1978, the Year of Magil Thkg: Magil Realism and the Paradox of Whe Gay Ontology Andrew Holleran’s Dancer om the Dance and Edmund Whe’s Nocturn for the Kg of Napl | SprgerLk

Contents:

• FROM ROMANCE TO MAGIL REALISM: LIMS AND POSSIBILI GAY ADOLCENT FICTN
• THGS INVISIBLE TO SEE: LBIAN AND GAY TAL OF MAGIC REALISM
• REVIEW: "JUDAS KISS" BRGS MAGIL REALISM TO GAY {FONT:NORMAL 800 1.2REM/1.2 "D BOLD",SANS-SERIF;TEXT-TRANSFORM:NORMAL;LOR:HER;DISPLAY:LE-BLOCK;PADDG-BOTTOM:6PX;POSN:RELATIVE;TEXT-TRANSFORM:UPPERSE;}{BACKGROUND:#89308A;BOTTOM:0;NTENT:'';DISPLAY:BLOCK;HEIGHT:2PX;LEFT:0;POSN:ABSOLUTE;RIGHT:0;-WEBK-TRANSN:ALL 0.2S EASE;TRANSN:ALL 0.2S EASE;WIDTH:100%;}{LEFT:51%;RIGHT:51%;WIDTH:0;}{FONT:NORMAL 800 1.2REM/1.2 "D BOLD",SANS-SERIF;TEXT-TRANSFORM:NORMAL;LOR:HER;DISPLAY:LE-BLOCK;PADDG-BOTTOM:6PX;POSN:RELATIVE;TEXT-TRANSFORM:UPPERSE;}{BACKGROUND:#89308A;BOTTOM:0;NTENT:'';DISPLAY:BLOCK;HEIGHT:2PX;LEFT:0;POSN:ABSOLUTE;RIGHT:0;-WEBK-TRANSN:ALL 0.2S EASE;TRANSN:ALL 0.2S EASE;WIDTH:100%;}{LEFT:51%;RIGHT:51%;WIDTH:0;}MOVIBY BRENT HARTGERAPRIL 13, 2011/2:26 PMBY BRENT HARTGERAPRIL 13, 2011 / 2:26 PM{"@NTEXT":","@TYPE":"NEWSARTICLE","HEADLE":"REVIEW: \"JUDAS KISS\" BRGS MAGIL REALISM TO GAY FILM","DATEPUBLISHED":"2011-04-13T18:26:01.000+0000","DATEMODIFIED":"2011-04-13T18:26:01.000+0000","IMAGE":{"@NTEXT":","@TYPE":"IMAGEOBJECT","WIDTH":1920,"HEIGHT":1080},"URL":","THOR":{"@TYPE":"ORGANIZATN","NAME":"LOGO TV"},"MAENTYOFPAGE":{"@TYPE":"WEBPAGE","@ID":"},"PUBLISHER":{"@TYPE":"ORGANIZATN","@ID":","NAME":"LOGO TV","URL":","LOGO":{"@TYPE":"IMAGEOBJECT"}},"CREATOR":"BRENT HARTGER","KEYWORDS":"THE BACKLOT","ARTICLESECTN":"MOVI"}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}CHARLIE DAVID AND RICHARD {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}MAGIL REALISM HS GAY FILM!{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IN JUDAS KISS, A NEW FILM NOW PLAYG THE FTIVAL CIRCU, A WASHED-UP FILMMAKER NAMED ZACHARY (CHARLIE DAVID) IS TALKED TO JUDGG THE STUNT FILM FTIVAL WHERE, 15 YEARS PREVLY, A MOVIE OF HIS MA A BIG SPLASH — A SPLASH THAT ULTIMATELY LED NOWHERE WHEN HE SQUANRED HIS EARLY BUZZ WH BAD PERSONAL AND REER CHOIC. ZACHARY IS SO DISAPPOTED HIMSELF AND HIS PAST THAT HE'S EVEN CHANGED HIS NAME OM "DANNY REY."{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}COULD BE? HAS ZACHARY GONE BACK TIME — OR HAVE PARALLEL DIMENSNS SOMEHOW TERSECTED? MORE IMPORTANTLY, IS ZACHARY BEG GIVEN A CHANCE TO "DO OVER" THE MISTAK HE MA BEFORE?{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}MAGIL REALISM'S "DO OVER" THEME IS OBVLY NOT A NEW ONE FOR FILM GENERAL, BUT 'S PLETELY UNTILLED TERRORY GLBT CEMA. MEANWHILE, THE NUMBER OF GAY FILMS WH ANY MAGIL REALISM AT ALL N BE UNTED WH SGLE DIGS: WERE THE WORLD ME, ORLANDO, GREGG ARAKI'S KABOOM (WHICH IS NOT REMEND), POSSIBLY BIG EN, AND A FEW {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}JUDAS KISS IS CERTALY EARNT AND WELL-TENTNED, AND SURPRISGLY WELL-SHOT (AT THE UNIVERSY OF WASHGTON SEATTLE) FOR SUCH A MICRO-BUDGETED FILM. THERE'S EVEN A TOUCH OF CGI, WHICH LOOKS {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}AND THE FILM CLUS A TERRIFIC BREAK-OUT PERFORMANCE BY HARMON, WHO HAPPENS TO ALSO CURRENTLY BE DISPLAYG HIS PCH-PERFECT "SULLEN, ANGRY TEEN" ACT THE NEW AMC SERI THE KILLG (WATCH ! IT'S GOOD).