by Sean Patrick Mulroy

The second issue of The New: was centered on the LGBTQ experience—specifically the Q. Even grasping for the definition of the term queer is in itself, a quandary. Because the idea of Queerness as currently understood is so recent and so ever-changing, collecting art to represent the cutting edge of the queer movement is comparable to asking which part of a razor’s blade is sharpest.

With this in mind, moving through submissions for TheNew: Queer, we were initially hoping to find work that defined the queer experience in a new light; in many cases, what we found was just the opposite. In the best work, queerness was an assumption that lead the reader into observation from an angle they might not have otherwise accessed. The queer angle. The othered perspective remained constant from submission to submission, while the focus of its eye, the subject matter, changed each time, allowing us to observe not just one world, but many worlds, from a vantage point of scarred dissimulation.

Like queerness itself, the selection process was at once academic and instinctual, important and absurd, and the art herein is defined more by what it’s not than what it is.

What it’s not: Straight, i.e. heterosexual, culture normative, assimilationist, invisible by nature, comfortable, “safe.”

What it is: Fresh. Text-Forward. Decidedly, The New:.

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