In its serial space, David Simon’s The Wire season two relates the seemingly “disconnected” union men, foreign sex worker women, and African-American drug traders and crosses constructed boundaries of race, gender, sexuality, and geography to evoke the possibility of a transnational working class. The Wire’s serialized narrative trespasses the limitations of money and numbers games and of individual characters to build, scene by scene, what Roderick Ferguson calls in Aberrations in Black: Toward a Queer of Color Critique “the location for new and emergent identifications and social relations” (108).
| Identifer | oai:union.ndltd.org:uno.edu/oai:scholarworks.uno.edu:td-2502 |
| Date | 18 May 2012 |
| Creators | Dupré, Brett |
| Publisher | ScholarWorks@UNO |
| Source Sets | University of New Orleans |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | University of New Orleans Theses and Dissertations |
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