Notes
Introduction
1. Rule, “For ‘Writer/Publisher Relationships,’ ” 47.
2. Rule, 49–51.
3. Rule, 50.
4. Howard, Men Like That, 142. Emphasis in the original.
5. Kreyling, Inventing Southern Literature, 34.
6. Kreyling, 25.
7. Bone, Postsouthern Sense of Place, 4–5.
8. Kreyling, Inventing Southern Literature, 31.
9. Kreyling, 35.
10. Peckham, “Reconstructing Self,” 207.
11. Duck, “What Was the ‘New Southern Studies’?”
12. Duck, n.p.
13. McKee and Trefzer, “Global South”; Smith and Cohn, Look Away!
14. “As both Kreyling and Barbara Ladd have noted, even efforts to incorporate African American and female writers into the category of ‘southern literature’ tended not to disrupt the principles of the old paradigm (Kreyling, Inventing Southern Literature, 76–125; Ladd, “Literary” 1631), Duck, n.p.
15. Jon Smith’s Finding Purple America is one of the more uncompromising articulations of this perspective.
16. Duck, “Southern Nonidentity.”
17. Duck, 329.
18. She explains her central term: “ ‘Southscape’ has both subjective and objective elements, but primarily it acknowledges the connection between society and environment as a way of thinking about how raced human beings are impacted by the shape of the land.… It is invested in understanding the persistent conceptual power of the South as a spatial object and ideological landscape where matters of race are simultaneously opaque and transparent” (Davis, Southscapes, 2).
19. For example, see Baker’s I Don’t Hate the South and Robinson’s This Ain’t Chicago.
20. Richards, Lovers and Beloveds; Bibler, Cotton’s Queer Relations; Herring, Another Country; Gray, Out in the Country.
21. Romine, “Southern Affects.”
22. Hemmings, Why Stories Matter, 3–5.
23. Hemmings, 5.
24. Halberstam, Gaga Feminism, 2.
25. Halberstam, 3.
26. Hemmings, Why Stories Matter, 13.
27. Minnie Bruce Pratt, interview by Kelly Anderson, March 16–17, 2005, Jersey City, NJ. Voices of Feminism Oral History Project, Sophia Smith Collection, Smith College, Northampton, MA.
28. Hemmings, Why Stories Matter, 13–14.
29. Gilmore, Feminist Coalitions; Hewitt, No Permanent Waves.
30. Valk, Radical Sisters.
31. See Gilmore, “Dynamics of Second-Wave Feminist Activism”; Wilkerson, “Company Owns the Mine”; Blair, Revolutionizing Expectations; Allured, Remapping Second-Wave Feminism.
32. Cvetcovich, An Archive of Feelings; Stone and Cantrell, Out of the Closet. For more on queer inquiry into archives, see Stone and Cantrell, “Introduction: Something Queer in the Archives,” in Out of the Closet, 1–24.
33. Enszer, “ ‘Black and White of It,’ ” “ ‘Fighting to Create,’ ” and “Whole Naked Truth.”
34. That decision was influenced by my book on Christopher Isherwood. I was first introduced to Isherwood through his 1976 memoir Christopher and His Kind, in which he rewrote his experience in Berlin in the 1930s through gay liberation. I found that the Christopher of his letters and diaries at the time was dramatically different from the Christopher he reinvented for a contemporary audience. And I was much more interested in the inconsistent, sometimes unsure, and culturally grounded figure I pieced together than the more consistent gay liberation superhero he created—even if that superhero had way more sex and way less doubt than the Christopher I discovered (or, if you prefer, created).
35. See Echols, Daring to Be Bad.
36. The Combahee River Collective in 1977 made the most famous statement of this problem: “Although we are feminists and Lesbians, we feel solidarity with progressive Black men and do not advocate the fractionalization that white women who are separatists demand. Our situation as Black people necessitates that we have solidarity around the fact of race, which white women of course do not need to have with white men, unless it is their negative solidarity as racial oppressors. We struggle together with Black men against racism, while we also struggle with Black men about sexism” (Combahee WomenRiver Collective, “Combahee River Collective Statement,” http://
