Queer Coded Quotes

I think a lot about queer villains, the problem and pleasure and audacity of them. I know I should have a very specific political response to them. I know, for example, I should be offended by Disney’s lineup of vain, effete ne’er-do-wells (Scar, Jafar), sinister drag queens (Ursula, Cruella de Vil), and constipated, man-hating power dykes (Lady Tremaine, Maleficent). I should be furious at Downton Abbey’s scheming gay butler and Girlfriend’s controlling, lunatic lesbian, and I should be indignant about Rebecca and Strangers on a Train and Laura and The Terror and All About Eve, and every other classic and contemporary foppish, conniving, sissy, cruel, humorless, depraved, evil, insane homosexual on the large and small screen. And yet, while I recognize the problem intellectually—the system of coding, the way villainy and queerness became a kind of shorthand for each other—I cannot help but love these fictional queer villains. I love them for all of their aesthetic lushness and theatrical glee, their fabulousness, their ruthlessness, their power. They’re always by far the most interesting characters on the screen. After all, they live in a world that hates them. They’ve adapted; they’ve learned to conceal themselves. They’ve survived.

He slowed his pace a little. He was thirty and there was grey in his hair, yet he had a queer feeling that he had only just grown up. It occured to him that he was merely repeating the destiny of every human being. Everyone rebels against the money-code, and everyone sooner or later surrenders. He had kept up his rebellion a little longer than most, that was all. And he had made such a wretched failure of it!

And he gets why I didn't want us to be that to each other. Most people want puddles to splash around in; Thom wants souls where scuba diving is encouraged.

It seems to me that an often quiet, but often palpable presiding image here... is the interpretive absorption of the child or adolescent whose sense of personal queerness may or may not (yet?) have resolved... Such a child - if she reads at all - is reading for important news about herself, without knowing what form that news will take; with only the patchiest familiarity with its codes; without, even, more than hungrily hypothesizing to what questions this news may proffer an answer.

To me, “queerness” is an alienation from a heteronormative code that governs bodies, genders, and their processes — sexuality, birth, death, and inheritance — in order to preserve social, economic, and political power for those who have it [and] to continue it into future generations.

And yet, while I recognize the problem intellectually—the system of coding, the way villainy and queerness became a kind of shorthand for each other—I cannot help but love these fictional queer villains. I love them for all of their aesthetic lushness and theatrical glee, their fabulousness, their ruthlessness, their power. They’re always by far the most interesting characters on the screen. After all, they live in a world that hates them. They’ve adapted; they’ve learned to conceal themselves. They’ve survived.

First there is the World. Then there is the Other World. The Other World is where I sometimes lose my footing. In its calendar turnings, its preinvented existence. The barrage of twists and turns where I sometimes get weary trying to keep up with it, minute by minute adapt: the world of the stoplight, the no-smoking signs, the rental world, the split-rail fencing shielding hundreds of miles of barren wilderness from the human step. A place where by virtue of ha ing been born centuries late one is denied access to earth of space, choice or movement. The brought up world; the owned world. The world of coded sounds: the world of language, the world of lies. The packaged world; the world of speed in metallic motion. The Other World where I've always felt like an alien.

Drag wasn’t a disguise or an illusion; it was armor. When he stepped onstage, Axel became someone fierce and untouchable, a force of nature that gave no fucks and couldn’t be bothered. He brought hecklers to their knees, read homophobes until they needed the Da Vinci Code to piece their dignity back together, and faced the worst with a smart remark and a tongue pop. Lisel was both shield and weapon, the only refuge he’d had from these ugly years.

The quintessential "self-made man" (and it is almost always a man) is self-sufficient, confident, stoic, righteously industrious, performatively heterosexual, and power. His success is signified through acquisition--home ownership, marriage, and children--and display of taste and things--craft beer and Courvoisier, Teslas and big trucks, bespoke suits and I-don't-care CEO hoodies. On the surface, it looks like that idea has evolved some. We have our Beyonces, Baracks, and Buttigiegs. But that doesn't mean the American Dream has become liberated from its origins or that its promise of freedom is more free. It just means more of us are permitted entry to the club if we do the double duty of conforming to its standards and continuing to meet the ones set for us--women must lean in, queer couples must get married, people of color must be master code-switchers.

