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In medical school, Li had read all he could about homosexuality, then a very controversial topic.
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Li must have seen the papers, because he made sure to catch Hirschfeld’s very first lecture. The Shanghai newspapers billed Hirschfeld as the world’s foremost expert on sexuality. Then 63 years old, Hirschfeld had come to China to give public lectures about the science of sex. Student and mentorīorn in 1907 in Hong Kong, Li was a 24-year-old studying medicine at a university in Shanghai when he met Hirschfeld. In its pages is a theory of LGBTQ people as the majority that would resonate with a lot of young people today. Since then, only a handful of people, myself included, have read it. Luckily, it was rescued by a curious neighbor and eventually ended up in an archive. When Li died in Vancouver in 1993, his unpublished manuscript about sexuality was thrown in the trash. And in my view, his ideas about sexuality speak to our moment better than his much more well-known boyfriend’s do. In books on Hirschfeld, Li is usually just a footnote.īut as I found in my research, Li was a sexologist and activist in his own right. He was a closeted German doctor and sexologist who became famous in the 1930s as a defender of gay people. Much has been written about Li’s older boyfriend, Magnus Hirschfeld. You probably don’t know the name, but he was at the center of the first wave of gay politics.
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Until the day he died at age 91 in 1970 - one year after the Stonewall riots that dramatically accelerated the gay rights movement - Forster did not feel free to make his sexuality public.Historians are rediscovering one of the most important LGBTQ activists of the early 20th century-an Asian Canadian named Li Shiu Tong. Dold) himself.įorster operates within the play as a guide to literary craft - shaping narratives, suggesting plot twists, challenging the motives of the would-be writers and their version of events - and also as a representative of an earlier age devoid of the sexual freedom and openness enjoyed by Eric, Toby, et. As the play opens in the summer of 2015, the friends are seated in a circle, trying and mostly failing to write, when who should appear but E.M.
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When he adapts it into a play, it ends up starring a novice actor, the young and wealthy Adam (Mishka Yarovoy), with whom Toby becomes obsessed.Įveryone in Eric and Toby’s circle seems intent on mining their own lives as raw material, writing their way into an understanding of themselves, individually and as part of a shared LGBTQ history. It just happens to be surrounded by the rest of me,” he says) has written what purports to be an autobiographical novel. The volatile, damaged, and self-destructive Toby (”My heart is pure. “Who are we? And, more importantly, who will we become?” Then, in an unvoiced thought, Eric adds: “Who will I become?” In the here-and-now, Eric worries about the dilution of a shared culture, saying: “It feels like all the different facets of queer culture are being stripped for parts and that the community that I came up in is slowly fading away.” “If we can’t have a conversation with our past, then what will be our future?” he asks.
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It is Eric who is most conscious of the generational obligation to keep LGBTQ history alive. SpeakEasy director Paul Daigneault keeps the cast in near-constant motion, now flowing in circles, now converging en masse, a visual expression of the collective, encompassing nature of the history being recounted.Īt the play’s center are Eric (an exceptional Eddie Shields) and his lover, Toby Darling (Jared Reinfeldt, also compelling). (It’s being presented in two parts, each running three-plus hours, with two intermissions in each part.) As the SpeakEasy production entered its final stretch, my companion remarked: “I’ve been watching this play for five hours, and I don’t want it to end.” Much of the audience, grouped in three sides around a rectangular stage, seemed of like mind. Yet the tale López tells is an important one, and it’s no small feat that “The Inheritance” is seldom less than engrossing for most of its 6½ hours. Consequently, “The Inheritance” ultimately proves more impressive in concept and ambition than in execution. Intent on covering the sizable dramatic territory he has staked out for himself, populated with nearly three dozen characters, López too often sacrifices depth for narrative speed.