Love and Money: Queers, Class, and Cultural Production (Critical Cultural Communication)
“Love and Moneyis at once fiercely intellectual and full of heart, formidable and invitingly funny.  In this series of essays, Lisa Henderson offers some of the sharpest, most imaginative analysis of queerness and social class out there, shaking up entrenched ideas about how the two are and should be related.”-Joshua Gamson,University of San Francisco“Henderson’s affective approach to the case history yields rich accounts of the resourceful survival strategies through which queer films and novels get made despite limited means. Exemplifying the values of love and solidarity that she finds in her cases, her critical practice offers innovative approaches to thinking queer and class together and fresh answers to longstanding questions about what it means to make art in a market economy.”-Ann Cvetkovich,University of Texas, Austin'Throughout, Henderson grounds queer cultural criticism in the liminal movements and moments of everyday life, treating this criticism as art and understanding criticism as inside of, and a contributor to, cultural production. She also formulates a new kind of classed-queerness, one characterized by softness and slowness, of people trying hard to live and survive as best as they can.Summing Up:Highly recommended."-CHOICE,"InLove and Money Henderson attempts to look at contemporary queer cultures through the lens of social class.  Henderson is critical of the distorted ways in which American media represents queer cultures and identity and seeks to study the difference that social class makes on queer subjectivity and representation."-Rohit K. Dasgupta,Transnational Cinemas"It may be that the book is, at its core, an unusually intimate excavation of media-cultural experience.  This much is evident in the carefully crafted prose and the frequent self-reflexive passages in which the author's various roles--as researcher, critic, fan, and consumer, but also as queer and classed subject--are laid more bare than is customary.  Henderson reveals herself as voracious observer, situation her half-dozen primary objects in a jam-packed mediascape, where no one-off episode or festival favorite is too far off the mainstream radar.  This is commendable, and invigorating, while the field tends to compartmentalize mainstream and experimental film and media as nonconversant tracks.  Love and Money is also, irrefutably, hopeful.  This may also be a suit that many of us are unaccustomed to wearing, especially as regards class politics at the current historical juncture.  But in these pages, it might pay to try.  It is, at least, as Henderson herself concludes, 'a place to start.'"-Cynthia Crisis,International Journal of Communication