{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}ALAS, THERE ARE A UPLE OF PROBLEMS WH THE SCRIPT {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}FIRST, THE PARAMETERS OF THE MAGIC ARE NEVER QUE CLEAR. ZACHARY HASN'T GONE BACK TIME — ZACHARY AND DANNY BOTH EXIST THE PRENT. SO WHAT HAPPENED EXACTLY? THERE IS SOME VAGUE TALK ABOUT PARALLEL DIMENSNS, BUT 'S MOSTLY LEFT {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}MEANWHILE, ZACHARY IS TOLD BY A MENTOR, AN OLR VERSN OF HIMSELF, THAT IF HE CHANG HIS OWN PAST, HE'LL ALSO CHANGE HIS FUTURE — BUT THIS NF THGS FURTHER BEE ISN'T LERALLY TE, MERELY METAPHORIL: UNLIKE, SAY, PEGGY SUE GOT MARRIED OR EVEN BACK TO THE FUTURE, THE TWO DIMENSNS ARE PLETELY PENNT HERE (WHICH BEGS THE QUTN: HOW WILL THE TWO PEOPLE WH THE SAME NAME AND FAY NTUE TO -EXIST THE SAME DIMENSN ANYWAY? THE SOCIAL SECURY IMPLITNS ALONE ARE STAGGERG!).{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IN THE END, THE SCRIPTWRERS (CARLOS PEDRAZA AND DIRECTOR J.T. TEPNAPA) DON'T SEEM TO HAVE FIGURED OUT THE L OF THEIR MOVIE'S MAGIC, WHICH IS {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}SEAN PL LOCKHART, {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE SEND PROBLEM IS BIGGER. ONCE ZACHARY REALIZ WHAT'S GOG ON, THE FOC OF THE STORY SUDNLY BIFURT, AND YOUNGER DANNY WEIRDLY BE A POV CHARACTER. EVEN WORSE, HIS STORYLE MOSTLY ALS WH SOAP OPERA SUB-PLOTS THAT JT AREN'T VERY ENGAGG (ALTHOUGH THEY CLU AN APPEALG, OPEN-FACED SUPPORTG PERFORMANCE BY PORN STAR BRENT CORRIGAN ACTG UNR HIS REAL NAME, SEAN PL LOCKHART).{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}ZACHARY'S ROLE, MEANWHILE, SUDNLY GETS RCED TO MOSTLY ANGRILY SMOKG CIGARETT AND TRYG TO CI IF HE SHOULD REVEAL HIS AND DANNY'S SECRET TO THE NTT JUDG: HE CHEATED MAKG THE FILM THAT GOT HIM SO MUCH {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IT'S A CLASSIC REVIEWER'S MISTAKE TO REVIEW THE MOVIE YOU WISHED THE FILMMAKERS' HAD MA RATHER THAN THE ONE THEY ACTUALLY MA, BUT I N'T HELP BUT THK JUDAS KISS MISSED A REAL OPPORTUNY BY SHORT-CHANGG THE ROMANTIC SUBPLOT BETWEEN THE TWO CHARACTERS. AFTER ALL, THERE HAVE BEEN A ZILLN TIME TRAVEL MOVI, BUT REALLY ONLY THE "GAY" VERSN IS POSSIBLE FOR ONE VERSN OF A PERSON TO FALL LOVE WH THE OTHER. TALK ABOUT A DRAMATIC PLITN! (SHOULD THAT EVEN BE LLED "CT," OR IS MERELY MASTURBATN?){BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}BUT AFTER THAT VERY TRIGUG START, THIS SUBPLOT GO NOWHERE AT {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}ONE OTHER MENT I MT MAKE: ZACHARY HAS A LE THE MOVIE WHERE HE SAYS TO HIS YOUNGER SELF, "IT'S TOO LATE TO SAVE MYSELF," BASILLY ADMTG HE'S ALL WASHED UP AND HIS LIFE IS {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}AND I'M THKG, "CHARLIE DAVID IS 30 ICK' YEARS OLD! EVEN IF HE'S PLAYG 35 THE FILM, ARE THEY REALLY TELLG ME HIS LIFE IS OVER AT THAT YOUNG AGE?!"{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}ONLY A GAY FILM ... ONLY A GAY FILM ...{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}JUDAS KISS IS FLAWED BUT S HEART IS THE RIGHT PLACE. AND I ADM I'M OPENLY TICKLED THAT GAY CEMA IS FALLY GOG PLAC, LIKE MAGIL REALISM, WHERE FEW HAVE THOUGHT TO TAKE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}YOU MIGHT ALSO BE TERTED : TOP 50 FAVORE GAY {BOX-SIZG:BORR-BOX;CLEAR:BOTH;}THE {BOX-SIZG:BORR-BOX;MARG:0 TO;WIDTH:90%;M-WIDTH:288PX;MAX-WIDTH:1440PX;M-HEIGHT:194PX;}LATT NEWS
• 1978, THE YEAR OF MAGIL THKG: MAGIL REALISM AND THE PARADOX OF WHE GAY ONTOLOGY ANDREW HOLLERAN’S DANCER OM THE DANCE AND EDMUND WHE’S NOCTURN FOR THE KG OF NAPL

