{"id":36796,"date":"2022-06-20T07:58:17","date_gmt":"2022-06-20T05:58:17","guid":{"rendered":"http:\/\/a-desk.org\/?p=36796"},"modified":"2023-07-09T14:44:40","modified_gmt":"2023-07-09T12:44:40","slug":"androginos-freaks-y-dragones-en-la-imaginacion-queer-de-james-baldwin","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/androginos-freaks-y-dragones-en-la-imaginacion-queer-de-james-baldwin\/","title":{"rendered":"Androgynes, \u201cFreaks\u201d and Dragons in James Baldwin\u2019s Queer Imagination"},"content":{"rendered":"<p>It is said that the African-American writer James Baldwin (Harlem, 1924 \u2013 Saint-Paul-de-Vence, 1987) was queer before queer existed. It is true that in his essays, disqualified in academic circles for being <em>too political\u00a0<\/em>or <em>obscenely personal<\/em>, this term appears in the extensive list of insults he received throughout his life: from \u201cthe ugliest boy in the world\u201d by his father, the ambivalent \u201cstrange\u201d of his mother, plus the insults he received on the street, \u201cnigger,\u201d \u201cqueer,\u201d \u201csissy,\u201d \u201cpussy,\u201d and \u201cfaggot,\u201d and the nickname his partners in protest gave him, \u201cMartin Luther Queen.\u201d Like many who came before and after him, he had to learn to live with all those names that tried, and often managed, to wound him, and, in so doing, revealed the wounds of those who uttered them:<\/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_36796_1('footnote_plugin_reference_36796_1_1');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_1');\" ><sup id=\"footnote_plugin_tooltip_36796_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_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_36796_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_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<div><span lang=\"EN-US\">The anguish that accompanies the end of categories that both imprison and enable us to exist socially is usually proportional to the physical violence that befalls the bodies that shatter them. In Baldwin there is, above all, a phenomenology of the <i>freak\u00a0<\/i>(which can also mean \u201cabnormal,\u201d \u201cweird,\u201d but also \u201cmonster\u201d). Of all the names he was assaulted with, <i>freak\u00a0<\/i>is the one he chose to use to talk about himself, describing himself as a \u201cmaverick freak poet.\u201d In one of his last essays he described the condition of the freak as follows: <\/span><\/div>\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_36796_1('footnote_plugin_reference_36796_1_2');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_2');\" ><sup id=\"footnote_plugin_tooltip_36796_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_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_36796_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_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>The <em>freak<\/em> is, at the same time, a body sufficiently dissonant to overwhelm the binary opposition of identity, but sufficiently similar, by comparison, to confirm that our body fits into these categories. This experience of inadequacy, no matter how insightful it may be, is rarely positive. It is here, we believe, where the <em>need<\/em>for imagination enters: blow up certain oppressive fictions, yes, and then what? (Queer, then what?) Perhaps focus on the productive modes of \u201cde-identification\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_3');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_3');\" ><sup id=\"footnote_plugin_tooltip_36796_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_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_36796_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Although all his life Baldwin refused to define himself as a \u201cblack writer\u201d or as a \u201cblack gay writer,\u201d he always referred to a myth to give meaning to his experience and desires: the myth of the androgyne.<\/p>\n<p><b>I. \u00abFROG-EYES\u00bb <\/b><\/p>\n<p>Baldwin discovered his \u201cugliness\u201d in the cruel mirror of his father, who hated his enormous \u201cfrog-eyes.\u201d He found the counter-mirror in a movie theater in the figure of a white woman with bulging eyes, <strong>Bette Davis<\/strong>. \u201cHere, before me, after all, she was a <em>movie star<\/em>: and if she was <em>white<\/em>and a movie star, she was <em>rich<\/em>: and she was <em>ugly<\/em>.\u201d And despite looking like a white woman, the myth of the androgyne is foretold: \u201cwhen she moved, she moved just like a nigger<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_4');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_4');\" ><sup id=\"footnote_plugin_tooltip_36796_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_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_36796_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>\u201d.<\/p>\n<p>Bette Davis was, for Baldwin, the first figure of what would obsess him until the end of his days: <em>female in male, male in female, black in white, white in black<\/em>.<\/p>\n<p>This first encounter with The Other within himself led him to the following conclusion: \u201cI had discovered that my infirmity might not be my doom: my infirmity, of infirmities, <em>might be forged into weapons<\/em>.