{{This essay is a response written in 2011 to the ‘It Gets Better’ Campaign}}
~ Amelia
The It Gets Better Project, a project rectified in response to an outburst of queer youth suicides in the Western world, highlights the association that queerness and homosexuality have with death. Through this association, as well as the It Gets Better Project itself, queerness becomes intertwined with death and the death of the nation. Opposing death and the image of the homosexual subject, is the prospect of life, which is lead only by the heteronormative discourse. The It Gets Better Project naturalizes the ideology that queerness and ‘otherness’ equate death, whereas heteronormativity and normative subjects, including the white, privileged normative subject, equate life. Through the media attention that the It Gets Better Project has received, these stories of queer youth suicide have become a tool for the regulation of lives, both queer and normative. This regulation creates a straightening device that is in line with the biopolitical aims to serve the hegemonic discourse of the nation state: the heteronormative necessity within a nation for that nation to thrive through the means of gay-bashing, homophobic violence and the death of the homosexual subject.
In the early fall of 2010, America was overwhelmed by a wave of homosexual youth suicides, struck by the number of suicides, as well as the suicides themselves. The nation was shocked by the events; the wake of this outburst of suicides had countries, activists, LGBT communities and LGBT allies questioning what fuelled the ‘sudden’ outburst of queer youth suicides in a climate that seemed to be changing in its acceptance of the LGBT community, specifically of LGBT youth. In response to the desperate situation, Toronto’s Dan Savage of Savage Love of Eye Weekly jumped at the chance to showcase a way to a happier life for queer youth, producing the It Gets Better Project. The It Gets Better Project showcases Dan Savage and his partner, both white, gay, male subjects who associate with the homonormative discourse, reaching out to queer youth explaining that their lives will get better if only they chose to live it. Dan Savage and his partner exemplify the existence of homonormativity, which is the heteronormative lifestyle lived out by homosexual identifying subjects. This lifestyle includes marriage, proper work, and consuming, adopting children, becoming an upstanding citizen that can uphold the standards set upon heteronormative subjects. The allowance of gay subjects into this heternormative discourse of life implies that the current climate in which we live is a climate of supposed sexual acceptance, of sexual exceptionalism1 Dan Savage and his partner, in the It Gets Better campaign, create propaganda for a homonationalist way of life, a life that follows the heteronormative discourse, which benefits the nation state. This is a time and space of queer temporality, as “homonationalism is [...] a temporal and spatial illusion, a facile construction that is easily revoked, dooming the exceptional queers”2. This is to say that the temporal existence of a queer nationalism, of a homonormative and homonationalist discourse, is always on the brink of its own demise. Within its own existence, sexual exceptionalism, which allows propaganda like that of It Gets Better to exist, is always a moment away from its own death. Queerness is always in tandem with death, whether through the queer body, the queer youth of the nation or the ideology of queerness itself.
Judith Halberstam’s In a Queer Time and Place focuses the first two chapters of the book on the death of Brandon Teena, a white female to male transgender subject living in small-town Nebraska in the United States. Halberstam claims that Teena was living “literally and figuratively out of time and place”3 which is to say that there exists a time and place that is not ‘out’ but rather ‘in’ for queer subjects. The notion of US sexual exceptionalism paints the Western World, specifically the United States, as a place that welcomes queer subjects and queer bodies ‘in’. Contradictorily, the story of Teena is not of his life, but rather his death in the face of homophobia and transphobia. The boys who live in the small-town who beat Teena, his girlfriend and his differently-abled friend of colour to death, represent the normative attitude that is concurrent with the ideology of perpetuation of life, murdering the subjects who are associated with death, only furthering the identification of queerness with death. Halberstam offers the reasoning that Teena operated outside of normative time because he opted “to live outside of reproductive and familial time as well as on the edges of logics of labour and production. By doing so, they [he] also often live[d] outside the logic of capital accumulation: here we could consider [...] HIV-positive barebackers, rents boys, sex workers”.
