Beginning in 1949 and moving to the present day, Mordden puts a unique and innovating spin on modern history. An adventurous, adroit, and fascinating novel by one of the finest gay writers of our time.

    Through the works of men and women, Jews and non-Jews, this anthology offers a vision of the human reality of the catastrophe. Essays by familiar writers like Primo Levi and Elie Wiesel accompany lesser-known efforts by Yankiel Wiernik and Frantisek Kraus; stories by Tadeusz Borowski and Ida Fink join fiction by neglected authors such as Isaiah Spiegel and Adolf Rudnicki; and extensive selections have been chosen from the works of six poets - the renowned Paul Celan, Nelly Sachs, and Abraham Sutzkever among them. Each selection (except for self-contained excerpts from ghetto journals and diaries) appears here in its complete form.Lawrence L. Langer also includes in their entirety a novel by Aharon Appelfeld, a novella by Pierre Gascar, and Joshua Sobol's controversial drama Ghetto. In addition, this volume features a visual essay in the form of reproductions of twenty works of art created in the Terezin concentration camp.

    Spanning the century between Victorian Britain and the current struggle for power in South Africa, the book takes up the complex relationships between race and sexuality, fetishism and money, gender and violence, domesticity and the imperial market, and the gendering of nationalism within the zones of imperial and anti-imperial power.

    Jack Halberstam offers a rereading of the monstrous that revises our view of the Gothic. Moving from the nineteenth century and the works of Shelley, Stevenson, Stoker, and Wilde to contemporary horror film exemplified by such movies as Silence of the Lambs, Texas Chainsaw Massacre, and Candyman, Skin Shows understands the Gothic as a versatile technology, a means of producing monsters that is constantly being rewritten by historically and culturally conditioned fears generated by a shared sense of otherness and difference.Deploying feminist and queer approaches to the monstrous body, Halberstam views the Gothic as a broad-based cultural phenomenon that supports and sustains the economic, social, and sexual hierarchies of the time. She resists familiar psychoanalytic critiques and cautions against any interpretive attempt to reduce the affective power of the monstrous to a single factor. The nineteenth-century monster is shown, for example, as configuring otherness as an amalgam of race, class, gender, and sexuality. Invoking Foucault, Halberstam describes the history of monsters in terms of its shifting relation to the body and its representations. As a result, her readings of familiar texts are radically new. She locates psychoanalysis itself within the gothic tradition and sees sexuality as a beast created in nineteenth century literature. Excessive interpretability, Halberstam argues, whether in film, literature, or in the culture at large, is the actual hallmark of monstrosity.

    Powerless, which includes those final poems, also goes back to Dlugos' earlier books to create a stunning retrospective.

    It chronicles her youth, her marriage, her eventual decision to come out as a lesbian, and her life with transgender activist and author Leslie Feinberg.

    Himani Bannerji transforms the theorizing of race, gender and class in these essays illuminating the politics of differenceas they affect non-white women in the post-colonial world.

    In the Shadow of the Epidemic is a passionate and intimate look at the emotional and psychological impact of AIDS on the lives of the survivors of the epidemic, those who must face on a regular basis the death of friends and, in some cases, the decimation of their communities. Drawing upon his own experience as a clinical psychologist and a decade-long involvement with AIDS/HIV issues, Walt Odets explores the largely unrecognized matters of denial, depression, and identity that mark the experience of uninfected gay men. Odets calls attention to the dire need to address issues that are affecting HIV-negative individuals—from concerns about sexuality and relations with those who are HIV-positive to universal questions about the nature and meaning of survival in the midst of disease. He argues that such action, while explicitly not directing attention away from the needs of those with AIDS, is essential to the human and biological well-being of gay communities. In the immensely powerful firsthand words of gay men living in a semiprivate holocaust, the need for a broader, compassionate approach to all of the AIDS epidemic’s victims becomes clear. In the Shadow of the Epidemic is a pathbreaking first step toward meeting that need.

