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• W2497576710 abstract "Forty years after the demise of the genre, lesbian pulp fiction seems both funny and sad. In part, the novels seem funny because of their outrageous melodrama; and sad because the women who wrote the most popular lesbian pulp novels of the fifties and early sixties were always under pressure to remember that, officially, they were writing for a male readership, who would best appreciate stories that would ultimately either punish lesbian characters (with suicide or insanity), or “reform” them (with men for sexual partners). But the ambivalence about the novels extends to its latter-day readers: as lesbian pulp gets claimed as US queer “heritage,” it turns out to be hard to say what exactly is being claimed—is it the novels’ production, or their consumption? Is it the courage it took to have written such novels in the McCarthy era, or the camp pleasure we feel, reading them now, that we can recycle earlier forms of pain at an ironic distance? Another way of putting this ambivalence is to say that, in most readings of lesbian pulp fiction today, two theories of US queer history are at work, each animating a particular kind of historical affect—a feeling about history, and a feeling generated by it—and each making a different claim on our understanding of the last half-century. Both approaches to the pulps take for granted that things are better now than they used to be; but they see the relationship between the homosexual past and the lesbian, gay, queer present in slightly different terms. In one reading, the melodrama of the pulps, their failure to depict longterm monogamous relationships, all the self-hatred they wallow in—all this has been transcended but must be respectfully memorialized. In the second reading, the pulps are worth calling heritage because they lead, pretty directly, to the door of a contemporary sex-positive queer politics. One reading assumes that the McCarthy era is a kind of cul-de-sac off the road to liberation; the other sees it as an on-ramp. One reading focuses on the anguish of the break-up scenes, or the alcoholism of the characters; the other focuses on the sex scenes." @default.
• W2497576710 created "2016-08-23" @default.
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• W2497576710 date "2001-10-08" @default.
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• W2497576710 title "THE AMBIVALENCE OF LESBIAN PULP FICTION" @default.
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• W2497576710 doi "https://doi.org/10.2307/j.ctv120qt4d.8" @default.
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