Outside of the normative construction of time are subjects associated with death; from the diseased subject (HIV-positive barebackers) to the subject who will soon be ridden with disease (sex workers). In the It Gets Better Project, Dan Savage and his partner are two homonationalist subjects that clearly do not queer time. In fact, there is not much about their lifestyles that is queer, aside from the fact that they happen to be in a same-sex relationship. Due to the fact that the lives of Dan Savage, his partner, and their adopted son do not cross the boundaries of time and space, they are subjects who are temporally accepted into the normative discourse. Their association with death is in line with the heternormative association with death: which is an association that occurs only after a long life of happiness and normativity, as “we create longevity as the most desirable future, applaud the pursuit of long life, and pathologize modes of living that show little or no concern for longevity”.
Because the subject of Brandon Teena did not align himself with normative modes of living, he became automatically associated with death. The subjects that the It Gets Better Project was created for were also not in line with normative discourses of life: they were homosexual subjects whose homosexuality did not contribute to the nation like Dan Savage’s homosexuality does. The queering of time and space of the victims of homophobic bullying, Tyler Clementi for example, who did in fact take their lives in the face of an ever-changing climate of sexuality in the US were not homonationalist subjects due to their age. Clementi himself was only eighteen years of age, an age at which one is not yet able to involve themselves thoroughly with the life of the nation through acts of marriage, reproduction and proper work. In this sense, Clementi and the other subjects of the It Gets Better Project queered time and space more so than Dan Savage and his partner currently do. The black and white of these two very different lives is as follows: Dan Savage has aligned himself with the life of the nation through homonationalism and the following of the heteronormative discourse, perhaps in order to survive, while Tyler Clementi aligned himself with death through his inability to follow a heteronormative discourse, not only by way of homonationalism but also by way of his queerness, which queered the space he was in to a point of uncomfortability, leading to his suicide. One could even say that Clementi is a queer subject, whereas Dan Savage is a homonationalist, albeit homonormative subject.
Halberstam introduces the idea of “geographies of resistance” in relation to the queer body. The queer body and the queer subject as a site of resistance becomes problematic for heteronormative discourses that homonormative subjects tend to follow in order to be associated with the life of the nation, rather than death. Queer bodies and queer subjects as tools for resistance become associated with “improper, nonnational queerness”6 Puar states, “we have a split between proper, national (white) homosexuality [...] and improper (colored) nonnational queerness [...] therefore proliferating the sexualities of which Foucault speaks (the good patriot, the bad terrorist, the suicide bomber, the married gay boy, the monster-terrorist-fag, the effeminate turbaned man…)”. This split is reflected in the It Gets Better Project; Dan Savage and his partner are the proper, white, nationalist homosexual subjects, whereas Tyler Clementi and the other queer youth who committed suicide are representative of improper nonnational queerness. This is due to the fact that Dan Savage and his partner have chosen to associate themselves with life, through living, as well as through the It Gets Better campaign, while Tyler Clementi has become associated with death through his suicide and through the campaign’s exploitation of his suicide. Dan Savage is representative of life, whereas Tyler Clementi is only representative of death because it is all he is known for.
Non-normativity is associated with people of colour; people of any race other than white. In this sense, the It Gets Better campaign is not only a straightening device for proper homosexuality, but also a whitening device, as queer youth of colour are completely absent from the campaign. Nor is the subject of race or class at all touched upon. Instead, what It Gets Better enlists is a reproduction of whiteness in life; to deviate from whiteness is to assume otherness, such as blackness, which is to associate with death; just as to deviate from heterosexuality is to assume homosexuality, which is to associate with death. Dan Savage’s lifestyle itself reflects upon this ideology of improper nonnational queerness in terms of sexuality, race and class in the narrative of his life. Dan Savage discusses details about his white family taking a trip to Paris, France in which he spent time with his son “strolling the streets of Paris and chatting”. This specific part of Dan Savage’s narrative highlights the project’s inability to discuss the differences of queerness in relation to class and race. Dan Savage is a white, homonormative, middle to upper class subject who has access to the mainstream through his whiteness, maleness and class, all of which put Dan Savage in a position of privilege. The lifestyle that Dan Savage has that allows him to associate himself with life and the life of the nation, rather than death, are things that are not available to everybody. Homophobia and racism reflect one another in their consistent ability to continually be ‘othered’ subjects. Dan Savage and the other members of the project fail to discuss the possible acceptance into the association with life for queers of colour, differently-abled queers, and queers of lower and different class. The It Gets Better Project once again resembles a propaganda that pushes the white, normative discourse forward, relating that any of the improper nonnational queernesses will fail to become associated with life, for they are not even worthy of being associated with the death of queer, white youth.
