[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-41026-en":3,"doc-seo-41026-105":30,"detail-sidebar-cat-0-en-105":90},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":13,"seo_description":14,"update_tm":28,"read_time":29},41026,687197207919,"Theodora","https://ap-avatar.wpscdn.com/avatar/a000253d6f5f7c60be?x-image-process=image/resize,m_fixed,w_180,h_180&k=1779446848396160552",2,"Literature","Time Binds: Queer Temporalities, Queer Histories","A scholarly study of queer temporality and queer history, developing arguments about how time, inheritance, and the “not now” shape queer narratives and feminist legacies. The work examines “bad timing” in working-class dyke stories, temporal drag and feminist specters, and proposes “eroto-historiography” to rethink erotic life through historical methods. It further analyzes sadomasochism, temporality, and history, supported by extensive notes, bibliography, and indexing.","TIME BINDS  \nPerverse Modernities A series edited by Judith Halberstam  \nand Lisa Lowe  \nTIME BINDS  \nQueer Temporalities,  \nQueer Histories  \nelizabeth freeman  \nDuke University Press  \nDurham and London 2010  \n∫ 2010 Duke University Press All rights reserved  \nPrinted in the United States of America on acid-free paper $ Designed by Amy Ruth Buchanan Typeset in Carter & Cone Galliard by Keystone Typesetting, Inc. Library of Congress Catalogingin-Publication Data appear on the last printed page of this book.  \nDuke University Press gratefully acknowledges the University of California, Davis, who supported the publication of this book.  \nFor the Frog and the Fly And for my mother, who needs more time  \ncontents  \nPreface ix  \nAcknowledgments xxv  \nIntroduction:  \nQueer and Not Now 1  \n1. Junk Inheritances, Bad Timing: Familial Arrhythmia in Three WorkingClass Dyke Narratives 21  \n2. Deep Lez: Temporal Drag and the Specters of Feminism 59  \n3. Time Binds, or, Erotohistoriography 95  \n4. Turn the Beat Around: Sadomasochism, Temporality, History 137  \nCoda 171  \nAppendix: Distributors for Films and Videos 175  \nNotes 177  \nBibliography 193  \nIndex 209  \npreface  \nIn 1915, the British poet Robert Graves wrote a poem,‘‘It’s a Queer Time.’’ Popularly understood as a lighthearted, topical ballad about the trauma of trench warfare, the poem sets up a counterpoint between images of gory battle and of the hallucinatory utopias the second-person speaker encounters when he loses consciousness. ‘‘It’s hard to know if you’re alive or dead,’’ the poem opens,‘‘When steel and fire go roaring thro’ your head.’’ It’s also hard to know if being ‘‘alive’’ consists of fighting the war or blacking out. Here is a sample stanza, the third of five:  \nYou’re charging madly at them yelling ‘‘Fag!’’When somehow something gives and your feet drag. You fall and strike your head; yet feel no pain  \nAnd fi[nd . . . . . . . . you](nd . . . . . . . . you)’re digging tunnels through the hay In the Big Barn, ’cause it’s a rainy day.  \nOh, springy hay, and lovely beams to climb!  \nYou’re back in the old sailor suit again.  \nIt’s a queer time. ∞  \nHere, the homophobia necessary to fuel masculine violence gives way to another version of the trench: tunnels in a haystack. The speaker finds himself back on the farm, where rain,‘‘springy’’ hay, and wood suggest life. He also appears to be dressed as a gay icon.  \nLest I be accused of reading ‘‘sailor suit’’ and even ‘‘queer’’ anachronistically, let me summarize the other stanzas. All but the first two-line closed couplet end with the refrain ‘‘It’s a queer time.’’ In the second stanza, the speaker is wounded (‘‘you’re clutching at your chest,’’ line 5) and astrotravels to the homosocial Treasure Island, which is some amalgam of Orientalized Eastern tropical romance (‘‘spice winds blow / To lovely groves of Mango, quince, and lime—,’’ lines 7–8) and dime-novel western (‘‘Breathe no good-bye, but ho! for the Red West!,’’ line 9) . In the fourth stanza, when a bomb hits the speaker as he’s sleeping in a trench, he finds himself ‘‘struggling, gasping, struggling, then . . . hullo! / Elsie","cbCaic3mRLGCHslW","https://ap.wps.com/l/cbCaic3mRLGCHslW","pdf",1108022,4,1,256,"English","en",105,"# Introduction: Queer and Not Now\n# Junk Inheritances, Bad Timing: Familial Arrhythmia in Three WorkingClass Dyke Narratives\n# Deep Lez: Temporal Drag and the Specters of Feminism\n# Time Binds, or, Erotohistoriography\n# Turn the Beat Around: Sadomasochism, Temporality, History\n# Coda\n# Appendix: Distributors for Films and Videos\n# Notes\n# Bibliography\n# Index","[{\"question\":\"What central idea does the book use to frame queer temporality?\",\"answer\":\"It frames queer time through discussions of “queer” temporal experiences that complicate whether one is alive, dead, or locked in traumatic repetition, using a counterpoint between battle imagery and hallucinatory utopias.\"},{\"question\":\"How does the book approach “bad timing” in working-class dyke narratives?\",\"answer\":\"It analyzes familial and temporal misalignments—described as “junk inheritances” and “bad timing”—as mechanisms that structure queer life narratives and emotional rhythms.\"},{\"question\":\"What does the book mean by “Time Binds, or, Erotohistoriography”?\",\"answer\":\"It proposes a way of reading history through erotic life, treating desire and historiographic method as intertwined forms of knowledge about queer pasts and their effects in the 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