Now the largest multiracial, grassroots, feminist organization in the United States, INCITE! boasts chapters in more than 20 cities. Color of Violence: The INCITE! Anthology presents the fierce and vital writing of 32 of these visionaries, who not only shift the focus from domestic violence and sexual assault, but also map innovative strategies of movement building and resistance used by women of color around the world. At a time of heightened state surveillance and repression of people of color, Color of Violence: The INCITE! Anthology is an essential intervention.

    Still having male organs, Candy is housed with strong, masculine, handsome male inmates who haven't been around or touched a woman in years. Candy soon finds herself being caught in several love affairs with men with families, girlfriends and wives at home--waiting for them to be released. But Candy doesn't kiss and tell; she understands the code of silence: what happens in prison stays in prison... . CONVICT'S CANDY deals with sexual identity, prostitution and homosexuality within the prison system, the interactions and relationships between the inmates and officers, infidelity and most importantly, explains how the HIV virus spreads rampantly within the prison. It also reveals how the dangerous and deadly disease is transmitted within society, when infected inmates are released to go home.

    The zine helps to define consent, some letters that Cindy has received, listening, talking about sex, power dynamics, comics by Fly, and much more! A crucial resource that reads much like a regular issue of Doris.

    Anticipating the expanded edition, Feral House placed Voluptuous Panic out of print, and for the past year buyers paid as much as $460 to online sellers for a used copy.This sourcebook of hundreds of rare visual delights from pre-Nazi, Cabaret-period “Babylon on the Spree” has the distinction of being praised both by scholars and avatars of contemporary culture, inspiring hip clubgoers, filmmakers, gay historians, graphic designers, and musicians like the Dresden Dolls and Marilyn Manson.Voluptuous Panic’s expanded edition includes the new illustrated chapter, “Sex Magic and the Occult,” documenting German pagan cults and their bizarre erotic rituals, including instructions for entering into the “Sexual Fourth Dimension.” The deluxe hardcover edition also includes sensational accounts of hypno-erotic cabaret acts, Berlin Fetish prostitution (“The Boot Girl Visit”), gay life (“A Wild-Boy Initiation!”), descriptions and illustrations of Aleister Crowley’s Berlin OTO Secret Society, and sex crime (“the Curious Career and Untimely Death of Fritz Ulbrich”).

    Goldwyn’s incisive expose is a retrospective of the sights and spectacles of burlesque’s golden age—and an intimate look at the women whose sexuality, ambition, and verve brought the cabaret stage to life. Today, as burlesque enters a heady resurgence worldwide—with festivals around the globe, popular books like Burlesque Fetish and The Burlesque Handbook, and even a School of Burlesque in New York City—Pretty Things offers a unique and exciting look at its formative past and its earliest heroines.

    . . with seamless elegance.”—Charles Isherwood, VarietyFabulation: “Robustly entertaining comedy . . . with punchy social insights and the firecracker snap of unexpected humor.”—Ben Brantley, The New York TimesWith her two latest plays, “exceptionally gifted playwright” (New York Observer) Lynn Nottage has created companion pieces that span 100 years in the lives of African American women. Intimate Apparel is about the empowerment of Esther, a proud and shy seamstress in 1905 New York who creates exquisite lingerie for both Fifth Avenue boudoirs and Tenderloin bordellos. In Fabulation Nottage re-imagines Esther as Undine, the PR-diva of today, who spirals down from her swanky Manhattan office to her roots back in Brooklyn. Through opposite journeys, Esther and Undine achieve the same satisfying end, one of self-discovery.Lynn Nottage’s plays include Crumbs from the Table of Joy; Mud, River, Stone; Por’ Knockers; Las Menias; Fabulation and Intimate Apparel, for which she was awarded the Francesca Primus Prize and the American Theatre Critics/Steinberg New Play Award in 2004. Her plays have been produced at theatres throughout the country, with Intimate Apparel slated for 16 productions during the 2005–2006 season.

