{"id":36795,"date":"2022-06-20T07:58:17","date_gmt":"2022-06-20T05:58:17","guid":{"rendered":"http:\/\/a-desk.org\/?p=36795"},"modified":"2023-07-09T14:33:20","modified_gmt":"2023-07-09T12:33:20","slug":"androginos-freaks-y-dragones-en-la-imaginacion-queer-de-james-baldwin","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/androginos-freaks-y-dragones-en-la-imaginacion-queer-de-james-baldwin\/","title":{"rendered":"Andr\u00f2gins, \u00abFreaks\u00bb i dracs a la imaginaci\u00f3 queer de James Baldwin"},"content":{"rendered":"<p>Diuen que l&#8217;escriptor afroameric\u00e0 James Baldwin (Harlem, 1924 \u2013 Saint-Paul-de-Vence, 1987) va ser <em>queer\u00a0<\/em>abans del <em>queer<\/em>. \u00c9s cert que els seus assajos, desqualificats en els cercles acad\u00e8mics per ser <em>massa pol\u00edtics<\/em>o <em>obscenament personals<\/em>, recullen aquest apel\u00b7latiu a l&#8217;extens cat\u00e0leg d&#8217;oprobis que va rebre al llarg de la seva vida: des de \u00abthe ugliest boy in the world\u00bb, per part del seu pare, l&#8217;ambivalent \u00abstrange\u00bb\u00a0 de la seva mare, passant per les inj\u00faries de carrer, \u00abnigger\u00bb, \u00abqueer\u00bb, \u00absissy\u00bb, \u00abpussy\u00bb, \u00abfaggot\u00bb fins i tot, el sobrenom dels seus <em>companys\u00a0<\/em>de lluita, \u00abMartin Luther Queen\u00bb. Com molts abans i despr\u00e9s d&#8217;ell, va haver d&#8217;aprendre a conviure amb tots aquests noms que pretenien \u2013i sovint aconseguien\u2013 ferir-lo, i que, en fer-ho, revelaven la ferida dels qui els proferien:<\/p>\n<blockquote><p>[A]ll of the American categories of male and female, straight or not, black or white, were shattered, thank heaven, very early in my life. Not without anguish, certainly; but once you have discerned the meaning of a label, it may seem to define you for others, but it does not have the power to define you to yourself.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_1');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_1');\" ><sup id=\"footnote_plugin_tooltip_36795_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_1\" class=\"footnote_tooltip\">\u00a0Baldwin, J. \u00abFreaks and the American Ideal of Manhood\u00bb (1985), en <i>Collected Essays. <\/i>Editado por Toni Morrison, Nueva York: Library of America, 1998, p.819.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p><\/blockquote>\n<p>L&#8217;angoixa que acompanya la sacsejada de les categories que alhora ens engabien i ens habiliten socialment sol ser proporcional a la viol\u00e8ncia material que s&#8217;abat sobre els cossos que les desborden. Pel que fa a Baldwin hi ha, sobretot, una fenomenologia del cos <em>freak\u00a0<\/em>(que podr\u00edem traduir com a \u00abanormal\u00bb, \u00abbitxo estrany\u00bb, per\u00f2 tamb\u00e9 com a \u00abmonstre\u00bb). <em>Freak\u00a0<\/em>\u00e9s, de tots els noms amb qu\u00e8 el van colpejar, el que va triar fer servir per parlar de si mateix, descrivint-se com un \u00abmaverick freak poet\u00bb. En un dels seus \u00faltims assaigs va descriure la condici\u00f3 del <em>freak<\/em>de la seg\u00fcent manera:<\/p>\n<blockquote><p>Freaks are called freaks and are treated as they are treated \u2013in the main, abominably\u2013 because they are human beings who cause echo, deep within us, our most profound terrors and desires.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_2');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_2');\" ><sup id=\"footnote_plugin_tooltip_36795_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_2\" class=\"footnote_tooltip\"><span class=\"Ninguno\"><i><span lang=\"EN-US\">\u00cddem., <\/span><\/i><\/span><span lang=\"EN-US\">p.828.