In the world, over 10% of the global population are part of the LGBTQ+2 community. In the novel The Patron Saints of Nothing, we are exposed to numerous homosexual relationships such as Tita Chato and Tita Ines being in a public lesbian relationship, Grace and Jessa in a private relationship, and Jay’s older brother being in a gay relationship in which we do not learn much about. The Patron Saints of Nothing is an astonishing novel that represents many in the LGBTQ+2 community. Members of the community feel heard as they can relate to the situations of their own relationships. In this essay we will be speaking about how well the novel handles the relationships. Secondly we will discuss what these relationships have taught Jay. Lastly we will discuss …show more content…
THESIS In the Patron Saints of Nothing, we were introduced to three main relationships part of the LGBTQ+2 community. Chris and his boyfriend, Grace and Jessa, and Tita Chato and Tita Ines. Now, as I previously mentioned, people part of the LGBTQ+2 community felt represented in this book and you may be wondering how they feel represented. Let's dig in deeper on how this book does an amazing job on representation. First off, the book has these relationships well thought out. We have an inclusivity of age ranges from teenagers to adults. This can be relatable for the reader as they may fit in with the age range of one of the relationships. Furthermore it is vastly considerate about the situation the relationship is in. Take for example Grace’s relationship with Jessa. They are in a secret relationship with Grace’s family not knowing other than Jay. Grace is obviously living in the constant fear of her father not accepting her as she is attracted to girls and is in a relationship with the same sex. Unfortunately, this is a common reality for many people. They keep their relationship a secret from their families as they will not be accepted for who they are and who they are with. They feel seen
I’ll start of with the supporting characters in the book, one word: overdramatic. Drama isn’t always my cup of tea and this book and its characters seem to love it, or that is what I felt sometimes (Maybe I’m the overdramatic one right now). For example; Melindas ex-bestfriends started ignoring her after she called the police during a party and that is relatively exaggerated to a certain degree, I get that someone would get mad but if you really are bestfriends then it wouldn’t be a problem to try to understand the situation and try to make up.
In her article, “A Scar is More than a Wound: Rethinking Community and Intimacy through Queer and Disability Theory”, Karen Hammer examines how Jess’ traumatic experiences in Leslie Feinberg’s Stone Butch Blues becomes the foundation for her and other transgenders to find “community and intimacy” (160). In doing so, Hammer expertly highlights Jess’ constant need to establish a home of acceptance to combat the violence she faces throughout the novel. Therefore, Jess uses her traumas to form connections with other transgenders to provide a sense of community. However, Hammer fails to acknowledge the consequences of forming a community based on shared experiences of violence. Jess expresses these consequences in her willingness to give up on the
As someone who feels as though they are well versed in issues of LGBT discrimination and history, I felt so taken aback by this history of violence and systemic homophobia, and that I wasn’t even fully aware of it’s extent. Feinberg’s writing provided me with a lot of insight relating to current issues and the history of the LGBT movement. The most important thing I think to take away from this novel is to think outside of the binary in terms of gender expression or sexual orientation. Humans are not black and white and neither are their psychological makeups, trying to fit all of humanity into two neat, strict boxes does not work for a vast majority of the population. Realizing that even within the gay and lesbian community pressure to identify as “the man” or “the woman” in a relationship is very real.
