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I have been turning back time with subtle reference to that leather daddy queen herself, Cher for a while now by going all the way back to the 19th century with the emergence of Aestheticism and Decadence as foundations for much of what we now consider to be ways of being gay. In academic circles, this work is hardly new: Richard Kaye , David Halperin , Leo Bersani , Lee Edelman , and Ellis Hanson , among many others, have developed a library of research on this particular subject.
For many academics in the field, those utilizing Queers of Color or Trans critique find this work to be, in fact, merely that of a white gay male strand of queer subjectivity. No arguments against that here: everyone from Lord Byron to Dennis Cooper are very much white, gay, and male.
What becomes more problematic is that many of these white gay male authors have been appropriated for the anti relationa l turn in queer theory, which is in and of itself a recent polemic position on the contemporary Gay Rights Movement and ideas about assimilation ie. On the contrary, Michel becomes stuck in this discourse and drifts away into nothingness.
As the main character, Michel, becomes more aware and invested into his queer sexuality, he descends into nihilism. Because of the taboo on homosexuality in early 20 th century France, Michel has to go beyond the good and evil of morality to explore his queer desires; however, he becomes stuck within the nihilism that exists for him outside of morality.
