
Sam See
et al.
Published online:
17 September 2020
Published in print:
07 January 2020
Online ISBN:
9780823288830
Print ISBN:
9780823286980
Contents
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Crossing Color and Gender Lines Crossing Color and Gender Lines
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A Shakespeare in Harlem: Performing Historical Discourse A Shakespeare in Harlem: Performing Historical Discourse
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The Low-Down Pierrot Down-Low The Low-Down Pierrot Down-Low
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Performing Performativity: A Queer-of-Color Critique Performing Performativity: A Queer-of-Color Critique
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Notes Notes
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Chapter
“Spectacles in Color”: The Primitive Drag of Langston Hughes
Get access
Pages
106–133
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Published:January 2020
Cite
See, Sam, Christopher Looby, and Michael North, '“Spectacles in Color”: The Primitive Drag of Langston Hughes', in Christopher Looby, and Michael North (eds), Queer Natures, Queer Mythologies (New York, NY , 2020; online edn, Fordham Scholarship Online, 17 Sept. 2020), https://doi.org/10.5422/fordham/9780823286980.003.0006, accessed 22 Apr. 2025.
Abstract
Langston Hughes’s “Spectacles in Color” envisions Harlem culture as a drag performance. The Weary Blues records a lyric history of modernist Harlem in poems that perform in drag, an aesthetic of visual crossing. This aesthetic ironically coincides with and also countermands the identitarian stereotypes of African Americans and queers that were propagated by early-twentieth-century sexological science and degeneration theory.
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