1. Sunil Gupta, Christopher Street, 1976 (London: Stanley/Barker, 2018), blurb.
2. Gupta, “Christopher Street Revisited,” interview by Jesse Dorris, Aperture, May 30, 2019, https://aperture.org/blog/sunil-gupta-christopher-street/.
3. Gupta, “Do You Have Place?,” talk/interview delivered at the conference Cruising the Seventies: Imagining Queer Europe, Then and Now, University of Edinburgh, March 14–16, 2019.
4. Leo Bersani, “Sociability and Cruising,” in Is the Rectum a Grave? and Other Essays (Chicago: University of Chicago Press, 2010), 57.
5. Gupta, “Do You Have Place?”
6. Gupta, “Christopher Street Revisited.”
7. Hal Fischer, Gay Semiotics: A Photographic Study of Visual Coding among Homosexual Men (San Francisco: NFS Press, 1977), 22.
8. Fischer, Gay Semiotics, 15.
9. Fischer, Hal Fischer: The Gay Seventies, ed. Griff Williams and Troy Peters (San Francisco: Gallery 16, 2019), 78.
10. Fischer, Gay Semiotics, 15.
11. Jonathan Weinberg, Pier Groups: Art and Sex along the New York Waterfront (University Park: Pennsylvania State University Press), 16.
12. Fiona Anderson, Cruising the Dead River: David Wojnarowicz and the New York Waterfront (Chicago: University of Chicago Press, 2019), 24.
13. Douglas Crimp, “On Alvin Baltrop,” in The Life and Times of Alvin Baltrop, ed. Antonio Sergio Bessa (Skira Editore: Milan, 2019), 10.
14. Antonio Sergio Bessa, “Into the Mystic: Pier 52 through the Lens of Alvin Baltrop,” in The Life and Times of Alvin Baltrop, 56.
15. Crimp, “On Alvin Baltrop,” 10.
16. Anderson, Cruising the Dead River, 13.
17. Mia Kang, “Things That I Considered Beautiful: Reflections on the Alvin Baltrop Archive,” in The Life and Times of Alvin Baltrop, 79–80.
18. Kang, “Things That I Considered Beautiful,” 80.
19. Anderson, Cruising the Dead River, 8.
20. Weinberg, Pier Groups, 17.
21. Bersani, “Is the Rectum a Grave?,” in Is the Rectum a Grave? And Other Essays (Chicago: Chicago University Press, 2009), 3–31.
22. Grindr removed its ethnicity filter function in June 2020, as an expression of support for the Black Lives Matter movement in the wake of George Floyd’s murder by a police officer in Minneapolis. The opportunism of this gesture of solidarity, the time it had taken for such a gesture to be made (the app was launched in 2009), as well as the converse benefits of such a filter for users of color seeking to avoid racist microaggressions, did not go unremarked on social media.
23. Doug Ireland, “Rendezvous in the Ramble,” New York, May 21, 2008 [July 24, 1978], https://nymag.com/news/features/47179/.
24. Walter Holland, “The Calamus Root: A Study of American Gay Poetry since World War II,” Journal of Homosexuality 34, no. 3/4 (1998): 9.
25. George Chauncey, Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890–1940 (New York: Basic Books, 1994), 188.
26. Rebecca Zurier, Picturing the City: Urban Vision and the Ashcan School (Berkeley: University of California Press, 2014), 6–7.
27. John Boswell, Christianity, Social Tolerance and Homosexuality (Chicago: University of Chicago Press, 1980), 42.
28. Leo Bersani, Homos (Cambridge, Mass.: Harvard University Press, 1995), 3.
29. Mark W. Turner, Backward Glances: Cruising the Queer Streets of New York and London (London: Reaktion, 2003), 45.
30. John Champagne, “Walt Whitman, Our Great Gay Poet?,” Journal of Homosexuality 55, no. 4 (2008): 648–64.
31. Chauncey, Gay New York, 14.
32. Bersani, Homos, 2.
33. Sarah Schulman, The Gentrification of the Mind: Witness to a Lost Imagination (Berkeley: University of California Press, 2012).
34. Christopher Castiglia and Christopher Reed, If Memory Serves: Gay Men, AIDS and the Promise of the Queer Past (Minneapolis: University of Minnesota Press, 2012), 84.
35. Walt Whitman, “Crossing Brooklyn Ferry,” Leaves of Grass and Other Writings, ed. Michael Moon (New York: Norton Critical Editions, 2002), 137. Moon’s text is based on the 1891–92 “deathbed” edition of Leaves of Grass. Further references to this edition are given with quotations in the text with the abbreviation LG. References to earlier editions of Leaves of Grass will be indicated by a separate reference.
36. Jonathan D. Katz and David C. Ward, Hide/Seek: Difference and Desire in American Portraiture (Washington, D.C.: Smithsonian Books, 2010), 14.
37. Brian Glavey, The Wallflower Avant-Garde: Modernism, Sexuality and Queer Ekphrasis (New York: Oxford University Press, 2016), 6.
38. David Wojnarowicz, “Losing the Form in Darkness,” in Close to the Knives: A Memoir of Disintegration (New York: Vintage, 1991), 13–14. Further references to this edition are given with quotations in the text with the abbreviation CK.
39. Glavey, The Wallflower Avant-Garde, 6.
40. Frank O’Hara, “Personism,” in The Collected Poems of Frank O’Hara, ed. Donald Allen (Berkeley: University of California Press, 1995), 498. Further references to this edition are given with quotations in the text with the abbreviation CP.
41. Rita Felski, “Context Stinks!,” New Literary History 42, no. 4 (Autumn 2011): 574.
42. Walter Benjamin, “What Is Aura?,” in Walter Benjamin’s Archive: Images, Texts, Signs, ed. Esther Leslie, trans. Ursula Marx (London: Verso, 2007), 45.
43. Alfred Gell, Art and Agency: An Anthropological Theory (Oxford: Clarendon Press, 1998), 15.
44. Glavey, The Wallflower Avant-Garde, 3.
45. Kevin Ohi, Dead Letters Sent: Queer Literary Transmission (Minneapolis: University of Minnesota Press, 2015), 29.
46. Elizabeth Freeman, Time Binds: Queer Temporalities, Queer Histories (Durham, N.C.: Duke University Press, 2010), xiii.
47. José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (New York: New York University Press, 2009), 24.
48. Paul K. Saint-Amour, “The Literary Present,” ELH 85, no. 2 (Summer 2018): 385.
49. Saint-Amour, 368.
50. Muñoz, Cruising Utopia, 4.
51. Tyler Bradway, Queer Experimental Literature: The Affective Politics of Bad Reading (New York: Palgrave Macmillan, 2017), xxxi.
52. Bradway.
1. Walter Benjamin, “What Is Aura?,” in Walter Benjamin’s Archive: Images, Texts, Signs, ed. Esther Leslie, trans. Ursula Marx (London: Verso, 2007), 45.
