Men Looking at Men
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In this episode of the LRB Podcast, host Malin Hay convenes a rich and nuanced discussion with contributing editors Tom Crewe and James Butler about their recent pieces in the London Review of Books, both exploring queer identity in pre-20th century Europe through art and history. Tom’s review of Gustave Caibot’s work examines the French Impressionist’s striking focus on male figures and his innovative, almost voyeuristic perspective—what he terms a 'cruising eye'—suggesting a gay gaze even in the absence of definitive biographical evidence. James’ review of Noel Malcolm’s *Forbidden Desire in Early Modern Europe* challenges the assumption that homosexuality was absent or unrecognizable in Northern Europe, arguing instead for a culturally distinct, Mediterranean-centered pattern of male-male relations, while cautioning against both over-reading and under-reading historical evidence. The conversation delves into the complex relationship between male sociality and sexuality, the limitations of identity-based historiography, and the enduring power of historical recognition for LGBTQ+ individuals. Both guests reflect on how modern cultural representations of gay life—such as in *Heartstopper*—often sanitize desire, prioritizing sentimentality over the disruptive, dangerous, and transformative nature of queer experience. Ultimately, the episode affirms that gay history is not just about the past, but a vital, ongoing act of self-identification and political meaning-making.
The 'cruising eye' in Caibot’s paintings suggests a gay gaze, even without confirmed biographical evidence, revealing how visual art can encode queer perception.
Malcolm’s scholarship reveals that early modern same-sex relations were geographically and culturally specific—vivid in the Mediterranean, largely absent in Northern Europe—challenging blanket assumptions about historical homosexuality.
Historical scholarship must balance skepticism about anachronistic identity claims with the legitimate desire for recognition and belonging among LGBTQ+ people.
The sanitization of gay narratives in mainstream media (e.g., *Heartstopper*) risks erasing the complexity, danger, and social disruption central to queer experience.
Gay history is not merely academic—it is a deeply personal act of self-identification, offering recognition and emotional resonance that counteract lifelong alienation.
Introduction to the Episode and Guests
Host Malin Hay introduces the episode and welcomes Tom Crewe and James Butler, both contributing editors to the LRB, setting the stage for a discussion on their recent pieces about queer history and art.
Tom Crewe on Gustave Caibot and the 'Cruising Eye'
“The closer I looked, convinced I became that this was a particular way of looking at the world, that this was a man painting men but also that the pictures of men often seem to have a kind of gaze built into them. That this was a man who was looking at men in a sexualised way.”
James Butler on Malcolm’s History of Early Modern Homosexuality
“It's not a great argument. And you know, I mean, I think actually you can make an argument from how unusual a composition is, how unusual the subject matter is, how unusual that particular configuration of male kind of intense amatory expression is.”
The Tension Between Homosociality and Homosexuality
The guests debate the distinction between male social bonds and sexual desire, arguing that intense male friendships in history should not be used to dismiss queer readings of art and literature.
The Role of Shame, Secrecy, and Visibility in Gay Culture
“I don't know whether it's just the case that the result of that political change, you know, wanting it to be bedded in requires or has required for some time a, you know, rather cheerleader-ish attitude, not just to homosexual identity, but the fact of desire as such.”
“The whole point is that the word gay is not, it's just meaningful to us and it's a way of describing something we recognise in human... And it's to overstate the importance of the word and start saying that because the word homosexual wasn't used until the 1870s, it means that homosexuals didn't exist.”
“I don't know whether it's just the case that the result of that political change, you know, wanting it to be bedded in requires or has required for some time a, you know, rather cheerleader-ish attitude, not just to homosexual identity, but the fact of desire as such.”
“The closer I looked, convinced I became that this was a particular way of looking at the world, that this was a man painting men but also that the pictures of men often seem to have a kind of gaze built into them. That this was a man who was looking at men in a sexualised way.”
Host
Guests
gustave caibot
person
noel malcolm
person
james butler
person
tom crewe
person
london review of books
organization
ottoman empire
organization
foucault
person
shakespeare
person
venetian embassy
organization
heartstopper
media
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