Personal narratives are a crucial tool for highlighting the unique challenges and perspectives that members of marginalized populations encounter while grappling with their experiences. In "When Brooklyn Was Queer," Hugh Ryan effectively weaves a web of individualized experiences to construct a realistic and intricate portrayal of Brooklyn's LGBTQ+ community's history. These stories give a specific perspective on the realities of queer people in Brooklyn and illustrate how depictions of queer people diverge from those of non-queer individuals. The author places an emphasis on how race, class, and gender have intersected throughout queer history. The stories of queer people of color, queer individuals from working-class origins, transgender
Moreover, Feinberg portrays the struggles and discrimination faced by the LGBTQ+ community, particularly butch lesbians, during the mid-twentieth century. The novel highlights how society, including law enforcement agencies and the medical establishment, viewed butch lesbians as deviant and pathological, subjecting them to harassment, violence, and conversion therapy. The absence of role models and the relentless hostility from society made it challenging for butch lesbians like Jess to find acceptance and
Often times, queer young adult literature highlights issues that plague adolescents without ever providing an account that feels authentic for its readers. Chulito by Charles Rice-Gonzalez is a gripping fictional account of what it means to be young, gay and Puerto Rican in New York City. Rice-Gonzalez is a lecturer at Hostos Community College and a longtime LGBT activist within the Bronx. Set in the South Bronx, Chulito explores a variety of themes, including masculinity, gayness, identity, and love. In this book, Rice Gonzalez highlights the importance seeing masculinity as being complex instead of dichotomous-
Even to this day, shame about one’s sexual orientation remains a prominent topic. Whether one identified themselves as gay, lesbian, and transgender, society viewed them and their actions as a sin, a crime, and a disease, which only increased the amount of shame–a painful feeling of distress or humiliation caused by the consciousness of wrong or fooling behavior–they saw within themselves. Then changes began to occur as a group of gays, lesbians, and transgender people confronted police in an event known as the Stonewall Riots or the Stonewall Uprising, which became a turning point for gay liberation. Alison Bechdel’s Fun Home is a 1980s, family tragicomic-graphic memoir that addresses this perspective turning point through the use of the labyrinth
The article reveals the racism that gay men and women deal with within the black culture. It speaks on, an unspoken action that is ignored in the African American community. Lorde (1984) speaks about the African American women smuggles as a lesbian, Icard (1986) speaks no how the African American male is seen an inferior. Loiacano
Such dynamic is strictly heteronormative due to the disdain for homosexuality in the scheme of Dominican hypermasculinity. When discussing Oscar’s characteristics Yunior compared him to “that fat homo Oscar Wilde,” as a method of demeaning homosexuality (180). The rejection of homosexuals is a mechanism by which the Dominican males work to assert their heteronormative sexuality, reinforcing their masculine traits. Males actively ridicule homosexuality with contempt evident when Oscar’s uncle shares a box of condoms with him and advises him to “use them all, he said, and then added: On girls” (51). This homophobia encourages a detrimental heteronormative discourse that asserts a clear-cut sexual orientation for Dominican
In Patron Saints of Nothing, Randy Ribay demonstrates that a hero is someone motivated to help others because they have experienced hardship themselves. According to this definition, Jun and Jay are the heroes of Patron Saints of Nothing. Jun is a hero as he handles difficulties in himself and still continues to aid others. Jay and Grace discuss their thoughts about Jun after they find out a part of Jun's life.
However, Tara’s experiences as a witch and as a Queer woman are very different from Willows'. Growing up in different environments, each young woman has individual coming-to stories, while still having many shared circumstances. Their different experiences speak to the truth that each LGBTQ-identifying person lives a unique life with unique relationships to their identity and
After losing her mother a few years back, Jayden is placed in the program during the week and is granted home visits to see her father on the weekends. Hearing about Jayden’s background brings Grace back to her life as a teen. Jayden’s life sounds sadly familiar to Grace because it is what she went through as a child. A viewer can infer that once Jayden starts staying at Short Term 12, Grace takes a special interest in her. One of their first alone times were at the home, and they drew together.
In Patron Saints of Nothing, Randy Ribay demonstrates that because heroes have experienced hardship, they help others. According to this definition, Jay and Tita Chato are heroes. The main character, Jay, experiences hardships throughout the novel and uses them as fuel to aid others along the way, therefore he is defined as a hero. While he searches the internet for possible clues, he comes across an article describing the drug war in the Philippines, explaining how any individual with the slightest connection to the usage or selling of drugs is brutally executed by the police.
Once you deeply analyze the characters relationships you come the realization that love is barely present. Each relationship appears to contain love for the wrong reasons. They portray love as money and riches. The women in the book find a man based on his money and how he can provide for her. They fail to search for a man they have an actual emotional connection with, because of this the men feel like the only way to find “love” is becoming rich and flaunting it for everyone to see..
This novel follows the life of a recent college graduate, Marian MacAlpin, through her career and emotional maturation in a somewhat unnatural, if not threatening world. The queer concept of this world is branded by a spectrum of moral viewpoints of gender politics that manifest themselves and surround Marian. The political and cultural values and practices of a male dominated and sex driven society depicted in the novel are so strong that they seem to devour Marian physically and emotionally. She rebels against this cannibalistic, patriarchal society through a comestible mode and the end, reclaims her identity crisis by restoring her relationship with