37. For more information, see Vance, Pleasure and Danger, and Duggan and Hunter, Sex Wars.
38. Hesford, Feeling Women’s Liberation, 239. Emphasis in the original.
39. Morris, The Disappearing L, 2, 3.
40. For more on pinkwashing debate, see Schulman Israel/Palestine and the Queer International. For more on homonationalism, see Duggan, “New Homonormativity.” Debates around queer history, by scholars like Heather Love, Ann Cvetcovich, Carla Freccero, Valerie Minor, and others have focused on two main issues—one ideological, the other epistemological. One is what Love calls the “progress” narrative—the assumption that everything before Stonewall was closeted, destructive, and abject. Rethinking that relationship to the past, whether through erotic metaphors or the embrace of negative emotions, becomes a key focus. Another issue is the question of whether one can ever “know” the past, or whether our relationship to that queer past is always mediated by our own desires or concerns. Theorists more invested in poststructuralism (like Jonathan Goldberg) maintain that it is impossible to know the past, while others (like Valerie Traub) insist that attention to actual archives and information can yield real information about that past.
41. Warner, “Queer and Then.”
Chapter One
1. Some examples include Hesford’s Feeling Women’s Liberation; Flannery’s Feminist Literacies; Enszer’s “Whole Naked Truth of Our Lives”; and Hogan’s Feminist Bookstore Movement.
2. Grahn, Simple Revolution and Cordova, When We Were Outlaws.
3. Harker and Farr, This Book Is an Action, 11.
4. Foster, Sex Variant Women.
5. For more on the Daughters of Bilitis, see Gallo’s Different Daughters.
6. Passet, Indomitable, 10.
7. Passet, 43.
8. Grier, Lesbiana 2, 35.
9. Grier, 35–36.
10. See Keller, “ ‘Was It Right?’ ”; Foote, “Deviant Classics”; Nealon, Foundlings, chap. 4.
11. Passet, Indomitable, 85.
12. Passet, 44.
13. See Harker, Middlebrow Queer, chap. 4.
14. Harker, chap. 5.
15. Grier, Lesbiana, 38.
16. Grier, 38–39.
17. See Gunn, Golden Age of Gay Fiction, and Gunn and Harker, 1960s Gay Pulp Fiction.
18. Passet, Indomitable, 84.
19. Grier, Lesbiania, 42.
20. Grier, 44.
21. Grier, 76. Emphasis in the original.
22. Grier, 44–45.
23. Grier, 75. Emphasis in the original.
24. Passet, Indomitable, 44.
25. Passet, 105–6.
26. Passet, 101.
27. Passet, 102.
28. Arnold and Arnold, “Art Is Politics,” 35.
29. Arnold and Arnold, 36.
30. Arnold and Arnold, 38.
31. Enszer, “Whole Naked Truth,” 104.
32. Glimpses of Bertha Harris’s life may be found in North Carolina newspaper articles in the 1960s and 1970s. For one example, see “Writer’s Conference.”
33. Radicalesbians, “The Woman-Identified Woman.”
34. Grahn, Simple Revolution, 135.
35. Travis, “Women in Print Movement,” 276.
36. Travis, 276.
37. Adams, “Paper Lesbians,” 193.
38. Grahn, Simple Revolution, 142.
39. Whitehead, Feminist Poetry Movement, xv.
40. Whitehead, 8. Emphasis in the original.
41. Dorothy Allison to Walter Kendrick, 17 May 1990. Dorothy Allison Papers.
42. Harris, “More Profound Nationality,” 77; hereafter cited parenthetically in text by page number.
43. “Frontiers.” Author’s ellipses in brackets.
44. Brown, ‘ “Violet Hill Elementary School.’ ”
45. Arnold, “Cook and the Carpenter.”
46. Galana, “How to Make a Magazine.”
47. “Feminist Press.”
48. “Frontiers.”
49. Enszer, “Whole Naked Truth,” 105.
50. Arnold, “Feminist Presses,” 18; hereafter cited parenthetically in text by page number.
51. “Lesbians and Literature,” 28. Emphasis in the original.
52. “Lesbians and Literature,” 28–29.
53. “Lesbians and Literature,” 29.
54. Harris, “What We Mean to Say,” 6.
55. Harris, 6. Emphasis in the original.
56. Harris, 6. Emphasis in the original.
57. Bertha Harris to Barbara Grier, 25 February 1975. Barbara Grier–Naiad Press Collection.
58. Enszer, “Whole Naked Truth,” 72.
59. Grahn, True to Life, 10.
60. Grahn, 10.
61. Onosaka, Feminist Revolution, 46.
62. Hogan, Feminist Bookstore Movement, 42.
63. Hogan, 30.
64. Gould, “Creating a Women’s World,” 10–11, 34, 36–38.
65. Gould, 34.
66. Harris, introduction to Lover, xvii–lxxviii. esp. xxvii–lxxviii.
67. Desmoines, “Retrieved from Silence,” 63.
68. Desmoines, “Notes for a Magazine” (July 1976), 3. Emphasis in the original.
69. Hodges, “Lesbian Writing and Publishing.”
70. “Lesbians and Literature,” 30.