The trick to being a rebel at Liberty, I’ve learned, is knowing which parts of the Liberty social code are non-negotiable. For example, Joey and his friends listen to vulgarity-filled secular hip-hop, but you’ll never catch them defending homosexuality. (On the contrary, Joey’s insults of choice are “queer” and “gaywad.”) And although they might harass the naïve pastors’ kids on the hall by stealing their towels from the shower stalls—leaving them naked, wet, and stranded—they’d be the first people to tell you why Mormonism is a false religion. In other words, Liberty’s true social code, the one they don’t put in a forty-six-page manual, has everything to do with being a social and religious conservative and not a whole lot to do with acting in any traditionally virtuous way.

I remember walking to a group for trans men and getting the most withering looks. I hadn't even opened my mouth. But I was the only one in a flannel shirt. Everyone else was decked out in the height of androgynous fashion. I was just wearing that because it was cold out. But I still felt unwelcome. 'Queer' fashion is supposed to be the opposite of 'straight' fashion...we create a code only we can understand; a look we can feel proud of because we got to choose it, not them. When you can be in real danger if you guess wrong about whether someone's queer, it makes sense to have our own language...but sometimes it's winter in Wisconsin and you get left out in the cold.

In the second half of the twentieth century, however, such seemingly self-evident or logical claims to identity have been problematised radically on a number of fronts by such theorists as Louis Althusser, Sigmund Freud, Ferdinand de Saussure, Jacques Lacan and Michel Foucault. Collectively, their work has made possible certain advances in social theory and the human sciences which, in the words of Stuart Hall (1994:120), have effected 'the final de-centring of the Cartesian subject' (cf. Chris Weedon, 1987; Diana Fuss, 1989; Barbara Creed, 1994). Consequendy, identity has been reconceptualised as a sustaining and persistent cultural fantasy or myth. To think of identity as a 'mythological' construction is not to say that categories of identity have no material effect. Rather it is to realise—as Roland Barthes does in his Mythologies (1978)—that our understanding of ourselves as coherent, unified, and self-determining subjects is an effect of those representational codes commonly used to describe the self and through which, consequendy, identity comes to be understood.

Trans people are reduced to our ability to fit some imagined but collectively reinforced standards of gender. The extent to which we meet these standards, however, does nothing to guarantee our safety, even more so for trans people of color as these standards are carved out of whiteness. Those who “pass” are either treated as the token of desirable (read: palatable) transness or accused of betrayal when they don’t introduce themselves with a declaration of their transness; those who do not “pass” are attacked for the transgression of some imagined gender code of conduct; and those whose transness is not adequately visually flagged are delegitimized, deemed “not trans enough.” Dr. Génessier serves as the police of this imagined gender code of conduct in Eyes Without a Face, the paternalistic enforcer of a single merit of belonging.

To be queer and Somali and neurodivergent is concentrated alchemy, and yet we constantly raid the cupboards of our souls like we are a people of lack. When you operate from a position of lack, you don’t realise you’re robbing yourself of everything worth preserving, and forgetting to toss away all the empty pursuits that lost their synthetic spell several generations ago. And suddenly, you’re wide awake in a new country, in a new decade, and you’re startled because you can’t remember how you got here or why you’re still feeling hunted by your own reflection. You can’t remember how or when or where or why you misplaced all your breezy dynamism—all that wildness of perception you used to project with such ferocity. Where did it all go? We have conveniently forgotten that we have always been fundamentally idiosyncratic and fantastic and fucking alive. Instead we feed ourselves and our children and our children’s children prosaic fuckery for what? Respectability politics? So that if we twist and try our damnedest to conform to standards that have never been coded into our collective DNA, that we’ll what? Somehow be less strange? Less weird and wonderful? That we’ll transcend the soul-snuffing snare that is the myth of the good immigrant? That if we mute all of our magic—everything that makes us some of the most innately interesting, individualistic and fun, funny beings in this boring, beige-as-fuck world—that we’ll win over whom? Folks who don’t season their food right or whose understanding of freedom is a shitty Friday night sloshfest at a shitty pub playing shitty music, chatting nonsense that no-one with a single iota of sense gives a fuck about? Is that who you are so deeply invested in trying to impress? If so, then go for it, but don’t fool yourself for a fucking second into thinking that trying desperately to shave off your elemental peculiarities through self-diminishment is salvation, because it simply isn’t, honey, and it never will be.

The cult distinguishes between in-group and out-group by using “preferred pronouns,” complex jargon, and code words in greeting and writing.

