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I’m a f**king selfish c**t, I’m a total egotist. Sometimes people come at that question with this earnest, “I just didn’t see myself reflected in so many stories so I did it because blah blah blah” – f**k that, no.
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Well I think writing is just about wanting to see my own experience. How have your own experiences as a queer person affected your writing? We were very pre-Twitter – if you think people are funny on Twitter and s**t, you should read some of the old zines from back in the day when you only thought 10 people were listening and you could say any f**king thing you wanted.
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My tone came from trading zines with other punk ass zinesters. So yeah, I could sit there and be like, ‘Yeah, Syliva Plath, Walt Whitman, Langston Hughes,’ but like I don’t know these f**king dead people. My friend Adee, she was in that band New Bloods, she did zines in Florida and I met her. He was living in Arizona and I was living in Alabama, and we traded zines as teenagers which is how I first really got to meet him. Oh god, I had punk friends all over, like Seth Bogart, who I was in a band with. I came out of zine culture in the ’90s, so the conversational tone you hear me take is probably from personal zine writing. I mean essentially, the better you do at art, there’s just more white people telling you what to do, so what’s the fun in that? So essentially, yes, capitalism has affected my art. Sometimes I do think it was better when I was just super broke in Oakland, making art with college loan money – sometimes it felt like that’s when I really got to be the freest in terms of what I was making, the mistakes I got to make and the things I got to explore. There are so many ways in which having access to a phone can really limit the work that you’re making. I think in some ways, it hindered a lot of the art that was supposed to happen, but then I don’t know. How does capitalism affect the way that you approach your art? And so I think in order to have what I’m trying to build on those pages, you have to have a really clear spreadsheet of where all these characters are coming from. Are you having sex from this joyous place of opulence where you feel generous of spirit? Are you doing it because you feel anxious and depleted and nervous? Are you doing it for some sort of instant validation you’re not getting in other parts of your life? Whatever type of moral opulence or moral fatigue is going into why you’re ending up in the bedroom is kind of how I wanted to paint that map of what all these characters are doing. And also within these themes are themes of why we are having sex. It decides what neighbourhood you’re in, who you’re going to sleep with, who’s gonna sleep with you, what you’re doing to subsist. I think when you’re writing about sex or love the way I write it, all these things are interconnected. Did you want to deliberately challenge that in 100 Boyfriends?
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He spoke to PinkNews about how capitalism influences his work, writing his own experience into being, and wanting to be “that bitch”.Ī lot of explorations of queer sex have been really vanilla. He wanted to show that sex can be “beautiful”, but also that there’s much about the process that’s “just not fun”. Naturally, 100 Boyfriends has already been labelled as “radical” for refusing to look away from queer sex in all its glory – but Brontez Purnell doesn’t view it that way. In fact, it manages to straddle the line between being laugh-out-loud funny and powerfully moving. That might make it sound staid, but 100 Boyfriends is anything but. Over the course of three acts and an epilogue, Purnell interrogates capitalism, class, racism, homophobia and mental illness – all through the lens of man-on-man action. Some of the vignettes explore intimacy and love, while others delve into sex that stems from boredom. The result is a searing collection of short stories that delves into the intricacies of sex between men.