That this is a peripheral position is emphasized by the threat which accompanies that naming: Paper maps cannot show others the crooked roads into him; those who rely on the old maps lose their way in him, leaving only skeletal remains behind, individual body parts as discrete and eternal as names on a map: He has been taught the power of names and of having a place, things he understands and represents within the map topos. Thus he re-writes completely the map topos, imagining maps as stories, as ever-changing phenomena which can and must mirror the multiplicity, the fluidity, of his identity. You have to take chances" Having no identity of his own, he seeks first to appropriate one: His maps are maps of the body, of sexuality, of identity.
The beginning of the transformation in "Reason" occurs at the beginning of the penultimate stanza.
Gay Nightlife in Rome/Milan/Naples/Amalfi Coast - Rome Forum
When they arrived we told them how we had been attacked and chased, but the neighbors began telling the police that we were battymen and that we had to leave or they would kill us. Paper maps cannot show others the crooked roads into him; those who rely on the old maps lose their way in him, leaving only skeletal remains behind, individual body parts as discrete and eternal as names on a map: The Road to Botany Bay: Thus, although there are no roads into him found on any map, he initially begins to seek a way into himself through that medium. I found these funny metaphors of the soul and they looked good mama in the rattle of my burning frontiers and they looked good in the national gestures of my revolutionary touch and they looked good in the pleasures of my backyard blues and they looked good in these parts of us I touched for the first time on him who taught me to truly love a nation.
As has often been noted, the song literally incites murder against homosexuals, constructing their sexuality itself as sufficient and necessary reason to get a gun and kill them. Because the generation of writers we are examining would largely have been informed by such more popular forms of knowledge, it is mostly upon these that I shall focus. Because his sexuality is on the margins of the dominant hegemonic world view, a space which defies the notion of centrality and control, he begins to re-work the map topos with which he links his identity in a way which allows it both to represent those marginalized spaces, and to acknowledge possibilities of transgression. In light of this we can re-read the opening lines of "Maps. Indeed, Deen's memoir exemplifies Huggan's contention that postcolonial revisions of the map topos consist.