Every month, our literary critic puts a work through a kaleidoscope, collecting the images it projects and reconstructing their diffractions. Even if the flashes of genius turn out to be shards of glass.
In France, the appointment of Gabriel Attal as Prime Minister has prompted homophobic remarks from LGBT activists. Anti-universalist, illiberal, they would never tolerate a «member of the community» with ideas or attitudes other than their own.
Pour la première fois de l’histoire du festival de Cannes, le cinéma pakistanais a foulé le sol de la Croisette, vainqueur dans les catégories Un certain regard et Queer Palm. Rendez-vous dans un Pakistan en aux troubles, sous le regard de Saim Sadiq.
«Il fait pas bon être pédé quand t'es entouré d'enculés», sang Renaud in his song Petit pédé. A song about homophobia towards young people with «apparently perverse tendencies», forced to leave home to be themselves. These lyrics couldn't be more in tune with current events on the other side of the Atlantic last June, marked - after the removal of the right to abortion from the US Constitution - by the Texas Attorney General's determination to reinstate his state's law banning sodomy, if the Supreme Court allows it. This law, repealed in 2003, effectively targets homosexuals. Because, as is well known (at least to this prosecutor), sodomy is the only sexual activity in which homosexuals engage... And heterosexuals don't practice it... Besides, there's no such thing as lesbians.
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In the same vein as Waltz with Bashir (2008) and Persepolis (2007), the animated film Flee probes the memory and journey of Amin, a Danish academic in his thirties. An identity that...
Fatima Daas, Muslim and lesbian
Le Regard Libre N° 74 – Jean-David Ponci
Beau malheur, un oxymore qui caractérise bien la musique de Tchaïkovski. Très sensible, trop sensible, il souffrit toute sa vie de son homosexualité, d’une certaine manie de la persécution, de manque de confiance en soi, de l’incompréhension des autres musiciens… Même s’il n’a pas été le seul homme à souffrir, il est sans doute celui qui a réussi à exprimer la douleur de la manière la plus poignante. Non seulement ses mélodies sont magnifiques, mais elles mettent son âme à nu, elles semblent surgir du tréfonds de sa détresse pour s’élever vers le ciel. Pourtant, derrière cette fragilité, se cache un homme qui savait bien ce qu’il voulait, comme le montre sa détermination à publier ses œuvres telles quelles, malgré les critiques, jusqu’à sa mort programmée, pour laquelle il compose son propre requiem, la Pathétique.
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«How can one not be taken now by dizziness, obstinately,O Cypris, mistress, whatever the person one loves, How can one not want to be delivered from the painyou impose on him?
Why in vain agitate and tear me by the desire which panics? I implore you, sovereign, you make me suffer so much; once you weren't [...and you didn't repress me [...
...] you, I want to [......] suffer this [......] as for me, I'm aware of it.»
(trans. by Sandra Boehringer and Claude Calame)
These are the literal translation of the Greek verses recently revealed by a papyrus fragment of mysterious origin[1] Written in the Aeolian dialect of Lesbos, and now available to us in text form, these verses are organized metrically into so-called Sapphic stanzas. Their theme undoubtedly assigns them to Sappho. Inserted in the first book of the Alexandrian edition of the poetess of Lesbos,
Amour entre hommes dans les années 80
The tears of the past and the blood of the present
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