    In Witness, Amalia Mesa-Bains and bell hooks invite us to reexamine this politically popular binary and consider which differences are manufactured and which are real.In Witness, Mesa-Bains and hooks explore their own similarities and differences, sharing the ways their childhoods, families, and work have shaped their political activism, teaching, and artistic expression. Drawing on shared experiences of sexism, classism, and racism, hooks and Mesa-Bains show how people from divergent cultural backgrounds can work together for radical social change.While the black/Latino divide and the increasing cross-community political collaboration has been addressed in progressive newspapers and magazines, Witness, an inclusive call to reflect and act, is the first of its kind to look at these issues in depth. And Amalia Mesa-Bains, a pioneer scholar and producer of Chicana art, with bell hooks, one of the most acclaimed of African American theorists—prove an unparalleled match for the job.bell hooks is one of the leading public intellectuals of her generation. She has written extensively on the emotional impact of racism and sexism, particularly on black women, as well as the importance of political engagement with art and the media. In her recent work on love, relationships, and community, she shows how emotional health is a necessary component to effective resistance and activism.Amalia Mesa-Bains is an artist, curator, and writer who has initiated comprehensive exhibitions of Latino art, including Chicano Art: Resistance and Affirmation and Mi Alma, Mi Tierra, Mi Gente: Contemporary Chicana Art. Her artwork incorporates various aspects of Chicano/a history, culture, and folk traditions, exploring religion, ritual, and female rites of passage. She won a MacArthur Fellowship in 1992.

    Offering spare, tightly executed essays, this slim volume nonetheless succeeds in creating a spectacular, well-researched compendium of the transgender movement." -Law Library JournalOver the past three decades, the transgender movement has gained visibility and achieved significant victories. Discrimination has been prohibited in several states, dozens of municipalities, and more than two hundred private companies, while hate crime laws in eight states have been amended to include gender identity. Yet prejudice and violence against transgender people remain all too common. With analysis from legal and policy experts, activists and advocates, Transgender Rights assesses the movement’s achievements, challenges, and opportunities for future action. Examining crucial topics like family law, employment policies, public health, economics, and grassroots organizing, this groundbreaking book is an indispensable resource in the fight for the freedom and equality of those who cross gender boundaries. Moving beyond media representations to grapple with the real lives and issues of transgender people, Transgender Rights will launch a new moment for human rights activism in America. Contributors: Kylar W. Broadus, Judith Butler, Mauro Cabral, Dallas Denny, Taylor Flynn, Phyllis Randolph Frye, Julie A. Greenberg, Morgan Holmes, Bennett H. Klein, Jennifer L. Levi, Ruthann Robson, Nohemy Solórzano-Thompson, Dean Spade, Kendall Thomas, Paula Viturro, Willy Wilkinson. Paisley Currah is associate professor of political science at Brooklyn College, executive director of the Center for Lesbian and Gay Studies at the CUNY Graduate Center, and a founding board member of the Transgender Law and Policy Institute. Richard M. Juang cochairs the advisory board of the National Center for Transgender Equality (NCTE) in Washington, DC. He has taught at Oberlin College and Susquehanna University. He is the lead editor of NCTE's Responding to Hate Crimes: A Community Resource Manual and coeditor of Transgender Justice, which explores models of activism.Shannon Price Minter is legal director of the National Center for Lesbian Rights and a founding board member of the Transgender Law and Policy Institute.

    Rather than a verse-by-verse analysis, typical of more traditional commentaries, contributors to this volume focus specifically upon those portions of the book that have particular relevance for readers interested in lesbian, gay, bisexual and transgender issues such as the construction of gender and sexuality, the reification of heterosexuality, the question of lesbian and gay ancestry within the Bible, the transgendered voices of the prophets, the use of the Bible in contemporary political, socio-economic and religious spheres and the impact upon lesbian, gay, bisexual and transgender communities. Accordingly, the commentary raises new questions and re-directs more traditional questions in fresh and innovative ways, offering new angles of approach. This comprehensive, cutting-edge commentary is prefaced by an introductory essay by Professor Mary Tolbert. Contributors draw on feminist, queer, deconstructionist, utopian theories, the social sciences and historical-critical discourses. The focus is both how reading from lesbian, gay, bisexual and/or transgender perspectives affect the reading and interpretation of biblical texts and how biblical texts have and do affect lesbian, gay, bisexual and/or transgender communities. The commentary includes an extensive bibliography that directs the reader to a full range of literature relating to queer interpretation of scripture.

    Unrivaled in their creativity and the sheer number of choices, the clubs featured in this book offer their clientele every fantasy imaginable. Subway groping, visits to the nurse's office, and comic book character encounters are just the beginning of the immense list of possibilities that are played out in colorful playrooms for adults where no detail is overlooked. Sinclair's photographs capture it all, while an introduction by sociologist James Farrer provides a brief history of commercial sex in Japan and places the images in the context of contemporary Japanese culture.

