Kuir Bir Zamanda ve Mekanda: Giovanni’nin Odası nda ve Kara Etiket’ te Kuirleşme

Year 2018, Issue: 9-10, 168 - 195, 15.08.2018

Kathleen Gyssels

Abstract

Baldwin ve Léon Damas’ın eserleri, Fransa’nın başkentinden
sürgün ve yerinden edilmenin temsili bakımından daha önce hiç
karşılaştırılmadı. Aslında keskin bir tiksintiyle terkettikleri şahsi
anatavatanlarının coğrafi ve cismani uzaklığından ziyade, onlarda Öteki (
hemcins birey veya öteki etnik farklı seks partneri)  ile ilgilenmenin sürekli rahatsızlığı
bulunmaktadır. İki yazar da beyaz egemenliği altındaki siyahi özneler olarak ve
aynı cinse ilgi duyan erkekler olarak, 
iki çıkmazın ve kesişen iki çizginin 
anlamlandırılmasında öncülük etmişlerdir: Damas kuir olmamasına rağmen
(en azından Baldwin kadar geyliğini dışa vurmamasına rağmen) o Kara Etiket’te Giovanni’nin Odası’ndaki çoğu kaygıya gönderme yapmıştır ve bu
kaygılar,  siyahi erilliğin beyaz egemen
heteroseksüel ırkçı toplumdaki rolüne ilişkin olmuştır

Keywords

cinsiyet önyargısı, ırkçı ve cinsel anlaşmazlık, kuir, ırkçılık, kolonileşme, melezleşme, siyah diaspora, siyahi şiir, Siyahilerde fakirlik, Afrikan Amerikan Post-Restorasyon dönemi romanı, Fransız Guyanası ve Antiller

‘In a Queer Time and Place’: Queerolization in Giovanni’s Room and Black-Label

Abstract

James
Baldwin and Léon Damas have never been compared in terms of their
representation of exile and uprootedness in the capital of France. More than
the geographical and material distance from their respective native countries,
which in fact they have left with a certain disgust, there is the constant
discomfort of engaging with the Other (the same sex individual or the other
ethnic different sex partner). Both writers have therefore been pioneers in the
description of a double impasse and a double line to cross: as black subjects in
a white dominated world, and as men who felt also attracted to same
sex-partners. While Damas was not (at least not outing his gayness as Baldwin
has done) queer, he adresses in Black-Label
(1956) many of the same anxieties as those in Giovanni’s Room (1956) and they are related to performing black
masculinity in a white dominant heterosexual racist society (Gyssels 2010).

Keywords

gender bias, racial and sexual ambiguity, queer, racism, colonialism, creolisation, black diaspora, négritude poetry, African American post-Restauration novel, French Guiana (Guyane) and Antilles

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