Abstract

Book Reviews Jean Bessette, Retroactivism in the Lesbian Archives: Composing Pasts and Futures. Carbondale: Southern Illinois University Press, 2017, 202 pp. ISBN 9780809336234 Since queer, feminist, and rhetorical scholars have "returned" to the archive over the past twenty years, Bessette's book brings queer and feminist archival theories to bear on rhetorical studies. Bessette is concerned with how lesbian collectives have composed a past for themselves and oriented themselves toward new possibilities for identification that could challenge "then-present social and political denigrations of same-sex desire and rela­ tionships" (2). The result is a retooling of familiar rhetorical concepts for the study and historiographic consideration of queer and feminist collective pasts. Bessette's rewriting of archival logics through rhetorical concepts is useful for both queer rhetoricians and wider archival studies. Particularly, her read­ ing of identification through retroactivism and the notion of "documenting the search" offer new approaches for any archival engagement (125). The book begins with the theoretical insights of queer and feminist archival scholarship before turning to specific technologies in each chapter that offer insights into the retroactivist impulses of lesbian rhetors and lesbian communities. Bessette begins by drawing on Lucas Hilderbrand's "retroactivism," a concept that Hilderbrand uses to engage his longings for a personal and nostalgic queer past. Bessette links retroactivism to the account of identifica­ tion given by Kenneth Burke to argue that grassroots collectives sought the "displacement—and replacing—of pejorative accounts of lesbianism with new versions of the past" (10). These revisions of the past were marshalled to produce different definitions of lesbianism and open space for alternative futures. She argues that rhetorical studies, and particularly Burke's under­ standing of identification, already offer the requisite tools for engagements with queer archives. Chapter one contends that Del Martin and Phyllis Lyon's influential book LesbianANoman is itself an archive. Bessette reads the short personal stories contained in LesbianANoman as anecdotes that demonstrate the ephemeraUty of the queer archive (26). She argues that these anecdotes were arranged to produce a respectable white middle-class narrative of lesbian identity, in line with the goals of its authors who were leaders in the Daughters of Bilitis. This identity was framed to challenge dominant homophobic social narratives, and Bessette centers the function of exclusion in identification. Rhetorica, Vol. XXXVhl, Issue 2, pp. 225-234. ISSN: 0734-8584, electronic ISSN: 15338541 . © 2020 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www. ucpress.edu/joumals.php?p=reprints. DOI: https://doi.org/10.1525/rh.2019.38.2.225 226 RHETORICA Whereas chapter one addresses a printed text as archive, chapter two turns to a "place-based" understanding of archives through a reading of the Lesbian Herstory Archives (LHA) and the June L. Mazer Archives (JLMA). Bessette argues that classification in the LHA, an archive which accepts "any­ thing a lesbian has touched," operates as a "rhetorical topos" which "blurs the boundaries between archival categories, creating the conditions for a genera­ tive, flexible identity" (61). Bessette contends that the LHA offers the possibil­ ity of making seemingly disparate connections through browsing. Bessette then turns to the JLMA and a photograph collage from Ester Bentley that sits in view outside of the domain of a particular collection. Due to its position, she argues that these photos instill in visitors a sense of possibility for historical connection that crosses the categories of the archive. The chapter concludes with a brief review of the JLMA's recent partnership with UCLA. Bessette suggests that the queemess of the JLMA's collection may be lost when viewing their materials in UCLA's straight, institutional reading room, a point I believe needs additional substantiation. Chapter three turns to documentary films and their "fabrication of the past" (95). Bessette reads these films as allowing for a composition of lesbian histories that challenge "dependencies upon lesbian history for present sexual identification" (97). Bessette analyzes five historiographic lesbian films through a relevant multimodal rhetorical strategy. The films and their respective strategies include "unstable identity categories" in The Female...