FROM ROMANCE TO MAGIL REALISM: LIMS AND POSSIBILI GAY ADOLCENT FICTN

Other texts, which I will argue rely on magil realism to spend realy, image away homophobia by showg gay characters buildg relatnships an environment relatively ee of discrimatn and downplayg the need to characterize gay partners as a “mascule” and “feme”, I will suggt that many gay adolcent novels across genr rely upon what Lee Elman (2004) terms “reproductive futurism, ” the imposn of iologil lims that ultimately rerve “the absolute privilege of heteronormativy by renrg unthkable, by stg outsi the polil doma, the possibily of a queer ristance to this anizg prciple of munal relatns” (p. It is the faiary of those character-typ that ntribut to the feelg of “realism” and “honty” that rears obta om the books: rear expectatns, based on faiar stereotyp, are fulfilled (Crisp, 2008) the nstctn of the three protagonists, “realism” is produced the trilogy through Sanchez’s reliance on homophobia as a mechanism for tablishg believable ways which the characters teract wh one another and wh the world which they live.

By enterg the room where the gay-straight alliance is meetg, rears are supposed to view Jason as “brave, ” and although the school prcipal yells and wav his arms at the jeerg classmat, rears are left wh the imprsn that orr to survive, gay young people mt learn to be rilient to homophobia. It mak sense wh the novel (at least, wh Gordy’s thkg) that people would avoid someone they spected was certaly uld be a “visceral love” between protagonist Junr and his iend RowdyFootnote 2: Rowdy’s overly-aggrsive heterosexualy throughout the novel n be read as an attempt to “put on” a “mascule” genr to ny a queer/homosexual inty. 114) and ntemporary trends LGBTQ lerature dite that thors of the books are attemptg to distance themselv om nontg the “problem” of homosexualy by stead focg the ntent of their books on issu related to self-awarens of non-normative sexual tentn here is not to suggt that any thor of young adult fictn is endorsg or approvg of homophobia, but simply to draw attentn to the fact that many tl rely upon homophobia and homophobic disurse to provi rears wh a sense of “realism.

