“Just a Couple of Queer Fish”: The Queer Possibilities of Rita Mae Brown’s Rubyfruit Jungle

Rita Mae Brown’s Rubyfruit Jungle (1973) is a foundational work of lesbian literature and has been characterized as a queer text. This essay begins with resistance to reading the novel as a wholly celebratory queer text because of how it positions a form of essentialized lesbianism against queer sexualities that are coded as deviant and abnormal. Nonetheless, Rubyfruit Jungle brims with queer narratives, queer scenes, and queer characters. In the essay’s second half, I draw on Eve Kosofsky Sedgwick’s model of reparative reading to engage with potential queer readings the novel affords. I show how readers can recuperate the queer sexualities the novel documents in ways that the novel – with its specific historical and political positionality – did not or could not account for.

Anachronism in Croatian lesbian literature

Although queer literature can fit into common timelines of the history of literature, this essay discusses ways in which Croatian lesbian fiction challenges and sabotages such attempts. It combines interpretations of fin-de-siècle early lesbian writing (novels the Widow by Josip Eugen Tomić and the Passion by David Pijade) with those of contemporary texts. As for recently published texts, the essay analyzes short story collection Posudi mi smajl (Lend Me Your Smile) and novel Do isteka zaliha (Until the Supplies Run Out) by Nora Verde, the short story "Vrata Pakla" ("the Gates of Hell") by Ružica Gašperov and the postmodernist short story collection Moja ti (My You) by Jasna Jasna Žmak, in order to show that foreign model should not be uncritically applied to Croatian literature. These texts were published almost simultaneously, which prevents a simple understanding of Croatian lesbian fiction as developing from suffering and secrecy towards affirmation and open displays of identity. Also, the authors appropriate and reinterpret older genre models - in the essay, I show that the timeline of Croatian lesbian fiction is a queer (nonnormative) timeline. Like the coherent chronology, coherent identity also comes under question: Žmak destabilizes it through her postmodernist textuality. The authors of Croatian women's prose treat lesbian relationships as parts of female self-actualization narratives. This shows that Croatian lesbian (and, more generally, queer) literature cannot be reduced to gay and lesbian confessions targeting a similar audience.

Latina Lesbian Literature

Chicana lesbian literary critics and authors Alicia Gaspar de Alba and Catrióna Rueda Esquibel established that Chicana and Latina lesbian and queer writings trace back to the conquest of the Americas, be it through the Chicana lesbian feminists’ rewriting of La Malinche (Malintzin Tenepal) or by the reimagining of Sor Juana Inés de la Cruz (Juana Inés Ramírez de Asbaje) as a lesbian. Nevertheless, contemporary Latina lesbian literature in the United States has concentrated primarily on the writings by and about Latina queer women since the early 1980s. These queer Latina letters highlight the impact that women like Sor Juana and Malinche had on the reconfigurations of Latina queer and ethnic identities. To ascertain their empowerment, these Latina writers and artists drew from their personal histories and creativity as activists and survivors in patriarchal and heteronormative societies while maintaining their ethnic, cultural, sexual, and political connections across states, countries, and continents as third world feminists of color. In particular, much of the field of Chicana and Latina feminisms, which emphasize the intersections of race/ethnicity, class, gender, and sexuality, begins in 1981 with the publication of the foundational text This Bridge Called my Back: Writings by Radical Women of Color, edited by Cherríe Moraga and Gloria Anzaldúa. Similarly, in 1987, with the publication of Compañeras: Latina Lesbians, Juanita Ramos initiated the transnational connections between lesbians of Latin American descent living in the United States. Carla Trujillo, influenced by Compañeras and Bridge, published Chicana Lesbians: The Girls Our Mothers Warned Us About in 1991, offering the first collection of writings and visual art by Chicana queers. Ever pushing the boundaries, the anthologies by Lourdes Torres and Inmaculada Pertusa’s Tortilleras: Hispanic and U.S. Latina Lesbian Expression (2003) and the forthcoming Jota (2020), edited by T. Jackie Cuevas, Anel Flores, Candance López, and Rita E. Urquijo-Ruiz, express assertive titles as both offer unapologetic reclamations of controversial labels for queer Latina/Latinx identities through literary criticism, creative writings, and art. These four anthologies present much of the work by authors and performance artists who have published or will publish their individual monographs, novels, texts, graphic novels, short story collections, and plays. In 2015, the journal Sinister Wisdom dedicated an entire issue to “Out Latina Lesbians” that convened over fifty writers and visual artists in the United States. Given their liminality within their respective milieus (primarily, but not exclusively) as women, gender non-conforming individuals, queers, often from working class backgrounds, and with an ethnic or cultural connection to indigeneity, Chicana and Latina lesbians and queers established their own literary and artistic canons. Their rebellious acts have challenged Eurocentric and heteronormative spaces, as individuals and collectives often assume multiple roles as teachers, writers, artists, literary critics, editors, and, in some instances, owners of their own presses.

LETRAS LENCHAS: HACIA UN RECORRIDO HISTÓRICO DE LA LITERATURA LÉSBICA EN MÉXICO

El discurso homoerótico en México se ha forjado en el último siglo a través de manifestaciones artísticas y medios de comunicación; en esta formulación, la literatura, a partir de los años ochenta, ha jugado un papel determinante para darle voz a aquellos que, gracias al discurso oficial, han sido silenciados. La lesboliteratura encontró en el siglo XIX, principios y mediados del XX, un espacio silenciado por prejuicios sociales, doble moral y rechazo inminente de la población que consideraba al no heterosexual como enfermo, rarito o desviado. Fue hasta los años ochenta, con la aparición de Amora (1989) de Rosamaría Roffiel, que las letras sáficas encontraron un espacio para ser contadas. El siguiente trabajo presenta sólo algunos de los libros más importantes que se han escrito de narrativa sáfica en México.Palabras clave: Lesbianismo, literatura, sáfico, homosexualidad, género. Letters Lenchas: Towards a Historical Tour of Lesbian Literature in Mexico Abstract: The homoerotic discourse in Mexico, has been built in the last century, through artistic and media events; in this formulation, literature from the eighties, has played a decisive role to give a voice to those who thanks to the official discourse have been silenced. In the nineteenth century, early and mid-twentieth century, lesboliterature found a place suffocated by social prejudice, double standards and imminent repulsion of the population, which considered the nonheterosexual as sick or deviant. It was not until the eighties, with the appearance of Amora (1989) of Rosamaría Roffiel, that the Sapphic lyrics found a place to develop. The following article introduces some of the most important books ever written in Sapphic narrative in Mexico.Key words: Lesbianism, literature, Sapphic, homosexuality, gender.