2. “The person we look at, or feels he is being looked at, looks at us in turn. To experience the aura of an object we look at means to invest it with the ability to look back at us.” Walter Benjamin, “On Some Motifs in Baudelaire,” in The Writer of Modern Life: Essays on Charles Baudelaire, ed. Michael Jennings, trans. Howard Eiland et al. (Cambridge, Mass.: Belknap Press of Harvard University Press, 2006), 204.
3. Benjamin, 204.
4. Miriam Bratu Hansen, “Benjamin’s Aura,” Critical Inquiry 34, no. 2 (Winter 2008): 342.
5. Charles Baudelaire, “À une passante,” in Les Fleurs du Mal, ed. Claude Pichois (Paris: Gallimard, 1972), 127. The English translation is my own.
6. Mark W. Turner, Backward Glances, 34.
7. Janet Wolff, “The Invisible Flaneuse: Women and the Literature of Modernity,” Theory, Culture and Society 2, no. 3 (1985): 42.
8. Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, Mass.: Harvard University Press, 2002), 985.
9. Benjamin, “Über einige Motive bei Baudelaire,” in Gesammelte Schriften, ed. Rolf Tiedemann and Hermann Schweppenhäuser, 7 vols. (Frankfurt am Main: Suhrkamp, 1972–1989), 1: 647.
10. Eduardo Cadava, Words of Light: Theses on the Photography of History (Princeton, N.J.: Princeton University Press, 1997), 21–22.
11. Timothy Raser, Baudelaire and Photography: Finding the Painter of Modern Life (Leeds: Legenda, 2015), 95.
12. Baudelaire, “The Salon of 1859: The Modern Public and Photography,” in Art in Theory 1815–1900: An Anthology of Changing Ideas, ed. Charles Harrison, Paul Wood and Jason Gaiger (Oxford: Blackwell, 1998), 668.
13. Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” in Illuminations: Essays & Reflections, ed. Hannah Arendt, trans. Harry Zohn (London: Cape, 1970), 221.
14. Benjamin, 224.
15. Benjamin, “On Some Motifs,” 175–78.
16. Dianne Chisholm, Queer Constellations: Subcultural Space in the Wake of the City (Minneapolis: University of Minnesota Press, 2005), 41.
17. Clive Scott, Translating Baudelaire (Exeter: University of Exeter Press, 2000), 99.
18. Scott, 98.
19. Benjamin, “The Paris of the Second Empire in Baudelaire,” in The Writer of Modern Life: Essays on Charles Baudelaire, ed. Michael Jennings, trans. Howard Eiland et al. (Cambridge, Mass.: Belknap Press of Harvard University Press, 2006), 77.
20. Philip Auslander, Liveness: Performance in a Mediatized Culture (London: Routledge, 1999), 55.
21. Susan Sontag, On Photography (London: Penguin Books, 1979), 55–56.
22. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16, no. 3 (Autumn 1975): 6–18.
23. Sontag, On Photography, 55–56.
24. Sontag, 56.
25. Kaja Silverman, The Threshold of the Visible World (New York: Routledge, 1996), 97.
26. Marcel Proust, Sodom and Gomorrah, trans. John Sturrock (New York: Penguin, 2005), 27–28.
27. See Susan Blood, “The Sonnet as Snapshot: Seizing the Instant in Baudelaire’s ‘À une passante,’” Nineteenth Century French Studies 36, no. 3-4 (Spring-Summer 2008): 255–69.
28. James Elkins et al., “The Art Seminar,” in Photography Theory, ed. James Elkins (New York: Routledge, 2007), 159.
29. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1981), 18–19.
30. Silverman, Threshold of the Visible World, 97.
31. Albert Thibaudet, Intérieurs: Baudelaire, Fromentin, Amiel (Paris: Plon-Nourrit, 1924), 23.
32. Blood, “The Sonnet as Snapshot,” 266.
33. Silverman, Threshold of the Visible World, 172.
34. Benjamin, “Central Park,” in The Writer of Modern Life: Essays on Charles Baudelaire, ed. Michael Jennings, trans. Howard Eiland et al. (Cambridge, Mass.: Belknap Press of Harvard University Press, 2006), 162.
35. See Betsy Erkkila, Walt Whitman among the French: Poet and Myth (Princeton, N.J.: Princeton University Press, 1980).
36. Anthony Vidler, Warped Space: Art, Architecture and Anxiety in Modern Culture (Cambridge, Mass.: MIT Press, 2000), 68.
37. Turner, Backward Glances, 118.
38. Cited in Vidler, Warped Space, 70.
39. Benjamin, The Arcades Project, 462–63.
40. Benjamin, “What Is Aura?,” 45.
41. Walt Whitman, Daybooks and Notebooks, ed. William White, 3 vols. (New York: New York University Press, 1977), 1: 229–30.
42. Anne Dufourmantelle, In Praise of Risk, trans. Steven Miller (Bronx, N.Y.: Fordham University Press, 2019), 14.
43. Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, The Archive (Cambridge, Mass.: Harvard University Press, 2002), 217.
44. Robert Richardson, Literature and Film (Bloomington: Indiana University Press, 1969), 24; Barry K. Grant, “Whitman and Eisenstein,” Literature/Film Quarterly 4, no. 3 (Summer 1976): 264.
45. Richardson, 26–27.
46. Walt Whitman, “No One of the Themes,” in Notebooks and Unpublished Prose Manuscripts, ed. Edward F. Grier, 6 vols. (New York: New York University Press, 1984), 4: 1523–24.
47. Silverman, Threshold of the Visible World, 102.
48. Wolff, “The Invisible Flaneuse”; Deborah L. Parson, Streetwalking the Metropolis: Women, the City and Modernity (Oxford: Oxford University Press, 2000).
49. Bersani, “Sociability and Cruising,” 58.
50. Michael Foucault, “Friendship as a Way of Life,” trans. John Johnston, in Ethics: Subjectivity and Truth, ed. Paul Rainbow (London: Allen Lane, 1997), 136.
51. Tom Roach, Friendship as a Way of Life: Foucault, AIDS, and the Politics of Shared Estrangement (Albany: SUNY Press, 2012), 124.
52. Robert C. Doty, “Growth of Overt Homosexuality Provoking Rising Concern,” New York Times, December 17, 1963, 33.
53. Laud Humphreys, Tearoom Trade (London: Duckworth, 1970), 64.
54. Otto Fenichel, “The Scopophilic Instinct and Identification,” in The Collected Papers of Otto Fenichel, ed. Hanna Fenichel and David Rapaport (London: Routledge & Kegan Paul, 1954), 389.