” Wh the growg non of gay young adult lerature, thors who rely upon homophobic disurse may hope that their work will te rears about the “problem” of homophobia, but the recurrg reliance upon homophobia as a lerary mechanism to engenr “realism” lerature simultaneoly impli that homophobia is too large an issue to nont and is ultimately bad, but evable behavr.

THGS INVISIBLE TO SEE: LBIAN AND GAY TAL OF MAGIC REALISM

E., “I hear babi cry’, I watch them grow/They’ll learn much more than I’ll ever know/And I thk to myself, what a wonrful world”) the se of Boy Meets Boy, homophobia is not the foil which motivat so much of the actn, and some rears have referred to the book as a “fantasy” bee they believe there is an absence of homophobia the text.

Although queerns is not always nstcted as somethg bad (homophobic characters are generally unlikeable and the homophobia of Tony’s parents is clearly nmned), is still nstcted as somethg different and therefore relatnship to some “norm” (there nnot be a “different” subject posn unls there is some “natural” posn somewhere): arguably, heterosexualy. The Diary of Anne Frank allows for talk about the Holot whout havg to al explicly wh reali and imag of same seems to be te of novelizatns of gay adolcent liv: on the surface, the acunts are some ways “affirmative” and give voice and reprentatn to gay mal, but bee they so heavily rely on heteronormative nstctns of romance, sex, sexualy, and the world more broadly, they often actually work to ntue the visibily of gay mal by filterg queer existence and distancg rears (i.

Books that pict gay mal ways that seem faiar for those who intify as heterosexual may help such rears feel they have a better unrstandg of what gay people may be like, but when the imag are distorted by normative pictns and publishg rtrictns, such tl n simply rescribe the stereotyp they seek to nont.

