WEST HOLLYWOOD — Start a Saturday morning off on the right uh… high heel, with the fun and fabulous Drag Queen Story Hour.
Children are invited to bring their parents, guardians, friends of all ages and join the City of West Hollywood at the West Hollywood Library for Drag Queen Story Hour, which is exactly what it sounds like: glittering, magical drag queens capturing the imagination, playfulness, and gender fluidity of childhood, while giving kids glamorous, positive, and unabashedly queer role models.
At Drag Queen Story Hour, children are able to meet people who defy rigid gender restrictions and imagine a world where people present as they wish — a world where dress up is real.
Admission is free. For children of all ages. No registration necessary.
Saturday, February 22, 2020 at 11 a.m. at the West Hollywood Library Community Meeting Room, located at 625 N. San Vicente Boulevard.
This is an ongoing program. Future Drag Queen Story Hour events April 25 and June 27th
Co‐sponsored by the City of West Hollywood. For more information, please visit colapublib.org.
Mister Rogers Told Co-Star Don’t Come Out as Gay, and Marry a Woman
(TMZ) — “Mister Rogers’ Neighborhood” was no place for gay people … so says one of the stars.
Francois Clemmons, who played Officer Clemmons from 1968 – 1995, says in his new memoir, Fred Rogers got wind of the fact Clemmons was gay, pulled him aside and said, “Franc, you have talents and gifts that set you apart and above the crowd. Someone has informed us that you were seen at the local gay bar downtown. Now, I want you to know, Franc, that if you’re gay, it doesn’t matter to me at all.”
And, then the other shoe dropped … “Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of the ‘Neighborhood,’ you can’t be out as gay.”
Clemmons told People Rogers told him secrecy was the only way … “You must do this Francois … because it threatens my dream,” adding, “I was destroyed. The man who was killing me had also saved me. He was my executioner and deliverer. But, at the same time, I knew that he would know how to comfort me.”
According to Clemmons, whose memoir is titled, “Officer Clemmons,” Rogers also told him the audience didn’t care who he was sleeping with … “especially if it’s a man.”
And, there’s more … according to Clemmons, Rogers urged him to marry a woman, and he obliged. Clemmons married La-Tanya Mae Sheridan. They divorced in 1974 and later Clemmons came out.
He says he forgives the legendary TV host … “Lord have mercy, yes. I forgive him. More than that, I understand. I relied on the fact that this was his dream. He had worked so hard for it. I knew Mister Rogers’ Neighborhood was his whole life.”
From Homer to Stephen King: Pandemics in Literature
by Chelsea Haith for The Conversation
From Homer’s Iliad and Boccaccio’s Decameron to Stephen King’s The Stand and Ling Ma’s Severance, stories about pandemics have – over the history of Western literature such as it is – offered much in the way of catharsis, ways of processing strong emotion, and political commentary on how human beings respond to public health crises.
Literature has a vital role to play in framing our responses to the COVID-19 pandemic. It is worth turning to some of these texts to better understand our reactions and how we might mitigate racism , xenophobia and ableism (discrimination against anyone with disabilities) in the narratives that surround the spread of this coronavirus.
Ranging from the classics to contemporary novels, this reading list of pandemic literature offers something in the way of an uncertain comfort, and a guide for what happens next.
Homer’s Iliad, as the Cambridge classicist Mary Beard has reminded us, opens with a plague visited upon the Greek camp at Troy to punish the Greeks for Agamemnon’s enslavement of Chryseis. US academic Daniel R Blickman has argued that the drama of Agamemnon and Achilles’ quarrel “should not blind us to the role of the plague in setting the tone for what follows, nor, more importantly, in providing an ethical pattern which lies near the heart of the story”. In other words, The Iliad presents a narrative framing device of disaster that results from ill-judged behaviour on the part of all of the characters involved.
COVID-19 is certain to shake up economic systems and entrenched institutional processes, as we’re seeing with the shift towards remote learning in universities around the world, to give just one example. These texts give us an opportunity to think through how similar crises have been managed previously, as well as ideas about how we might structure our societies more equitably in their aftermath.
The Decameron (1353) by Giovanni Boccaccio, set during the Black Death, reveals the vital role of storytelling in a time of disaster. Ten people self-isolate in a villa outside Florence for two weeks during the Black Death. In the course of their isolation, the characters take turns to tell stories of morality, love, sexual politics, trade and power.
In this collection of novellas, storytelling functions as a method of discussing social structures and interaction during the earliest days of the Renaissance. The stories offer the listeners (and Boccaccio’s readers) ways through which to restructure their “normal” everyday lives, which have been suspended due to the epidemic.
Authority’s failure to respond
The normality of everyday life is also the focus of Mary Shelley’s apocalypse novel The Last Man (1826). Set in a futuristic Britain between the years 2070 and 2100, the novel – which was made into a movie in 2008 – details the life of Lionel Verney, who becomes the “last man” following a devastating global plague.
Shelley’s novel dwells on the value of friendship, and concludes with Verney accompanied on his wanderings by a sheep dog (a reminder that pets may be a source of comfort and stability in times of crisis). The novel is particularly scathing on the topic of institutional responses to the plague. It satirises revolutionary utopianism and the in-fighting that breaks out among surviving groups, before these also succumb.
