Wayne Koestenbaum - Critical Work

Critical Work

Koestenbaum's work, both in poetry and nonfiction, has explored the social and mental life of American queer intellectuals. He is openly gay and sometimes refers to his experiences as a gay man. His best-known critical book, The Queen's Throat, is a rigorous exploration of a phenomenon frequently discussed casually but seldom considered from a scholarly viewpoint: the predilection of gay men for opera. Koestenbaum's claim is that opera derives its power from a kind of physical sympathy between singer and audience that has as much to do with desire as with hearing. He says of the act of listening:

The dance of sound waves on the tympanum, and the sigh I exhale in sympathy with the singer, persuade me that I have a body—if only by analogy, if only a second-best copy of the singer's body. I'm a lemming, imprinted by the soprano, my existence an aftereffect of her crescendo. (42)

Koestenbaum's conclusion is that gay men's affinity for opera tells us as much about opera and its inherent questions about masculinity as it does about homosexuality.

In Hotel Theory, a critical discussion of the meaning of hotel life, and the aesthetic implications of such isolation, runs concurrently with a fictionalised account of a hotel encounter between Liberace and Lana Turner.

Humiliation, Koestenbaum's critically acclaimed disquisition on the meaning of humiliation (both personal and universal) was praised by John Waters as "the funniest, smartest, most heartbreaking yet powerful book I've read in a long time." Koestenbaum starred in a web series in support of this book, "Dear Wayne, I've Been Humiliated...", which was dubbed "the mother of all book trailers" by The New York Observer.

Koestenbaum’s 2012 book The Anatomy of Harpo Marx met with mixed reviews. Writing in the San Francisco Chronicle, Saul Austerlitz suggested that Koestenbaum "sexualizes Harpo beyond all recognition, creating a figure about whom the author can say, in all seriousness, that 'courtesy of the anus, we can imagine, Marxist-style, a path away from family and state.'" And Joe Queenan, citing Koestenbaum’s claim that Harpo Marx “has many vaginas,” wrote that Koestenbaum “peppers his story with just enough tidbits of fascinating information that readers may fleetingly overlook the fact that his theories are barmy.”