Gay bar jeremy atherton lin
AN ABSOLUTE TOUR DE FORCE –Maggie Nelson
A Book of the Year
THE Fresh YORK TIMES • VOGUE • ARTFORUM • NPR • SPIN
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ALOS ANGELES TIMES BESTSELLER
ESSENTIAL
BEAUTIFULAND ORIGINAL
GLITTERY, MAGNETIC
STYLISHWITTY
LYRICAL
RESTLESS AND INTELLIGENT
EXCEPTIONALLY WELL-CRAFTEDSEAMLESS
AMBITIOUS AND INTELLECTUALLY PROMISCUOUS
UTTERLY UNIQUE
I can&#;t recall the last time I&#;ve been so happily surprised and enchanted by a BAR is an absolute tour de force.
GAY BAR is searching, erudite a
GAY BAR is a work of genius.
Smooth and ferocious; tumescent and pounding;
sweet, awkward, occasionally shy.
Phenomenological social history at its most fuckable. Love.
Gay Bar: Why We Went Out
Camp is a bright-pink succor amid the grind. Male lover is the opium of the people. We once flattered ourselves that all popular culture was subversively designed to amuse gay men. It's become perceptible gay men are there to form popular culture amusing to everybody else.
Reading this book is definitely like going to a queer club and existence psychically pummelled by the music because it is so loud, not to mention drowning in a sea of sweaty men. There is a description towards the finish of … someplace (names and locations do tend to blur after a while) where Jeremy Atherton Lin describes how the blocked toilets caused piss and spilled consume to flow together onto the boogie floor. But all of the dancers had on aware work boots, for one does not take the plumbing of a gay-men’s bar for granted. Gay men are just like that. Eminently sensible.
Not. ‘Gay Bar’ is an inspired account of what Kirkus politely calls “a writer’s intimate trans-Atlantic history of gay bars”. The word ‘intimate’ is a bit of a euphemism, because what Lin does with this book is grant
A Leathery Mood: On Jeremy Atherton Lin’s &#;Gay Bar&#;
With rare exceptions, the queer spaces I have visited over the years vary wildly, but there is a slippery quality that unites my experiences in them: the warm bath of alterity. The queer DJ and writer madison moore describes clubs as ‘portals’, for their ability to aid us imagine a different way of doing things, to flee the capitalist and heteronormative logic of the ‘real world’. Through the gay bar as portal, we might enter places where we can be the majority not the minority, places where fantasy and debauchery are made possible, where identity and longing are heightened.
Jeremy Atherton Lin’s GAY BAR: WHY WE WENT OUT () is a declaration of the author’s love of gay bars. It is, as far as I can tell, one of the only attempts at a cultural history of the homosexual bar, be it a cultural history that is sexier and messier, because Lin does not shy away from the visceral qualities of gay bars. He does not evade the smells and the dirt and the fluids as a comparatively fusty historian might (see, say, Pe
Gay Bar : Why We Went Out by Jeremy Atherton Lin
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An indispensable, intimate and modern celebration of the institution of the gay lock, from s post-AIDS crisis to today s fluid queer spaces.
From leather parties in the Castro to Gay Liberation Front touch-ins; from disco at Studio One to dark rooms in Vauxhall railway arches, the gay bar has long been a place of joy, solidarity and sexual expression. But around the world, gay bars are closing. In the wake of this cultural demolition, Jeremy Atherton Lin rediscovers the party boys and renegades who lived and loved in these spaces.
Gay Bar is a sparkling, richly individual history of enclaves in London, San Francisco and Los Angeles. It is also the story of the composer s own experiences as a mixed-race gay guy, and the transatlantic intimacy that began one restless night in Soho. Expansive, vivacious, curious, celebratory, Gay Bar asks: where shall we leave tonight?
'I can't remember the last time I've been so happily surprised and enchanted by a