Queer Asia. Hong Kong: Hong Kong University Press, 2022. x, 160 pp. (Figures, B&W photos.) US$63.00, cloth. ISBN 9789888528738.
In Queering Chinese Kinship: Queer Public Culture in Globalizing China, Lin Song explores the intricate and vibrant landscape of queer public culture in contemporary China. Through a careful examination of media representations, cultural products, and societal dynamics, Lin challenges common perceptions of queer culture in China as underground and avant-garde; instead, the process of queer becoming has a notably public dimension. Queerness is not only publicly depicted, but its interactions and discussions with blood kinship are also conspicuously public in various ways. The book reveals a paradoxical coexistence of state censorship and the proliferation of queer sensibilities, transitioning from more traditional theatrically screened films to emerging categories such as musicals and online video.
Song’s book is a thought-provoking journey into the complexities of queer life in an illiberal society. It goes beyond the stereotypical portrayal of queerness as a solely rebellious and subversive force and delves into the multifaceted ways in which queerness is negotiated and expressed within the confines of Chinese culture. It underscores the importance of re-evaluating the blood family’s role in queer kinship studies by focusing on the blood family as a site of queer negotiation and contention. By doing so, the book expands the scope of queer kinship beyond the conventional emphasis on chosen families. This approach aligns with recent scholarship on queer kinship in non-Western and particularly Confucian societies, emphasizing the need to recalibrate and rethink the role of the blood family in queer lives (Lin Song, “Re-inventing Confucian subjects: Politics of subject-making in Chinese dating with the parents,” Continuum, 34, no. 5, 2020).
The book’s exploration of queer kinship through media studies further offers a valuable perspective which demonstrates how media representations of queer kinship provide a space for cultural imaginaries, allowing for the exploration of alternative forms of kinship-making and cultural change. This approach complements traditional sociological and anthropological studies of lived experiences by capturing the dynamic nature of queer kinship as it evolves within the realm of media and culture.
The central argument of the book is the critical role of blood kinship in understanding Chinese queer culture. Song contends that an analysis of the interactions between queerness and family bonds is key to unravelling the intricacies of queer China. This focus challenges conventional queer politics, particularly the Western-centric model of coming out, by highlighting how Chinese queers navigate the omnipresent ideologies of blood kinship and the rigid structures of an illiberal society.
One of the book’s remarkable achievements is its ability to situate Chinese queer culture within both an intraregional and a global context. Song argues that queer public culture in China is not isolated but connected to intraregional and transnational circuits of cultural production. This perspective provides a fresh lens through which to view both Chineseness and queerness, deconstructing the boundaries between the local, regional, and global. For instance, in chapter 6, which explores the phenomenon of Qipa Shuo, a popular online talk show where queer individuals openly discuss their lives and experiences, Song reveals how this platform transcends national borders, fostering cross-cultural dialogues and challenges notions of what it means to be Chinese and queer in an interconnected world.
The book introduces the concept of “queer criticality” as an analytical framework for understanding the nuances and paradoxes of queer becoming. Rather than categorizing cultural practices as either fully queer or not queer enough, Song encourages a more comprehensive examination of the complexities of queer lives in China. This approach not only reveals the subversive potential of seemingly assimilationist practices but also acknowledges the constraints and challenges that queer individuals face within the prevailing social norms.
In chapters 3 and 5, Song coins the concept of “illiberal homonormativity.” In the context of China’s illiberal political and social environment which is under strict media censorship, he argues that queer cultural products have carved out a space for queerness to thrive. These commercialized cultural products, despite their limitations, provide a platform for queer representation, activism, and self-expression. The notion of illiberal homonormativity challenges Western-centric understandings of queerness in commercial culture and highlights the unique conditions of queer cultural production in China.
Despite all these very important contributions, the book does have some limitations. First, it primarily focuses on publicly accessible cinematic and popular cultural products that explicitly portray queer issues related to blood kinship. This focus excludes other forms of queer articulations and cultural texts with queer undertones, potentially leaving gaps in the analysis of Chinese queer culture where often these topics are not so openly discussed. Second, while the book touches on various queer issues, it primarily concentrates on male homosexuality due to its higher visibility in China. This bias is a result of the country’s gendered unequal social structure and leaves out important aspects of queer sexualities; it would be good to see more focus on lesbians and asexual and transgender people in the consideration of kinship.
In conclusion, Queering Chinese Kinship is a significant work that challenges existing paradigms of queer culture and kinship. Song’s meticulous analysis of media representations, cultural products, and societal dynamics in China offers fresh insights into the complexities of queer life within an illiberal society. The book’s emphasis on the interplay between queerness and blood kinship, the concept of queer criticality, and the exploration of illiberal homonormativity enrich the field of queer studies and expand our understanding of global queerness. The book is a vital contribution to the field of queer studies and Chinese Studies which challenge preconceived notions of queerness in China and expand our understanding of how queerness is negotiated and expressed in an illiberal society. Its innovative concepts and interdisciplinary approach provide a fresh perspective on queer kinship, and the book serves as a starting point for further research into the dynamic landscape of queer public culture in China.
Rui Yang
University of Glasgow, Glasgow