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- W2500128870 abstract "Genet’s homosocial communities are hothouses of longing and desire. In Miracle de la rose, where ‘toute la Centrale etait amoureuse’ (MR 46) [‘the whole prison was in love’ (MR[E] 36)], the cells reverberate with desires that cannot be expressed and relationships that cannot be acknowledged. Severely restricted from contact with one another by both the architecture and the regulations of the penal space, the inmates’ bodies give silent expression to that which cannot be communicated: ‘les detenus modelent l’air de leurs contorsions, leurs gestes, leurs appels, leurs cris ou modulations, leur chant de lamentin, les mouvements silencieux de leur bouche; ils le torturent et sculptent la douleur’ (MR 78) [‘the convicts modelled the air with their contortions, gestures, calls, their cries and modulations, their sea-cow lamentation, the silent movements of their mouths; they torture the air and sculpt the pain (MR[E] 62; translation modified)]. The intense isolation and sexual loneliness felt by such men is an important focus of Genet s narratives. Locked in solitary con- finement, the narrator of Notre-Dame-des-Fleurs cries out to his absent lovers: ‘ma verge dure s’est prise dans mon calecon. Mignon! Divine! Et je suis seul ici’ (50). [‘My stiff penis is caught in my underpants.... Darling! Divine! And I am alone here’ (OLF 82)]. The constrained erection, like the futile call to a lover who cannot hear it, is an image of frustrated desire in Genet’s novels." @default.
- W2500128870 created "2016-08-23" @default.
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- W2500128870 date "2009-01-01" @default.
- W2500128870 modified "2023-09-25" @default.
- W2500128870 title "Un Chant d’amour : Homoeroticism and the Closet of Language" @default.
- W2500128870 doi "https://doi.org/10.1057/9780230271739_3" @default.
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