In 1964, two articles were published independently that examined queer relationships within the domestic sphere. The first article, titled “The Homosexual Next Door: A Sober Appraisal of a New Social Phenomenon,” was published on February 22nd in Maclean’s and written by Sidney Katz. The second article, titled “Homosexuality in America,” was published on June 26th in Life and authored by Paul Welch. Katz's article presented a sympathetic perspective on homosexuality, while Welch's piece carried a residual undertone from the McCarthy era, comparing homosexuals to Communists and framing them as a societal problem.

This project investigates the gendered aspects of suburban living, especially during the post-World War II era in North America. With the expansion of suburbs came the identity of the nuclear family, which both defines and marginalizes queer identities—pushing them into city neighborhoods often referred to as “gay ghettos” or rural areas called “lesbian lands.” In a Maclean’s article, Katz notes that “[s]ome are ‘married’ couples living quietly but well in suburban bungalows.” In contrast, Life magazine's Welch criticizes queer lifestyles, describing them as “a sad and often sordid world," asserting that only those who are “married” and fit into suburban norms are deemed respectable. Although the Canadian article is more sensitive and less harsh than the American one, both frame the view that homosexuality can only be accepted if it aligns with traditional heteronormative practices, such as marriage.

The timing of these articles is particularly significant, as they emerge during a period of increasing visibility for queer individuals within the civil rights movement. This was marked by the introduction of the Omnibus Bill in 1967 by Justice Minister Pierre Trudeau, which decriminalized “homosexual acts” between consenting adults over the age of twenty-one, and the 1969 Stonewall Uprisings in New York City. These publications represent a pivotal moment in understanding how queerness is historicized and contested in Canada and the United States. They also suggest a notion of queer domesticity that is complex; on one hand, the articles challenge rigidly gendered suburban life and demystify queerness, while on the other, they perpetuate the idea of sameness rather than celebrating the diversity that can exist within an idealized home.

During this push for domestic bliss, home décor advertisements were prevalent. One example was asbestos vinyl floor tile designs called “gay spatter,” which featured whimsical color combinations that inspired the patterns on the sculptures. Additionally, occult, erotic, and horror films filled with queer anxiety began to gain popularity, reflecting the abandonment of the Hays Code and signaling a shift in the dynamics of queer kinship, often haunted by the fear of the toxic nuclear family. In these narratives, random body parts reach, creep, crawl, slither, and taunt the very foundation of the home.

This project is made possible by the support of Canada Council for the Arts (Research and Creation Grant).