Edgar Allen Poe’s short story The Masque of the Red Death (1842) also depicts the failures of authority figures to adequately and humanely respond to such a disaster. The Red Death causes fatal bleeding from the pores. In response, Prince Prospero gathers a thousand courtiers into a secluded but luxurious abbey, welds the gates closed and hosts a masked ball:
The external world could take care of itself. In the meantime it was folly to grieve or to think. The prince had provided all the appliances of pleasure.
Poe details the sumptuous festivities, concluding with the incorporeal arrival of the Red Death as a human-like guest at the ball. The plague personified takes the prince’s life and then those of his courtiers:
And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall.
Modern and contemporary literature
In the 20th century, Albert Camus’ The Plague (1942) and Stephen King’s The Stand (1978) brought readers’ attentions to the social implications of plague-like pandemics – particularly isolation and failures of the state to either contain the disease or moderate the ensuing panic. The self-isolation in Camus’ novel creates an anxious awareness of the value of human contact and relationships in the citizens of the plague-stricken Algerian city of Oran:
This drastic, clean-cut deprivation and our complete ignorance of what the future held in store had taken us unawares; we were unable to react against the mute appeal of presences, still so near and already so far, which haunted us daylong.
In King’s The Stand, a bioengineered superflu named “Project Blue” leaks out of an American military base. Pandemonium ensues. King recently stated on Twitter that COVID-19 is certainly not as serious as his fictional pandemic, urging the public to take reasonable precautions.
Similarly, in his 2016 novel Fever, South African author Deon Meyer details the apocalyptic fallout of a weaponised, bioengineered virus that results in enclaves of survivors besieging one another for resources.
In Severance (2018), Ling Ma provides a contemporary take on the zombie novel as the fictional “Shen Fever” renders people repetitive automatons until their deaths.
In a thinly veiled metaphor for the capitalist cog-in-the-machine, the protagonist Candace drifts daily in to her place of work in a future New York that is slowly falling apart. She eventually joins a survival group, assimilating culturally and morally to their violent attitudes towards the zombies, “embodying the atomization of late-capitalist humans in a society stripped to its bones”, as reviewer Jiayang Fang suggests.
For some the end has already come
Consider also that “indigenous futurisms” – a term coined by First Nations cultural and race studies theorist Grace L Dillon to refer to speculative fictions by indigenous peoples and writers of colour such as NK Jemisin’s Broken Earth series, Claire G. Coleman’s Terra Nullius, and Carmen Maria Machado’s short story Inventory – have long since treated colonialism and the diseases spread by the colonisers as the source of what is currently experienced as an ongoing apocalypse. For many people in formerly colonised places, the apocalypse has already come – pandemics (both literal and metaphorical) have already obliterated their populations.
The catharsis that some of the above-mentioned texts may offer is troubled by the realities of pandemic and apocalypse conditions depicted in much fiction by indigenous peoples. If we used our own likely forthcoming periods of self-isolation to theorize alternative social structures, to tell one another stories about how we live, what stories might we tell?
Chelsea Haith is a DPhil Candidate in Contemporary English Literature at the University of Oxford.
The Conversation publishes knowledge-based journalism that is responsible, ethical and supported by evidence from academics and researchers in order to inform public debate with facts, clarity and insight into society’s biggest problems.
Woody Allen Memoir Canceled by Publisher Following Staff Walkout
(TMZ) — Woody Allen’s been officially canceled … by the publishing company that was going to release his memoir next month.
Hachette Book Group announced it will no longer publish the famed, but controversial, director’s memoir, “Apropos of Nothing,” which was originally scheduled to hit bookshelves in April.
The decision comes on the heels of a staff walkout at one of HBG’s imprint companies, Little, Brown and Company … which is Ronan Farrow ‘s publisher. After Ronan voiced his disappointment HBG was working with Allen … employees at Little, Brown and Co. staged a walkout Thursday, saying … “We stand in solidarity with Ronan Farrow, Dylan Farrow and survivors of sexual assault.”
As you know … Allen was accused in 1992 by Dylan his adoptive daughter, of molesting her when she was 7. He’s repeatedly denied that.
HBG says, “The decision to cancel Mr. Allen’s book was a difficult one. At HBG we take our relationships with authors very seriously, and do not cancel books lightly.”
The publisher adds … “Also, as a company, we are committed to offering a stimulating, supportive and open work environment for all our staff. Over the past few days, HBG leadership had extensive conversations with our staff and others. After listening, we came to the conclusion that moving forward with publication would not be feasible.”
HBG will return all rights of the memoir to the author.
We’ve reached out to Woody’s team — so far, no word back.
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This Just In…
- Petition Circulating to Ask Judge to Keep Ed Buck in Jail
- RAGE is Latest Venue to Fall Victim to the Pandemic
- Koretz Won’t Back ‘Uplift Melrose’ Plan
- Man Sentenced for Hit-and-Run Death of Pedestrian on Sunset
- Beverly Grove Man Charged for COVID Relief Loan Fraud
- County Hospitals Receive 300 iPads for Patients to See Family
- Processions to Cedars Will Salute Healthcare Workers on National Nurses Day