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p><\/blockquote>\n<p>El <em>freak\u00a0<\/em>\u00e9s, alhora, un cos prou dissonant perqu\u00e8 desbordi les oposicions bin\u00e0ries d&#8217;identificaci\u00f3, per\u00f2 prou similar perqu\u00e8 puguem, en comparaci\u00f3, reivindicar l&#8217;adequaci\u00f3 del nostre cos a aquestes categories. Aquesta experi\u00e8ncia d&#8217;inadequaci\u00f3, per molt reflexiva que sigui, \u00e9s rarament positiva. \u00c9s aqu\u00ed, creiem, on sorgeix la <em>necessitat<\/em>d&#8217;imaginar: fer explotar certes ficcions opressives, s\u00ed, i despr\u00e9s qu\u00e8? (<em>queer, then what?<\/em>) Potser atendre els modes productius de la \u00abdesidentificaci\u00f3\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_3');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_3');\" ><sup id=\"footnote_plugin_tooltip_36795_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_3\" class=\"footnote_tooltip\"><span lang=\"EN-US\">Mu\u00f1oz, J.E. <\/span><span class=\"Ninguno\"><i><span lang=\"ES-TRAD\">Disidentifications: Queers of Color and the Performance of Politics. <\/span><\/i><\/span><span lang=\"EN-US\">University of Minnesota Press, 1999<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Si b\u00e9 Baldwin es va negar tota la seva vida a definir-se, com a \u00abNegro writer\u00bb o com a \u00abblack gay writer\u00bb, va rec\u00f3rrer sempre a un mite per tal de donar sentit a la seva experi\u00e8ncia i els seus desitjos: el mite de l\u2019androgin.<a href=\"applewebdata:\/\/CD87C054-E709-43BC-A676-E9CB44C4A898#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p><b>I. \u00abFROG-EYES\u00bb <\/b><\/p>\n<div>\n<p><span lang=\"CA\">Baldwin va descobrir la seva \u00ablletjor\u00bb al mirall cruel del seu pare, que detestava els seus enormes <i>ulls de granota<\/i>(\u00abfrog-eyes\u00bb). El contra-mirall vindria en una sala de cinema, a la figura d&#8217;una dona blanca d&#8217;ulls sortits<\/span> <b>Bette Davis<\/b>: \u00abhere, before me, after all, was a <i>movie star<\/i>: and if she was <i>white <\/i>and a movie star, she was <i>rich<\/i>: and she was <i>ugly<\/i>.\u00bb Y, a pesar de parecer una mujer blanca, y aqu\u00ed se prefigura el mito del andr\u00f3gino, \u00abwhen she moved, she moved Baldwin,\u00a0just like a nigger\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_4');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_4');\" ><sup id=\"footnote_plugin_tooltip_36795_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_4\" class=\"footnote_tooltip\"><span class=\"Ninguno\"><span lang=\"EN-US\">Baldwin, J. \u00abThe Devil Finds Work\u00bb (1976)<i>, en Collected Essays, Op.cit., <\/i>p.482.<\/span><\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p><span lang=\"CA\">Bette Davis va ser, per a Baldwin, la primera figuraci\u00f3 d&#8217;all\u00f2 que l&#8217;obsessionaria fins al final dels seus dies: <\/span><i>female in male, male in female, black in white, white in black<\/i>.<\/p>\n<div>\n<p>Aquesta primera trobada amb <em>l&#8217;altra\u00a0<\/em>dins d&#8217;ell mateix el va portar a la conclusi\u00f3 seg\u00fcent: \u00abI had discovered that my infirmity might not be my doom: my infirmity, of infirmities, <em>might be forged into weapons<\/em>\u00bb. La lletjor, l&#8217;estranyesa, el desbordament obsc\u00e8 del seu cos davant del repartiment social del que \u00e9s sensible li va ensenyar la seva missi\u00f3 com a poeta monstru\u00f3s: fer visible, mitjan\u00e7ant met\u00e0fores tangibles, all\u00f2 que portem tots a dins, per\u00f2 que repudiem amb viol\u00e8ncia. Aquesta lli\u00e7\u00f3 no la va aprendre sol; fou el pintor <strong>Beauford Delaney<\/strong>, el seu gran amic i mentor, qui li va ensenyar una nova gram\u00e0tica on color, llum i m\u00fasica funcionaven a l&#8217;un\u00edson. Delaney, reconeixia a Baldwin, li va ensenyar a \u00abmirar la lletjor de cara\u00bb, a confrontar aix\u00ed els terrors i els dimonis silenciats per un mateix. Aquesta mirada, i la seva visi\u00f3 del que \u00e9s \u00abintangible\u00bb, \u00e9s el que va aconseguir capturar el pintor en els m\u00faltiples retrats vibrants de l&#8217;escriptor.