexuality, and asexuality. The purpose of putting in this effort illustrates to the reader that it is not, as many assume, a distinction without a difference and there is real value in performing these analyses without assuming sex is inherently bound to them.Pryzbylo's theory has a wide array of applications, as she displays throughout the book. In her first chapter, she explores the politically celibate as a means of resisting the patriarchal notion of compulsory sexuality. She provides a historical reading of these proto-social justice warriors as weaponizing nonsexuality to enact positive change. Her in-depth analysis of lesbian death bed scenes in chapter two utilizes Jack Halberstam's The Queer Art of Failure to connect asexuality as a replacement for failed lesbianism in conventional media productions. The third chapter explores the complex relationship between sexuality and childhood. Przybylo argues that asexuality is not something a child matures out of, but rather something they grow into. This point further illustrates that participation in normalized sexual culture is not a mark of maturation but of socialization. An examination of the spinster reveals a marginalization of asexuality by relying on ageist stereotypes in chapter four. Finally, in the epilogue, she explores an incident that occurred in Canada where a self-described "incel" committed vehicular homicide. A compelling argument is made that the ideology of the incel is dependent upon white privilege that erases agency and enforces a culture of anti-erotics quite distinct from the liberating empowerment that occurs when embracing asexual erotics. The impact of this final analysis highlights the differences Przybylo earlier emphasized between desexualization, nonsexuality, and asexuality. Much like Lee Edelman's No Future, it is difficult to simply dismiss Przybylo's work out of hand. To do so would not only ignore the robust argument she makes but also act as an affirmation of societal sexual bias that assumes sexual attraction is inherent to the human experience.The targeted reader for this text is as wide as the application. Although the language employed is academic, it is not overly so to the point that a linguistic barrier prevents those without PhDs from gaining anything from it. This follows in the tradition of several of the queer theorists she cites in the book in that disrupting the normative linguistic barriers arbitrarily put in place by academic culture is a fundamentally queer endeavor. Although some of the Freudian terms (e.g., sublimation, transference) would certainly require someone without an understanding of them to perhaps seek out additional information. But even without that knowledge, there is a wealth of material in the text that can easily be read and understood. Przybylo makes it a point to use both historical examples and contemporary ones. This has the effect of emphasizing to the reader that while her approach is novel, asexual erotics is not. Because of that emphasis, there is relevance within each chapter for people from all manner of backgrounds.Having read Asexual Erotics several times, I wonder how I might have handled that creative writing workshop differently along with many of the other events in my life where my asexuality, whether I was aware of it or not, was being marginalized. This self-reflective quality is perhaps one of the most important reasons to engage with this text as its theory not only empowers asexuals but is quite liberating for everyone. Asexual Erotics takes a monumental first step in reinforcing Asexual Studies' practical application within a variety of disciplines.