55. Turner, Backward Glances, 148.
56. Bersani, “Sociability and Cruising,” 57.
57. Bersani, 60.
58. Bersani.
59. Sara Ahmed, Queer Phenomenology: Orientations, Objects, Others (Durham, N.C.: Duke University Press, 2006), 172.
60. Bersani, “Sociability and Cruising,” 60.
61. Bersani, 60.
62. Bersani, “Is the Rectum a Grave?,” 12.
63. Bersani, “Sociability and Cruising,” 61.
64. Turner, Backward Glances, 59.
65. Michael Snediker, “Whitman on the Verge: Or the Desires of Solitude,” Arizona Quarterly 61, no. 3 (Autumn 2005): 29.
66. Wayne Koestenbaum, “In Defense of Nuance,” in My 1980s & Other Essays (New York: Farrar, Straus & Giroux, 2013), 54.
67. Hugh Ryan, When Brooklyn Was Queer: A History (New York: St. Martin’s Press), 20.
68. Ryan, 21.
69. Bersani, “Is the Rectum a Grave?,” 12.
70. Silverman, Threshold of the Visible World, 173.
71. Jonathan Beller, “Camera Obscura After All: The Racist Writing with Light,” S&F Online, Summer 2012, http://sfonline.barnard.edu/feminist-media-theory/camera-obscura-after-all-the-racist-writing-with-light/.
72. Silverman, Threshold of the Visible World, 184.
73. Beller, “Camera Obscura After All.”
74. Beller.
75. Beller.
76. Nicholas Mirzoeff, The Right to Look: A Counterhistory of Visuality (Durham, N.C.: Duke University Press, 2011), 2.
77. Frantz Fanon, Black Skin, White Masks, trans. Charles Lam Markmann (London: Pluto Press, 2008), 84–85.
78. Mirzoeff, The Right to Look, 1.
79. Untitled script, MSS 092, Box 6, Folder 271, David Wojnarowicz Papers, Fales Library and Special Collections, New York University, New York.
1. Emory Holloway, “Whitman’s Embryonic Verse,” SWR 10 (July 1925): 30. This was the first appearance in print of this poem. It was published subsequently by Holloway as a stand-alone edition, Pictures: An Unpublished Poem (New York: The June House, 1927).
2. Cited in Holloway, 29.
3. Holloway, Pictures, 10.
4. Eve Kosofsky Sedgwick, Epistemology of the Closet (Berkeley: University of California Press, 1990), 128.
5. Christopher Ricks, “American English and the Inherently Transitory,” in The Force of Poetry (Oxford: Oxford University Press, 1984), 426.
6. Alice Ahlers, “Cinematographic Technique in Leaves of Grass,” Walt Whitman Review 12, no. 4 (December 1966): 93–94.
7. Whitman, “Visit to Plumbe’s Gallery,” July 2, 1846, the Brooklyn Daily Eagle, not paginated. Hereafter abbreviated BDE.
8. Cited in Holloway, “Whitman’s Embryonic Verse,” 29.
9. Thomas E. Yingling, Hart Crane and the Homosexual Text: New Thresholds, New Anatomies (Chicago: University of Chicago Press, 1990), 6.
10. Michael Snediker, “Whitman on the Verge,” 28.
11. Walt Whitman, Daybooks and Notebooks, 3: 729.
12. Cited in Graham Robb, Strangers: Homosexual Love in the Nineteenth Century (London: Picador, 2003), 172.
13. Laure Katsaros, New York-Paris: Whitman, Baudelaire, and the Hybrid City (Ann Arbor: University of Michigan, 2012), 35–36.
14. Katsaros, New York-Paris.
15. David S. Reynolds, Walt Whitman’s America: A Cultural Biography (New York: Knopf, 1995), 33.
16. Whitman, “Democratic Vistas,” in Walt Whitman: Complete Poetry and Collected Prose, ed. Justin Kaplan (New York: Library of America, 1996), 973. For critical work on Whitman and race, see Lavelle Porter, “Should Walt Whitman Be #Cancelled?,” JSTOR Daily (April 17, 2019), https://daily.jstor.org/should-walt-whitman-be-cancelled/; and Whitman Noir: Black America and the Good Gray Poet, ed. by Ivy G. Wilson (Iowa City: University of Iowa Press, 2014).
17. Georg Simmel, Sociology: Inquiries into the Construction of Social Forms, ed. and trans. Anthony J. Blasi, Anton K. Jacobs, and Mathew Kanjirathinkal, 2 vols. (Leiden, the Netherlands: Brill, 2009), 2: 571.
18. Michael Moon, Disseminating Whitman: Revision and Corporeality in Leaves of Grass (London: Harvard University Press, 1991), 160.
19. John Hicks, “Whitman’s Lyrics?,” Thinking Verse 4, no. 1 (2014): 93.
20. Berlant and Warner, “Sex in Public,” Critical Inquiry 24, no. 2 (Winter 1998): 558.
21. Folder 50, MSS 3829, Papers of Walt Whitman, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville.
22. Michael Davidson, Guys Like Us: Citing Masculinity in Cold War Poetics (Chicago: University of Chicago Press, 2004), 101–2.
23. Davidson, Guys Like Us.
24. Sam Ladkin, “The ‘Onanism of Poetry’: Walt Whitman, Rob Halpern, and the Deconstruction of Masturbation,” Angelaki 20, no. 4 (2015): 133.
25. Moon, Disseminating Whitman, 8.
26. Moon, 19.
27. M. Jimmie Killingsworth, Whitman’s Poetry of the Body: Sexuality, Politics and the Text (Chapel Hill: University of North Carolina Press, 1989), 123.
28. Cited in Roger Asselineau, The Evolution of Walt Whitman: The Creation of a Book, trans. Roger Asselineau and Burton L. Cooper, 2 vols. (Cambridge, Mass.: Harvard University Press, 1962), 2: 119.
29. J. H. Prynne, “Poetry and Truth: An Example from Whitman,” unpublished notes (dated 2010), MS Add.10144/2, J. H. Prynne Papers, Cambridge University Library, Cambridge.
30. Prynne.
31. Michael Snediker, Queer Optimism: Lyric Personhood and Other Felicitous Persuasions (Minneapolis: University of Minnesota Press, 2009), 18.
32. Ladkin, “The ‘Onanism of Poetry,’” 135.
33. Walt Whitman to Le Baron Russell, December 3, 1863, in The Correspondence, ed. Ted Genoways, 7 vols. (Iowa City: University of Iowa Press, 2004), 7: 21.
34. Janet Oppenheim, The Other World: Spiritualism and Psychical Research in England, 1850–1914 (Cambridge: Cambridge University Press, 1985), 210.
35. Oppenheim.
36. For a discussion of this article, see Catherine Waitinas, “‘Animal Magnetism’: The ‘Contemporary’ Roots of Whitman’s ‘Is Mesmerism True?,’” Walt Whitman Quarterly Review 34, no. 1 (Summer 2016): 55–68. For a cultural history of mesmerism, see Emily Ogden, Credulity: A Cultural History of US Mesmerism (Chicago: University of Chicago Press, 2018).
37. Mose Velsor (Walt Whitman), “Manly Health and Training, with Off-Hand Hints Toward Their Conditions,” ed. Zachary Turpin, Walt Whitman Quarterly Review 33 (2016): 223.
