A term coined—PoMo being a short form for post-modernism—in 1997 by writers C. Queen and L. Schimen, which they define as an 'erotic reality beyond the boundaries of gender, separatism, and essentialist notions of sexual orientation.'
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This collective shift, more evident in the writing of women authors focusing on queer/ alternative themes, might be called postcolonial pomosexuality. The term "pomosexuality" refers to expressions of queer beyond separatist or essentialist notions of sexual orientation (Queen and Schimel 1997), and my addition of the adjective "postcolonial" sites this intimate domain within wider political power structures.
Barbara Adair's two novels are thoroughly queer in content and postmodernist in style, clear examples of postcolonial pomosexuality. Her debut novel, In Tangier We Killed the Blue Parrot (2004), is a hybrid text which splices the writings of the bisexual American couple Paul and Jane Bowles, who spent a considerable portion of their lives as expatriates in Tangier, with Adair's own creative narrative, using an array of real and fictional characters.
Another innovative queer-themed book which uses postcolonial pomosexuality to good effect is Jane Bennett's luminous collection of short stories, Porcupine (2008).
The queer theme is minor but treated matter-of-factly, sympathetically, and as contributing to the wider themes of the novel, and these characteristics may well prove predictive of future trends in depicting postcolonial pomosexuality in South Africa.
In the introduction to their edited volume, PomoSexuals, Carol Queen and Lawrence Schimel write: Pomosexuality lives in the space in which all other non-binary forms of sexual and gender identity reside--a boundary-free zone in which fences are crossed for the fun of it, or simply because some of us can't be fenced in.