In this searing polemic, Lee Edelman outlines a radically uncompromising new ethics of queer theory. His main target is the all-pervasive figure of the child, which he reads as the linchpin of our universal politics of "reproductive futurism." Edelman argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. He boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order. In No Future, Edelman urges queers to abandon the stance of accommodation and accede to their status as figures for the force of a negativity that he links with irony, jouissance, and, ultimately, the death drive itself.Closely engaging with literary texts, Edelman makes a compelling case for imagining Scrooge without Tiny Tim and Silas Marner without little Eppie. Looking to Alfred Hitchcock's films, he embraces two of the director's most notorious creations: the sadistic Leonard of North by Northwest, who steps on the hand that holds the couple precariously above the abyss, and the terrifying title figures of The Birds, with their predilection for children. Edelman enlarges the reach of contemporary psychoanalytic theory as he brings it to bear not only on works of literature and film but also on such current political flashpoints as gay marriage and gay parenting. Throwing down the theoretical gauntlet, No Future reimagines queerness with a passion certain to spark an equally impassioned debate among its readers.
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Extrait
NO FUTURE
Edited by Michèle Aina Barale, Jonathan Goldberg, Michael Moon, and Eve Kosofsky Sedgwick
O NO FUTURE*Queer Theory and the Death Drive*LEE EDELMAN FUTURE
The following people played significant roles in the production of this book. A number of them invited me to give lectures that later developed into chapters; others raised questions that sharpened or helped clarify its argument. Some assisted in the preparation of the manuscript and the images used to illustrate it, while others were invaluable in the edit-ing and design of the book it now has become. Still others, whether they knew it or not, gave me the courage to let this argument go as far as it demanded. All, in their various ways, provided the intellectual com-panionship without which such a project as this could never be sus-tained. It gives me great pleasure to name their names and to acknowl-edge their importance to this book: Richard Allen, Nancy Armstrong, Matthew Bell, Courtney Berger, Lauren Berlant, Leo Bersani, John Brenk-man, Judith Brown, Amy Ruth Buchanan, Oliver Buckton, Bonnie Burns, William Cain, Robert Caserio, Jane Chance, Rey Chow, Douglas Crimp,