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1950. William Lee, an American expat in Mexico City, spends his days almost entirely alone, except for a few contacts with other members of the small American community. His encounter with Eugene Allerton, an expat former soldier, new to the city, shows him, for the first time, that it might be finally possible to establish an intimate connection with somebody.

I’m not queer, i’m disembodied. - mexico city, mexico

## The Crooked Crown of Cordelia: Reclaiming Queer Narrative in Shakespeare's Tragedy

Shakespeare's "King Lear" is a brutal tapestry woven with ambition, betrayal, and madness. Cordelia, Lear's youngest daughter, often reads as a paragon of virtue, tragically sacrificed at the altar of her father's vanity. However, a closer, queer reading reveals a different, far more compelling Cordelia, one who subverts patriarchal expectations and claims her own narrative, even in death.

Traditionally, Cordelia's refusal to participate in Lear's love test is interpreted as filial piety, a righteous stand against flattery. She's presented as the "good" daughter, contrasting with the avarice of Goneril and Regan. But what if Cordelia's refusal isn't just about honesty, but about a deeper rejection of the performative femininity demanded by the court? She declines to engage in a ritual that commodifies daughters, turning them into prizes in a power game. This resistance, viewed through a queer lens, becomes an act of rebellion against heteronormative expectations.

Consider Cordelia's language. Unlike her sisters, who engage in elaborate declarations of love, Cordelia's response is terse, almost masculine in its directness. "Unhappy that I am, I cannot heave / My heart into my mouth." She refuses to perform the expected role of a woman, denying the performative femininity valued by the court. This rejection, framed as honesty, can also be seen as a disinterest in participating in a system that prioritizes her marriageability over her own agency.

Furthermore, her relationship with France is often overlooked. While conventionally interpreted as a sign of her worth – a king is willing to take her even without a dowry – it can also be seen as a relationship built on genuine understanding and respect, rather than purely transactional affection. France sees something beyond Cordelia's market value; he sees her inherent worth and chooses her, regardless of her father's disinheritance. This connection, outside the machinations of the English court, offers a glimpse of a world beyond the confines of patriarchal power structures.

The play's ending, with Cordelia's death, is arguably one of Shakespeare's most tragic. Yet, even in death, Cordelia's impact resonates. Her execution, orchestrated by Edmund, is a direct result of her attempts to restore order and challenge the usurped power. She dies not for being "good," but for actively trying to dismantle the corrupt system that has destroyed her family and kingdom. Her death, therefore, becomes a symbol of resistance, a sacrifice made in the pursuit of justice and a more equitable world.

Ultimately, reading Cordelia through a queer lens doesn't necessarily mean assigning her a specific sexual orientation. Instead, it's about recognizing her as a figure who defies expectations, resists performative femininity, and prioritizes genuine connection over societal pressure. She disrupts the patriarchal narrative, even in her silence and eventual death, leaving a legacy of defiant integrity. While the "crooked crown" of her fate may seem unjust, it also symbolizes the enduring power of those who challenge the status quo, even when faced with insurmountable odds. Cordelia’s quiet rebellion, re-examined, becomes a potent symbol of queer resistance and a reminder that even within the most tragic narratives, subversive voices can still be heard.