<\/p>\n<p><b>II. ELS FREAKS EN FLAMES<\/b><\/p>\n<p>En el seu \u00faltim assaig, publicat a la revista <em>Playboy\u00a0<\/em>\u2013a Baldwin li encantava posar el mirall a la cara a aquells que intentaven ignorar-ne el reflex\u2013 en ple renaixement de la dreta religiosa i reaccion\u00e0ria capitanejada per Reagan, l&#8217;escriptor convoca els freaks sobre els quals s&#8217;eixampla la massa:<\/p>\n<blockquote><p>I am speaking as the historical victim of the flames meant to exorcise the terrors of the mob, and I am also speaking as an actual potential victim.<\/p>\n<p>Those ladders to fire \u2013the burning of the witch, the heretic, the Jew, the nigger, the faggot\u2013 have always failed to redeem or even to change in any way whatever, the mob. They merely epiphanize and force their connection on the only plain on which the mob can meet: the charred bones connect its members and give them a reason to speak to one another, for the charred bones are the sum total of their individual self-hatred, externalized<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_5');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_5');\" ><sup id=\"footnote_plugin_tooltip_36795_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_5\" class=\"footnote_tooltip\"><span lang=\"EN-US\">Baldwin, J. \u00abTo Crush a Serpent\u00bb (1987) en <span class=\"Ninguno\"><i>The cross of redemption. Uncollected writings, <\/i><\/span>p.204.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p><\/blockquote>\n<div id=\"attachment_36770\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-36770\" decoding=\"async\" class=\"wp-image-36770 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-Can-Fire-in-the-Park-1946.jpeg\" alt=\"\" width=\"800\" height=\"645\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-Can-Fire-in-the-Park-1946.jpeg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-Can-Fire-in-the-Park-1946-496x400.jpeg 496w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-Can-Fire-in-the-Park-1946-768x619.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-36770\" class=\"wp-caption-text\">Beauford Delaney, Can Fire in the Park, 1946, <span class=\"Ninguno\"><span lang=\"EN-US\">oli\u00a0<\/span><\/span><span class=\"Ninguno\"><span lang=\"IT\">sobre llen\u00e7<\/span><\/span>, Washington D.C., Smithsonian American Art Museum<\/p><\/div>\n<p>Davant d&#8217;aquesta forma violenta caracter\u00edstica de la identificaci\u00f3, que necessita l&#8217;abjecci\u00f3 dels <em>altres\u00a0<\/em>desviats sexuals, racials, pol\u00edtics, religiosos&#8230; per refor\u00e7ar les fronteres de la identitat dels uns. Baldwin va fins i tot m\u00e9s lluny: en \u00faltima inst\u00e0ncia, all\u00f2 que la massa busca, no \u00e9s una identitat: busca una connexi\u00f3.<\/p>\n<p><b>III. FREAK MEETS THE BLACK UNICORN <\/b><\/p>\n<p>Per molt queer que fos la imaginaci\u00f3 de Baldwin, tenia certes limitacions, que van quedar retratades a la conversa titulada <em>Revolutionary Hope\u00a0<\/em>amb la poeta <strong>Audre Lorde<\/strong>. Baldwin parla dels negres com \u00abels monstres\u00bb del malson americ\u00e0. Lorde li contesta:<\/p>\n<blockquote><p>Even worse than the nightmare is the blank. And black women <i>are <\/i>the blank. I don\u2019t want to break all this down, then have to stop at the wall of male\/female division\u2026It\u2019s vital that we deal constantly with racism and with white racism among black people\u2026We must also examine the ways that we have absorbed sexism and heterosexism. These are the norms <i>in this dragon we have been born into<\/i><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_6');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_6');\" ><sup id=\"footnote_plugin_tooltip_36795_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_6\" class=\"footnote_tooltip\"><span lang=\"EN-US\">Lorde, A., y Baldwin, J. \u00abRevolutionary Hope: A Conversation Between James Baldwin and Audre Lorde\u00bb, <\/span><span class=\"Ninguno\"><i><span lang=\"ES-TRAD\">Essence Magazine<\/span><\/i><\/span><span lang=\"EN-US\">, 1984.