Within certain conservative narratives imposed upon the events of 2005, New Orleans has been demonized as a site promoting gay licentiousness and therefore meriting divine retribution. In queer narratives, New Orleans has been valorized as promoting that same licentiousness but lamented for having those hedonistic excesses tempered by the widespread destruction of the city. Especially in the latter scenario, there is a significant degree of nostalgia, an element that also marks other queer understandings of the city that focus not so much on the hedonism as on the day-to-day warp and woof of pre-hurricane gay communities. The main focus of this essay is on how, as gay communities have been reconfigured in the aftermath of the hurricane by temporary and permanent evacuations, job relocations, and other alterations, gay responses have continued to evince a range of emotions, including anger, bitterness, resignation, and optimism. This essay focusses on gay literary production responding directly to the hurricane to examine essays and poems published as Love, Bourbon Street: Reflections of New Orleans (2006) and Blanche Survives Katrina in FEMA Trailer Named Desire, Mark Sam Rosenthal's off-Broadway show structured around a parody of Tennessee Williams's A Streetcar Named Desire that, as a result of this structure, faced legal action instigated by the University of the South, owner of the intellectual rights to Williams's literary production. The collection and the play are sustained queer responses to Katrina's flooding of the city that showcase both the energizing and problematic aspects of these responses.
Interpretation on Social Origin of Southern-American Women’s Tragic Fate in A Streetcar Named Desire
