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PubMed1992

"Man's words" and manly comradeship: language, politics, and homosexuality in Walt Whitman's works.

Critical assessments of Walt Whitman's works either emphasize his sexual themes while ignoring his political ideas or they focus on the poet's politics but ignore his poetics of corporeality. Recent studies that do discuss both politics and sexuality in Whitman's works do not devote much attention if any to the poet's theory of language as it appears in his An American Primer. This essay explores the complex intersections among sexuality, politics, and language in Whitman's works, illustrating how the poet consistently correlated his linguistic, sexual, and political metaphors, constantly relating the health and the sexual potency of the male body with the power of language, the efficacy of literature, and the strength of the states in the United States. Underlying these multiple metaphors and poetic intentions is the poet's homosexual vision. It constitutes the basis of his linguistic theory, his hope of an ideal democratic union, and his plea for sexual equality. To Whitman, America needed male-to-male friendships to free it from materialistic vulgarities and to ensure its perpetuation.

Gender Identity↗
PubMed1999

The "we of me": Carson McCullers as lesbian novelist.

Although Carson McCullers camouflaged her love for women in her fiction, gay and lesbian themes are inarguably present in her work. The loneliness that her characters face takes on allegorical intensity, and it is even more potent due to her own sexual confusion and alienation. Married twice to the same man and falling in love repeatedly with both women and men, McCullers wrestled with bisexuality throughout her personal and literary life. Her deepest attachments were to her husband Reeves McCullers; David Diamond, a musician-composer in love with both McCullers and her husband; and Anne-marie Clarac-Schwarzenbach, a Swiss writer. All three of these love interests required that McCullers deal with complicated and ultimately destructive triangles. Given that fact, it is no surprise that she created fictional worlds peopled with characters engaged in three-way relationships. In her novels, Mick (The Heart Is a Lonely Hunter), Frankie (The Member of the Wedding), Miss Amelia (The Ballad of the Sad Cafe) and Weldon Penderton (Reflections in a Golden Eye) also reflect the author's sexual ambivalence and inability to fit into the prescribed social structures of the South.

Bisexuality↗