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

By Christopher Bram

« La révolution homosexual fut d’abord et avant tout une révolution littéraire. » Au lendemain de los angeles 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 photographs passionnants, Christopher Bram nous invite à découvrir ou à relire quelques-uns des plus grands auteurs américains sous un jour inédit. Preuve que l. a. littérature est toujours à l’avant-garde.

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In the fields that will become the “Flanders Fields” of World War I), while most of the novel’s future-trusting protagonists are unaware of the catastrophes we as readers know are still to come. As one of these messengers of future doom reports: We are here among you as seekers of refuge from our present—your future— a time of worldwide famine, exhausted fuel supplies, terminal poverty—the end of capitalistic experiment. Once we came to understand the simple thermodynamic truth that Earth’s resources were limited, in fact soon to run out, the whole capitalist illusion fell to pieces.

Besides being a nearly ideal synthesis of the Two Cultures, science fiction also happens to have been one of the principal refuges, in our time, for those of Luddite persuasion. (40) He also describes genre writing as a ghettoized form of literature, judged not Serious enough and confined to its own part of town. It is not the only neighborhood in the great City of Literature so, let us say, closely defined. In westerns, the good people always win. In romance novels, love conquers all. In whodunits, murder, being a pretext for a logical puzzle, is hardly ever an irrational act.

The lines they form issue from a sequence of events or moments, switch-points, forks in the road (a recurring metaphor in Pynchon), so that turns and alternative directions are always possible, if not always taken. Characters follow (and in a sense are) vectors of the various desires that form their life- and plot-lines, that move (and often shift) them into different directions of space or time, or into different manners of fulfillment—paths that sometimes converge, sometimes cross, and sometimes run parallel with each other: “‘one might imagine a giant railway depot, with thousands of gates disposed radially in all dimensions, leading to tracks of departure to all manner of alternate Histories’” (AtD 682).

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