\u201d Ugliness, weirdness, the obscene overflow of his body against the social distribution of the senses taught him his mission as a monstrous poet, that is, to make visible, through tangible metaphors, that which we all carry inside but which we violently repudiate. This was not a lesson that he learned alone. It was the painter <strong>Beauford Delaney<\/strong>, his great friend and mentor, who taught him a new grammar in which color, light and music worked in unison. Delaney, Baldwin acknowledged, taught him to \u201clook ugliness in the face,\u201d to confront the terrors and demons we silence within us. That gaze, and its vision of the \u201cintangible,\u201d was captured by the painter in his many vibrant portraits of the writer.<\/p>\n<p><b>II. FREAKS ON FIRE<\/b><\/p>\n<p>In his last essay, published in the magazine <em>Playboy<\/em> (Baldwin loved to put a mirror to the face of those who tried to ignore their own reflection), during the revival of the religious and reactionary right championed by Reagan, the writer summons all the freaks that the mob attacks:<\/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_36796_1('footnote_plugin_reference_36796_1_5');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_5');\" ><sup id=\"footnote_plugin_tooltip_36796_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_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_36796_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_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, oil on canvas, Washington D.C., Smithsonian American Art Museum<\/p><\/div>\n<p>This characteristic violence of identity requires the abjection of the sexual, racial, political, religious <em>others\u00a0<\/em>in order to reinforce the borders of the identity of the <em>few<\/em>. Baldwin goes even further: what the masses are really looking for is not identity, they are looking for a connection.<\/p>\n<p><b>III. FREAK MEETS THE BLACK UNICORN <\/b><\/p>\n<p>As queer as Baldwin\u2019s imagination was, it had certain limitations, as displayed in the conversation titled Revolutionary Hope he had with the poet <strong>Audre Lorde<\/strong>. Baldwin speaks of blacks as \u201cthe monsters\u201d of the American nightmare. Lorde replies:<\/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_36796_1('footnote_plugin_reference_36796_1_6');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_6');\" ><sup id=\"footnote_plugin_tooltip_36796_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_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_36796_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_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, oil on canvas. \u00a9 Estate of Beauford Delaney, con permiso de Derek L. Spratley, Esquire<\/p><\/div>\n<p>There is something tangible about the dragon metaphor that drives Baldwin to change, a year later, the title of his essay <em>Freaks and the American Ideal of Manhood<\/em>to <em>Here Be Dragons<\/em>:<\/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_36796_1('footnote_plugin_reference_36796_1_7');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_7');\" ><sup id=\"footnote_plugin_tooltip_36796_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_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_36796_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_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>That which has not yet been pinned down by the (heterosexist and white supremacist) norm, that which remains \u201cunidentified,\u201d Baldwin names by using a metaphor, again, the monster. However, it is no longer (only) the black monster that terrifies the white man, but the <em>lesbian\u00a0<\/em>dragon that Lorde taught him to see.<\/p>\n<p><strong>IV.\u00a0THE MYTH OF THE ANDROGYNE<\/strong><\/p>\n<p>In his last work, Baldwin described a character, Terry (one of the few <em>genderless<\/em>names), in this way: \u201cTerry is male or female, Black or White.\u201d This definition echoes his own definition of the androgynous condition of all human beings:<\/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_36796_1('footnote_plugin_reference_36796_1_8');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_8');\" ><sup id=\"footnote_plugin_tooltip_36796_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_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_36796_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_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 on <span lang=\"EN-US\">braided paper<\/span>. Tennessee, Knoxville Museum of Art Collection<\/p><\/div>\n<p>Etymologically, androgyny refers to the One that contains Two and, more particularly, the man (andro) who contains the woman (gyne). Although this is the meaning the term is usually limited to, it can be extended to all pairs of fatally-attracted opposites: masculine\/feminine, black\/white. If Plato\u2019s version of myth can be interpreted as the <em>melancholy of separation\u00a0<\/em>(a body separated into two halves that embrace each other without being able to become ONE), suffering, for Baldwin, arises from the insistence on a categorical and insurmountable separation.