Download PDF by Christopher Bram: Anges batailleurs : Les écrivains gays en Amérique, de

By Christopher Bram

ISBN-10: 2246801001

ISBN-13: 9782246801009

« La révolution homosexual fut d’abord et avant tout une révolution littéraire. » Au lendemain de l. a. Seconde Guerre mondiale, une nouvelle génération d’écrivains américains s’est imposée. Leurs noms ? Truman Capote, Gore Vidal, Tennessee Williams, James Baldwin, Allen Ginsberg ou encore, plus près de nous, Christopher Isherwood, Edmund White, Tony Kushner, Armistead Maupin.

Point commun de tous ces écrivains, outre l’insolence de leur talent ? Leur homosexualité – cachée pour les uns, revendiquée pour les autres, envers et contre toutes les discriminations. Du mouvement des droits civiques à l’apparition du sida, loin des cortèges de manifestants et sans jamais avoir fait école ni sacrifié à l’esprit de chapelle, c’est par leurs œuvres que ces « anges batailleurs » ont brisé les préjugés et ouvert los angeles voie à une modernité littéraire, politique et sociale aujourd’hui encore bousculée. Dans cet essai émaillé d’anecdotes et de pictures passionnants, Christopher Bram nous invite à découvrir ou à relire quelques-uns des plus grands auteurs américains sous un jour inédit. Preuve que los angeles littérature est toujours à l’avant-garde.

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Additional info for Anges batailleurs : Les écrivains gays en Amérique, de Tennessee Williams à Armistead Maupin

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He uses this lugubrious scenario to explore the condition of a modern marriage in which the threat of ultimate separation by death is 36 The Cambridge Introduction to the Short Story in English distorted by the couple’s already being profoundly distant from one another on so many points in life. The story contains very little action and nothing by way of a peripeteia or revelatory conclusion – indeed, it breaks off abruptly while the couple are in mid-conversation. Instead, Crackanthorpe focuses on Daisy’s irritation at the homosocial conspiracy of silence her husband and her male physician perpetrate against her, and on her search for an authentic discourse with which to account for her own death.

He didn’t recognize the ending as an ending, or the story as complete in itself. He told Mansfield as much. She was bemused. ‘I put my all into that story,’ she wrote to a friend, ‘and hardly anyone saw what I was getting at . . ’1 Was Hardy missing something? Up to a point he was. But then so too, we might say, was Mansfield’s story. Elliptical and wilfully enigmatic, ‘The Daughters of the Late Colonel’ is a superlative example of the ‘plotless’ short story, which, as we have just seen, was now firmly aligned with ‘literary’ or avantgarde writing and cultural values in Britain.

One does not know that the operation has been performed, but everyone feels the effect. Note, though, that the excised stuff must have been honestly written for inclusion. 4 Some years later, Ernest Hemingway would offer an almost identical formulation of his own short story technique. , positively disruptive, quality; the act of excising makes for a creative strengthening of the narrative. It is an insight that the modernists, Hemingway among them, would pursue to ever more adventurous ends. Given Kipling’s sensitivity to the aesthetics of narrative fiction, it is all the more curious that successive generations of critics should have been so determined to exclude him from the mainstream modernist canon.

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Anges batailleurs : Les écrivains gays en Amérique, de Tennessee Williams à Armistead Maupin by Christopher Bram


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