REVIEW: "JUDAS KISS" BRGS MAGIL REALISM TO GAY {FONT:NORMAL 800 1.2REM/1.2 "D BOLD",SANS-SERIF;TEXT-TRANSFORM:NORMAL;LOR:HER;DISPLAY:LE-BLOCK;PADDG-BOTTOM:6PX;POSN:RELATIVE;TEXT-TRANSFORM:UPPERSE;}{BACKGROUND:#89308A;BOTTOM:0;NTENT:'';DISPLAY:BLOCK;HEIGHT:2PX;LEFT:0;POSN:ABSOLUTE;RIGHT:0;-WEBK-TRANSN:ALL 0.2S EASE;TRANSN:ALL 0.2S EASE;WIDTH:100%;}{LEFT:51%;RIGHT:51%;WIDTH:0;}{FONT:NORMAL 800 1.2REM/1.2 "D BOLD",SANS-SERIF;TEXT-TRANSFORM:NORMAL;LOR:HER;DISPLAY:LE-BLOCK;PADDG-BOTTOM:6PX;POSN:RELATIVE;TEXT-TRANSFORM:UPPERSE;}{BACKGROUND:#89308A;BOTTOM:0;NTENT:'';DISPLAY:BLOCK;HEIGHT:2PX;LEFT:0;POSN:ABSOLUTE;RIGHT:0;-WEBK-TRANSN:ALL 0.2S EASE;TRANSN:ALL 0.2S EASE;WIDTH:100%;}{LEFT:51%;RIGHT:51%;WIDTH:0;}MOVIBY BRENT HARTGERAPRIL 13, 2011/2:26 PMBY BRENT HARTGERAPRIL 13, 2011 / 2:26 PM{"@NTEXT":","@TYPE":"NEWSARTICLE","HEADLE":"REVIEW: \"JUDAS KISS\" BRGS MAGIL REALISM TO GAY FILM","DATEPUBLISHED":"2011-04-13T18:26:01.000+0000","DATEMODIFIED":"2011-04-13T18:26:01.000+0000","IMAGE":{"@NTEXT":","@TYPE":"IMAGEOBJECT","WIDTH":1920,"HEIGHT":1080},"URL":","THOR":{"@TYPE":"ORGANIZATN","NAME":"LOGO TV"},"MAENTYOFPAGE":{"@TYPE":"WEBPAGE","@ID":"},"PUBLISHER":{"@TYPE":"ORGANIZATN","@ID":","NAME":"LOGO TV","URL":","LOGO":{"@TYPE":"IMAGEOBJECT"}},"CREATOR":"BRENT HARTGER","KEYWORDS":"THE BACKLOT","ARTICLESECTN":"MOVI"}{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}CHARLIE DAVID AND RICHARD {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}MAGIL REALISM HS GAY FILM!{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IN JUDAS KISS, A NEW FILM NOW PLAYG THE FTIVAL CIRCU, A WASHED-UP FILMMAKER NAMED ZACHARY (CHARLIE DAVID) IS TALKED TO JUDGG THE STUNT FILM FTIVAL WHERE, 15 YEARS PREVLY, A MOVIE OF HIS MA A BIG SPLASH — A SPLASH THAT ULTIMATELY LED NOWHERE WHEN HE SQUANRED HIS EARLY BUZZ WH BAD PERSONAL AND REER CHOIC. ZACHARY IS SO DISAPPOTED HIMSELF AND HIS PAST THAT HE'S EVEN CHANGED HIS NAME OM "DANNY REY."{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}COULD BE? HAS ZACHARY GONE BACK TIME — OR HAVE PARALLEL DIMENSNS SOMEHOW TERSECTED? MORE IMPORTANTLY, IS ZACHARY BEG GIVEN A CHANCE TO "DO OVER" THE MISTAK HE MA BEFORE?{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}MAGIL REALISM'S "DO OVER" THEME IS OBVLY NOT A NEW ONE FOR FILM GENERAL, BUT 'S PLETELY UNTILLED TERRORY GLBT CEMA. MEANWHILE, THE NUMBER OF GAY FILMS WH ANY MAGIL REALISM AT ALL N BE UNTED WH SGLE DIGS: WERE THE WORLD ME, ORLANDO, GREGG ARAKI'S KABOOM (WHICH IS NOT REMEND), POSSIBLY BIG EN, AND A FEW {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}JUDAS KISS IS CERTALY EARNT AND WELL-TENTNED, AND SURPRISGLY WELL-SHOT (AT THE UNIVERSY OF WASHGTON SEATTLE) FOR SUCH A MICRO-BUDGETED FILM. THERE'S EVEN A TOUCH OF CGI, WHICH LOOKS {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}AND THE FILM CLUS A TERRIFIC BREAK-OUT PERFORMANCE BY HARMON, WHO HAPPENS TO ALSO CURRENTLY BE DISPLAYG HIS PCH-PERFECT "SULLEN, ANGRY TEEN" ACT THE NEW AMC SERI THE KILLG (WATCH ! IT'S GOOD).