38. Rob Halpern, Music for Porn (New York: Nightboat Books, 2012), 55–56.
39. Ladkin, “The ‘Onanism of Poetry,’” 137.
40. Ladkin.
41. Katsaros, New York-Paris, 32.
42. Whitman, “Out from Behind This Mask,” The Walt Whitman Archive, ed. Ed Folsom and Kenneth M. Price, http://whitmanarchive.org/manuscripts/figures/bpl.00001.001.jpg.
43. W. J. T Mitchell, What Do Pictures Want: The Lives and Loves of Images (Chicago: University of Chicago Press, 2005), 7.
44. Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Chicago: University of Chicago Press, 1980), 100.
45. Fried.
46. Whitman, “Out from Behind This Mask.”
47. Horace Traubel, With Walt Whitman in Camden, ed. Sculley Bradley et al., 9 vols. (Boston: Small, Maynard, 1906–1996), 2: 506.
48. Traubel, 4: 150.
49. Ted Genoways, “‘One goodshaped and wellhung man’: Accentuated Sexuality and the Uncertain Authorship of the Frontispiece to the 1855 Edition of Leaves of Grass,” in Leaves of Grass: The Sesquicentennial Essays, ed. Susan Belasco, Ed Folsom, and Kenneth M. Price (Lincoln: University of Nebraska Press, 2007), 98.
50. Mose Velsor, “Manly Health and Training,” 223.
51. Tyler Bradway, Queer Experimental Literature, 193.
52. Moon, “Rereading Whitman,” in The Continuing Presence of Walt Whitman: The Life After the Life, ed. Robert K. Martin (Iowa City: University of Iowa Press, 1992), 53–54.
53. Moon, 57.
54. Robb, Strangers, 144.
55. Jesse Green, “Walt Whitman, Poet of a Contradictory America,” T: The New York Times Style Magazine, September 14, 2020, https://www.nytimes.com/2020/09/14/t-magazine/walt-whitman-cover.html.
1. Langston Hughes, “Old Walt,” The Collected Poems of Langston Hughes, ed. Arnold Rampersad (New York: Vintage Editions, 1995), 446. Hereafter abbreviated CPLH.
2. David Ignatow, “Foreword,” Walt Whitman: A Centennial Celebration, Beloit Poetry Journal 5, no. 1 (January 1954).
3. David Ignatow, “Memories of Langston,” The Langston Hughes Review 13, no. 2 (Winter/Summer 1995): 7.
4. Allen Ginsberg, “A Supermarket in California,” in Howl (San Francisco: City Lights, 1956), 23.
5. Andrew Donnelly, “Langston Hughes on the DL,” College Literature 44, no. 1 (Winter 2017): 45.
6. Donnelly, 54.
7. Anne Borden, “Heroic ‘Hussies’ and ‘Brilliant Queers’: Genderracial Resistance in the Works of Langston Hughes,” African American Review 28, no. 3 (Autumn 1994): 343.
8. Langston Hughes, “Like Whitman, Great Artists Are Not Always Good People,” Chicago Defender, August 1, 1953, 11.
9. Lavelle Porter, “Should Walt Whitman Be #Cancelled?”
10. Hughes, “Like Whitman,” 11.
11. Donnelly, “Langston Hughes on the DL,” 43–44.
12. Michael Bronski, A Queer History of the United States (Boston: Beacon Press, 2011), 126. George Chauncey also mentions Niles’s Strange Brother in Gay New York, 285.
13. Jericho Brown, “If God Is Love,” Mentor & Muse: Essays from Poets to Poets (2018), https://mentorandmuse.net/if-god-is-love/.
14. Paul H. Outka, “Whitman and Race (‘He’s Queer, He’s Unclear, Get Used to It’),” Journal of American Studies 36, no. 2 (August 2002): 316–17.
15. James Baldwin, “The Black Boy Looks at the White Boy,” in Collected Essays, ed. by Toni Morrison (New York: Library of America, 1998), 269–70.
16. Arnold Rampersad, The Life of Langston Hughes, 2 vols. (New York: Oxford University Press, 1986), 1: 73–99.
17. Rampersad, 1: 72.
18. George B. Hutchinson, “Langston Hughes and the ‘Other’ Whitman,” in The Continuing Presence of Walt Whitman: The Life After the Life, ed. Robert K. Martin (Iowa City: University of Iowa Press, 1992), 20.
19. Langston Hughes, “Walt Whitman and the Negro,” in The Collected Work of Langston Hughes, 18 vols. (Columbia: University of Missouri Press, 2002), 9: 348.
20. Langston Hughes, “Subway Face,” The Crisis: A Record of the Darker Races 29, no. 2 (December 1924): 71. See also CPLH, 40.
21. Walker Evans, Many Are Called (New Haven, Conn.: Yale University Press, 2004), 12.
22. Georg Simmel, Sociology, 1: 573.
23. Simmel, 1: 572.
24. Brian McCammack, “‘My God, They Must Have Riots on Those Things All the Time’: African American Geographies and Bodies on Northern Urban Public Transportation, 1915–1940,” Journal of Social History 43, no. 4 (Summer 2010): 1073.
25. McCammack, 1075.
26. Shane Vogel, “Closing Time: Langston Hughes and the Poetics of Harlem Nightlife,” in Criticism 48, no. 3 (Summer 2006): 400.
27. McCammack, “My God, They Must Have Riots,” 1073.
28. Isaac Julien, director, Looking for Langston (1989; London: BQHL, 2006), DVD.
29. Isaac Julien, “Mirror,” in Isaac Julien: Looking for Langston (London: Victoria Miro, 2017), 11.
30. Kobena Mercer, “Dark and Lovely Too: Black Gay Men in Independent Film,” in Queer Eyes: Perspectives on Lesbian and Gay Film and Video, ed. Martha Gever, Pratibha Parmar, and John Greyson (Routledge: New York, 1993), 250–51.
31. Tony Fisher, “Isaac Julien: Looking for Langston: Montage of a Dream Deferred,” Third Text 4, no. 12 (1990): 61.
32. Fisher, 60.
33. Kaja Silverman, Threshold of the Visible World, 106.
34. José Esteban Muñoz, Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, 1999), 62–63.
35. Fisher, “Isaac Julien,” 65.
36. Fisher, 67.
37. Silverman, Threshold, 105.
38. Julien, “Mirror,” 11.
39. Silverman, Threshold, 108.
40. Julien, Looking for Langston, DVD.
41. Manthia Diawara, “The Absent One: The Avant-Garde and the Black Imaginary in Looking for Langston,” in Representing Black Men, ed. Marcellus Blount and George Philbert Cunningham (New York: Routledge, 1996), 206.
42. Essex Hemphill, Conditions (Washington, D.C.: Be Bop Books, 1986).
43. Essex Hemphill, “Under Certain Circumstances,” in Ceremonies: Prose and Poetry (New York: Plume, 1992), 152.
44. Julien, Looking for Langston, DVD.
45. Silverman, Threshold, 111.
46. Hemphill, “If His Name Were Mandingo,” Ceremonies, 141.
47. Hemphill, “Does Your Mama Know About Me?,” Ceremonies, 38.
48. For an account of the “dialectic of gazing positions” in this scene, see Rachel Jane Carroll, “Can You Feel It? Beauty and Queer of Color Politics in Looking for Langston,” Criticism 60, no. 4 (Fall 2018): 496.
