Self, Performance and Queer militancy in Isherwood’s A Single Man

Rajorshi Das

Indraprastha College for Women, Delhi

 Volume VII, Number 2, 2017 I Full Text PDF

DOI: 10.25274/bcjms.v7n2.v7n2eng01


Set in 1962 United States, Christopher Isherwood’s A Single Man (1964), initially conceptualised as An English Woman, is considered to be the author’s magnum opus. It focuses on a day in the life of the protagonist, George – a Los Angeles professor who struggles to cope up with the bereavement of his male partner and finds himself in a state of perpetual exile. While the trope of loneliness (central to many queer writings) is integral to the understanding of the protagonist’s psyche, I argue that it is the Modernist “ethos of impersonality” (Gonzalez 758)[i] that allows us to explore the notions of minority consciousness[ii] and gay identity politics in contemporary times.

Keywords: Christopher Isherwood, A Single Man, queer, performance, queer militancy

[i] Gonzalez (2013) in fact argues that the novel is a celebration of identity politics as a primary “weapon of literary-cultural gay activism” (758).

[ii] Claude Summers (2007) identifies this as the central concern of the novel

Queering the Cyberspace: Towards a Space/Identity Discussion

 Rohit K Dasgupta, University of the Arts London, UK


In this paper I attempt to engage with three points of entry into a discussion on the category of the Cyberqueer. I begin by looking at Space and the transformative politics of the queer cyberspace. I follow this up with a discussion on Cyberculture and more specifically Queer Cyberculture, finally tying up my argument within the domain of identity and the subversive potential of the Cyberqueer identity.   The complexity of these interdisciplinary fields means that there is no fixed path while navigating them. My arguments thus freely turn and overturn these domains through a process of queering Digital Culture.