{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}ALAS, THERE ARE A UPLE OF PROBLEMS WH THE SCRIPT {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}FIRST, THE PARAMETERS OF THE MAGIC ARE NEVER QUE CLEAR. ZACHARY HASN'T GONE BACK TIME — ZACHARY AND DANNY BOTH EXIST THE PRENT. SO WHAT HAPPENED EXACTLY? THERE IS SOME VAGUE TALK ABOUT PARALLEL DIMENSNS, BUT 'S MOSTLY LEFT {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}MEANWHILE, ZACHARY IS TOLD BY A MENTOR, AN OLR VERSN OF HIMSELF, THAT IF HE CHANG HIS OWN PAST, HE'LL ALSO CHANGE HIS FUTURE — BUT THIS NF THGS FURTHER BEE ISN'T LERALLY TE, MERELY METAPHORIL: UNLIKE, SAY, PEGGY SUE GOT MARRIED OR EVEN BACK TO THE FUTURE, THE TWO DIMENSNS ARE PLETELY PENNT HERE (WHICH BEGS THE QUTN: HOW WILL THE TWO PEOPLE WH THE SAME NAME AND FAY NTUE TO -EXIST THE SAME DIMENSN ANYWAY? THE SOCIAL SECURY IMPLITNS ALONE ARE STAGGERG!).{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IN THE END, THE SCRIPTWRERS (CARLOS PEDRAZA AND DIRECTOR J.T. TEPNAPA) DON'T SEEM TO HAVE FIGURED OUT THE L OF THEIR MOVIE'S MAGIC, WHICH IS {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}SEAN PL LOCKHART, {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}THE SEND PROBLEM IS BIGGER. ONCE ZACHARY REALIZ WHAT'S GOG ON, THE FOC OF THE STORY SUDNLY BIFURT, AND YOUNGER DANNY WEIRDLY BE A POV CHARACTER. EVEN WORSE, HIS STORYLE MOSTLY ALS WH SOAP OPERA SUB-PLOTS THAT JT AREN'T VERY ENGAGG (ALTHOUGH THEY CLU AN APPEALG, OPEN-FACED SUPPORTG PERFORMANCE BY PORN STAR BRENT CORRIGAN ACTG UNR HIS REAL NAME, SEAN PL LOCKHART).{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}ZACHARY'S ROLE, MEANWHILE, SUDNLY GETS RCED TO MOSTLY ANGRILY SMOKG CIGARETT AND TRYG TO CI IF HE SHOULD REVEAL HIS AND DANNY'S SECRET TO THE NTT JUDG: HE CHEATED MAKG THE FILM THAT GOT HIM SO MUCH {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}IT'S A CLASSIC REVIEWER'S MISTAKE TO REVIEW THE MOVIE YOU WISHED THE FILMMAKERS' HAD MA RATHER THAN THE ONE THEY ACTUALLY MA, BUT I N'T HELP BUT THK JUDAS KISS MISSED A REAL OPPORTUNY BY SHORT-CHANGG THE ROMANTIC SUBPLOT BETWEEN THE TWO CHARACTERS. AFTER ALL, THERE HAVE BEEN A ZILLN TIME TRAVEL MOVI, BUT REALLY ONLY THE "GAY" VERSN IS POSSIBLE FOR ONE VERSN OF A PERSON TO FALL LOVE WH THE OTHER. TALK ABOUT A DRAMATIC PLITN! (SHOULD THAT EVEN BE LLED "CT," OR IS MERELY MASTURBATN?){BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}BUT AFTER THAT VERY TRIGUG START, THIS SUBPLOT GO NOWHERE AT {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}ONE OTHER MENT I MT MAKE: ZACHARY HAS A LE THE MOVIE WHERE HE SAYS TO HIS YOUNGER SELF, "IT'S TOO LATE TO SAVE MYSELF," BASILLY ADMTG HE'S ALL WASHED UP AND HIS LIFE IS {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}AND I'M THKG, "CHARLIE DAVID IS 30 ICK' YEARS OLD! EVEN IF HE'S PLAYG 35 THE FILM, ARE THEY REALLY TELLG ME HIS LIFE IS OVER AT THAT YOUNG AGE?!"{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}ONLY A GAY FILM ... ONLY A GAY FILM ...{BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}JUDAS KISS IS FLAWED BUT S HEART IS THE RIGHT PLACE. AND I ADM I'M OPENLY TICKLED THAT GAY CEMA IS FALLY GOG PLAC, LIKE MAGIL REALISM, WHERE FEW HAVE THOUGHT TO TAKE {BOX-SIZG:BORR-BOX;PADDG:24PX 0;} A{LOR:#354A4E;-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} A:HOVER, A:FOC{-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} B, STRONG{FONT-WEIGHT:700;}YOU MIGHT ALSO BE TERTED : TOP 50 FAVORE GAY {BOX-SIZG:BORR-BOX;CLEAR:BOTH;}THE {BOX-SIZG:BORR-BOX;MARG:0 TO;WIDTH:90%;M-WIDTH:288PX;MAX-WIDTH:1440PX;M-HEIGHT:194PX;}LATT NEWS