In Terrorist Assemblages, Puar discusses the events of sexual torture that occur in Abu Ghraib, Iraq. In Abu Ghraib, Iraqi prisoners of war were tortured by means of homosexual actions by white, American officers7. Images of these events circulated the internet, thus upholding the ideology of deviance associated with homosexuality by paralleling homosexuality and torture. In these instances of sexual torture, heterosexuality dictates the tortured body by using homosexuality as a repressive normalizing tool. Heterosexuality becomes a basis for the practice of necropolitics in warfare; In Abu Ghraib, the discursive power of heterosexuality standardizes the function of necropolitics through the anti-hegemonic position of homosexuality. This practice of necropolitics for regulation of sexuality parallels queerness with barbarism, animalistic characteristics and deviance. The use of S/M practices on Iraqi prisoners idealizes ‘regular’ sexuality by utilizing sexual practices seen as deviant and perverse by the American public on the racialized body of the prisoner. The notion of US sexual exceptionalism in light of the necropolitical practices of sexual torture of Iraqi prisoners creates a void between the two ends of the sexual spectrum through the racial differences of the Iraqi prisoners sexuality interplaying with S/M versus the American, white heteronormative or homonormative subject’s sexuality. This creates the ideology that the racialized other must have a regularized and therefore acceptable sexual personality in order to escape death. Based on the regularization of sexuality in Dan Savage’s propaganda The It Gets Better Project, the prisoners of the Iraqi prison, as racialized subjects, deserved to be subjected to having the decision of the continuance of the their lives or their eminent deaths, in the hands of the white American soldiers at whose hands they suffered. These prisoners were used as a tool of regulation of the othered body, outside and inside sexualities.
The torture of Abu Ghraib regulates the racial other and the queer subject simultaneously, ousting both as relative to the death of one nation (Iraq) to perpetuate the life of another nation (America). As this war has equated the death of many Iraqi civilians and Iraqi and American solidiers, the placement of not just a sexual torture, but rather a homosexual torture rectifies the interplay of shame of homosexuality and its dependence upon the presence of death in order to exist. Just as in the case of Tyler Clementi’s suicide, the homosexual tortures in Abu Ghraib only exist in a site that has a dependence on the death of something- if even just the death of the possibility of acceptance of queerness (true queerness, and not just homonormativity) as a societal norm. The fact that heterosexuality was not used as a torture device on the bodies of Abu Ghraib prisoners relates that there is nothing deviant or shame-worthy in heterosexual sex practices.
What the It Gets Better Project aims to do is justify and honour the deaths of a number of white, male, American homosexual subjects in order to produce a proper homosexuality that is in line with the aims of the nation state. This project fails to access an audience of any ‘true’ queerness, whose subjects deviate from the norm of homonormativity and whiteness. What Dan Savage’s campaign in fact does is highlight the existence of death within the life of the homosexual as well as the regulatory power of heteronormativity and its relationship with a ‘proper’ homosexuality. Through this process of ‘othering’, Dan Savages campaign does not only virtually murder the possibility of life for nonnormative sexual subjects, but also nonnormative subjects whose ‘queerness’ and ‘otherness’ rests in their race, class and/or ability- even the life of a heterosexual subject who queers societal norms is left out of the equation of this image of life, only to find themselves aligned with death. Through Dan Savage’s campaign there is a clear idolization of successful homosexuality as well as a red herring for failed homosexuality. Through this propaganda for the biopolitical functions of a ‘proper’ sexuality, the presence of the death of the heart of the homosexual and queer subject, always present in life, becomes undeniable.
Citations:
Puar, Jasbir. “Terrorist Assemblages: Homonationalism in Queer Times.” United States: Duke University Press, 2007.
Halberstam, Judith. “In a Queer Time & Place.” United States: New York University Press, 2005.