71. “Lesbians and Literature,” 30.
72. Arnold and Harris, “Lesbian Literature,” 45.
73. Clausen, “Politics of Publishing,” 97.
74. Clausen, 107.
75. Hodges, “Letter from the Editor.”
76. Desmoines and Nicholson, “Letter to Beth.”
77. Desmoines, “Notes for a Magazine” (Spring 1977), 100. Emphasis in the original.
78. For more on Feminary, see Cantrell, “Subscribe to Feminary!”; Powell, “Look What Happened Here.”
79. Feminary, 4.
80. For more on Feminary, see chapter 2.
81. Pratt, Rebellion, 162.
82. Anyda Marchant to Barbara Grier, 20 March 1974. Barbara Grier–Naiad Press Collection.
83. Barbara Grier to Anyda Marchant, 26 March 1974. Barbara Grier–Naiad Press Collection.
84. Barbara Grier to Sandy Boucher, 21 July 1976. Barbara Grier–Naiad Press Collection.
85. Barbara Grier to Anyda Marchant, 16 December 1975. Barbara Grier–Naiad Press Collection. Author’s ellipses in brackets.
86. Barbara Grier to Anyda Marchant, 29 April 1977. Barbara Grier–Naiad Press Collection.
87. Barbara Grier to Elsa Gidlow, 26 November 1977. Barbara Grier–Naiad Press Collection.
88. Ortiz Taylor, Faultline, back cover.
89. Ortiz Taylor, back cover.
90. Passet Indomitable, 179, 180.
91. Passet, 182.
92. For more on this controversy, see Passet, chap. 12 (191–208).
93. Bertha Harris to Barbara Grier, 18 June 1989. Barbara Grier–Naiad Press Collection. Emphasis in the original.
94. Barbara Grier, interview by Pokey Anderson. Barbara Grier–Naiad Press Collection.
95. Dorothy Allison to Barbara Kerr, 22 January 1988. Correspondence, Box 37, Dorothy Allison Papers.
96. Pratt, “Watching the Door,” in Rebellion, 187–88.
97. Pratt, 188–89.
98. Minnie Bruce Pratt, interview by Kelly Anderson. 78.
99. Pratt interview.
100. Dorothy Allison to Nancy Bereano, 24 October 1991. Correspondence, Dorothy Allison Papers.
101. Dorothy Allison to Carole DeSanti, 24 October 1991. Correspondence, Dorothy Allison Papers.
102. Dorothy Allison to Sybil and Jay, 13 December 1987. Dorothy Allison Papers.
103. Dorothy Allison to Carole DeSanti, 24 October 1991. Dorothy Allison Papers.
104. Boyd, “Dorothy Allison,” 17.
Chapter Two
1. Payne, “Human Rights Campaign.”
2. Daniels, “Same-Sex Marriage Licenses.”
3. Lavers, “Mississippi Governor’s Son.”
4. For more on SNCC, see Zinn, SNCC; Carson, In Struggle; Morgan and Davies, From Sit-Ins to SNCC; Cohen and Snyder, Rebellion in Black and White. For more on the roots of the civil rights movement, see Gilmore, Defying Dixie.
5. McGuire, At the Dark End of the Street.
6. Jeffries, Bloody Lowndes.
7. Evans, Personal Politics.
8. For more information, see Dent, Free Southern Theater; Smethurst, Black Arts Movement; Hale, Freedom Schools.
9. For more information, see Price, Maroon Societies and Diouf, Slavery’s Exiles.
10. For more information, see Aptheker, American Negro Slave Revolts; Rasmussen, American Uprising; Hoffer, Cry Liberty; Oates, Fires of Jubilee; Walters, American Slave Revolts and Conspiracies.
11. See Huggins, Slave and Citizen and Yellin, Harriet Jacobs: A Life.
12. Lerner, Grimke Sisters from South Carolina.
13. Hurt, Agriculture and the Confederacy.
14. Du Bois, Black Reconstruction in America; Foner, Reconstruction: America’s Unfinished Revolution; Egerton, Wars of Reconstruction; Guelzo, Fateful Lightning.