Meanwhile, the number of gay films wh any magil realism at all n be unted wh sgle digs: Were the World Me, Orlando, Gregg Araki's Kaboom (which is not remend), possibly Big En, and a few Kiss is certaly earnt and well-tentned, and surprisgly well-shot (at the Universy of Washgton Seattle) for such a micro-budgeted film. And yet, spe of the current certaty that magil realism appears at the tersectns of the known and unknown, at the juncture of beg and non-beg, and at the meetg of the Wtern experience and knowledge wh s Native others (digeno and otherwise), crics have only rarely nnected wh the lerature of homosexualy, which is self a fotten variety of lonialist disurse (at least s European and Amerin maniftatns). Certaly, as the work of Eve Kosofsky Sedgwick mak clear, homosexualy is one of the disurs through which Wtern certati about epistemology and ontology have been damaggly ground: “homo/heterosexual fn has been a pridg master term of the past century, one that has the same, primary importance for all morn Wtern inty and social anizatn (and not merely for homosexual inty and culture) as do the more tradnally visible cx of genr, class, and race.

”4 But even if we choose not to approach the matter posterrly as were, that is, through the back door of cricism and theory, we might notice that any number of texts the Eurocentric lerary tradn be elements of magic, horror, and fantasy wh exploratns of homoerotic reali reprented wh varyg gre of verisiu. We might stance the implic or explic homoeroticism to be parsed out the long tradn of gothic, vampire texts startg the early neteenth century and nng through Anne Rice’s Interview wh a Vampire (1976) or Stephenie Meyer’s Twilight seri of novels (2005–2008) and their film adaptatns, not to mentn cematic works like The Hunger (dir. 5 Osr Wil, The Picture of Dorian Gray (1890), the magic of a mirror portra as the moral foil to his sexually praved protagonist who, while not exactly homosexual, neverthels stanc the ontologil and epistemologil ndns of the open secret of homosexualy even before me to wi public view the middle of the twentieth century.

1978, THE YEAR OF MAGIL THKG: MAGIL REALISM AND THE PARADOX OF WHE GAY ONTOLOGY ANDREW HOLLERAN’S DANCER OM THE DANCE AND EDMUND WHE’S NOCTURN FOR THE KG OF NAPL

6We might also briefly note the creasg number of (servedly famo) specifilly intified gay and lbian or queer works wrten at the turn of the twentieth and twenty-first centuri that allu to or velop magil elements unpackg queer ontologi: In Borrlands/La Frontera: The New Mtiza (1987), Gloria Anzaldua tegrat Mexin supernaturalism to her unrstandg of what means to be a mixed-race China queer; Randall Kenan, effectg a Southern, homosexual take on gothic nventns, poss an alternate world of ghosts and mons to aid his otherwise realistilly nceived characters the apprehensn of their historicized selv A Visatn of Spirs (1989), and for reasons that may have to do wh s racial posng, Kenan’s is perhaps the only recent gay work whose permutatns of the supernatural and the real are unrstood to evoke important qutns of racial and sexual ontology. ”9Bee of the qutns raised by sexualy and race the elucidatn of whe gay ontology, and the ways the are filtered through the unknown or extra-worldly imagery and happengs early, post-Stonewall gay texts by whe thors, my foc will be on two novels published 1978, at a particular moment when, by many acunts, gay whe, middle-class Amerin lerature was g clearly to foc. That whens is thrown to sharp relief wh the fictnal strategi is not entirely a gture of whe supremacy, for nnot be divorced om a whe lonial imagary that, prr to the productn of what we now regnize as gay beg, had relegated non-heteronormative forms of sexualy to moral and social shadow worlds associated the imperialist imagary wh ethnic and racial difference.

At the very least, we are alg this early lerature not wh or not only wh gay whens but the paradox of gay ontologi whe bodi that stand ntradistctn to whens see what I mean, we might return briefly to Randall Kenan’s A Visatn of Spirs, which provis an apt unterpot for unrstandg the paradox I have scribed.

So at the very least thkg about the works wh the narrative stctur of magil realism provis a way to see more clearly how they problematize gay and gay whe ontologi—and perhaps even -ontologize any sgular gay whe be clear, I do not seek to equate black and whe gay experienc or lerary disurs. Rather, I want to suggt only that wh a fifty-year perd at the end of the twentieth century many male wrers ncerned wh qutns of homosexualy (both black and whe) had already been shaped wh racialist disurs that belonged to a ntug history of the abjectn of both blackns and homosexualy, disurs that evably draw the examatn of sexuali to those of race, both whe and black wrers. 12 Nor do I mean to suggt that I will or that we should be uncril of aspects of whe gay thought revealed the novels or whe gay cultur that fail to know their own history and the ways their gas ontologil privilege, epistemologil stat, and civil protectns the post-Stonewall world have been harvted om the fertile soil of whens and s privileg Ameri.