Queer Theory defines another ideology called “homonormativity,” which doesn’t mean what it sounds like it means. “Homonormativity” is an ideology that brainwashes people—especially homosexual people—to believe being gay or lesbian is or can be normal, as opposed to intrinsically radical. It convinces people—especially homosexual people—to believe gay and lesbian people should be accepted as a normal variation of human sexuality and even to “pass” by dressing and living their lives in ways Queer Activists deem to be “coded as” “normal,” what might be described paradoxically as “the straight people of gay people.” Queer Activists believe being gay or lesbian should be a front of radical potential and Queer Activism, not just another normal variation of human experience, and so they believe the adoption of “homonormativity” further oppresses “queer” people by normalizing homosexuality.

Under ground, under ground! Down in the safe soft womb of earth, where there is no getting of jobs or losing of jobs, no relatives or friends to plague you, no hope, fear, ambition, honour, duty - no duns of any kind. That was where he wished to be. Yet it was not death, actual physical death, that he wished for. It was a queer feeling that he had. It had been with him ever since that morning when he woke up in the police cell. The evil, mutinous mood that comes after drunkenness seemed to have set into a habit. That drunken night had marked a period in his life. It had dragged him downward with strange suddenness. Before, he had fought against the money-code, and yet he had clung to his wretched remnant of decency. But now it was precisely from decency that he wanted to escape. He wanted to go down, deep down, into some world where decency no longer mattered; to cut the strings of his self-respect, to submerge himself - to sink, as Rosemary had said. It was all bound up in his mind with the thought of being underground. He liked to think about the lost people, the underground people, tramps, beggars, criminals, prostitutes. It is a good world that they inhabit, down there in their frowzy kips and spikes. He liked to think that beneath the world of money there is that great sluttish underworld where failure and success have no meaning; a sort of kingdom of ghosts where all are equal. That was where he wished to be, down in the ghost-kingdom, below ambition.

Britain had become a kind of cargo cult, a jumble of disassociated local customs, rituals and superstitions: uncanny relics of the distant, unknowable Britain of ancient days. Why, for instance, do sword dancers lock weapons in magical shapes such as the pentagram or the six-pointed star, led by a man wearing a fox’s head? What is the straw bear plodding round the village of Whittlesey in Cambridgeshire every January? Why do a bunch of Nutters black up their faces and perform a coconut dance in several Lancashire villages? What possesses people to engage in the crazed ‘furry dance’, singing the ‘Hal-An-Tow’ song, on 6 May at Helston in Cornwall? Why do beribboned hobby horses canter round the streets of Padstow and Minehead every May Day, with attendant ‘Gullivers’ lunging at onlookers with a giant pair of pincers? The persistence of such rites, and the apparent presence of codes, occult symbolism and nature magic in the dances, mummers’ plays and balladry of yore, have provided a rich compost for some of the outgrowths of folk in the 1960s and afterwards. Even to dip a toe into the world of folklore is to unearth an Other Britain, one composed of mysterious fragments and survivals – a rickety bridge to the sweet grass of Albion. As Bert Lloyd mentioned, ‘To our toiling ancestors [these customs] meant everything, and in a queer irrational way they can still mean much to us.’1

So, you want us to stop saying gay. Want to remove the right to acknowledge the truth of our bodies and hearts and eradicate the language that names us As if this will somehow keep you safe from our existence As if you can see no evil, hear no evil, speak no evil us into oblivion. It was you who birthed us into a legacy of code makers and breakers. Humans who took their language underground. Cast spells and had wordless conversations with our ancestors Who gifted us new ways to speak in the open air. We painted pink triangles on the walls of The underground bomb shelters you built to bury us alive Left a trail of glitter pointing to the inborn light in our chests So the ones who came looking for us would know how we lived. We stole back the vernacular you created to hide us back from the tips of your forked tongues Alchemized the sounds that twisted your mouth into symbols of reclamation Used your vilification to dig ourselves out of the closets you constructed around us Made our way blazing and victorious into the sun. When AIDS devastated an entire glittering generation We crafted a whispered language of the isolated hospital room and empty funeral That can only be heard by bodies That have been asked to hold a loss too deep to name. When Matthew Shephard's bloody and broken body Was found tied to that barbed wire fence, the only clean part of his skin the trails of his desperate tears We twisted from the ethers an entirely new way to name collective grief and fear, one far too infinite to hold alone It has always been our tenacious together than holds us. Drive us underground We will always surface Singing words you can never own Because don’t have the range to hear them. Go ahead, take away our words, We will birth a whole new language You’ve been sending your armies for us since the beginning of time But we were born for battle. You wonder why we are still here? You made us this strong. You think getting rid of a word will silence us? You’d have to ban them all.