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Riggs experienced this in San Francisco, California within the Castro District, in which he states, "I was immersed in vanilla" and witnessed the absence of the black gay image. They are excluded from gay communities because these communities are white-centered and fail to understand the intersecting identities of race and sexuality. Riggs brings awareness to the issues black gay men face. The "silence" referred to throughout the film is that of black gay men, who are unable to express themselves because of the prejudices of white and black heterosexual society, as well as the white gay society. She also points out that the 20 books she wrote before Let the Record Show-many of which were novels with lesbian characters-were uniformly rejected from mainstream presses.The film blends documentary footage with personal account and poetry in an attempt to depict the specificity of black gay identity.
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“Gay male fiction has always been and will always be integrated into American Letters,” says Schulman, observing that in the Lambda Literary Awards, most nominated books by men are published by mainstream presses, while those by cis women and trans people are often from smaller presses. Schulman agrees, noting a dearth of support for lesbian writers in particular. It’s not enough that you buy an uncompromising gay book, it’s that you give that writer enough money to exist.”
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I think a ‘golden era’ is about work that’s uncompromising, but also work that the industry is throwing its weight behind. “I’d be really interested to know what advances many of these queer authors are actually getting. “She could see all of that because she’d been there herself.”Īs for what still needs to change in publishing, “money speaks,” Machado says, citing the huge discrepancies in advances between writers of similar types of books, sometimes within the same publishing house. “Because of my class and my race and the intersections there, I didn’t believe I could be a full-time writer,” he says. Eventually, he met an editor who was also queer and of Jamaican heritage. He recalls reading Publisher’s Weekly, looking for a potential publisher and thinking all of the editors looked the same-not like him. Mendez, meanwhile, credits the idea of a golden era to the gradual diversification of the publishing industry internally. they’re looking at what their friends are posting.” “My queer friends aren’t reading the WSJ’s ‘What to Read’ column. However, “everyone from designer Telfar to actor Bowen Yang posted about it,” says Howard. Purnell’s 100 Boyfriends is another book that thrived on word-of-mouth buzz: The book was barely reviewed until the hype prompted attention from critics. publisher she approached before going on to sell more than 40,000 copies. Schulman credits social media with the success of her book Conflict Is Not Abuse, which was rejected by every U.S. If there was a time when book sales relied on white, old, cis, middle-class reviewers at broadsheets to get them the press they needed, that is no longer necessarily the case. (For context: the book mentions a dildo.)Īs well as a widening readership, social media has played a big role in the explosion of queer literature, giving books a chance to “defeat the gatekeepers,” in Schulman’s words. Author Carmen Maria Machado’s Into The Dream House, a bestselling experimental memoir about an abusive queer relationship, has been banned from multiple schools in Texas-at one, a parent brought a dildo to a school board meeting in protest. Indeed, across the U.S., queer books are being banned amidst a wave of anti-LGBTQ+ censorship laws, epitomized by the recent passing of the “Don’t Say Gay Bill” in Florida. “ Everything is more conservative in the United States right now, so the idea that something progressive is happening in corporate publishing is absurd, given the national tenor.” “You’re making a very big mistake,” says lesbian writer Sarah Schulman when I suggest it. To say we are in a golden era of queer publishing is a controversial assertion.
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They haven’t had as much support or crossover as they have now.” “But if you look at canonical queer fiction writers, many had to fight and bounce around the underground. “Queer writers have always been there, brave and unapologetic,” says Jackson Howard, a young, queer editor representing an impressive roster of LGBTQ+ writers at the publishing house Farrar, Straus & Giroux.