49. Silverman, Threshold, 113.
50. Silverman, 28.
51. Fanon, Black Skin, White Masks, 84.
52. Silverman, Threshold, 29.
53. Fanon, Black Skin, White Masks, 85.
54. Hemphill, “Does Your Mama Know About Me?,” 39.
55. Julien, Looking for Langston, DVD.
56. Donnelly, “Langston Hughes on the DL,” 44.
57. For a compelling reading of this poem’s ambiguities and the nature of its closing “Where?” see Chad Bennett, Word of Mouth: Gossip and American Poetry (Baltimore: John Hopkins University Press, 2018), 123–25.
58. Judith Butler, Bodies That Matter: On the Discursive Limits of “Sex” (New York: Routledge, 1993), 121.
59. Donnelly, “Langston Hughes on the DL,” 36. See C. Riley Snorton, Nobody Is Supposed to Know: Black Sexuality on the Down Low (Minneapolis: University of Minnesota Press, 2014).
60. Donnelly, “Langston Hughes on the DL,” 51.
61. Laurence Goldstein, The American Poet at the Movies: A Critical History (Ann Arbor: University of Michigan Press, 1994), 78.
62. Martin Duberman, “Donald Webster Cory: Father of the Homophile Movement,” in The Martin Duberman Reader: The Essential Historical, Biographical and Autobiographical Writings (New York: The New Press, 2013), 173.
63. Dorian Webster Cory, The Homosexual in America: A Subjective Approach (New York: Greenberg, 1951), 110.
64. Donnelly, “Langston Hughes on the DL,” 41.
65. Davidson, Guys Like Us, 102.
66. Roy DeCarava and Langston Hughes, The Sweet Flypaper of Life (New York: Simon and Schuster, 1955), 58.
67. DeCarava and Hughes.
68. Caroline Blinder, “Looking for Harlem: The Absent Narrator in Roy DeCarava and Langston Hughes’s The Sweet Flypaper of Life (1955),” CoSMo 13 (2018): 194.
69. Sonia Weiner, “Narrating Photography in The Sweet Flypaper of Life,” MELUS 37, no. 1 (2012): 156.
70. DeCarava and Hughes, The Sweet Flypaper of Life, 66.
71. DeCarava and Hughes, 70.
72. Blinder, “Looking for Harlem,” 200.
73. DeCarava and Hughes, The Sweet Flypaper of Life, 72.
74. DeCarava and Hughes, 77.
75. Donnelly, “Langston Hughes on the DL,” 43.
76. Hughes, “Passing,” in The Collected Works of Langston Hughes: The Short Stories, ed. R. Baxter Miller, 16 vols. (Columbia: University of Missouri Press, 2002), 15: 46–48.
77. DeCarava and Hughes, The Sweet Flypaper of Life, 27.
78. DeCarava and Hughes, 28.
79. Langston Hughes, “To Alan Green, July 1 1944,” in Selected Letters of Langston Hughes, eds. Arnold Rampersad and David Roessel (New York: Alfred A. Knopf, 2015), 259.
80. Terrance Hayes, “Sonnet,” in Hip Logic (New York: Penguin, 2002), 13.
81. For a reading of this poem’s relation to sound and laughter, see Edward Allen, Modernist Invention: Media Technology and American Poetry (Cambridge: Cambridge University Press, 2020), 243–44.
1. This particular evening is described, and the letter quoted, in Brad Gooch, City Poet: The Life and Times of Frank O’Hara (New York: Knopf, 1993), 456.
2. For more work on O’Hara and race, see Peter Stoneley, “O’Hara, Blackness, and the Primitive,” Twentieth Century Literature 58, no. 3 (Fall 2012): 495–514; Aldon Nielsen, Writing between the Lines: Race and Intertextuality (Athens: University of Georgia Press, 1994); Michael Magee, “Tribes of New York: Frank O’Hara, Amiri Baraka and the Poetics of the Five Spot,” Contemporary Literature 42, no. 4 (Winter 2001): 694–726; Nick R. Lawrence, “Frank O’Hara in New York: Race Relations, Poetic Situations, Postcolonial Space,” Comparative American Studies 4, no. 1 (2006): 85–103; and Mark Goble, “‘Our Country’s Black and White Past’: Film and the Figures of History in Frank O’Hara,” American Literature 79, no. 4 (2007): 57–92.
3. Barry Reay, New York Hustlers: Masculinity and Sex in Modern America (Manchester: Manchester University Press, 2010), 5.
4. Reay, 11.
5. O’Hara’s review, “Sorrows of the Youngman: John Rechy’s City of Night,” was later collected in Standing Still and Walking in New York, ed. Donald Allen (Bolinas: Grey Fox Press, 1975), 161–64.
6. John Rechy, City of Night (New York: Grove Press, 2013 [1963]), 15.
7. Reay, New York Hustlers, 86. The cruising spaces of the Times Square movie theaters are described vividly in Samuel R. Delany, Times Square Red, Times Square Blue (New York: New York University Press, 1999).
8. Sarah Riggs, Word Sightings: Poetry and Visual Media in Stevens, Bishop and O’Hara (New York: Routledge, 2002), 81.
9. Stoneley, “O’Hara, Blackness, and the Primitive,” 501.
10. Stoneley, 502.
11. Goble, “Our Country’s Black and White Past,” 82.
12. Stoneley, 501; Goble, 59.
13. Aaron Deveson, “A Time to Dance: Frank O’Hara Reading Edwin Denby,” Concentric 37, no. 2 (September 2011): 170.
14. Rechy, City of Night, 39–40.
15. Wayne Koestenbaum, “Frank O’Hara’s Excitement,” in My 1980s & Other Essays, 78.
16. Koestenbaum, 75.
17. O’Hara to Grace Hartigan, December 20, 1957, Box 1, Folder 8, Allen Collection. This radio recording, entitled “Evergreen Review Presents: Poems to Music and Laughter, 1959,” can be found in the Rare Book & Manuscript Library Collection, Columbia University, Barney Rosset Papers, MS#1543, Box 57.
18. John Gruen, The Party’s Over Now: Reminiscences of the Fifties—New York’s Artists, Writers, Musicians, and Their Friends (New York: Viking Press, 1972) 144–45.
19. Koestenbaum, “Frank O’Hara’s Excitement,” 76.
20. Goble, “Our Country’s Black and White Past,” 58.
21. Boyd McDonald, Cruising the Movies: A Sexual Guide to Oldies on TV (South Pasadena, Calif.: Semiotext(e), 2015), 212.
