Compile A List Of Inspiring Quotes

The mandarins of culture—what do they do to teach the common folk to read? It's no good writing down lists of books for farmers and compiling five-foot shelves; you've got to go out and visit the people yourself—take the books to them, talk to the teachers and bully the editors of country newspapers and farm magazines and tell the children stories—and then little by little you begin to get good books circulating in the veins of the nation. It's a great work, mind you!

Launching more drone strikes than Bush ever did and compiling a secret “kill list,” President Obama’s administration took the view that al-Qaeda was like an organized crime gang—disrupt the hierarchy, destroy the gang. Theirs was a concerted and dogmatic attempt at pretending that al-Qaeda was nothing but a fringe criminal group, and not a concrete realization of an ideological phenomenon with grassroots sympathy. They took this view in part because of how successful Islamist “fellow-traveler” lobbies had been in influencing Obama’s campaign after the mistakes of the Bush years. For Islamists and their allies, the problem was “al-Qaeda inspired extremism,” and not the extremism that had inspired al-Qaeda.

The pamphlet compiled essays from those who work in queer spaces or study them academically, or both. One contributor, Joe Parslow, wrote an essay that refers to the critic José Esteban Muñoz’s paralleling of the word stage in the sense of a platform for performance with stage as a phase that queers are told to get over—as when parents contend it’s just a blip. In 2009, Muñoz wrote, ‘Today I write back from that stage that my mother and father hoped I would quickly vacate. Instead, I dwell on and in this stage.’ Parslow explains how he was inspired to think from the stage outward when he designed his own venue, Her Upstairs, one of those few places that opened against the wave of bar closures; it shut down after only a short spell. In his listing application for the RVT, Ben Walters offered another symbolic interpretation of the stage. When Pat and Breda McConnon took over the tavern in 1979, they made the decision to put an end to the messy tradition of bartenders serving drinks between the legs of the drag queens atop the curving bar. But rather than cancel the entertainment, they renovated the interior, removing that bar and installing a bespoke stage. Walters points out the meaningfulness of this move. Performing on the bar had meant that a drag queen could be swiftly cleared away and the performance denied at the sign of a police raid. The McConnons permanently ensconced queer performance in the materiality of the building. Their stage was not a phase.