Linguistic creativity drives semantic language change, and nearly any lexical item, unless especially constrained as a delimited grammatical operator, is likely to have multiple senses, some of which may fall into different parts of speech. What could look like linguistic creativity to some reads as “failure” or misunderstanding to others; but it is hard to tell the difference between these two, and indeed the ubiquity of the language innovation that emerges from linguistic mixing suggests that they not be differentiated. Even the preposition over, something commonly thought of as a simple grammatical operator, has many different senses, some of which contradict each other. In “the house over the bridge,” over scans an imagined trajectory and is hence qualitatively different from its positional sense in “the bee hovers over the flower,” which in turn differs from the gravitational wrapping sense of “I draped it over the dining table.” This sense multiplicity cannot be any less true of queer and, even more interesting, its mythical opposite, straight.
—Mel Y. Chen, Animacies: Biopolitics, Racial Mattering, and Queer Affect