Anti-colonial Feminist Ramblings About Everything and Anything

Palaversich, Diana. “The Wounded Body of Proletarian Homosexuality in Pedro Lemebel's Loco afán”. Latin American Perspectives, Vol. 29, No. 2, 99-118 (2002). Pedro Lemebel's writings effectively challenge triumphant narratives about Chilean's economic model, pointing at the marginal subjects that inhabit the city. As well, it emphasizes the "transvestism" of Chilean identity, especially in terms of class and race. He also shatters any project of unitary or global "gay identity" by showing the multiplicity of particular lived experiences of "locas" and other queers marked not only by their sexuality but also by poverty, ethnicity, and AIDS. Moreover, Lemebel engages with three traditions and political projects —gay politics, the Left political agenda, and postmodernism— without being subsumed by any of them. Lemebel's resistance to the global anglo-centered gay identity project (which has also been adopted by Latin American homosexual groups

Lockhart, Melissa F. “Queer Representations in Latino Theatre”. Latin American Theatre Review, 1998. As "gay culture" becomes progressively more mainstream in North America, what can we consider "queer" in queer theatre? For Lockhart, when issues of class, race and culture are left untouched, then queer theatre looses all subversive potential. In turn, while queer culture has tended to move from margin to mainstream, " queer Latino theatre essentially becomes hyperqueer by enacting the multiplicities and contradictions of living within multiple marginal subjectivities". (68) Lockhart does not identify the term "queer" with gay, but rather with any "gender disruption". She locates the relevance of queer theatre in the potential for transforming the (self) representation of the Latino/a community and collective identities. The works analyzed by Lockhart emphasize stereotypes, hybridity and through the dynamics of "passing", th