    Wekker vividly describes the lives of these women, who prefer to create alternative families of kin, lovers, and children, and gives a fascinating account of women's sexuality that is not limited to either heterosexuality or same-sex sexuality. She offers new perspectives on the lives of Caribbean women, transnational gay and lesbian movements, and an Afro-Surinamese tradition that challenges conventional Western notions of marriage, gender, identity, and desire. Bringing these women's voices to the forefront, she offers an extensive and groundbreaking analysis of the unique historical, religious, psychological, economic, linguistic, cultural, and political forces that have shaped their lives.

    Watching this debate unfold, William Stacy Johnson found that he could be silent no longer. The result is this finely honed book.In A Time to Embrace Johnson presents a brilliant analysis of the religious, legal, and political stakes in the debates over gay marriage, civil unions, and the place of committed gay couples in a democratic society. Carefully weighing the pros and cons from across th emoral and religious spectrum, Johnson here offers a fresh, thought-provoking examination of one of the most controversial issues in the West today.

    This book, the first history of western sexual magic as a modern spiritual tradition, places these practices in the context of the larger discourse surrounding sexuality in American and European society over the last 150 years to discover how sexual magic was transformed from a terrifying medieval nightmare of heresy and social subversion into a modern ideal of personal empowerment and social liberation. Focusing on a series of key figures including American spiritualist Paschal Beverly Randolph, Aleister Crowley, Julius Evola, Gerald Gardner, and Anton LaVey, Hugh Urban traces the emergence of sexual magic out of older western esoteric traditions including Gnosticism and Kabbalah, which were progressively fused with recently-discovered eastern traditions such as Hindu and Buddhist Tantra. His study gives remarkable new insight into sexuality in the modern era, specifically on issues such as the politics of birth control, the classification of sexual “deviance,” debates over homosexuality and feminism, and the role of sexuality in our own new world of post-modern spirituality, consumer capitalism, and the Internet.

    As shocking as contemporary feminist pin-ups are intended to be, perhaps more surprising is that the pin-up has been appropriated by women for their own empowerment since its inception more than a century ago. Pin-Up Grrrls tells the history of the pin-up from its birth, revealing how its development is intimately connected to the history of feminism. Maria Elena Buszek documents the genre’s 150-year history with more than 100 illustrations, many never before published.Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.

    nation-state that privileges the propertied individual. However, African American, Asian American, and Chicano people experience the same stretch of city sidewalk with varying degrees of safety, visibility, and surveillance.The Ruptures of American Capital examines two key social formations—women of color feminism and racialized immigrant women’s culture—in order to argue that race and gender are contradictions within the history of U.S. capital that should be understood not as monolithic but as marked by its crises. Hong shows how women of color feminism identified ways in which nationalist forms of capital, such as the right to own property, were repressive. The Ruptures of American Capital demonstrates that racialized immigrant women’s culture has brought to light contested modes of incorporation into consumer culture.Interweaving discussion of U.S. political economy with literary analyses (including readings from Booker T. Washington to Jessica Hagedorn) Hong challenges the individualism of the United States and the fetishization of difference that is one of the markers of globalization.Grace Kyungwon Hong is assistant professor of English and Asian American studies at the University of Wisconsin, Madison.

    It looks deeply into questions raised by decades of post-structuralism: What constitutes historical truth? How do we draw a boundary between truth and fiction? What is the relationship between history and memory? How do we grapple with the historical conventions that inform, in different ways, all written documents? In his answers, Ginzburg peels away layers of subsequent readings and interpretations that envelop every text to make a larger argument about history and fiction. Interwoven with compelling autobiographical references, Threads and Traces bears moving witness to Ginzburg’s life as a European Jew, the abiding strength of his scholarship, and his deep engagement with the historian’s craft.

    However, full evidence of their roles has until nowremained scant and dispersed, eclipsed in historical opinion formed through thetexts of men.In magisterial scale Red Velvet Seat restores this film culture tovisibility, using women’s written accounts from the beginnings up to 1950 tounderstand the significance of cinema for them. Sources include fashion andparenting magazines, newspapers and literary journals, memoirs and etiquetteguides, while contributors range from novelists such as Virginia Woolf, Coletteand Rebecca West to psychoanalysts, poets, social reformers, labor organizers,film editors, screen beauties, and race activists. For each section, AntoniaLant and Ingrid Periz provide an introduction, explaining the historicalcontext and linking their themes to the major social and political movements oftheir time, as well as to more traditionally feminine concerns. Compendious and absorbing, Red Velvet Seat is an invaluablecontribution to the history of cinema.

