On Pavitr Prabhakar and the emasculated queer brown man

White queerness is palatable, domesticatable; brown queerness is untetherable.

It seems like every year I end up writing an iteration of the same idea. But here I am! Writing it again! If you haven’t seen the tweet that sparked this conversation, I’ve screenshotted the tweet and artwork below. It’ll help inform this discussion.

White people (and in general, white supremacist society) view South Asian men as faggots, as effeminate, as having a lesser masculinity than white men. This is especially true for society’s perception of queer South Asian men, who are doubly emasculated by being both queer and nonwhite.

It would help to check out my essay from 2021 about the emasculation of Abdul Ali from Squid Game, since both pieces share similar references.

Maryam Khalid writes “Orientalist notions of the masculinity of the ‘Eastern’ male as uncivilized also inherently ascribe primitiveness, ineptness and a certain amount of weakness to the barbarized ‘other.’” Those doomed to the mythical Orient are automatically placed lower in masculinity than their white and colonial counterparts.

The reason for this emasculation is to defang them, to ensure they can never attain the same power conferred by white masculinity and to maintain racial purity: “This feminizing divests the male body of its virility and thus compromises its power not only to penetrate and reproduce its own nation (our women), but to contaminate the other's nation (their women) as well” (Puar, 99).

To be South Asian is to be pathologically queer, irrespective of the one’s true sexual orientation. “The Orient becomes a living tableau of queerness” by virtue of being from the Orient (Said, 103). There is already a robust amount of artwork depicting Pavitr with tons of gold jewelry and piercings, which to the West are typically feminine accessories. This essentially reduces Pavitr to a stereotype of South Asian culture.

Fanworks use the bejeweled, indulgent, exotic, and sultry attitude as a short-hand for their perception of South Asia. They are “caricatures stripped from movies like Disney’s Aladdin, the Arcana or people’s sexual fantasies about our men,” as allahrakhi writes in her essay on fandom's reception of Claude von Riegan from Fire Emblem: Three Houses, a character similarly mischaracterized by virtue of his brown identity.

Puar describes that the (implied white) nation defines “upright, domesticatable queernesses that mimic and recenter liberal subjecthood, and out-of-control, untetherable queernesses” (47). Nonwhite queerness is “untetherable,” leaving white queerness as “domesticatable.” This inability to engage brown queerness forces brown queer people to assimilate into white queerness.

In fandom’s and society’s mind, there is no such thing as a queer South Asian without them discarding their brown identity and adopting white queer practices, behaviors, and aesthetics. Queer South Asians are “either liberated (and the United States and Europe are often the scene of this liberation) or can only have an irrational, pathological sexuality of queerness” (Puar, 13).

Which brings us to the recent depictions of Pavitr in fanworks, stripping him of his masculinities to render him as a vapid, neutered, and yes, whitewashed queer boy, completely unrecognizable from the source material.

Interestingly, this reduced masculinity co-exists, paradoxically, with the idea that men from the Orient are simultaneously aggressive, belligerent, and violent. Elgin Brunner writes: “Such a framing—the association of the enemy with barbarism, as opposed to the self, which is civilized—includes two, often simultaneous, moves, that is: the ‘hypermasculinization’ of the enemy on the one hand, and his ‘effeminization’ on the other… The very same opponent is, by virtue of being categorized as a cowardly barbarian, rendered effeminate.”

The flip side of the effeminate brown man is the hypermasculine brown man, which can be seen through Miguel, one of Across the Spider-Verse’s antagonists. Both instances of brown masculinity confiscate personhood from characters who would have otherwise offered rich, nuanced, interesting perspectives to the story and to the audience.

It would be myopic of me to not mention the implicit genderings of other nonwhite ethnicities in this discussion. Brown men hold a unique positionality to other nonwhite men in a racial triangulation I’d like to examine further in another essay for the future. Brown men can either be gendered the way that East Asians are (feminine, asexual, neutered, timid, obedient) or the way that Black people are (hypersexual, predatory, dangerous, aggressive). Both misgenderings are in opposition to the “ideal” male gender, which is of course, the white man. This fallacy is why we see Hobie depicted as cruel, mean, and irritated in the exact same artwork from earlier.

Many people in this artist’s quoted replies have accused the artist of being white. I have seen some criticisms of the backlash, that people shouldn’t assume the artist’s ethnicity. I think both opinions miss the point: anyone can be orientalist. Membership within a nonwhite ethnic identity does not absolve the individual of perpetuating orientalist or racist depictions of characters of color.

As Edward Saïd said, “Everyone who writes about the Orient must locate himself vis-a-vis the Orient” (Orientalism, 20). That is to say, if you write and depict the Orient and people from the Orient, you have to consider your positionality in relation to the Orient. Naturally, this would mean that white people should always be cognizant of their depictions of Orientals. But East Asians can also orientalize, whether it is other ethnic groups like South Asians; or self-orientalization. Similar can be said for South Asians who self-orientalize.

Khalid writes “Gendered identities do not exist independently of other factors, and must be viewed as intertwined with, for example, race or ethnicity if we are to understand the hierarchical organization of identities.” There is no examination of gender without an accompanying racial context. And Pavitr’s emasculation in fandom certainly requires a critical eye for both race and gender, lest we repeat the same dehumanizing characterizations of him in further fanworks.

Works Consulted:

Brunner, E. M. (2008). Consoling display of strength or emotional overstrain? the gendered framing of the early “War on terrorism” in transatlantic comparison. Global Society, 22(2), 217–251. https://doi.org/10.1080/13600820801887223

Khalid, M. (2011). Gender, orientalism and representations of the ‘other’ in the War on Terror. Global Change, Peace & Security, 23(1), 15–29. https://doi.org/10.1080/14781158.2011.540092

Puar J. K. (2007). Terrorist Assemblages: homonationalism in queer times. Duke University Press.

Said, E. W. (1994). Orientalism. 25th anniversary edition. With a new preface by the author. New York, Vintage Books.