Keith Derrick

Asexual Erotics: Intimate Readings of Compulsory Sexuality

无性恋色情：强制性性行为的亲密解读

Gershun Avilez's Black Queer Freedom positions space as central to engagements of queer possibilities, freedom, and futures. With holistic review of queerness space, injury, and desire, Avilez theorizes about the multidimensionality of injuries experienced by and constituting queer living. Avilez operationalizes path to queer desires as methodic way of teaching, understanding, and responding to hegemonic articulations of normativity and theorizes space-making as strategic and necessary transformative act to counter heteronormative ideologies and assumptions of space. Avilez does these in two parts of four chapters where the body and its ownership—private and public—privacy and control are all complexly theorized. As Black Queer Studies scholar reading from both in-and-out of the West, Avilez's stylistic simplicity with diverse, yet reconcilable citations and critical lenses at viewing extra/ordinary daily experiences of bodies and institutionally sanctioned injuries and critical analyses of multimediated arts and artists stand out significantly. Here, I present chapter overviews and unpack Avilez's notions of space, injury, and desire in the bid to articulate theoretical implications about embodiment, spatialization, outsideness, and dynamics of desire fleshed out through Avilez's multidimensional approach to queer futures and worldmaking. I conclude with recognition of collective efforts both within and without minoritarian communities in resisting longstanding excesses of heteronormativity.With an introduction title "Freedom in Restrictions," Avilez explores the complexities of queer living in the experiences of the bounce artist, Big Freedia. Avilez pointed out that Big Freedia's artistic clout did not provide security against the incessant violence—both emotional and physical—that constitute being queer in contemporary US. The introduction examines how heteronormative/hegemonic ideologies react to any deviation from norms that have hitherto guaranteed their perspectival security. These reactions can often be violent yet still reproduce threats as if the victims are, one, victims of themselves and, two, the actual threat. Hence, one of the dominant group membership affordances are its ability to reproduce normativities that both physically and rhetorically construct victims of normative threats as the actual villains society must be weary of. Drawing from Avilez, Black queer living is a consistent and acute awareness to threats of injury that can be caused at any space because of the infinite nature of the threat loop. Avilez provides an avenue for readers to see both the limitless serialization of injuries on queer lives and, also, exposes the ingenuous heterosexist social construction of vulnerability that compares and totalizes minoritarian collective pains.By introducing Black queer analytical strategy, Avilez foregrounds a holistic approach to understanding the relationship among bodies, space, and pleasure, their contextual implications, the desires they bring, and the injuries they cause through media aggression, bullying, or denial. The injury-bound subject "is a spatial subject" (p. 7), however, to say "being injury-bound can create a longing to move away from injury" (p. 7) is to expose notions of (im)mobility at once, that while mobility creates a reactive movement to certain space, immobility creates spatio-temporal coping strategies that conceal queer desires. I subscribe to the idea, therefore, that "space is not self-evident, empty of meaning or homogenous." (9)In chapter 1, Avilez extends the injury-bound subject as one that must know its place in the iterations of Blackness, queerness, and the boundaries of desires. The nuance of queerness in social realms can neither be oversimplified nor deemphasized in Black discourses because of the injurious implications married with being queer in many locally demonstrable and often unprecedented terms. Better put, the streets do not also resemble orphanages for Black queer bodies, even as the private closet does. Among Black communities, heteronormative privileges are strategic, and they compromise, if not deny Queer agency. This positions spatial justice as significant philosophical and artistic project in theorizing, analyzing, performing, and revolutionizing injurious social realms. As a cismale transnational Black African reader, the multiple iterations of my body in space puts me, sometimes, right in front of injuries. It displaces and reconfigures the extent of