<\/p>\n<p>Spiritual and intangible androgyny is precisely what makes love (the <em>connection<\/em>) possible between human beings. It is only because we have at our disposal \u201cthe spiritual resources of both sexes\u201d that we can love each other beyond the categories that identify and rank us. To love is, for Baldwin, to learn to see the other in oneself, not to absorb them but to welcome them in an embrace that will no longer be a fusion. \u201cTo 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.\u201d<\/p>\n<p>However, isn\u2019t Baldwin\u2019s drive towards androgyny the totalizing desire to reduce multiplicity into ONE, a desire for closure opposed to the queer movement towards deviance? Not if we assume androgyny as a myth, with ethical consequences to our ways of relating with ourselves and with others.<\/p>\n<div><span lang=\"EN-US\">For Baldwin there is not only one but rather multiple androgynies, each with its singular shape. Being androgynous means containing multitudes, often contradictory and in conflict. In his last work, Baldwin brought together his multitudes around the <i>Welcome Table\u00a0<\/i>(1987). As some actors have suggested, this work not only represents a meeting place for all those <i>freaks<\/i>that Baldwin met in his lifetime. The litany of racially, sexually and geographically diverse people (freaks, androgynes and dragons) are in reality a metaphor for Baldwin\u2019s mind: \u201chis many selves gathering around and finally attempting to face the welcome table, where everything will have to come together.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_9');\" onkeypress=\"footnote_moveToReference_36796_1('footnote_plugin_reference_36796_1_9');\" ><sup id=\"footnote_plugin_tooltip_36796_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36796_1_9\" class=\"footnote_tooltip\">Zaborowska, M. <span class=\"Ninguno\"><i>James Baldwin\u2019s Turkish Decade. <\/i><\/span><span lang=\"ES-TRAD\">Duke University Press, 2009,<i><\/i>p.251.<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36796_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_36796_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>\u201d<\/span><\/div>\n<p>&nbsp;<\/p>\n<p>[Front picture:\u00a0Beauford Delaney, <em>Portrait of<\/em><i>\u00a0James Baldwin, <\/i>1945, oil on canvas. \u00a9 Estate of Beauford Delaney\u00a0<span lang=\"EN-US\">with permission by\u00a0<\/span>Derek L. Spratley, Esquire.]<\/p>\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_36796_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_36796_1();\">[<a id=\"footnote_reference_container_collapse_button_36796_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_36796_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_36796_1('footnote_plugin_tooltip_36796_1_1');\"><a id=\"footnote_plugin_reference_36796_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_36796_1('footnote_plugin_tooltip_36796_1_2');\"><a id=\"footnote_plugin_reference_36796_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_36796_1('footnote_plugin_tooltip_36796_1_3');\"><a id=\"footnote_plugin_reference_36796_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_36796_1('footnote_plugin_tooltip_36796_1_4');\"><a id=\"footnote_plugin_reference_36796_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_36796_1('footnote_plugin_tooltip_36796_1_5');\"><a id=\"footnote_plugin_reference_36796_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_36796_1('footnote_plugin_tooltip_36796_1_6');\"><a id=\"footnote_plugin_reference_36796_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_36796_1('footnote_plugin_tooltip_36796_1_7');\"><a id=\"footnote_plugin_reference_36796_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_36796_1('footnote_plugin_tooltip_36796_1_8');\"><a id=\"footnote_plugin_reference_36796_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_36796_1('footnote_plugin_tooltip_36796_1_9');\"><a id=\"footnote_plugin_reference_36796_1_9\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>9<\/a><\/th> <td class=\"footnote_plugin_text\">Zaborowska, M. <span class=\"Ninguno\"><i>James Baldwin\u2019s Turkish Decade. <\/i><\/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_36796_1() { jQuery('#footnote_references_container_36796_1').show(); jQuery('#footnote_reference_container_collapse_button_36796_1').text('\u2212'); } function footnote_collapse_reference_container_36796_1() { jQuery('#footnote_references_container_36796_1').hide(); jQuery('#footnote_reference_container_collapse_button_36796_1').text('+'); } function footnote_expand_collapse_reference_container_36796_1() { if (jQuery('#footnote_references_container_36796_1').is(':hidden')) { footnote_expand_reference_container_36796_1(); } else { footnote_collapse_reference_container_36796_1(); } } function footnote_moveToReference_36796_1(p_str_TargetID) { footnote_expand_reference_container_36796_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_36796_1(p_str_TargetID) { footnote_expand_reference_container_36796_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>It is said that the African-American writer James Baldwin (Harlem, 1924 \u2013 Saint-Paul-de-Vence, 1987) was queer before queer existed. 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