There has been much thought given to role of the body as a site of political, physiological, and cultural negotiation. What place then does the beloved and astonishingly affective singer of 1970s soft-rock, Karen Carpenter, occupy in this weighty discourse? Karen's death from complications related to her eating disorder in 1983 shocked the public, eliciting a new wave of cultural consciousness about the embodied nature of mental illness. But beyond the stereotypical white suburban Carpenters fan, Karen and her story had already become a cult favorite amongst the queer avant-garde as soon as four years after death, a mysterious phenomenon that I argue is decidedly queer in its emotional trafficking of Karen's subjectivity, among other areas. This essay explores the ways in which our bodies double as cultural repositories, as hallowed sites of memory, and as icons of martyrdom with the capacity to emit a healing resonance analogous to their fabricated religious counterparts. I must admit, this paper might also be guilty of occasionally engaging in the typical essentializing tendency toward Karen's personhood. For her sake then, reader, I ask you to ponder the following question with the same aversion to neat finality that you apply to your own story as you flip the page: who really was Karen Carpenter?
Julian Binder is a reluctant writer and burgeoning artist living in Brooklyn. They studied at McGill University in Montreal, and are interested in uncovering the depth of meaning around subjects often dismissed as shallow, yielding discursive and often strange results.
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The Linster. 2011. “Karen Carpenter Was a Superstar, but Was She a Gay Icon?” AfterEllen. 24August. http://www.afterellen.com/people/91575-karen-carpenter-was-a-superstar-but-was-she-a-gay-icon.)| false
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