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Social Text 131 • Vol. 35, No. 2 • June 2017
DOI 10.1215/01642472-3820533 © 2017 Duke University Press
My cousin and I came out to our respective parents about ten years apart
from one another. Our parents are good friends. They regularly share
meals and celebrate holidays together. In the early 2000s, however, in
Montreal, Québec, my announcement was met with horror and panic. It
was seen as premature and limiting: “What if your lifestyle turns away a
guy who might otherwise make a pass at you?”
1
In comparison, although
we both came out at roughly the same age, my cousin was framed as a
“late bloomer.” Her announcement was greeted by relief. She had, a fam-
ily member called to tell me, “fnally accepted hersel f.” Thus, in just ten
years, parental response had transformed. Disapproval morphed into its
opposite: not simply acceptance but approval — at least, so it seemed.
This essay investigates contemporary lesbian and gay coming out
narratives in contexts where the public expression of homophobia is often
viewed as unenlightened. Drawing on a broad archive, I track a repeated,
transnational dynamic that has become increasingly widespread, though
certainly not evenly either domestically or transnationally. Over and
again, the “problem” with gay and lesbian identities is fgured not as one’s
queerness but, rather, one’s (potential) lack of self-acceptance. In fact,
this “lack” might be understood as a new form of queerness, one that is
tied not necessarily to the breaching of gender and sexual norms but to the
breaching of a new set of norms concerning self-assertion and transpar-
ency, norms whose performance is especially valued in neoliberal culture.
I argue that the new coming out narrative at once both disavows and
points to the continued presence of heteronormativity and queer oppres-
sion in everyday life. It also indexes widespread adherence to a model of
the self as transparent and naturally self-interested, a model that is deeply
“Finally, She’s Accepted Herself!”
Coming Out in Neoliberal Times
Stephanie D. Clare
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