JESUS ACTED UP

A GAY AND LESBIAN MANIFESTO

Former Jesuit priest Goss (an executive headhunter who's also a gay activist with a doctorate in comparative religion) starts this combative study by asking how gays and lesbians can be Christians. After explaining that Christ was ``queer,'' he concludes that gays and lesbians may be the only true Christians, and exhorts them to reclaim their Church. Drawing on the aggressive rhetoric of Act-Up and Queer Nation, the subtle logic of traditional Catholic theology, and the intellectual paradigms of Foucault, Goss creates out of ``subjugated knowledges'' a liberation theology—one that denies the universality and global theories of the institutional Church in favor of contextual theories, an ``inclusionary theology'' based on sociological, cultural, and historical change. Historically, the Church, the military, the legal system, and the medical profession stigmatized ``queers'' (Goss's word) as pathological, sinful, and deviant—and queers, the author says, responded with inhibition, shame, and internalized homophobia of their own, until the civil- rights movement, the women's movement, and the Stonewall Riots of 1969 helped empower them. Goss offers a ``transgressive'' theology to express the new gay freedom, proposing a Christ who manifests the erotic rather than denying it, who ``came out of the closet'' and became ``actively queer'' by his solidarity with the oppressed. Such theology requires a radical rereading of the Bible, of course- -a rejection of what Goss calls the ``Biblical terrorism'' that condemned homosexuality (a term Goss avoids because of its supposed ``medical'' connotations), identifying it with the heretical. Rather than exhorting gays to leave the Church, Goss calls for a reworking of Christian rituals such as baptism and the Eucharist to make them more relevant and inclusive, sacramentalizing ``queer'' experience. Identifying God with erotic power—with pleasure rather than denial—he envisions same-sex marriages, a queer clergy, and the assimilation of primitive religious concepts such as shamanism. Bold, wide-ranging, cerebral, cryptic (``God is HIV positive''), and utopian—with the charm of both prophecy and outrageousness.

Pub Date: July 1, 1993

ISBN: 0-06-063318-2

Page Count: 256

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 1993

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IN MY PLACE

From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)

Pub Date: Nov. 1, 1992

ISBN: 0-374-17563-2

Page Count: 192

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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