15. Kelley, Hammer and Hoe; Miller, Remembering Scottsboro; Tyson, Radio Free Dixie; Segrest, Memoir of a Race Traitor.
16. Sitkof, A New Deal for Blacks; Korstad, Civil Rights Unionism; Gilmore, Defying Dixie; Honey, Southern Labor and Black Civil Rights; Hall and Murphy, Like a Family.
17. Norman, “And So It Begins,” 15; hereafter cited parenthetically in text by page number.
18. For more on the varied roots of feminist activism, see Evans, Personal Politics; McGuire, At the Dark End of the Street; McDuffie, Sojourning for Freedom.
19. See Valk, Radical Sisters; Gilmore, “Dynamics of Second-Wave Feminist Activism”; Wilkerson, “Company Owns the Mine”; Blair, Revolutionizing Expectations.
20. Boyd, Terminal Velocity, 53.
21. For more on Minnie Bruce Pratt, see Farley, “ ‘Dirt She Ate’ ”; Peckham, “Reconstructing Self”; Hunt, “Interview with Minnie Bruce Pratt.”
22. Pratt, Rebellion, 56. Emphasis in the original.
23. Pratt, 156.
24. Brown, Hand that Cradles the Rock, 12; hereafter cited parenthetically in text by page number.
25. Reid, introduction.
26. For more on Pat Parker, see Clarke and Enszer, “Introduction”; Washburn, “Unpacking Pat Parker”; Green, “ ‘Anything that Gets Me’ ”; and Van Ausdall, “ ‘Day All of the Different Parts.’ ”
27. Parker, Pit Stop, 13.
28. Parker, 30.
29. For one example, see Chen’s Animacies.
30. For a classic example, see Berlant and Warner, “Sex in Public.”
31. Parker, Pit Stop, 2–4.
32. Parker, 28.
33. Parker, Womanslaughter, 43–44.
34. Parker, 14.
35. For two popular examples, see John T. Edge’s Potlikker Papers and Michael Twitty’s Cooking Gene.
36. Parker, Womanslaughter, 54.
37. Parker, 61.
38. Parker, 62. Emphasis in the original.
39. Brown, Plain Brown Wrapper, 60.
40. Brown, 55
41. Brown, 13.
42. Walker, In Search, 160–61.
43. South, Clenched Fists, epigraph.
44. South, 16. Emphasis in the original.
45. South, 29.
46. South, 180.
47. Mays, “Delta, a Story.”
48. Cornwall, “Backward Journey.”
49. Pratt, “Reading Maps: Two,” 121.
50. Pratt, 121.
51. Pratt, 125–26.
52. Segrest, Memoir of a Race Traitor, 80. Emphasis in the original.
53. Segrest, 150.
54. Pratt, Rebellion, 23. Emphasis in the original.
55. Pratt, 45–46.
56. Pratt, 113. Emphasis in the original.
57. Pratt, Crime against Nature, 57. Emphasis in the original.
58. Arnold, Sister Gin, 210–15.
59. Pratt, Crime against Nature, 114–15.
60. Maureen Brady to Minnie Bruce Pratt, 14 October 1979. Minnie Bruce Pratt Papers.
61. Maureen Brady to Minnie Bruce Pratt, 26 February 1980. Minnie Bruce Pratt Papers.
62. Minnie Bruce Pratt to Maureen Brady, 4 June 1980. Minnie Bruce Pratt Papers.
63. Brady, Folly, 27.
64. Brady, 28.
65. Enszer, “ ‘Black and White of It.’ ”
66. Segrest, Memoir of a Race Traitor, 42. Emphasis in the original.
67. Enszer, “ ‘Fighting to Create.’ ”
68. Enzser, 162.
69. Enzser, 169.
70. For more on Say Jesus and Come to Me, see Tuttle, “ ‘Best Stuff God Did’ ”; Green, “ ‘What the Eyes’ ”; Tomeio, “Marginal Black Feminist Religiosity”; Krantz, “Political Power.”
71. Shockley, Say Jesus and Come to Me, 129; hereafter cited parenthetically in text by page number. All emphases in the original.
