The long-awaited second instalment in Samantha Shannon's Sunday Times and New York Times-bestselling series Tunuva Melim is a sister of the Priory. He speaks back to Edelman and Bersani in important and I think constructive ways, and his analysis of different artists and performers just sweeps me up and away into those utopic spaces. For fifty years, she has trained to slay wyrms - but none have appeared since the Nameless One, and the younger generation.

It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist. The idea that gay men who want the ability to get married (or as Muñoz puts it, 'participate in the problematic institution of marriage') are somehow regressive for fighting for that right is absolutely ludicrous. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Brilliant, extraordinary, and necessary, Muñoz’s critical refusal of queer pragmatism, his commitment to the utopian force of the radical attempt―the radical aesthetic, erotic, and philosophical experiment―is indispensable in an historical moment characterized by political surrender and intellectual timidity passing itself off as boldness. We have never been queer, yet queerness exists for us as an ideality that can be distilled from the past and used to imagine a future.

it helped also to think about Louis Gluck's Eros the Bittersweet; which was sort of about knowledge+love, and how knowledge+love is an action of reaching towards something perfect but not attaining it perfectly, just reaching all the time. I often found myself flabbergasted by supposed proofs and connections Munoz declared, while having done next to no engagement or close-reading with the materials at hand. The million copy bestseller, A Little Life by Hanya Yanagihara, is an immensely powerful and heartbreaking novel of brotherly love and. Crucially, he insists that within queer utopia, hope is in a dialectical tension with its opposite, disappointment; one cannot exist without the other. Ultimately it's beside his point—which is to sketch a broad-strokes framework for utopian thinking/feeling in queer studies—but coming from an art historical background I wanted more historical and material consideration from his analysis of non-ephemeral art.

Casting his vision of a radical gay aesthetic through the prisms of literature, photography and performance, the author dismisses commonplace concerns like same-sex marriage as desires for ‘mere inclusion’ in a ‘corrupt’ mainstream. A 10th anniversary edition of this field defining work-an intellectual inspiration for a generation of LGBTQ scholars Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present.Muñoz allows his movement through the archive to be directed by something more relational and associative than mere chronology.

the starting position of expressing out against de-fanged gay liberal marriage-equality-ass assimilationism is fine, and the joy and feelings-of-power in counterculturalism or in sort of subliminally registering that a different world is possible is also fine, but there aren't any Results in this book.

Refusing to simply sign on to the ‘anti-relational,’ anti-future brand of queer theory espoused by Edelman, Bersani and others, Muñoz insists that for some queers, particularly for queers of color, hope is something one cannot afford to lose and for them giving up on futurity is not an option. it doesn't work the same with two men, as in there is not the same potential for sex-based exploitation. His works include Disidentifications: Queers of Color and the Performance of Politics (1999), Cruising Utopia: The Then and There of Queer Futurity (2009), as well as the forthcoming The Sense of Brown . In No Future, Edelman argues that if queer people have been positioned in opposition to the ‘reproductive futurity’ of heterosexuality, they should abandon the future altogether in favour of a more nihilistic, radical engagement with the present. Like the way mainstream horror novels are often bluntly conservative in the way they paint otherness as a black/white binary, "dystopian literature" often creates a similar binary.