Download Backward Glances: Cruising Queer Streets in London and New by Mark W. Turner PDF

By Mark W. Turner

Backward Glances is an exploration of the background of male road cruising. Too usually in discussions of city area and interpretations of city tradition, streetwalking implies a inflexible version for a way we inhabit the streets. starting with the straightforward premise that all of us stroll the streets another way, Mark Turner means that male cruising operates via stumble upon and connection instead of alienation, and that it's the defining event of what it capacity to be modern.

Backward Glances is the 1st homosexual city heritage of its type, reading those matters throughout a number of cultural fabric, together with novels, poems, pornography, journalism, homosexual publications, work, the net, and fragments of writing concerning the urban resembling Whitman's notebooks and David Hockney's graffiti. It offers a brand new method of knowing what it skill for a guy to stroll the streets of the fashionable Western city.

Backward Glances is aimed toward all these drawn to the tradition of the town, queer cultural heritage and the appropriation of public space.

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Extra resources for Backward Glances: Cruising Queer Streets in London and New York

Sample text

Firstly, there is the sexual geography of the West End – particularly linked to prostitution of all sorts in Regent Street and Haymarket10 – that suggests an economy of sexual exchange, which locates the two men in a specific context of sexual ambiguity and fluidity. The streets of the West End are uncertain places with overlapping meanings linked to entertainment, commerce, leisure and domesticity, and Jack Saul lived just above Leicester Square in Lisle Street (still a fluid street today combining queer and other cultures).

New interpretations of the flâneur have varied, but not all have been as radical in their implications as some of those mentioned above. In a recent study of representations of London in the first half of the nineteenth century, Dana Arnold adopts the line that the male flâneur had a counterpart in the female flâneuse and that more or less all of the emerging metropolitan bourgeoisie were either one or the other: The emergence of a new bourgeois metropolitan personality which found expression in the architecture and street life of London – especially the West End – means the concept of the flaneur/euse is an effective way of examining the social and cultural modernity of the metropolis.

I have said that this opening scene is obvious enough in its representation of cruising, and a number of signifiers help us to interpret the encounter. Firstly, there is the sexual geography of the West End – particularly linked to prostitution of all sorts in Regent Street and Haymarket10 – that suggests an economy of sexual exchange, which locates the two men in a specific context of sexual ambiguity and fluidity. The streets of the West End are uncertain places with overlapping meanings linked to entertainment, commerce, leisure and domesticity, and Jack Saul lived just above Leicester Square in Lisle Street (still a fluid street today combining queer and other cultures).

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