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p><\/blockquote>\n<div id=\"attachment_36776\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-36776\" decoding=\"async\" class=\"wp-image-36776 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-The-Eye-1965.jpeg\" alt=\"\" width=\"800\" height=\"945\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-The-Eye-1965.jpeg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-The-Eye-1965-339x400.jpeg 339w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-The-Eye-1965-768x907.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-36776\" class=\"wp-caption-text\">Beauford Delaney, The Eye, 1965,<span class=\"Ninguno\"><span lang=\"EN-US\">oli\u00a0<\/span><\/span><span class=\"Ninguno\"><span lang=\"IT\">sobre llen\u00e7<\/span><\/span>\u00a0\u00a9 Estate of Beauford Delaney, con permiso de Derek L. Spratley, Esquire<\/p><\/div>\n<p><span style=\"font-size: 16px;\">La met\u00e0fora del drac t\u00e9 alguna cosa tangible que impulsa Baldwin a canviar, un any m\u00e9s tard, el t\u00edtol del seu assaig\u00a0<\/span><i>Freaks and the American Ideal of Manhood <\/i>por <i>Here Be Dragons<\/i>:<\/p>\n<blockquote><p>Ancient maps of the world\u2013when the world was flat\u2013inform us concerning the void where America was waiting to be discovered, HERE BE DRAGONS. Dragons may not have been here, then, but they are certainly here now, breathing fire, belching smoke; or, to be less literary and Biblical about it, attempting to intimidate the mores, morals and morality of this particular and peculiar place.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_7');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_7');\" ><sup id=\"footnote_plugin_tooltip_36795_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_7\" class=\"footnote_tooltip\"><span lang=\"EN-US\">Baldwin, J. \u00abFreaks and the American Ideal of Manhood\u00bb (1985), <span class=\"Ninguno\"><i>Op.cit.,<\/i><\/span>p. 816.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/span><\/p><\/blockquote>\n<p>All\u00f2 que no ha estat capturat encara per la norma (heterosexista i supremacista blanca), all\u00f2 \u00abno-identificat\u00bb, Baldwin ho nomena mitjan\u00e7ant la met\u00e0fora, de nou, del monstre. Tot i aix\u00f2, ja no \u00e9s (nom\u00e9s) el monstre negre que aterreix el blanc, sin\u00f3 aquest drac lesbi\u00e0 que li ha ensenyat a veure Lorde.<\/p>\n<p><b>IV. EL MITE DE L&#8217;ANDROGIN<\/b><\/p>\n<p>A la seva \u00faltima obra, Baldwin va descriure un personatge, Terry \u2013un dels pocs noms <em>genderless<\/em>\u2013, de la seg\u00fcent manera: \u00abTerry is male or female, Black or White.\u00bb Amb aquesta definici\u00f3, es fa ress\u00f2 de la seva pr\u00f2pia definici\u00f3 de la condici\u00f3 andr\u00f2gina de tot \u00e9sser hum\u00e0:<\/p>\n<blockquote><p>[W]e are all androgynous, not only because we are all born of a woman impregnated by the seed of a man but because each of us, helplessly and forever, contains the other \u2013male in female, female in male, white in black, and black in white. We are <i>a part of each other<\/i>.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_8');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_8');\" ><sup id=\"footnote_plugin_tooltip_36795_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_8\" class=\"footnote_tooltip\"><span class=\"Ninguno\"><i><span lang=\"EN-US\">\u00cddem<\/span><\/i><\/span><span lang=\"EN-US\">, p.828.