my normativity but still affords me certain privileges in my embodied compliance to norms. In other words, my body, although injury-bound, still amasses his cis-privileges that, in most cases, complicates the spaces of queer embodiments. It brings bodies closer to injuries for many different reasons, including nonconformity and the assumed threat and anxiety that it throws at the faces of heteronormative gatekeepers. Heteronormative gatekeepers are bodies through whom injuries are justified: bodies whom in equal fights for justice, deemphasized queer struggles; bodies whose intersectional approaches are restrictive to race, economic relations, political affiliations, but gender and sexuality. To keep the gates is, therefore, not only about parading heteronormative monstrosities but also the slight denial of queer pleasure. This is the extent to which we can query selective desegregation ideologies.Chapter 2 explores the geographies of risks in migratory experiences and the multidimensional uncertainties of migration. This chapter centers the experiences of Hyacinth, a St. Lucian migrant in Canada and her experiences with a molesting and abusive employer. Migration constrains Hyacinth to the politically and economically sanctioned invasiveness of her employer. In the end, the Black body consistently contends with spaces marked by constraints on desires and agency, rife with enduring injuries. Migrant experiences are socially and politically sanctioned through rhetoric and policies that constitute how we see and talk about immigration in totality. Through threat of deportation, privileged bodies control (and have senses of ownership over) the migrant body. In queer life, migration extends the contrasting excesses of heteronormativity thereby constituting serial homophobic anxieties and persistent silences. Migration, almost permanently, throws migrant subjects in public with risks, mauling threats, and finding and protecting one's space at the center of queer living. At best, it is living in fear and enclosure to the private that is piercingly public. Not all movements are possible, the same movements do not always determine active placemaking. There is a need to think outside the West to center experiences of diverse queer bodies that are largely immobile due to conditions of space that are persistently oppressive, exposing them to threats and injuries associated with queerness. This is when the holistic project of navigating and centering queer freedom become possible.Chapter 3, "Uneven Vulnerability," explores institutionally sanctioned vulnerabilities—spaces in which movements are "necessarily limited" (p. 87). Through Poems from Prison, Black Heart 2, and Memoir: Delaware County Jail, issues around incarcerated hypervisibility was discussed primarily to articulate the dynamics of vulnerability, desires, threats, and constraints in enclosed spaces. The heats following Ronald Reagan's political strategies and notions of the inseparability of politics and morality brings back the subjective nuances of social gatekeeping that reinvigorates disdain towards queer interruptions. The fear circulated through failures of heteronormative social order that continues to revolve around the hypervisibilities entrenched in social order anxiety, overall, complicates and deviate from the norm, posing challenges to the secure existence of queer individuals.Chapter 4, "The Shadows of Institutions," sees diagnosis as tool for social exposure and explores medical institutions as spaces of visibility where medical authoritative excesses are extended beyond "physical parameters of treatment" (p. 119). Avilez notes that institutions are reflections of the social norms that create them, and their representatives reflect these realities and often mix it with their personal correctness potentials based on legitimized power and control. This chapter opens numerous conversations relating to how health-care systems are spaces of injuries and risks that threatens queer lives mostly because of the ways they reflect normative ideas of society.Overall, Black Queer Freedom borrows from reach art traditions and successful artistic works to theorize about space, place, injuries, risks, movements, and nuances of being Black in contemporary society. Black Queer Freedom puts queer worldmaking at the center, employing a more intersectional, analytic lens into the discourses about minoritarian identities. It is a hugely recommended text for scholars interested in Black queer living, multimodality, movement, and theorizations of space, and intersectional being.

