https://ojs.msupress.org/index.php/QED/issue/feedQED: A Journal in GLBTQ Worldmaking2025-04-01T15:18:06-04:00QED Journalqedsubs@msu.eduOpen Journal Systems<p><em><strong>QED: A </strong></em><em><strong>Journal in GLBTQ Worldmaking</strong></em> (published 3 times/yr.) brings together scholars, activists, public intellectuals, artists, and policy and culture makers to discuss, debate, and mobilize issues and initiatives that matter to the diverse lived experience, struggle, and transformation of GLBTQ peoples and communities wherever they may be. With an emphasis on worldmaking praxis, <em>QED</em> welcomes theory, criticism, history, policy analysis, public argument, and creative exhibition, seeking to foster intellectual and activist work through essays, commentaries, interviews, roundtable discussions, and book and event reviews.</p> <p align="left"><em><strong>QED</strong></em> is not an acronym, though, of course, Q resonates queerly for us, as we imagine it will for many readers. We wish our intentional indeterminacy to be playful, productive, propulsive. This configuration will be recognized by some as signifying the Latin phrase, quod erat demonstrandum, meaning “that which had to be demonstrated,” which used to be placed at the end of mathematical proofs to inscribe a stamp of consummation. This connotation appeals to us insofar as we understand this journal’s mission as centrally concerned with praxis, which is to say that we believe the success of <em>QED</em> generally, and of any of the words on its pages, shall be determined by its demonstration, by the difference it seeks to manifest in the world. We hope that this high bar, this idealism, will be constitutive. Other readers, though lamentably too few given the infrastructural deficits vexing GLBTQ history and memory, will recognize Q.E.D. as the title of Gertrude Stein’s explicitly lesbian autobiographical novel, written in 1903 but not published until after her death in 1950. Stein’s use of the acronym ironically represented the relations among the women that unfolded in her narrative. Activism, archive, wit, desire—our hope is that all of these terms will, among others, characterize this GLBTQ project, and that you will venture to make other meanings and doings of it.</p> <p>Our use of theterm “worldmaking” is much more deliberate in its derivation. Since our first encounter 15 years ago with its conceptualization by queer theorists Lauren Berlant and Michael Warner in their influential essay, “Sex in Public,” we have been inspired and challenged by the still generative and demanding implications of their idea of “queer worldmaking”—creative, performative, intimate, public, disruptive, utopian, and more. Of such a “world-making project,” they wrote: “The queer world is a space of entrances, exits, unsystematized lines of acquaintance, projected horizons, typifying examples, alternate routes, blockages, incommensurate geographies.” Among its key assumptions and commitments are belonging, transformation, memory, mobility, “the inventiveness of the queer world making and of the queer world’s fragility.” GLBTQ people, through complex theory, artful exhibition, street activism, and practices of everyday life, have richly embodied, interrogated, and extended this concept. Our appropriation of it is dedicatory and aspirational.</p> <div id="focusAndScope"> <h3>Peer Review Process</h3> </div> <div id="peerReviewProcess"> <p>Scholarly articles for <em>QED</em> are reviewed using a double-anonymous peer-review method. Please make sure that submissions have no identifying information within the Word document.</p> </div> <div id="publicationFrequency"> <h3>Publication Frequency</h3> <p><em>QED: A Journal in GLBTQ Worldmaking</em> publishes 3 times per year in February, June, and October.</p> </div>https://ojs.msupress.org/index.php/QED/article/view/8179The Last of Us: Im/Possibilities of Queer Love at the End of the World2024-01-30T16:27:50-05:00Sara Baugh-Harrissabaugh@davidson.edu2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/8156Queering Dystopia2024-01-16T16:18:25-05:00Tyler Rifetrife@stlawu.edu<p>This critical essay braids an ethnographic account of playing through the video game <em>The Last of Us, Part II</em>’s relative utopic enclaves, reflections on the material dynamics organizing the game’s development process, and a narrative performance of player character Ellie’s navigation of the game world. Centering the game’s representation of a commune located in Jackson, Wyoming—the site of the game’s first few hours—the essay grapples with the complexity inherent to media that may aim to inspire queer and anarcho-socialist worldmaking while constructed within the constraints of digital media production’s particular strain of hypercapitalism. Ultimately, I seek to help animate the key role of anticapitalism in the project of queer worldmaking.</p>2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/8159Utopia, Apocalypse, and Queer Effacement on The Last of Us2024-01-21T13:28:26-05:00Jeffrey Bennettjeffrey.a.bennett@vanderbilt.edu<div><em>The Last of Us </em>invites viewers to contemplate the prospects of a future radically rewritten by disaster. The series offers spectators the opportunity to ponder what life would have been like during the last two decades had the course of history gone in a markedly different direction. This includes many of the legislative and cultural accomplishments of LGBTQ political movements, which no longer exist in the program’s universe. The series maintains a tradition of engaging the tropes of utopia and apocalypse, which have long structured LGBTQ movement rhetoric. The transformative space occupied by these characters, which mirror Foucault’s understanding of heterotopias, is both suspiciously sentimental but also aspirationally satisfying.