By Christopher Bram
« La révolution homosexual fut d’abord et avant tout une révolution littéraire. » Au lendemain de los angeles Seconde Guerre mondiale, une nouvelle génération d’écrivains américains s’est imposée. Leurs noms ? Truman Capote, Gore Vidal, Tennessee Williams, James Baldwin, Allen Ginsberg ou encore, plus près de nous, Christopher Isherwood, Edmund White, Tony Kushner, Armistead Maupin.
Point commun de tous ces écrivains, outre l’insolence de leur talent ? Leur homosexualité – cachée pour les uns, revendiquée pour les autres, envers et contre toutes les discriminations. Du mouvement des droits civiques à l’apparition du sida, loin des cortèges de manifestants et sans jamais avoir fait école ni sacrifié à l’esprit de chapelle, c’est par leurs œuvres que ces « anges batailleurs » ont brisé les préjugés et ouvert los angeles voie à une modernité littéraire, politique et sociale aujourd’hui encore bousculée. Dans cet essai émaillé d’anecdotes et de pics passionnants, Christopher Bram nous invite à découvrir ou à relire quelques-uns des plus grands auteurs américains sous un jour inédit. Preuve que los angeles littérature est toujours à l’avant-garde.
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Extra info for Anges batailleurs : Les écrivains gays en Amérique, de Tennessee Williams à Armistead Maupin
Inhabitants in these unpleasant places are equally gloomy. Settings in Poe’s works often symbolize the human head/mind/self, and the relevant characters who reside within or those who confront terrifying externals (whirlpools or stagnant waters, dead trees and plants, bleak skies, storms) are as weird as their surroundings. Many Poe characters undertake journeys that present venturings into the mind, where disorientation often flourishes and overpowers. The explorations are unnerving, causing apathy in some, violent emotions (and actions) in others.
Readers are plunged into the puzzling opening episode of the speaker’s bewildered wandering at midnight under a moon that seems obscured by mist that produces odd visual effects. The speaker’s thoughts and vision subsequently shift to indoor scenes, then move slowly onward until he beholds the corpse (of his beloved), prepared for burial, lying, as if asleep in the usual manner, on her bed. Only gradually does the survivor-speaker admit, and do we realize, that the “sleeper” is actually dead. Next he envisions the procession to graveyard and mausoleum.
He also understood printing processes. ” The psychological context We will never trace all of the sources for Poe’s knowledge of psychology. His uses of such inspirations are, however, the more important consideration for us. Part of the Romantic impulse that swept western culture from the late eighteenth century into the nineteenth was a fascination with the human mind. After centuries of life during which scant study of the mind occurred, there was a significant change in outlook. Among American writers, William Cullen Bryant, in the early years of the nineteenth century, followed and surpassed by Ralph Waldo Emerson in particular, heralded the vastness of the mind itself, without the restrictions of older views of a God who was stern and, perhaps, narrow toward humans.