    Lippard, author of the highly original and popular Mixed Blessings, merged her art-world concerns with those of the then-fledgling women’s movement. In a career that spans sixteen books and scores of articles, catalogs, and essays on art, political activism, feminism, and multiculturalism, her engaging and provocative writings have heralded a new way of thinking about art and its role in the feminist movement.This new collection of previously published essays covers more than two decades of Lippard’s thinking on the ever-evolving definitions of feminist art, the convergence of high and low art, political and activist art, and the contributions of feminist theory to the politics of identity that infuses the production and exhibition of much of today’s fine and popular art.With a new introduction from the author, The Pink Glass Swan brings together selections from two of Lippard’s leading works, From the Center: Feminist Essays on Art and Get the Message?: A Decade of Art for Social Change, and numerous other articles written for newspapers, magazines, and art catalogs across the country.

    Wade, hundreds of thousands of illegal abortions occurred in the United States every year. Rickie Solinger uses the story of Ruth Barnett, an abortionist in Portland, Oregon, between 1918 and 1968 to demonstrate that it was the law, not so-called back-alley practitioners, that most endangered women's lives in the years before abortion was legal.Women from all walks of life came to Ruth Barnett to seek abortions. For most of her career she worked in a proper suite of offices, undisturbed by legal authorities. In her years of practice she performed forty thousand abortions and never lost a patient. But in the anti-abortion fervor of the post-World War II era, conditions in Portland and elsewhere began to change. Barnett and other practitioners were hounded by the police and became convenient targets for politicians and sensation-hungry journalists. Desperate women continued to seek abortions but were forced to turn to profiteering abortion syndicates run by racketeers or to use self-induced methods that often ended in serious injury or death. Solinger makes vivid use of newspaper accounts and extant legal transcripts to document how throughout the country laws were used to persecute competent abortion practitioners.While Roe v. Wade has alleviated some of the danger that shaped women's lives before 1973, Solinger points out that the abortion practitioner is again threatened in the United States, this time by the violence of anti-choice fanatics. Her book is an instructive reminder of the vigilance necessary to protect both women and those who would provide them with freedom of choice.

    Smith also sheds new light on the infamous Tuskegee syphilis experiment by situating it within the context of black public health activity, reminding us that public health work had oppressive as well as progressive consequences.

    But how and when did such issues come to be established and accepted sources of knowledge about the body in medical culture? How are the specialized techniques and codes of these imaging techniques determined, and whose bodies are studied, diagnosed and treated with the help of optical recording devices? "Screening the Body" traces the unusual history of scientific film during the late 19th and early 20th centuries, presenting material that is at once disturbing and engrossing. Lisa Cartwright looks at films like "The Elephant Electrocution". She brings to light eccentric figures in the history of the science film such as William P. Spratling who used Biograph equipment and crews to film epileptic seizures, and Thomas Edison's lab assistants who performed x-ray experiments on their own bodies. Drawing on feminist film theory, cultural studies, the history of film, and the writings of Foucault, Lisa Cartwright illustrates how this scientific cinema was a part of a broader tendency in society toward the technological surveillance, management, and physical transformation of the individual body and the social body. She frequently points out the similarities of scientific film to works of avant-garde cinema, revealing historical ties among the science film, popular media culture and elite modernist art and film practices. Ultimately, Cartwright unveils an area of film culture that has rarely been discussed, but which will leave readers scouring video libraries in search of the films she describes.

    Describing how women's reproductive labor was harnessed to that task, Nussbaum explores issues such as the production of life, of goods, and of desire. She also considers a variety of cultural practices (usually construed as exotic) in England and the empire, including polygamy, infanticide, prostitution, homoeroticism, and arranged marriages.Torrid Zones includes new readings of significant texts by and about female subjects, including novels by Defoe, Richardson, Johnson, Cleland, Lennox, Sarah Scott, Frances Sheridan, and Phebe Gibbes. It also considers the more broadly defined texts of culture such as travel narratives, medical documents, legal records, and engravings."I take as a central metaphor for the consideration of maternity and sexuality the concept of torrid zones, both the geographical torrid zones of the territory between the Tropic of Cancer and the Tropic of Capricorn, and the torrid zone mapped onto the human body, especially the female body. A premise of my study is that the contrasts among the torrid, temperate, and frigid zones of the globe are formative in imagining that a sexualized woman of empire is distinct from domestic English womanhood. The general category of 'woman' muddles the binaries between mother and whore, self and Other, center and periphery."—from the Introduction

    Never completely opened. Tight spine, clear crisp pages, no writing, light cornerwear, smokefree.

