By David Savran
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Extra info for A queer sort of materialism : recontextualizing American theater
The former gives a skewed version of society while the latter offers an ostensibly more balanced and healthy assessment. S. 18 Indeed, the gay male playwrights of the 1950s and 1960s achieved their renown (and notoriety) in large part be cause of their ability to construct plays that, for most theatergoers at least, were read as all too true fictions. Yet the continued association of the heterosexual with the universal and the homosexual with the particular has been an obstinate mythol ogy that was bolstered by the emerging gay commercial theater of the late 1960s and 1970s.
Ripley, from As Good as It Gets to American Beauty-that aspire to the category of art. In 1997, Ellen became the first sitcom to feature a lesbian hero, whil e Ellen DeGeneres's simultaneous coming out provided fodder for count less editorials, sermons, and talk shows. Although Ellen was unable to make a go of it, a year later W ill and Grace turned camp into highly suc cessful, Emmy-winning, primetime entertainment. d. lang, Melissa Etheridge, and the Indigo Girls amassed devoted fans. The Pet Shop Boys and George Michael managed to retain their niche market.
In Taubman's opin ion, crypto-homosexuals produce those malodorous closet dramas that invariably turn a woman into an "unpleasant:' "exaggerated" grotesque and a man "into a ragingly lustful beast or . . " 15 Taubman's and Kauffmann's positions are demonstrably homopho bic insofar as they demand that these-implicitly male-homosexual ·� I 65 writers, unlike their heterosexual brethren, are fit to write only of what they "know:' that is, homosexuality. ( According to this essentialist pre scription, a male writer should write only about men, an African Amer ican writer only about African Americans, etc.