On a spectrum from separatist to transitive, you do not have the LGBTQ+ community on the right and the Queer community on the left, as some scholars state. I posit that this spectrum mirrors the lifecycle of individuals who find themselves on this particular continuum, to borrow from Rich. The spectrum as I see it runs: sexually inactive/gender unfamiliar, sexually awoken, sole other-person, clarified self-identifiers and identification, hunger for community with attention to self-positioning, relaxation of those borders to blend factions, and finally a submission to a larger reality. To highlight, the truly separatist position is that of the sole non-straight person seeking no community or consultation, and the truly transitive position is …show more content…
Mac’s Hir functions as an example of the painful transition from a faction conscious reality to an ambiguous reality in the overall plot and in the characters Paige and Max, particularly. While Johnson’s Strange Fruit operates under an ambiguous system in order to create a more equal comparison between his blackness and sexual otherness, but his ambiguity can always be traced specifically to his gayness (or more accurately: faggotry). These plays run opposite one another, using terms of both camps, but live under the same genre in the world of representative, Western theatre. That phenomena marks the need for both camps to exit in order for art facilitating conversations on sexual and gender otherness. However, there are conventions in both scripts that provide space for the struggle between centrist and leftist positions on the sex/gender …show more content…
Paige states that an entity larger than herself acknowledges individuals like her daughter in a communal way named in sum by it’s parts: L and G and B and T, etc. To this larger entity, individuals identify with a number of these parts and, later, come together to form a grand coalition. This overall acknowledgement gives legitimacy to this coalition community. However, Paige then identifies the abbreviation as one gender, which can then be pronounced as one word, “Lugabuttsqueea.” This fuses the factions that compose the coalition to create a more inclusive space. However, Paige’s new term and theoretical space oversimplifies those factions to one gender. More than half of those abbreviated terms concern sexual orientations, not genders. So, Paige commits violence to that category of identities in her attempt to find her place, using a transitive term, on a greater