    She’s Barbie—an icon of femininity to generations of American girls. She’s also multiethnic and straight—or so says Mattel, Barbie’s manufacturer. But, as Barbie’s Queer Accessories demonstrates, many girls do things with Barbie never seen in any commercial. Erica Rand looks at the corporate marketing strategies used to create Barbie’s versatile (She’s a rapper! She’s an astronaut! She’s a bride!) but nonetheless premolded and still predominantly white image. Rand weighs the values Mattel seeks to embody in Barbie—evident, for example, in her improbably thin waist and her heterosexual partner—against the naked, dyked out, transgendered, and trashed versions favored by many juvenile owners and adult collectors of the doll.Rand begins by focusing on the production and marketing of Barbie, starting in 1959, including Mattel’s numerous tie-ins and spin-offs. These variations, which include the much-promoted multiethnic Barbies and the controversial Earring Magic Ken, helped make the doll one of the most profitable toys on the market. In lively chapters based on extensive interviews, the author discusses adult testimony from both Barbie "survivors" and enthusiasts and explores how memories of the doll fit into women’s lives. Finally, Rand looks at cultural reappropriations of Barbie by artists, collectors, and especially lesbians and gay men, and considers resistance to Barbie as a form of social and political activism.Illustrated with photographs of various interpretations and alterations of Barbie, this book encompasses both Barbie glorification and abjection as it testifies to the irrefutably compelling qualities of this bestselling toy. Anyone who has played with Barbie—or, more importantly, thought or worried about playing with Barbie—will find this book fascinating.

    In this book Dana Villa does the same for Hannah Arendt, whose sweeping reconceptualization of the nature and value of political action, he argues, has been covered over and domesticated by admirers (including critical theorists, communitarians, and participatory democrats) who had hoped to enlist her in their less radical philosophical or political projects. Against the prevailing Aristotelian interpretation of her work, Villa explores Arendt's modernity, and indeed her postmodernity, through the Heideggerian and Nietzschean theme of a break with tradition at the closure of metaphysics.Villa's book, however, is much more than a mere correction of misinterpretations of a major thinker's work. Rather, he makes a persuasive case for Arendt as the postmodern or postmetaphysical political theorist, the first political theorist to think through the nature of political action after Nietzsche's exposition of the death of God (i.e., the collapse of objective correlates to our ideals, ends, and purposes). After giving an account of Arendt's theory of action and Heidegger's influence on it, Villa shows how Arendt did justice to the Heideggerian and Nietzschean criticism of the metaphysical tradition while avoiding the political conclusions they drew from their critiques. The result is a wide-ranging discussion not only of Arendt and Heidegger, but of Aristotle, Kant, Nietzsche, Habermas, and the entire question of politics after metaphysics.

    Langer, our age clings to the stable relics of faded eras, as if ideas like natural innocence, innate dignity, the inviolable spirit, and the triumph of art over reality were immured in some kind of immortal shrine, immune to the ravages of history and time. But these ideas have been ravaged, and in Admitting the Holocaust. Langer presents a series of essays that represent his effort, over nearly a decade, to wrestle with this rupture in human values--and to see the Holocaust as it really was. His vision is necessarily dark, but he does not see the Holocaust as a warrant for futility, or as a witness to the death of hope. It is a summons to reconsider our values and rethink what it means to be a human being. These penetrating and often gripping essays cover a wide range of issues, from the Holocaust's relation to time and memory, to its portrayal in literature, to its use and abuse by culture, to its role in reshaping our sense of history's legacy. In many, Langer examines the ways in which accounts of the Holocaust--in history, literature, film, and theology--have extended, and sometimes limited, our insight into an event that is often said to defy understanding itself. He singles out Cynthia Ozick as one of the few American writers who can meet the challenge of imagining mass murder without flinching and who can distinguish between myth and truth. On the other hand, he finds Bernard Malamud's literary treatment of the Holocaust never entirely successful (it seems to have been a threat to Malamud's vision of man's basic dignity) and he argues that William Styron's portrayal of the commandant of Auschwitz in Sophie's Choice pushed Nazi violence to the periphery of the novel, where it disturbed neither the author nor his readers. He is especially acute in his discussion of the language used to describe the Holocaust, arguing that much of it is used to console rather than to confront. He notes that when we speak of the survivor instead of the victim, of martyrdom instead of murder, regard being gassed as dying with dignity, or evoke the redemptive rather than grevious power of memory, we draw on an arsenal of words that tends to build verbal fences between what we are mentally willing--or able--to face and the harrowing reality of the camps and ghettos. A respected Holocaust scholar and author of Holocaust Testimonies: The Ruins of Memory, winner of the 1991 National Book Critics Circle Award for criticism, Langer offers a view of this catastrophe that is candid and disturbing, and yet hopeful in its belief that the testimony of witnesses--in diaries, journals, memoirs, and on videotape--and the unflinching imagination of literary artists can still offer us access to one of the darkest episodes in the twentieth century.

