We seem to find ourselves, as writers, standing amidst the last century’s discarded tropes of sexual identity. Recently, writers of all sexual permutations have been recycling this narrative architecture; reworking its stones and walls and windows; borrowing and transforming the old, four-square structures of identity into Gehry-like fantasias, curves, and spires.
In the Boston Review, Stacey D’Erasmo looks at how recent fiction has played with dramatic tropes of sexual identity.