72. Bibler, Cotton’s Queer Relations.
73. Ennis, South of the Line, 9.
74. Ennis, 30.
75. Ennis, 132.
76. See Bynum, Free State of Jones.
77. Ennis, 156.
78. Flagg, I Still Dream about You, back cover.
79. Flagg, I Still Dream about You, 59; hereafter cited parenthetically in text by page number.
Chapter Three
1. See Duck, Nation’s Region; Grierson, Our South.
2. Anderson, Hagood, and Turner, Undead Souths, 4. Emphasis in original. See also Jones and Donaldson’s Haunted Bodies.
3. Gleeson-White, introduction to Strange Bodies. 6, 10.
4. McCullers, “Notes on Writing.”
5. Lillian Smith’s 1947 essay collection Killers of the Dream also critiqued the role of sex, especially transgressions like miscegenation, in southern racism and segregation; published after Reflections in a Golden Eye but before Other Voices, Other Rooms and Ballad of the Sad Café, the collection emphasizes the decadent lure of “forbidden” sexuality, even as public pronouncements condemn them. Her own novel Strange Fruit, though it avoided same-sex homoerotics, investigated the sexual taboo to critique segregation; not quite part of the southern gothic, her writing on the South and sexuality is an important fellow traveler.
6. Segrest, My Mama’s Dead Squirrel, 34; hereafter cited parenthetically in text by page number.
7. Dorothy Allison to Mab Segrest, 18 June 1985, Mab Segrest Papers.
8. Allison to Segrest. Emphasis in the original.
9. Harris, Confessions of Cherubino, back cover. Author’s ellipses in brackets.
10. Harris, 166–67. Author’s ellipses in brackets.
11. Allison, Trash, 90.
12. Allison, 92.
13. For more on Florence King, see Pugh, Precious Perversions, 68–90.
14. King, Southern Ladies and Gentlemen, 32; hereafter cited parenthetically in text by page number.
15. Harris, Lover, xxi.
16. Gerhard, Desiring Revolution, 82.
17. Harris, Lover, xx–xxi.
18. Cordova, When We Were Outlaws, 106.
19. Jay, Tales of the Lavender Menace.
20. Boyd, Terminal Velocity, 41.
21. For more on this controversy, see Vance, Pleasure and Danger, and Duggan and Hunter, Sex Wars.
22. See Halperin and Traub, Gay Shame.
23. See Warner, Trouble with Normal.
24. Jagose, Orgasmology.
25. Bersani, “Is the Rectum a Grave?,” 215; hereafter cited parenthetically in text by page number
26. Muñoz, Cruising Utopia, 1.
27. Puar, Terrorist Assemblages, xxvii.
28. Puar, xxvii.
29. For one version of this debate, see Schulman’s Israel/Palestine and the Queer International.
30. Bertha Harris to Barbara Grier, 17 March 1975, Barbara Grier–Naiad Press Collection.
31. Harris, Lover, 123–24; hereafter cited parenthetically in text by page number.
32. Arnold, Cook and the Carpenter, 24–25. Author’s ellipses in brackets. Arnold experiments with gender neutral pronouns in the novel. For more on this strategy, see chap. four, note 29.
33. Shockley, Say Jesus and Come to Me, 156–57.
34. Brown, Rubyfruit Jungle, 165; hereafter cited parenthetically in text by page number.
35. For more on Six of One, see Martindale, “Rita Mae Brown’s Six of One,” and Ward, Rita Mae Brown, 76–109.
36. Brown, Six of One, 108.
37. Brown, 110.
38. Walker, In Search, 355.
39. Abbandonato, “View from ‘Elsewhere,’ ” 1109.
40. Walker, Color Purple, 84.
41. Walker, 267.
42. Walker, 275–76.
43. Chauncey, Gay New York.
44. Arnold, Sister Gin, 129–30.
45. Boyd, Mourning the Death of Magic, 208.
46. Boyd, 205.
47. Walker, Color Purple, 118. Emphasis in the original.
48. Walker, 123.
49. Arnold, Baby Houston, 233. Emphasis in the original.
50. Freeman, Time Binds, 37–38.
51. For more on Bertha Harris’s queer critique in Lover, see Gable, “Bertha Harris’s Lover.”
52. Desmoines and Nicholson, “Sinister Wisdom.” Catherine Nicholson Papers.
53. Desmoines and Nicholson, 1. Author’s ellipses in brackets. Emphasis in the original.
54. Desmoines and Nicholson, 6.
55. Desmoines and Nicholson, 13.
56. For more on Southern Discomfort, see Levine, “Uses of Classical Mythology”; Irwin, “Freedoms as Value”; Ward, Rita Mae Brown, 110–21.
57. Brown, Southern Discomfort, prologue, n.p.; hereafter cited parenthetically in text by page number.
58. Southern Discomfort was published a year after the film The Best Little Whorehouse in Texas was released, and while there is no evidence that the film directly influenced the novel, the focus on transgressive sexuality as central to southern life is common to both.
