A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”
英迪娅·福勒,苏赞娜·桑,菲娜·斯特拉扎,克里斯·克莱因,大卫·伊亚科诺,艾拉·鲁宾,阿丽亚娜·格林布拉特,莉莉·泰勒,凯瑟琳·沃特斯顿,达科塔·泰勒,达林·贝克,丽贝卡·阿布拉克, 达米安·罗密欧,伊登·吉尔摩,乔安妮·博兰德,Ilan O'Driscoll,戴尔·惠布利,布伦南·柯洛斯特,法伦·鲍曼,Sienna Star
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