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Ollie Parks's avatar

Glenna Goldis’s Queers Rush In represents a long-overdue corrective to the dominant narrative about gay and lesbian history, especially in elite academic and activist circles.

For the last 30 years, that history has been refracted through the distorting lens of queer theory, which treats fixed sexual orientation as passé, erases the specificity of same-sex attraction, and valorizes “fluidity” and anti-normativity as political goods in themselves. The result has been a profound flattening of gay and lesbian experience, a rhetorical sleight of hand that collapses hard-won civil rights gains into a diffuse project of “queering” institutions rather than securing equal citizenship.

Goldis restores analytic clarity to the conversation by insisting that male and female homosexuality are not merely social constructs or aesthetic sensibilities, but historically situated, materially grounded identities with their own trajectories, communities, and cultures. This is not nostalgia—it’s recovery work, and it’s essential.

Many readers may find Goldis’s argument startling not because it is polemical, but because it revives a history they’ve never been taught. For most people under 40, “queer” has always been the default identifier—presented as inclusive, liberatory, and intellectually evolved beyond “gay” or “lesbian.” They were educated in an environment where “fluidity,” “constructedness,” and “anti-normativity” weren’t hypotheses but background assumptions. They have no memory of the intellectual and cultural life that preceded queer theory, and no felt sense of what has been overwritten. Even those who intuit that something vital has been flattened or erased often lack the historical knowledge or conceptual tools to name what’s been lost. Social pressure reinforces this: raising doubts about queer orthodoxy, even in good faith, risks being cast as exclusionary or reactionary. Goldis’s piece is valuable precisely because it helps restore access—not just to memory, but to options.

Kara Dansky's avatar

I often wonder how I managed to get through college (1990-1994) without getting lost in the land of postmodernism.

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