59. Shockley, Say Jesus and Come to Me, 92.
60. Shockley, 93.
61. Shockley, 97.
62. Yaeger, Dirt and Desire, xiii.
63. Barker, Reconstructing Violence, 1.
64. Walker, Color Purple, 1–2.
65. Field, “Alice Walker’s Revisionary Politics of Rape,” 160. Emphasis in the original.
66. South, Clenched Fists, 83.
67. South, 83–84. Emphasis in the original.
68. Allison, Bastard out of Carolina, 284–86.
69. Cvetkovich, Archive of Feelings, 100–101.
Chapter Four
1. For more, see Janney, Burying the Dead and McElya, Clinging to Mammy: The Faithful Slave in Twentieth-Century America.
2. Howard, Men Like That, 14.
3. Howard, 15.
4. Herring, Another Country, 9.
5. Giesking, “A Queer Geographer’s Life,” 14.
6. Rose, Mushroom, and Ellison, introduction to Feminist Geographies, 9.
7. Rose, Mushroom, and Ellison, 9.
8. Massey, For Space, 140–41.
9. Massey, 13.
10. Gieseking, “A Queer Geographer’s Life,” 15.
11. Gieseking, 15.
12. Rensenbrink, “Parthenogenesis and Lesbian Separatism,” 291.
13. Bell and Valentine, “Introduction: Orientations,” 8.
14. Sine, Anahita. “Nestled into Niches,” 724.
15. Norman et al., “Notes for a Special Issue,” 8.
16. Norman et al., 5.
17. Mosbacher, Radical Harmonies.
18. Resenbrink, “Parthenogenesis and Lesbian Separatism,” 292.
19. Fougère, Lesbiana.
20. Newton, Margaret Mead Made Me Gay, 277n6.
21. Sears, Rebels, Rubyfruit, and Rhinestones.
22. For more information, see Daniels, “Pagoda, Temple of Love.”
23. “Copper Fountains Bring Ponchatoula.”
24. A 2009 New York Times article discusses the Alabama community—see Kershaw, “My Sister’s Keeper.” For more on Camp Sister Spirit, see “Controversial Camp Sister Spirit.”
25. For more on Sally Gearhart, see http://
26. Gearhart, Wanderground, 186; hereafter cited parenthetically in text by page number.
27. Arnold, Cook and the Carpenter, 3–4; hereafter cited parenthetically in text by page number.
28. Smith and Cohn, Look Away!; Smollett et al., Plantation Kingdom.
29. To match Arnold’s linguistic experiment, I use “they” and “them” to refer to characters from Cook and the Carpenter, consistent with contemporary usage for those who identify as nonbinary. Though this term was not in usage when Arnold wrote the novel, it is consistent with her vision of a society free from hegemony of gender.
30. King, When Sisterhood Was in Flower; hereafter cited parenthetically in text by page number.
31. Boyd, Terminal Velocity, 3.
32. Boyd, 68.
33. Boyd, 100.
34. Boyd, 84. Emphasis in the original.
35. Faludi, “Death of a Revolutionary.”
36. Boyd, Terminal Velocity, 89.
37. Boyd, 158.
38. Boyd, “Bitter Harvest.”
39. Castells, City and the Grassroots, 170.
40. Bell and Valentine, “Introduction: Orientations,” 6.
41. Gray, Out in the Country, 88.
42. Gray, 92–93. Emphasis in the original.
43. Gray, 103.
44. Gray, 116.
45. Pratt, “Arts of the Contact Zone,” 34.
46. Harker, “ ‘And You Too, Sister, Sister?,’ ” 52.
47. Allison, Bastard out of Carolina, 178–79; hereafter cited parenthetically in text by page number.
48. Flagg, Fried Green Tomatoes, 191; hereafter cited parenthetically in text by page number.
49. Russell, “Homeward Bound,” 197.
50. Walker, Color Purple, 30; hereafter cited parenthetically in text by page number.
51. Russell, “Homeward Bound,” 203.
52. Ortiz Taylor, Outrageous, 2; hereafter cited parenthetically in text by page number. Emphasis in the original.
Conclusion
1. Ortiz Taylor, Outrageous, 73.
2. Ortiz Taylor, 73.
3. Passet, Indomitable, 245.
4. See Barot, “Where Art Meets Craft.”
5. Passet, Indomitable, 245.