'There is not a simple matter of homogenous ‘queer’ voice, literary or otherwise (Hurley, 2010). As poststructuralist theorists have contended, for various historical and social reasons, ‘gay’ and ‘lesbian’ are discursively unstable and contested categories (Jagose, 2002) and homosexuality is ‘a performative space of contradiction’ (Sedgwick , 1990). In highlighting Polites’ engagement through his noir, i.e. of the thornier breaches of the queer-racial diaspora, I seek to explore the ideals behind his proposed definitive ‘queer’. Are bodies racialised erotically? Can queer love be normative? The answers to these questions, as the chapters of Down The Hume have argued, is yes, and the implication is that a radical tension and a central paradox is characteristic—are queer relationships driven by sex?—and perhaps even definitional—of the very term “queer” (Sedgwick, 1990).’' (Introduction)
