In his Arcades Project, Walter Benjamin famously described Paris as “the promised land of the flâneur,” largely because of the city’s dialectical ability to flower into a broad “[l]andscape” or to close into a sheltered “room” (417). This description evokes mutually influential contemplations of public social histories and of more private erotic engagements, the former frequently morphing into the latter to create symbiotically semipublic, semi-private spaces. Queering Benjamin’s footsteps, Edmund White and Mark Turner have each linked the flâneur to male same-sex urban “cruising,” heightening the connections between the flâneur’s sensitivity to social and historical ambiguities and his eroticized urban adventures, particularly in Paris, London, New York City, and, less frequently, San Francisco (White 145–46; Turner 7–8, 44). In the United States, as the last two cities suggest, northern or far western cities have held a particular fascination for queer male individuals interested in exploring the erotic potentials of urban geographies, as evidenced by George Chauncey’s Gay New York and Nan Boyd’s Wide-Open Town: A History of Queer San Francisco to 1965. Understandably, this geographical influence transferred into fiction and even in southern literature generations of queer characters of all races generally head North or West in order to grow up, to mature, and to become more cosmopolitan adults. In Charles Henri Ford and Parker Tyler’s The Young and Evil (1933), in Richard Bruce Nugent’s Gentleman Jigger (written in the 1920s and 1930s, published posthumously in 2008), in William Faulkner’s Absalom, Absalom! (1936), in John Rechy’s City of Night (1963), in E. Lynn Harris’ Invisible Life (1994), even at the very end of Jim Grimsley’s early novel Dream Boy (1995), young queer men consider northern or west coast cities, such as New York, San Francisco, and Los Angeles, as sites where they can explore and refine their intellect and their sexual sensibilities in tandem. While cultural historians and theorists such as John Howard and E. Patrick Johnson have shown how these precise themes of exploration played out in the lived experiences of queer men in a variety of southern cities, in most

中文翻译：

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吉姆·格里姆斯利（Jim Grimsley）的林荫大道（Boulevard）和酷儿（New Quorer）

沃尔特·本杰明（Walter Benjamin）在他的Arcades Project中将巴黎描述为“未来的希望之乡”，这在很大程度上是因为该城市具有辩识能力，可以开花成广阔的“景观”或封闭成有遮蔽的“房间”（417） 。这种描述唤起了对公共社会历史和更多私人色情活动的相互影响的思考，前者经常演变为后者，以创造共生的半公共，半私人空间。激怒本杰明的脚步的埃德蒙·怀特（Edmund White）和马克·特纳（Mark Turner）都将同伴与男性同性城市“巡游”联系在一起，从而加强了同伴对社会和历史歧义的敏感性与他充满情欲的城市冒险之间的联系，尤其是在巴黎，伦敦，纽约城市，以及不那么频繁的旧金山（怀特145-46；特纳7-8、44）。在美国，正如最后两个城市所暗示的那样，北部或远西部的城市对那些对探索城市地理的色情潜力感兴趣的同志男性有着特殊的兴趣，乔治·昌西（George Chauncey）的《纽约同性恋》（Gay New York）和南博伊德（Nan Boyd）的《大开放镇：历史》证明了这一点。到1965年为止，是旧金山的同性恋者。可以理解的是，这种地理影响力已经转移到小说中，甚至在南方文学中，各个种族的同志字符世代一般都朝着北方或西方前进，以成长，成熟并变得更加国际化。在查尔斯·亨利·福特和帕克·泰勒的《年轻与邪恶》（1933年）中，在理查德·布鲁斯·纽金特的《绅士跳跳车》（写于1920年代和1930年代，于2008年死后出版），在威廉·福克纳的《押沙龙，押沙龙！（1936），在约翰·雷希（John Rechy）的《夜之城》（1963），在E. 林恩·哈里斯（Lynn Harris）的《无形的生命》（1994），甚至在吉姆·格里姆斯利（Jim Grimsley）的早期小说《梦幻男孩》（Dream Boy）（1995）结束时，年轻的同性恋者仍将北部或西海岸的城市，例如纽约，旧金山和洛杉矶，视为他们可以同时探索和完善自己的智力和性敏感性。虽然文化历史学家和理论家（例如约翰·霍华德（John Howard）和E.帕特里克·约翰逊（E. Patrick Johnson））展示了这些精确的探索主题如何在南方许多城市的酷儿们的生活经历中发挥出来，