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After Susan Sontag introduced the term to mainstream cultural debates in the late s, queer critics have appropri- ated camp as a distinctive form of gay sensibility and humor, building on excess, theatricality, irony, and kitsch.


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The coded discourses of camp have been used by gays and lesbians to subvert the homophobic assumptions of mainstream culture of which queer subjects are still an important part both as consumers and as producers. It also helps un- cover the ubiquity of gay sensibility within mainstream popular culture products. Dealing with mass culture through the lenses of camp has allowed gays and lesbians to uncover the queerness at the core of dominant culture.

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For example, Steven Cohan has shown how the elaborate costumes and the sumptuous sets of the MGM musicals of the s, together with their bright dance numbers and idolized stars, have come to embody the very notion of camp. As with its definition, the origins of the word are widely debated. Well before Sontag recognized the increasing influence of camp on mainstream culture in the s, camp was a coded form for many gays and lesbians in the first half of the twentieth century to signal their queerness.

It was central to a discourse through which homosexuals could come out to other homosexuals and thus form larger groups of individuals who shared the same sexual orientation. Camp is both situated within the constricting boundaries of the closet and, at the same time, opens them up by allowing queers to display strategies of resistance to read themselves into mainstream culture. As Corey K.

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Dorothy finally finds this existence in a Technicolor world peopled by a sissy lion, an artificial man prone to tears, and a couple of witches who recall the butch-femme paradigm. At the same time, some art- ists may want to create camp objects deliberately. Camp is both in the eye of the beholder and a feature of the object beheld. Not all liberals are Jews, but Jews have shown a peculiar affinity for liberal and reformist causes.

So, not all homosexuals have Camp taste. While earlier homosexuals had found in camp a liberating form of discourse that allowed them to live their lives without being exposed to social exclusion or, even, persecution, the militants of the s found that camp was too coy in acknowledging its homosexual links. They described camp as a form of ghettoization, which is complicit with mainstream culture in the reinforcement of the sexual binaries of gay and straight. In the years that followed the Stonewall riots, the imperative for gays and lesbians was to be out and visible.

Camp was perceived to be too closeted and self-oppressive to be of any use to the queer cause of visibility. Writing in the late s, Andrew Ross still faulted camp for reconciling people with their own oppression. According to Ross, camp is part of the larger problem of popular culture, that of preventing the masses from becoming aware of their exploitation and thus fight for effective social change.

More recently, however, queer critics have re-evaluated the possibilities of camp to function as an explicitly gay strategy of subversion. In particular, camp has been praised for its ability to unsettle gender distinctions, because it provides exaggerated forms of masculinity and femininity. Esther Newton , among others, has linked camp to the performances of drag queens to highlight how incongruity, theatricality, and humor work to reverse social norms about sexuality and gender.

Drawing attention to theatricality, excess, and incongruities, camp and drag define the concept of gender as a sustained performance.

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One of the most recent and controversial uses of camp is its employ- ment in representations of AIDS. Several stand-up routines about AIDS also employ camp. These texts exploit the ability of camp to unsettle the rigidity of identity, thus healthily destabilizing the association between AIDS and homosexuality. Camp AIDS narratives call into question the stereotypi- cal image of the depressed, lonely and promiscuous dying homosexual so firmly established by mainstream media. Yet, not everyone, even within the gay and lesbian community, applauds to this new use of camp. I hope I never get that again!

Its different forms will also continue to belie unambiguous definitions. Further Reading Bergman, David, ed. Camp Grounds: Style and Homosexuality. New York: Quartet, ; Bronski, Michael. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, ; Chauncey, George.

Gays and Film. London: Routledge, ; Halberstam, Judith. Female Masculinity. The Rise and Fall of Gay Culture.

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Corey K. Creekmur and Alexander Doty, eds. The Politics and Poetics of Camp. New York: Routledge, ; Newton, Esther. Mother Camp: Female Impersonators in America. New York: Dell, Yet, his increasing dependence on alcohol and drugs proved his undoing and, during the s and s, he became a caricature of his previous witty and camp persona.

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His biological father, Archulus Persons was too intent to pursue vain plans to improve his eco- nomic conditions to look after his son. There Truman became friends with the future writer Harper Lee, the author of the acclaimed To Kill a Mockingbird She changed her name into Nina Capote and, in , she took Truman to New York to live with her and her new husband, who formally adopted the child in Capote did not show much in- terest for education, although he was convinced that he wanted to be a writer.

He soon left school at the age of 17 to work for two years as a copyboy for the New Yorker.


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When he was merely 22 years old, Capote won his first literary prize, the prestigious O. When his mother dies, year-old Joel Knox is sent to live with his fa- ther who abandoned him at the time of his birth. When Joel is finally allowed to see his father, he finds him paralyzed and near speechless. Traumatized, he runs away with Idabel but falls ill with pneumonia.

Upon his return to the family home, he is cured by Randolph. Yet acceptance is not a surrender; it is a liberation. The novel has often been linked to the tradition of the Southern Gothic for the many references to ghostly presences, supernatural tales, and weird dreams. When Other Voices, Other Rooms was published, it became an instant best- seller staying on the New York Times list for nine weeks and selling more than 26, copies. The promotion and controversy surrounding this novel catapulted Capote to fame. A photograph of Capote by Harold Halma was used to promote the book and was printed on its dust jacket.

The characters in his fictional writings were rarely described explicitly as homosexuals, yet their coded description resulted obvious to readers.

Capote contributed to the identification of his literature as gay with his bitchy comments uttered in his characteristic high-pitched voice and his camp mannerism, which he displayed ostentatiously on television shows and interviews. Capote was increasingly drawn to journalism and this interest resulted in his most successful and critically praised work, In Cold Blood , which was unani- mously defined as a masterpiece upon its publication.

The book was originally con- ceived as a short article for the New Yorker.

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Its topic was the murder of a farmer and his family which took place in in Holcomb, Kansas, where Capote went with his friend Harper Lee to gather information. Yet, as he was researching the small- town community of Holcomb and its culture, the events began to haunt the writer and the project expanded. When the murderers were arrested, Capote added their life stories to the work, which eventually grew into a full-length book. He invented the term non-fiction to define his masterpiece, which he considered part of a new literary genre. Although critics disagreed that it was a new literary form, they raved about it.

His public life was just as important as his literary achievements to give him his legendary status.

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