Queering Public Address: Sexualities in American Historical Discourse by ProQuest

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									322                                                     RHETORIC & PUBLIC AFFAIRS

those engaged in by any number of other, nonsectarian universities nationwide,
nor how these programs relate to BJU’s other rhetorical attempts to remain phys-
ically and spiritually separate from its surrounding Greenville community.
    By the time Lewis addresses BJU’s public response to the Campaign 2000
scandal, she has all but abandoned her attempt to fit everything neatly within
a romantic frame. Instead, the author engages a more familiar pentadic analy-
sis of the rhetoric to explain the motives behind what appears to be a fairly
straightforward effort on the part of BJU to restore its public image. And that
shift of focus may well represent the strongest contribution of Romancing the
Difference to the study of rhetoric and public address: not the clear establish-
ment of a new dramatistic frame through which to consider individuals’ and
organizations’ rhetorical strategies, but rather an understanding of the need to
discover how the various verbal and nonverbal facets of one’s rhetorical efforts
function together to persuade a target audience to one’s own moral and ethical
positions. To effectively woo the rhetorical Other while maintaining physical
and spiritual distinction, one must surely engage in a wide range of strategies:
some romantic, others comic or tragic. In the end, Lewis’s concluding entreaty
to BJU to soften comically its evangelical zealotry in a contemporary world
might well be directed at her own rigid attempts to see the complex universe of
Bob Jones University within a strictly romantic frame.
Phil Chidester                                          Illinois State University


Queering Public Address: Sexualities in American Historical Discourse. Edited
  by Charles E. Morris III. Columbia: South Carolina University Press, 2007;
  pp. ix 1 282. $49.95 cloth.

Paul Cadmus’s painting “What I Believe” is prominently featured on the cover
of Charles Morris’s deft and thought-provoking anthology Queering Public
Address. Looking closely at the throng of nude bodies in the reproduced art,
we find hallmarks of the queer canon, including depictions of literary lumi-
naries E. M. Forster and Christopher Isherwood. “What I Believe” pays homage
to Forster’s essay of the same name, which champions the virtues of secular
humanism over the destructive force of normatively driven creeds. The uto-
pian longings projected by Cadmus and Forster prize inv
								
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