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p><\/blockquote>\n<div id=\"attachment_36779\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-36779\" decoding=\"async\" class=\"wp-image-36779 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-Yellow-Red-and-Black-Circles-1966.jpeg\" alt=\"\" width=\"800\" height=\"1017\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-Yellow-Red-and-Black-Circles-1966.jpeg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-Yellow-Red-and-Black-Circles-1966-315x400.jpeg 315w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/Delaney-Yellow-Red-and-Black-Circles-1966-768x976.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-36779\" class=\"wp-caption-text\">Beauford Delaney, Yellow, Red and Black Circles for James Baldwin (Istambul), 1966, Gouache sobre paper trenat. Tennessee, Knoxville Museum of Art Collection<\/p><\/div>\n<p>Etimol\u00f2gicament, l&#8217;androg\u00ednia es refereix a l&#8217;U que cont\u00e9 Dos, i m\u00e9s particularment a l&#8217;home (andro) que cont\u00e9 la dona (gyne). Tot i que aquesta \u00e9s l&#8217;accepci\u00f3 a la qual se sol limitar el terme, es pot estendre com totes les parelles d&#8217;oposats, que s&#8217;atreuen fatalment: mascul\u00ed\/femen\u00ed, blanc\/negre. Si la versi\u00f3 de Plat\u00f3 del mite pot ser interpretada com la malenconia de la separaci\u00f3 \u2013un cos separat en dues meitats que s&#8217;abracen sense aconseguir tornar a ser UN\u2013, per a Baldwin, el patiment sorgeix de la insist\u00e8ncia en una separaci\u00f3 categ\u00f2rica i insalvable.<\/p>\n<p>L&#8217;androg\u00ednia, espiritual i intangible, \u00e9s la que precisament fa possible l&#8217;amor \u2013la <em>connexi\u00f3<\/em>\u2013 entre els \u00e9ssers humans. Nom\u00e9s perqu\u00e8 tenim a la nostra disposici\u00f3 \u201cthe spiritual resources of both sexes\u201d, ens podem estimar m\u00e9s enll\u00e0 de les categories que ens identifiquen i jerarquitzen. Estimar \u00e9s, per a Baldwin, aprendre a veure l&#8217;altre en si mateix, no per fagocitar-lo, sin\u00f3 per acollir-lo amb una abra\u00e7ada que mai m\u00e9s no ser\u00e0 fusi\u00f3: \u00abTo encounter oneself is to encounter the other: and this is love. If I know that my soul trembles, I know that yours does too: and, if I can respect this, both of us can live.\u00bb<\/p>\n<p>No obstant aix\u00f2, aquest impuls baldwini\u00e0 cap a all\u00f2 androgin, no \u00e9s una voluntat totalitzadora de reduir la multiplicitat a l&#8217;UN, una voluntat de clausura oposada al moviment de desviament <em>queer<\/em>? No si assumim l&#8217;androg\u00ednia com un mite, amb conseq\u00fc\u00e8ncies \u00e8tiques en les nostres maneres de relacionar-nos amb nosaltres mateixos i amb els altres.<\/p>\n<p>Per Baldwin no hi ha nom\u00e9s un androgin, sin\u00f3 que n&#8217;hi ha m\u00faltiples, cadascun amb la seva materialitzaci\u00f3 singular. I ser androgin implica contenir multituds, sovint contradict\u00f2ries i en pugna. A la seva \u00faltima obra, Baldwin va reunir les seves multituds al voltant de la <em>Welcome Table<\/em>(1987). Com han suggerit alguns int\u00e8rprets, aquesta obra no sols representa un espai de trobada per a tots aquells <em>freaks<\/em>que Baldwin va con\u00e8ixer en vida. La lletania de personatges racial, sexual, nacionalment diversos \u2013freaks, andr\u00f2gins i dracs\u2013, s\u00f3n en realitat una met\u00e0fora de la ment de Baldwin: \u00abhis many selves gathering around and finally attempting to face the welcome table, where everything will have to come together.\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_9');\" onkeypress=\"footnote_moveToReference_36795_1('footnote_plugin_reference_36795_1_9');\" ><sup id=\"footnote_plugin_tooltip_36795_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36795_1_9\" class=\"footnote_tooltip\"><span lang=\"EN-US\">Zaborowska, M. <span class=\"Ninguno\"><i>James Baldwin\u2019s Turkish Decade. <\/i><\/span><\/span><span lang=\"ES-TRAD\">Duke University Press, 2009,<i><\/i>p.251.