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Southern Spaces
A journal about real and imagined spaces and places of the US South and their global connections

Slipping Boundaries: The Tenacity of Aaron Henry

King's College London
Published July 31, 2019

Overview

In this illustrated reading from Men Like That: A Southern Queer History (Chicago: University of Chicago Press, 1999), John Howard tells of Aaron Henry, the longtime civil rights activist and head of the Mississippi NAACP who turned accusations of homosexuality into a ritual balance of public disclosure and discretion. Howard made this presentation at the Queer History South Conference, March 29, 2019, in Birmingham, Alabama, on the twentieth anniversary of the publication of Men Like That.

Queer Intersections / Southern Spaces is a collection of interdisciplinary, multimedia publications that explore, trouble, and traverse intersections of queer experiences, past, present, and future. From a variety of perspectives, and with an emphasis upon the US South, this series, edited by Eric Solomon, offers critical analysis of LGBTQ+ people, practices, spaces, and places.

Presentation

About the Author

John Howard is Emeritus Professor of Arts and Humanities at King's College London. He is interested in the historical production of human differences and their attendant inequalities. His work also assesses differences as productive mechanisms of affiliation, identity, coalition, and struggle. Informed by queer, feminist, materialist, critical race, and spatial theory, his research and teaching are engaged primarily with the categories we now know as sexuality, gender, class, race, and region. He is the author of Men Like That: A Southern Queer History (Chicago: University of Chicago Press, 1999) and Concentration Camps on the Home Front: Japanese Americans in the House of Jim Crow (Chicago: University of Chicago Press, 2008).

Cover Image Attribution:

MFDP delegation chairman Aaron Henry challenges Mississippi Democrats at Democratic Convention, Atlantic City, NJ, August 10, 1964. Photograph by George Ballis. © George Ballis/The Image Works.

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doi:10.18737/43340.2019