Is patti smith gay

The meaning of the song becomes highly queered as Smith doesn’t change the song’s perspective from male to female, leading some listeners (even now) to think that with the seduction of Gloria, Smith was coming out as a lesbian.

As with many of Smith’s covers, the lyrics have been slightly rewritten and feature Smith’s poetry as a supplement to the original lyrics. Just because Patti and Robert inhabit masculine and feminine artistic roles, does that necessarily mean that this dualism is mapped on to their roles as homemakers? His father barely looked at me, and said nothing to Robert except, ‘You should cut your hair.

Robert’s takes place during an acid trip he embarks on to create drawings. The one time he speaks to Robert is to remind him of the way he does not fit in: his feminine physical appearance, a feature that may align him with queerness. Not only does Smith portray the space of the past (symbolic of a time before she and Robert began to have sexual relationships with other people) as warm and comforting, but she also sees it as a space of true happiness.

The woman inside such a room necessarily sticks out and is thus oriented away from the realm of writing itself. Even though it was not an overnight success, the album has gone on to become one of the most iconic rock albums of all time, inspiring more and more imitators with each passing decade. She shows that the architecture of the hotel encourages or even requires some members to depend on one another for both their physical and artistic needs.

That said, the homes in Just Kids look far different from those of the domestic novels in the 19th century, as they are a) occupied by an unmarried couple, one half of whom is queer, b) mobile, changing space according to Patti and Robert’s needs, and c) centered around art, rather than a family. If a woman’s work is to remain unseen, does she even exist?  

Other groups of scholars criticize the home for its exclusivity, particularly towards queer individuals. In contemporary housing policy, many homes are built with the heterosexual couple or family in mind.

Regardless, artmaking happens in any space within the house; it is so pervasive in Patti and Robert’s life that it seems to encroach on their daily functions like sleeping and eating. They lived together for years in New York City, had deeply intertwined careers, and acted as inspirations for each other’s art. You look like a girl.’”[38]

The table attempts to orient Patti and Robert, as a childless and unconventional couple (Robert is queer and Patti is straight), toward heteronormativity in several ways.

1 (2012): 107-108.

[23] Kane, 119.

[24] Smith, Just Kids, 61.

[25] Smith, Just Kids, 63.

[26] Robert Moore and Douglas Gilette, King, Warrior, Magician, Lover: Rediscovering the Archetypes of the Mature Masculine (San Francisco: HarperSanFrancisco, 1990).

[27] Smith, Just Kids, 44.

[28] Smith, Just Kids, 56.

[29] Smith, Just Kids, 79.

[30] Smith, Just Kids, 44.

[31] Smith, Just Kids, 45.

[32] Young, “House and Home,” 141.

[33] Wigley, “The Housing of Gender,” 357.

[34] Roberts, “Gender and Housing,” 263.

[35] Leslie Land, “Counterintuitive: How the Marketing of Modernism Hijacked the Kitchen Stove,” in From Betty Crocker to Feminist Food Studies: Critical Perspectives on Women and Food, eds.

As such, each generation has always clashed with and slightly rebelled against the one before it. While Patti and Robert lived a self-contained life in their Brooklyn apartment, acting as each other’s muses and collaborators, their artistic networks were quite limited, consisting mostly of each other.  The Chelsea Hotel has an undeniably positive effect on the two, as both of their artistic careers are improved by expanding their circles and forming relationships with other inhabitants.

They loved each other deeply, smoked and took LSD together, and were always interwoven even in their romantic relationships with others.