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36795_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_36795_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[Foto de portada:\u00a0Beauford Delaney, <em>Retrato de<\/em><i>\u00a0James Baldwin, <\/i>1945, <span class=\"Ninguno\"><span lang=\"EN-US\">oli\u00a0<\/span><\/span><span class=\"Ninguno\"><span lang=\"IT\">sobre llen\u00e7<\/span><\/span>. \u00a9 Estate of Beauford Delaney con permiso de Derek L. Spratley, Esquire.<span class=\"Apple-converted-space\">]<\/span><\/p>\n<\/div>\n<\/div>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_36795_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_36795_1();\">[<a id=\"footnote_reference_container_collapse_button_36795_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_36795_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_1');\"><a id=\"footnote_plugin_reference_36795_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">\u00a0Baldwin, J. \u00abFreaks and the American Ideal of Manhood\u00bb (1985), en <i>Collected Essays. <\/i>Editado por Toni Morrison, Nueva York: Library of America, 1998, p.819.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_2');\"><a id=\"footnote_plugin_reference_36795_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\"><span class=\"Ninguno\"><i><span lang=\"EN-US\">\u00cddem., <\/span><\/i><\/span><span lang=\"EN-US\">p.828.<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_3');\"><a id=\"footnote_plugin_reference_36795_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\"><span lang=\"EN-US\">Mu\u00f1oz, J.E. <\/span><span class=\"Ninguno\"><i><span lang=\"ES-TRAD\">Disidentifications: Queers of Color and the Performance of Politics. <\/span><\/i><\/span><span lang=\"EN-US\">University of Minnesota Press, 1999<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_4');\"><a id=\"footnote_plugin_reference_36795_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\"><span class=\"Ninguno\"><span lang=\"EN-US\">Baldwin, J. \u00abThe Devil Finds Work\u00bb (1976)<i>, en Collected Essays, Op.cit., <\/i>p.482.<\/span><\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_5');\"><a id=\"footnote_plugin_reference_36795_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\"><span lang=\"EN-US\">Baldwin, J. \u00abTo Crush a Serpent\u00bb (1987) en <span class=\"Ninguno\"><i>The cross of redemption. Uncollected writings, <\/i><\/span>p.204.<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_6');\"><a id=\"footnote_plugin_reference_36795_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\"><span lang=\"EN-US\">Lorde, A., y Baldwin, J. \u00abRevolutionary Hope: A Conversation Between James Baldwin and Audre Lorde\u00bb, <\/span><span class=\"Ninguno\"><i><span lang=\"ES-TRAD\">Essence Magazine<\/span><\/i><\/span><span lang=\"EN-US\">, 1984.<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_7');\"><a id=\"footnote_plugin_reference_36795_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/th> <td class=\"footnote_plugin_text\"><span lang=\"EN-US\">Baldwin, J. \u00abFreaks and the American Ideal of Manhood\u00bb (1985), <span class=\"Ninguno\"><i>Op.cit.,<\/i><\/span>p. 816.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_8');\"><a id=\"footnote_plugin_reference_36795_1_8\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>8<\/a><\/th> <td class=\"footnote_plugin_text\"><span class=\"Ninguno\"><i><span lang=\"EN-US\">\u00cddem<\/span><\/i><\/span><span lang=\"EN-US\">, p.828.<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36795_1('footnote_plugin_tooltip_36795_1_9');\"><a id=\"footnote_plugin_reference_36795_1_9\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>9<\/a><\/th> <td class=\"footnote_plugin_text\"><span lang=\"EN-US\">Zaborowska, M. <span class=\"Ninguno\"><i>James Baldwin\u2019s Turkish Decade. <\/i><\/span><\/span><span lang=\"ES-TRAD\">Duke University Press, 2009,<i><\/i>p.251.<\/span><\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_36795_1() { jQuery('#footnote_references_container_36795_1').show(); 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