
What does “queer” mean to you? For many older gays and transsexuals, it’s an unpleasant reminder of past homophobic encounters, some of them physically threatening. Yet thanks to its positive recuperation over the last 30 years, today queerness means something completely different. It’s now an umbrella “identity”, covering everything that’s non-standard and non-vanilla in the sexual world, from boring old lesbians to more brilliant non-binaries, demisexuals, kink-lovers, and beyond.
In recent years, queerness has also become a fascinatingly multifunctional symbolic object in the psyche of the nation, simultaneously representing both sexily avant-garde transgression and fully paid-up membership of the British establishment. Compelling new evidence of the latter is provided by the opening this week of a museum celebrating “LGBTQ+” history in central London. Entitled “Queer Britain”, the venture is financially supported by M&C Saatchi, Allen and Overy, Levis, and Coutts, and lists partnership with the V&A, the National Trust, the Tate, the British Library, and English Heritage on its website.
In stentorian tones more reminiscent of the Queen’s Platinum Jubilee than Derek Jarman’s Jubilee, we are told that the museum “will be an essential place for all regardless of sexuality or gender identity, to find out about the culture they have been born into, have chosen or seek to understand. It will help complete the Nation’s family tree.” Online events in the run-up to its opening included partnering with a wine company to run a competition asking what “queer creativity” means, and a celebration of the launch by the Bank of England of what’s surely the least visible banknote in its history to date — a £50 note featuring Alan Turing, unlucky in his timing once again.
A project on the history of the gerrymandered categories of “LGBTQ+” and “queer” is, of course, a fantastic idea; were it done properly, it would be genuinely exciting. Ideally such a museum would interrogate the sociological and historical conditions of its own movement. It might ask, for instance: what economic forces have shaped its transition from the gay rights movement of 20th Century to the present rainbow soup, in which many lesbians and gays feel they are not waving but drowning? Who gains and who loses from this radical reorientation?
Relatedly, a serious historical inquiry might ask: how did Stonewall move from defending the rights of homosexuals in the Nineties to arguing in 2022 that lesbian women should date members of the opposite sex — that is, males who identify as women — or else be judged as motivated by “social prejudice” and even “sexual racism”? And while historians were at it, they might also consider how our society has moved from the laudable aim of depathologising homosexuality, to a now fairly widespread acceptance of the chemical castration of confused gay youth, under the guise of “transitioning” them — a fate horribly reminiscent of the one meted out so vindictively to Turing. All fascinating historical questions, none of which are remotely likely to be asked within the glossy corporate-friendly walls of Queer Britain, I predict.
In truth, queerness as framed by its most culturally powerful representatives has absolutely nothing to do with the average gay man, lesbian, bisexual, or adult transsexual in the UK. For most of these, their sexual orientation or feelings of gender identity are not the chief source of meaning or motivation in life, and hence they are not particularly politically engaged in activism nor in posturing online about queerness. This leaves the field clear for rather more self-interested people to take both the mic and the money. The fantasy conjured up by the overused phrase “LGBTQ+ community” might suggest a cohesive group with genuinely shared interests, if not some sort of glittery high-camp version of the Bruderhof, but in fact the term is a shiny carapace shielding the eyes of straight people from big underlying divisions.
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