    It argues that the institutionalization of literary theory, particularly in American universities, has led to an intellectual sterility in which the actual power and scope of literature are overlooked. The book demands to be read by all teachers of literature and theory, and by anyone concerned with the future of literary studies.

    Using as its center the idea that sexual pleasure is the primary motivational force behind human sexuality and that reproduction is simply a byproduct of the pleasurability of sex, this book examines sexuality at the individual, societal, and cultural levels. Beginning with a look at the evolution of sexuality in humans and other primates, the essays in the first section examine the sexual ingenuity of primates, the dominant theories of sexual behavior, the differences in male and female sexual interest and behavior, and the role of physical attractiveness in mate selection. The focus then shifts to biological approaches to sexuality, especially the genetic and hormonal origins of sexual orientation, gender, and pleasure.The essays go on to look at the role of pleasure in different cultures. Included are essays on love among the tribespeople of the Brazilian rain forest and the regulation of adolescent sexuality in India. Finally, several contributors look at the methodological issues in the study of human sexuality, paying particular attention to the problems with research that relies on people's memories of their sexual experiences.The contributors are Angela Pattatucci, Dean Hamer, David Greenberg, Frans de Waal, Mary McDonald Pavelka, Kim Wallen, Donald Symons, Heino Meyer-Bahlburg, Jean D. Wilson, Donald Tuzin, Lawrence Cohen, Thomas Gregor, Lenore Manderson, Robert C. Bailey, Alice Schlegel, Edward H. Kaplan, Richard Berk, Paul R. Abramson, Paul Okami, and Stephen D. Pinkerton.Spanning the chasm of the nature versus nurture debate, Sexual Nature/Sexual Culture is a look at human sexuality as a complex interaction of genetic potentials and cultural influences. This book will be of interest to a wide range of readers—from scholars and students in psychology, anthropology, sociology, and history to clinicians, researchers, and others seeking to understand the many dimensions of sexuality."If we ever expect to solve the sexually based problems that modern societies face, we must encourage investigations of human sexual behavior. Moreover, those investigations should employ a broad range of disciplines—looking at sex from all angles, which is precisely what Sexual Nature, Sexual Culture does."—Mike May, American Scientist"...This timely and relevant book reminds us that we cannot rely on simple solutions to complex problems. It represents a transdiciplinary approach integrating knowledge from diverse fields and provides the reader with a challenging and rewarding experience. Especially for those who are involved in teaching human sexuality to medical students and other health care professionals, this book is highly recommended."—Gerald Wiviortt, M.D., Journal of Nervous and Mental Disease"In short, this volume contains much to stimulate, inform, and amuse, in varying proportions. What more can one ask?"—Pierre L. van den Berghe, Journal of the History of Sexuality"...the book succeeds in bring together some of the sharpest thinkers in the field of human sexuality, and goes a long way toward clarifying the diverse perspectives that currently exist."—David M. Buss and Todd K. Shackelford, Quarterly Review of Biology

    This is an anthology dealing with coming out, Zen, sexuality, shamanism, ecology, HIV-whatever is part of gay life, explored by diverse writers both gay and non-gay.

    Surveying the period between the mid-seventeenth and the mid-twentieth centuries, it examines the major texts which established and authorised sexual knowledge and sexual practices. Porter and Hall then explore the various kinds of backgroundssexual, moral, religious, scientific, medical, domestic, social and cultural - without which these texts are unintelligible. And they examine their authors (some famous, some obscure, some anonymous), their careers, and the motives for involvement in medico-moral campaigns that were often thought unsavoury and commonly led to criticism and censure. The Facts of Life also assesses the wider impact of the publication of sexual knowledge and especially of sex advice literature, and explores the interplay between expertise, therapy, social mores and behaviour. Chapters on the nineteenth and twentieth centuries discuss prostitution, contagious diseases and gender relations, and consider debates on sexual issues and associated revelations of personal experience.