22. Joe LeSueur, Digressions on Some Poems by Frank O’Hara (New York: Farrar, Straus & Giroux, 2003), 78.
23. Laurence Goldstein, The American Poet at the Movies: A Critical History (Ann Arbor: University of Michigan Press, 1994), 154. For further insights into the relation between camp and the passé, see Matthew Tinkcom, Working Like a Homosexual: Camp, Capital, Cinema (Durham, N.C.: Duke University Press, 2002).
24. Richard Dyer, Heavenly Bodies: Film Stars and Society (New York: Routledge, 2003 [1986]), 177.
25. Dyer, 150.
26. LeSueur, Digressions, 77.
27. Vito Russo, The Celluloid Closet: Homosexuality in the Movies (New York: Harper & Row, 1987 [1981]), 4.
28. Barthes, “Leaving the Movie Theater,” The Rustle of Language, trans. Richard Howard (Berkeley: University of California Press, 1989), 346.
29. Barthes, 345–46.
30. Frank O’Hara, “A Journal: October-November 1948 & January 1949,” in Early Writing (Bolinas, Calif.: Grey Fox Press, 1977), 106.
31. David K. Johnson, The Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government (Chicago: University of Chicago Press, 2004), 16.
32. LeSueur, Digressions, 54.
33. LeSueur, 55.
34. Frank O’Hara, Act & Portrait: Al Leslie Film, in Amorous Nightmares of Delay: Selected Plays (Baltimore: John Hopkins University Press, 1997), 165. Hereafter abbreviated AN.
35. Susan Sontag, “Notes on ‘Camp,’” in Against Interpretation and Other Essays (New York: Farrar, Straus & Giroux), 288. For an account of O’Hara’s “flippancy,” see Prudence Bussey-Chamberlain, Queer Troublemakers: The Poetics of Flippancy (London: Bloomsbury, 2019), 69–101.
36. Bussey-Chamberlain.
37. Daniel Kane, We Saw the Light: Conversations between the New American Cinema and Poetry (Iowa City: University of Iowa, 2009), 81–82.
38. Kane.
39. Richard Moore, “Transcript of ‘Frank O’Hara: Second Edition’” in Homage to Frank O’Hara, ed. Bill Berkson and Joe LeSueur (Bolinas, Calif.: Big Sky, 1978), 217.
40. Richard Moore, “‘Frank O’Hara: Second Edition’: Outtakes from the NET Films Series USA: Poetry” (video). The American Poetry Archive, The Poetry Center, San Francisco State University, 1978. Viewed in the Woodberry Poetry Room, Lamont Library, Harvard University; also available on YouTube: https://www.youtube.com/watch?v=344TyqLlSFA.
41. Reay, New York Hustlers, 194.
42. Chad Bennett, Word of Mouth, 149.
43. Boyd McDonald, “A Hearty Heterosexual Looks at the Picture Biz,” in CUM: True Homosexual Experiences from S.T.H. Writers (Gay Sunshine Press: San Francisco, Calif., 1983), 21.
44. Richard Moore, “Transcript of ‘USA: Poetry: Frank O’Hara,’” in Homage to Frank O’Hara, ed. Bill Berkson and Joe LeSueur (Bolinas, Calif.: Big Sky, 1978), 216.
45. Moore, “Transcript of ‘Second Edition,’” Homage, 219.
46. Moore, 219.
47. Moore, 219.
48. Featured in Alfred Leslie: Cool Man in A Golden Age: Selected Films (London: LUX, 2009).
49. Moore, “Transcript of ‘Second Edition,’” 219.
50. Kane, We Saw the Light, 82–83.
51. Moore, “Transcript of ‘USA: Poetry,’” 215.
52. Lytle Shaw, Frank O’Hara: The Poetics of Coterie (Iowa City: University of Iowa Press, 2010), 58.
53. Riggs, Word Sightings, 81.
54. Mary Douglas, Purity and Danger: An Analysis of Concepts of Pollution and Taboo (New York: Praeger, 1966), 40.
55. Barthes, “Leaving the Movie Theater,” 345.
56. Leo Bersani, “Is the Rectum a Grave?,” 14.
57. Bersani.
58. D. A. Miller, Jane Austen, or, The Secret of Style (Princeton, N.J.: Princeton University Press, 2003), 5–6.
59. Leo Bersani, “Sociability and Cruising,” 55.
60. Joe Brainard, I Remember (New York: Granary Books, 2001), 20.
61. Brian Glavey, The Wallflower Avant-Garde, 110–11.
62. Gregory Bredbeck, “B/O—Barthes’s Text/O’Hara’s Trick,” PMLA 108, no. 2 (March 1993): 272. See also Bruce Boone, “Gay Language as Political Practice: The Poetry of Frank O’Hara,” Social Text 1 (Winter 1979): 59–92.
63. Glavey, The Wallflower Avant-Garde, 112.
64. Glavey, 118.
65. Arthur Rimbaud, “À Paul Demeny (Charleville, 15 mai 1871),” in Rimbaud: Complete Works, Selected Letters: A Bilingual Edition, trans. Wallace Fowlie (Chicago: University of Chicago Press, 2005), 376–77.
66. Rimbaud, 374–75.
1. Frank O’Hara, “Sorrows of the Youngman,” in Standing Still and Walking in New York, 162.
2. O’Hara.
3. See Fiona Anderson, Cruising the Dead River, 103–8; Wallace Fowlie, Rimbaud and Jim Morrison: The Rebel as Poet (Durham, N.C.: Duke University Press, 1994); Daniel Kane, Do You Have a Band?: Poetry and Punk Rock in New York City (New York: Columbia University Press, 2017), 90–104; Carrie Jaurès Noland, “Rimbaud and Patti Smith: Style as Social Deviance,” Critical Inquiry 21, no. 3 (Spring 1995): 581–610; Jonathan Weinberg, Pier Groups, 104–5.
4. David Wojnarowicz, “Reading a little Rimbaud in a Second Avenue coffee shop,” n.d., MSS 092, Box 4, Folder 94, David Wojnarowicz Papers, Fales Library and Special Collections, New York University, New York.
5. Wojnarowicz.
6. Anderson, Cruising the Dead River, 113.
7. Rimbaud, “Side Show,” in Illuminations and Other Prose Poems, trans. Louise Varese (New York: New Directions, 1957), 20–23.
8. A New York Times obituary from 1975 suggests that Kemeny was a student at Harvard in the graduating class of 1961, so he may well have acquired this New Directions reprint edition at the time of its publication in 1957. Subsequently an editor in New York publishing, Kemeny died after jumping from a subway platform. It is possible, though unclear, that Wojnarowicz somehow acquired this edition secondhand after Kemeny’s death. New York Times, December 16, 1975, 42.
9. Anderson, Cruising the Dead River, 102.
10. SoHo Weekly News, June 18, 1980, centerfold, n.p.
11. David Wojnarowicz, “Losing the Form in Darkness,” in Close to the Knives: A Memoir of Disintegration (New York: Vintage, 1991). References to this edition are given with quotations in the text with the abbreviation CK.