Tomide Oloruntobi

Black Queer Freedom: Spaces of Injury and Paths of Desires

黑色酷儿自由：伤害的空间与欲望的路径

This is the first book that focuses on the LGBTQ community in China. Through the analysis of Chinese television series, television programs, and fan phenomena after 2010, the author presents a not very white, Chinese-inspired perspective on queer identities in China or in Chinese contexts through multiple perspectives (local, international, and transregional), and points out some of the ambiguous and generalized concepts that exist in the media performances. Zhao defined and explained the blurry concepts and boundaries of gender or sexual orientation exist in the media. In addition, Zhao analyzes the representation and redistribution of queer identity in the media, arguing that politics, gender binary, toxic patriarchy, and cultural complexity are among the reasons for the slow and difficult progress of LGBTQ's visibility and acceptability in mainland China. Zhao also indicates that queer romantic relationships often need to be transformed or artificially modified, or placed within an imaginary utopia, in order to avoid censorship and to obtain permission to broadcast.The first three chapters of the book examine the queer images of celebrities with antiphysical gender and homosexual intimacy (where antiphysical gender means that the celebrity presents a gender identity that contrasts with the individual's physical gender) and the reasons why these images may arise. In the introduction, the author states that all resistance conceals a definition of mainstream (binary) gender and "unconventional desires" (37). Chapter 1 focuses on feminism in the post-2010 period by elaborating and analyzing the characteristics of existing feminism in China through tomboyism (a specific expression that refers to young women with masculine characteristics), and pointing out its impact on the existing heteronormativity system and gender diversity in China, as well as the multiple pressures and compromises it must face as a nontraditional performance. Chapter 2 explores the contemporary media representations and presentations of queerness, mainly female queerness, as reflected in female-oriented TV shows and the fan effects they generate, as well as the conflicts and differences between fan rhetorical forms related to women and established/traditional cultures in the context of fanaticism. Zhao states the popularity of female characters who are presented and portrayed in the media with mature femininity and strong personalities, and female queer characters who are popular but not free from the traditional patriarchal and consumerist aesthetic expectations of femininity rooted in the characters, and the marginalized nature of the identity itself (102-4). Chapter 3 discovers how a TV show that sells masculinity and the male body reimagines/subverts, shifts, and reconfigures masculinity in a way that avoids the binary, and how heterogeneous masculinity causes anxiety about "tradition," which reinforcing policy regulation and educational reform on the topic.The next three chapters discuss media regulation of the production, viewing, and censorship strategies of homosexual subjects, and the complexities involved by different regions/spaces, cultures, and networks in their dissemination. Chapter 4 uses a short-lived TV serie that was shelved to further elaborate on the Chinese government's media sensitivity and censorship of homosexuality and the ways in which traditional patriarchy's resistance to homosexuality. It discusses the monolithic nature of desire (i.e., it can only exist between heterosexuals), the public behavior of homosexuality needs to take place in utopic or transforms into kinship, and how homosexuality and related topics create threat and anxiety for heterosexuality. Chapter 5 looks at how a drama concerning homosexuality that is popular among female audience was treated "harmless" to achieve a commercial and political win–win. The author also mentions the strong controversy and serious consequences of a secondary fan creation that feminized one of the two lead actors in a cultural creation (185). The above two chapters share a certain commonality focusing on the suppression and attempted regulation of homosexual desire in government oversight and media creation. Chapter 6 focuses on the temporal and spatial differences between mainland China, Hong Kong, and Taiwan about gay and lesbian films and television.Chapter 7 analyzes how two singers who were labeled as "not masculine" and "possibly gay" dealt with such labeling, stigma, and marginalization as individuals, and analyzed how they reconstruct their identities and pass the censorship in the pink economy. The separation of identity and voice has turned the two singers into amusement parks for the media or the audience to meet the expectation or curiosity of marginalized homosexual community. Singers personal identity and will are diluted but only with labeled features. Zhao mentions popular culture provides a new space for subcultures and minorities, not only a space to show themselves and express themselves, but also a place to destigmatize and resist tradition (292). Chapter 8 shows how nonnormative identities about homosexuality are molded and shaped by the media and stereotyped ideologies that are one-sided, incomplete, even wrong, and how their images and representations are constrained in cultural dynamics. When sissy becomes a commercial selling point, the subject and expression of homosexuality is a selling point, which has economic value and a small amount of cultural value, but does not have the ability to affect the existing gender system. Zhao argues it reflects the audience's potential expectations for gender and freedom (285). Chapter 9 is a bit special; it focuses on the mother fans (the mental and behavior of fans are primarily similar to the state of the mother for the child, worrying or caring about the mental or physical status of the actors or idols, and hoping to provide them with the best) of a Thai actor named Suppapong Udomkaewkanjana (also known as Saintsup), and the gay couple he play. These fans get the resistance and patriarchy they need through the actor or the role played by the actor. Zhao states the diverse masculinity, and the unconditional approval of mother fans "challenges the supposedly immutable mother identity with its fluid and multiple identifying positions and its conditional unconditional love" (320).Overall, this book provides a unique perspective and experience for caring about China or LGBTQ groups in the Chinese context. Zhao emphasizes the particularity and uniqueness of the identity of Chinese queer and its background, as well as the necessity of being unable to unify with queer in Western contexts and concepts fully. It also presents how the LGBTQ community, as an invisible and marginalized group negotiates with patriarchy, power, and stereotypes. At the same time, it has the problem of not clearly explaining some concepts unique to Chinese context and culture, which may be difficult for readers who lack Chinese cultural background. For Western scholars of LGBTQ, this book brings a different perspective and insight into how LGBTQ people and their identities survive, negotiate, and develop in non-Western worlds. This unique perspective enriches the diversity of existing LGBTQ research and brings the invisible or hardly visible group to the stage.

Ruoning Xia

Queer TV China: Televisual and Fannish Imaginaries of Gender, Sexuality, and Chineseness

酷儿电视中国：性别、性取向与中国性的电视与粉丝想象

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Journal Impact	0.65
国际分区	SOCIAL ISSUES(Q3)

涉及主题	社会学心理学性别研究政治学精神分析法学艺术奇怪的哲学历史计算机科学生物
出版信息	出版商: Michigan State University Press，出版周期: ，期刊类型: journal，开源期刊: 否
基本数据	创刊年份: 2019，原创研究文献占比: 100.00%，自引率:0.00%， Gold OA占比: 0.00%

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