</div>2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/8154The Im(possibility) of Disability at the End of the World in The Last of Us2024-01-16T13:32:40-05:00Bernadette Marie Calafellcalafell@uoregon.eduLucy KramerLucykramer37@gmail.com<p>This essay offers a crip reading of the critically acclaimed show, <em>The Last of Us,</em> to argue that the show through its representation of the characters of Bill and Frank posits that there is no future for disability at the end of the world.</p>2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/8157Strawberry Fields and Malls of Wonder: Micro-Utopic Moments and Threats to Normativity in The Last of Us2024-01-17T16:43:56-05:00Cassidy Elliscassidy.ellis@uc.eduEmily Kofoedekofoed@uscupstate.edu<p>This essay analyzes two key episodes in the 2023 HBO series <em>The Last of Us </em>that center queer romance. We approach queerness as a project of hopeful futurity while considering the quotidian moments of micro-utopia within queer relationships as illustrated by characters. Ultimately, we argue that the representation of queer micro-utopias in <em>The Last of Us </em>is significant to a larger queer worldmaking project, as they provide potential models for ways that we too might navigate our material reality, which seemingly teeters on the edge of dystopia more and more every minute. We argue that the representations of queer worldmaking via micro-utopic moments in these two episodes are significant, especially with the inclusion of an interracial lesbian couple. Ultimately, we identify limitations of these micro-utopias through particular attention to both racial-gender dynamics and age, which affect the characters’ experiences of romance, partnership, and futurity.</p>2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/8161“For Once We Could Win": Potentiality and the Wild Utopia of The Last of Us 2024-01-22T20:56:45-05:00Katlin Harringtonkbsharrington@gmail.com<p>This article examines the queer utopian meanings disseminated in the first season of HBO’s <em>The Last of Us. </em>As a piece of speculative fiction, the <em>Last of Us</em> offers audiences alternatives to master-narratives that demarcate <em>what is</em> and <em>what will be</em> along false dichotomies and rigid epistemologies. Speculative narratives, when focused on/created by subaltern agents have the ability to go where the hegemonic can’t/won’t – boundless and indeterminate spaces of what <em>could be</em>. This analysis mostly focuses on Ellie’s wild, punk, and utopian performance(s) because her status as a queer orphaned child opens a significant space for audiences to speculate the real-world parallels of this fiction. Because relationships are of significant importance to this narrative, the actions and embodiments of various settings, plot lines, and other characters are also evaluated in relation to intersections subalternity. Predominantly following José Esteban Muñoz’s conceptualizations of punkness and queer utopia, I advance that through performances of punk and wild embodiments/modalities of being, the <em>Last of Us </em>television series depicts a wild utopia within a dystopia that queers potentiality and futurity. </p>2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/8158Can Riley Abel Save Us? Rethinking Queer Potentiality in “The Last of Us”2024-01-20T03:35:04-05:00Taisha McMickenstaisha.mcmickens@chaffey.edu<p>I discuss queer potentiality throughout this body of work, noting that media centering underrepresented bodies in ways that critique and disrupt forms of oppression carry potential possibilities for change. I examine the television series <em>The Last of Us </em>to think through the Strong Black Woman stereotype and queer potentiality. Queer Potentiality is “the lens through which we envision the world beyond what we already know” (Muñoz 2009). I argue that <em>The Last of Us </em>series forecloses the opportunity to re-imagine the world outside of the landscape of white supremacist structures of oppression, effectively quashing queer imagination and curtailing expansive possibilities of the future. This is despite ample potentiality for evoking an imagination toward queer futures that recognizes plural realities through the character Riley Abel. The result of such foreclosure is queer invisibility, death, and reinforced homonormativity.</p>2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/7735Constellating Home: Trans and Queer Asian American Rhetorics by V. Jo Hsu2023-02-26T22:26:54-05:00Allison Dziubaaadziuba@ua.edu2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/7814Jotería Communication Studies2023-04-26T15:25:11-04:00Andrea Sanchezasanchez13@unm.edu2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/7763The Vulgarity of Caste2023-03-25T16:00:14-04:00Sudhiti Naskarsnaskar@unm.edu<p><span class="NormalTextRun SCXW125017835 BCX8">Shailaja Paik’s “The Vulgarity of caste” tells a story of India’s </span><span class="NormalTextRun SCXW125017835 BCX8">caste system and its intricate grip </span><span class="NormalTextRun SCXW125017835 BCX8">on the nation’s cultural and </span><span class="NormalTextRun SCXW125017835 BCX8">national character</span><span class="NormalTextRun SCXW125017835 BCX8">. </span><span class="NormalTextRun SCXW125017835 BCX8">Before we delve deeper into the book, it is necessary to understand the basic</span><span class="NormalTextRun SCXW125017835 BCX8">s of the</span> <span class="NormalTextRun SCXW125017835 BCX8">caste </span><span class="NormalTextRun SCXW125017835 BCX8">s</span><span class="NormalTextRun SCXW125017835 BCX8">ystem</span><span class="NormalTextRun SCXW125017835 BCX8">. </span><span class="NormalTextRun SCXW125017835 BCX8">C</span><span class="NormalTextRun SCXW125017835 BCX8">aste is to India</span><span class="NormalTextRun SCXW125017835 BCX8"> what race is to the United States</span><span class="NormalTextRun SCXW125017835 BCX8"> – it organizes and permeates all walks of life</span><span class="NormalTextRun SCXW125017835 BCX8">.