12. Cynthia Carr, Fire in the Belly: The Life and Times of David Wojnarowicz (New York: Bloomsbury, 2012), 63.
13. Carr. For a survey of Wojnarowicz’s poetry, see Hugh Ryan, “Never Not a Poet,” Poetry Foundation (2019), https://www.poetryfoundation.org/articles/150527/never-not-a-poet.
14. Carr, Fire in the Belly, 63.
15. Carr, “Biographical Dateline,” in History Keeps Me Awake at Night, ed. David Breslin and David Kiehl (New Haven, Conn.: Yale University Press, 2018), 285.
16. David Breslin, “Chaos Reason and Delight,” in History Keeps Me Awake at Night, 21.
17. Arts Magazine, November 1971, 43–44. The mailed responses to Johnson’s project can be viewed in his archive: Box 97: “Rimbaud Box,” Ray Johnson Estate, Richard L. Feigen & Co. http://images.rayjohnsonestate.com/www_rayjohnsonestate_com/Box_97_Rimbaud_box.pdf.
18. David Kiehl, “Rimbaud,” in History Keeps Me Awake at Night, 128.
19. Rimbaud, “À une raison,” in Illuminations, 38–39.
20. Breslin, “Chaos Reason and Delight,” 21.
21. Breslin, 24.
22. Edgar Allan Poe, “The Man of the Crowd,” in Collected Works of Edgar Allen Poe, ed. Thomas Ollive Mabbott, 3 vols. (Cambridge: Belknap Press, 1978), 2: 507–11.
23. Wojnarowicz, “Reading a Little Rimbaud.”
24. SoHo Weekly News, June 18, 1980.
25. David Wojnarowicz, “Poetry/Prose-Poems,” undated, MSS 092, Box 5, Folder 139, David Wojnarowicz Papers, Fales Library and Special Collections, New York University, New York. Note that the final ‘s’ in “across” is not struck out, but should be.
26. Jean-Paul Sartre, Saint Genet: Actor and Martyr, trans. Bernard Frechtman (New York: New American Library, 1971), 448.
27. Anderson, Cruising the Dead River, 103.
28. Wojnarowicz, “Poetry/Prose-Poems.”
29. Sontag, On Photography, 16.
30. Sontag.
31. “Sylvère Lotringer/David Wojnarowicz,” in David Wojnarowicz: A Definitive History of Five or Six Years on the Lower East Side, ed. Giancarlo Ambrosino (New York: Semiotext(e), 2006), 182.
32. “Nan Goldin/David Wojnarowicz,” in Definitive History, 202.
33. “Sylvère Lotringer,” in Definitive History, 163.
34. David Kiehl, “Peter Hujar Dreaming,” in History Keeps Me Awake at Night, 174.
35. Sontag, On Photography, 16.
36. “Nan Goldin,” in Definitive History, 203.
37. Wojnarowicz, Rimbaud in New York 1978–79 (New York: PPP Editions, 2004), n.p.
38. Wojnarowicz.
39. Olivia Laing, The Lonely City: Adventures in the Art of Being Alone (Edinburgh: Canongate, 2016), 114.
40. Leo Bersani, “Staring,” in Receptive Bodies (Chicago: University of Chicago Press, 2018), 108.
41. Bersani, 107.
42. Quoted in Mysoon Rizk, “Constructing Histories: David Wojnarowicz’s Arthur Rimbaud in New York,” in The Passionate Camera: Photography and Bodies of Desire, ed. Deborah Bright (London: Routledge, 1998), 179.
43. Weinberg, Pier Groups, 44.
44. Bersani, “Staring,” 116.
45. Weinberg, Pier Groups, 112.
46. Quoted in Rizk, “Constructing Histories,” 179.
47. Rizk, 182.
48. David Wojnarowicz, “Rimbaud in New York—film script,” undated, MSS 092, Box 6, Folder 268, David Wojnarowicz Papers, Fales Library and Special Collections, New York University, New York.
49. Anne Friedberg, Window Shopping: Cinema and the Postmodern (Berkeley: University of California Press, 1993), 37.
50. Anderson, Cruising the Dead River, 116.
51. Sontag, On Photography, 30. For a reflection upon the ambivalent gaze of Arbus’s work, see Wayne Koestenbaum, “Diane Arbus and Humiliation,” in My 1980s & Other Essays, 227–30.
52. Sontag, On Photography, 34.
53. Weight of the Earth: The Tape Journals of David Wojnarowicz, ed. Lisa Darms and David O’Neill (Los Angeles: Semiotext(e), 2018), 33.
54. David Wojnarowicz, “Doing Time in a Disposable Body,” in Memories that Smell Like Gasoline (San Francisco: Artspace Books, 1992), 27.
55. Phelan, Unmarked: The Politics of Performance (London: Routledge, 1993), 36.
56. Laing, The Lonely City, 110.
57. Wojnarowicz, “Doing Time,” 28.
58. Wojnarowicz.
59. Anderson, Cruising the Dead River, 98.
60. “Nan Goldin/David Wojnarowicz,” in Definitive History, 202.
61. David Wojnarowicz, “Untitled film script,” undated, MSS 092, Box 6, Folder 271, David Wojnarowicz Papers, Fales Library and Special Collections, New York University, New York.
62. Wojnarowicz.
63. Margaret Olin et al., “The Art Seminar,” in Photography Theory, ed. James Elkins, 162.
64. Sigmund Freud, “Fetishism,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, trans. James Strachey, 24 vols. (London: Hogarth and Institute of Psycho-Analysis, 1953–1974), 21: 152.
65. Wojnarowicz, “Untitled film script.”
66. Freud, “Fetishism,” 21: 152.
67. Kaja Silverman, The Threshold of the Visible World, 29.
68. Wojnarowicz, “Poetry/Prose-Poems.”
69. David Kiehl, “Room 1423,” in History Keeps Me Awake at Night, 232–35.
70. Henning Bech, When Men Meet: Homosexuality and Modernity, trans. Teresa Mesquit and Tim Davies (Cambridge: Polity, 1997), 206.
71. Quoted in Ben Gove, Cruising Culture: Promiscuity, Desire and American Gay Literature (Edinburgh: Edinburgh University Press, 2000), 140.
72. Lee Edelman, No Future: Queer Theory and the Death Drive (Durham, N.C.: Duke University Press, 2004), 19.
73. Eve Kosofsky Sedgwick, Epistemology of the Closet, 128.
74. Wojnarowicz, “Spiral,” in Memories that Smell Like Gasoline, 60.
75. Hanya Yanigahara, “The Burning House,” in History Keeps Me Awake at Night, 69.
76. Wojnarowicz, “Spiral,” 59.
77. Wojnarowicz, 58.
78. Laing, The Lonely City, 114.
79. José Esteban Muñoz, Cruising Utopia, 35.
80. Sarah Ensor, “Queer Fallout: Samuel R. Delany and the Ecology of Cruising,” Environmental Humanities 9, no. 1 (2017), 152.
81. Anderson, Cruising the Dead River, 161.
82. Breslin, “Chaos Reason and Delight,” 22.
1. Eileen Myles, “How I Wrote Certain of My Poems,” Hot Night (New York: Semiotext(e), 1991), 199. Further references to this edition are given with quotations in the text with the abbreviation NM.
2. Davy Knittle, “On Eileen Myles’s ‘Hot Night’: queer / urban / image,” Jacket2 (2017), https://jacket2.org/commentary/eileen-myles’s-hot-night-queer-urban-image.
3. Knittle.
4. Sarah Ensor, “Queer Fallout,” 150.
5. Eliza Steinbock, Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change (Durham, N.C.: Duke University Press, 2019), 9.
6. Maggie Nelson, Women, the New York School, and Other True Abstractions (Iowa City: University of Iowa Press, 2007), 197. Indeed, there are numerous comparisons between the aesthetic and compositional principles of Myles’s work and those of earlier New York School poets. Compare, for example, Myles’s account of the poem “coming on” with Frank O’Hara’s recollection of “waiting for the poem to start again” in his “Notes on Second Avenue,” CP, 496.
7. Nelson, 197.
8. Nelson, 193.
9. Dianne Chisholm, Queer Constellations, 132.
10. Knittle, “On Eileen Myles’s ‘Hot Night.’”
11. Denise Bullock, “Lesbian Cruising,” Journal of Homosexuality 47, no. 2 (2004): 27.
12. Rita Mae Brown, “Queen for a Day: A Stranger in Paradise,” in Lavender Culture, ed. Karla Jay and Allen Young (New York: Jove Publications, 1979), 69.
13. Brown, 75.
14. Laurie Anderson, Stories from the Nerve Bible: A Retrospective, 1972–1992 (New York: Harper Perennial, 1994), 146.
15. Anderson, 146–47.
16. Philip Nel, The Avant-Garde and American Postmodernity: Small Incisive Shocks (Jackson: University of Mississippi Press, 2002), 154–55.
17. Eileen Myles, “The City of New York,” in Evolution (New York: Grove Press, 2018), 95.
18. Audre Lorde, Zami: A New Spelling of My Name (New York: Crossing Press, 1982), 180.
19. Eileen Myles, “Chelsea Girls,” in Chelsea Girls (Santa Rosa, Calif.: Black Sparrow Press, 1994), 261. For an account of the city as a repository of queer collective memory in Chelsea Girls, see Chisholm, Queer Constellations, 131–37.
20. Myles, “Chelsea Girls.”
21. Mulvey, “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ inspired by King Vidor’s Duel in the Sun (1946),” in Visual and Other Pleasures (Basingstoke, England: Palgrave Macmillan, 1989), 32.
22. Steinbock, Shimmering Images, 4.
23. Myles, “Chelsea Girls,” 261.
24. George Chauncey, Gay New York, 56.
25. Prudence Bussey-Chamberlain, Queer Troublemakers, 114.
26. Eileen Myles, “Poetry in the 80s,” https://www.eileenmyles.com/pdf/PoetryInThe80s.pdf, 2–3.
27. Eileen Myles, “The Lesbian Poet,” in School of Fish (Santa Rosa, Calif.: Black Sparrow Press, 1997), 126.
28. Melvin Dixon, “I’ll Be Somewhere Listening for My Name,” Callaloo 23, no. 1 (Winter 2000), 80.
29. Dixon, 83.
30. Adam Fitzgerald, “Eileen Myles,” Interview (2015), https://www.interviewmagazine.com/culture/eileen-myles-1.
31. Myles, “The City,” in Evolution, 44.
32. Myles, 45.
33. Eileen Myles, “Artist’s Statement,” Bridget Donahue Gallery, poems press release, https://www.bridgetdonahue.nyc/exhibitions/eileen-myles-back-room-poems/.
34. Shaka McGlotten, Virtual Intimacies: Media, Affect, and Queer Sociality (Albany: State University of New York Press, 2013), 4.
35. Rem Koolhaas, Delirious New York: A Retroactive Manifesto for Manhattan (New York: Monacelli, 1994), 21.
36. McGlotten, Virtual Intimacies, 5.
37. Tom Roach, “Becoming Fungible: Queer Intimacies in Social Media,” Qui Parle 23, no. 2 (Spring/Summer 2015): 55.
38. Garth Greenwell, “How I Fell in Love with the Beautiful Art of Cruising,” BuzzFeed (2016), https://www.buzzfeed.com/garthgreenwell/how-i-fell-in-love-with-the-beautiful-art-of-cruising.
39. Roach, “Becoming Fungible,” 59.
40. Matthew Numer et al., “Profiling Public Sex: How Grindr Revolutionized the Face of Gay Cruising,” in Radical Sex between Men: Assembling Desiring-Machines (New York: Routledge, 2018), 199. For an analysis debunking oversimplified critiques of Grindr, see Bryce J. Renninger, “Grindr Killed the Gay Bar, and Other Attempts to Blame Social Technologies for Urban Development: A Democratic Approach to Popular Technologies and Queer Sociality,” Journal of Homosexuality 66, no. 12 (2019): 1736–55.
41. Roach, “Becoming Fungible,” 55.
42. Roach, 56–58.
43. McGlotten, Virtual Intimacies, 8.
44. Jonathan Weinberg, Pier Groups, 17.
45. For analysis of app profile images, see McGlotten, Virtual Intimacies, 127–34.
46. Roach, “Becoming Fungible,” 59.
47. Leo Bersani, “Is the Rectum a Grave?,” 12.
48. McGlotten, Virtual Intimacies, 63.
49. Danez Smith, “gay cancer,” in Homie (Minneapolis, Minn.: Graywolf Press, 2020), 60.
50. Danez Smith, “Reimagining Ourselves in an Increasingly Queer World,” The New York Times, June 16, 2019, https://www.nytimes.com/2019/06/16/us/danez-smith-lgbtq-essex-hemphill.html.
51. C. Riley-Snorton, “Afterword: On Crisis and Abolition,” in AIDS and the Distribution of Crises, ed. Jih-Fei Cheng, Alexandra Juhasz, and Nishant Shahani (Durham, N.C.: Duke University Press, 2020), 316.
52. Smith, “all the good dick lives in Brooklyn Park,” Homie, 54.
53. Smith.
54. McGlotten, Virtual Intimacies, 63.
55. Danez Smith, “a note on the phone app that tells me how far i am from other men’s mouths,” in Don’t Call Us Dead (London: Chatto & Windus, 2017), 32.
56. Smith.
57. Roach, “Becoming Fungible,” 57.
58. Jericho Brown, “Host,” in The New Testament (London: Picador, 2018 [2014]), 29.
59. Brown.
60. McGlotten, Virtual Intimacies, 74.
61. For an analysis of virtual intimacy’s utopian promissory and its relation to Muñoz’s “not-yet-here,” see McGlotten, Virtual Intimacies, 61–77.
62. Smith, “& even the black guys’s profile reads sorry, no black guys,” in Don’t Call Us Dead, 33.
63. Smith.