</span></p>2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/7725We Are Having this Conversation Now: The Times of AIDS Cultural Production2023-02-17T00:45:11-05:00Rachel Taylorrtaylor6@unm.edu2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/7709Squeezing a Juicy Archive of Sticky Objects with Hélène Cixous’s Écriture Matérialiste2023-05-03T10:54:03-04:00Jaishikha Nautiyalnautiyalj@southwestern.edu<p>Hélène Cixous’s ethico-poetic inflections of <em>writing with the body</em> (<em>écriture féminine</em> or women’s writing) have received disciplinary attention in rhetorical studies as political disruptors of androcentric economies of hermetic rhetorical canons. However, her powerful works remain under-explored as imaginative forms of <em>queer word/worldmaking praxis</em> through a transversal pivot to posthumanist rhetorics which challenge anthropocentric, representational accounts of rhetorical agency and distribute rhetorical action to diverse accounts of more-than-human materiality. Hence, I draw on Cixous’s essay <em>“Vivre l’orange/To live the orange”</em> to re-trace her era-defining, feminist rhetoric of <em>writing with the body</em> as a queer, juicy, de-essentialized archive of sticky objects and posthuman subjects inter-weaving a posthumanist rhetoric of <em>writing with matter (materialist writing or écriture</em> <em>matérialiste</em>). I emphasize that Cixous’s attention to the vibrant call of quotidian objects is her sensing, her witnessing of matter as her critical-creative-vibrant peer, her more-than-human, sticky kin<em>. </em>Ultimately, without an amplified rhetorical sensing of object histories which I consider Cixous’s gesture of <em>queer responsiveness</em>, intensified intervention in the ongoing injustices of the world is not ethically possible in Cixousian praxis.</p>2025-04-01T00:00:00-04:00Copyright (c) 2024 https://ojs.msupress.org/index.php/QED/article/view/7066Occasional Belonging2022-04-08T12:49:05-04:00James McMasterjames.mcmaster@email.gwu.edu<p>This article tells the story of two major scenes of queer East and Southeast Asian nightlife in post-Trump New York City. The first of these is the gaysian scene, housed on the weekends at a Hell’s Kitchen gay club. The second is the slaysian scene, exemplified by a recurring, Brooklyn-based party for queer-identified Asians cleverly titled, Bubble_T. Each is an outpost of queer Asian worldmaking, and by close reading the social expectations and aesthetic sensibilities of both scenes, this essay uses ethnographic methods to reveal the disciplinary protocols that shape the city’s queer Asian nightlife. The article also, in its final section, proposes conditional hospitality as a strategy through which the disciplinary protocols of each of these scenes might be repurposed to transform “queer Asian American” from a merely identitarian formation into a political one. What is it that draws someone to this world of queer Asian nightlife and not that one? And how can whatever that draw is be redeployed for political purposes? The article engages with the work of Lauren Berlant, Erving Goffman, and a range of thinkers in queer Asian American studies in order to advance answers to these questions.</p>2025-04-01T00:00:00-04:00Copyright (c) 2025 https://ojs.msupress.org/index.php/QED/article/view/7556Beyond Reproduction2022-12-01T13:32:03-05:00Julien Dugnoillej.dugnoille@exeter.ac.uk<p>Over the last twenty years, in the wake of Bagemihl’s observation, some progress has been made in the way ethological science engages and interprets sexual behaviors among nonhuman animals. However, when observed in more detail, even among those ethologists keen to recognize the complex behaviors of the animals they observe, there is still a notable degree of heteronormativity at play. Today, the issue lies not so much in denying the ubiquity of non-normative sexual activities and the pleasure they bring to nonhuman animals, but in the fact that the interpretation and the language used by some ethologists in scientific publications indicate that they are locked into a Neo-Darwinian evolutionary paradigm which drives them to systematically consider reproduction to be the single ultimate causation for animal traits and behaviors. Taking a Neo-Aristotelian approach to animal behavior, added to a queer perspective on nonhuman sexual activity, this article will suggest that approaching nonhuman sexual activity without looking for ways to explain it in the context of reproduction could allow ethologists to move away from these heteronormative tropes more easily and open up new ways of accounting for sexual activity in their research design and public communication.</p>2025-04-01T00:00:00-04:00Copyright (c) 2024