    This book, the first of its kind, examines Stuart England through the mirror of dress. It argues that both artistic and literary sources can be read and decoded for important information on dress and the way it was perceived in a period of immense political, social, and cultural change.Focusing on the rich visual culture of the seventeenth century, including portraits, engravings, fashion plates, and sculpture, and on literary sources—poetry, drama, essays, sermons—the distinguished historian of dress Aileen Ribeiro creates a fascinating account of Stuart dress and how it both reflected and influenced society. Supported by a wealth of illustrative images, she explores such varied themes as court costumes, the masque, the ways in which political and religious ideologies could be expressed in dress, and the importance of London as a fashion center. This beautiful book is an indispensable and authoritative account of what people wore and how it related to Stuart England’s cultural climate.

    Jacqueline Goldsby shows that lynching cannot be explained away as a phenomenon peculiar to the South or as the perverse culmination of racist politics. Rather, lynching—a highly visible form of social violence that has historically been shrouded in secrecy—was in fact a fundamental part of the national consciousness whose cultural logic played a pivotal role in the making of American modernity. To pursue this argument, Goldsby traces lynching's history by taking up select mob murders and studying them together with key literary works. She focuses on three prominent authors—Ida B. Wells-Barnett, Stephen Crane, and James Weldon Johnson—and shows how their own encounters with lynching influenced their analyses of it. She also examines a recently assembled archive of evidence—lynching photographs—to show how photography structured the nation's perception of lynching violence before World War I. Finally, Goldsby considers the way lynching persisted into the twentieth century, discussing the lynching of Emmett Till in 1955 and the ballad-elegies of Gwendolyn Brooks to which his murder gave rise. An empathic and perceptive work, A Spectacular Secret will make an important contribution to the study of American history and literature.

     written accessibly by one of the field's foremost researchers explores the ways in which gender contributes to the interpretation of meaning in workplace interaction uses original and insightfully analyzed data to focus on the ways in which both women and men draw on gendered discourse resources to enact a range of workplace roles illustrates how a qualitative analysis of workplace discourse can throw light on the many ways in which workplace discourse provides a resource for constructing gender identity as one component of our complex socio-cultural identity

    It includes a specially commisssioned work of fiction, `Iphigeneia's Wedding', by the poet Elizabeth Cook.

    Kate Retford probes this much-loved genre to trace the values and meanings behind these compositions.While early images by artists such as Arthur Devis depicted sitters stiffly posed, later in the century scenes of affection and intimacy were created by portraitists like Thomas Gainsborough and Joshua Reynolds. In the country-house collections, portraits first emphasized ancestry and inherited virtue, but later emphasized the domestic merits of the family. The Art of Domestic Life contributes a wealth of visual evidence to the history of the family. It offers important insights into both the innovations and traditions in family portraiture of this period, drawing on in-depth research into paintings, the lives of the sitters depicted, and the domestic spaces in which portraits were hung.Published for the Paul Mellon Centre for Studies in British Art

    Memee LavellHarvard and Jeannette Corbiere Lavell have brought together a multitude of voices to speak on the issues facing Aborigi- nal mothers in contemporary society. Beginning with an ex- amination of the experience of childbirth-the initiation into motherhood-the contributing authors illustrate its potential as a source of empowerment and revitalization for our nations. Through their own unique perspectives, the women bring us to an understanding of the variety of Aboriginal mothering prac- tices, the impacts of colonization and government legislation on Aboriginal mothers, and literary representations of Aborigi- nal mothering. Together, these women have worked to reveal not only the connection between the longstanding historical oppression experienced by Aboriginal women and the dire contemporary circumstances of many Aboriginal communities, but also the power of Aboriginal mothers to revitalize and transform our communities. They are truly the givers of new life.

    Arranged thematically, this book covers major developments in Anglo-American feminist linguistics, and Cameron's responses to these, spanning the last twenty years.The collection's overarching theme is the political relationship between language and gender: four distinctly themed sections demonstrate that a variety of forces affect gender relations, and gender representations, in different times and places. Cameron examines the connections between language and the (mis)representation of reality, and the role language plays in reproducing gender inequalities. More recent articles focus on representations of men and women as communicators, as well as the impact of sexuality on gender and gender relations, an increasingly prominent area of the author's research.This timely study brings much of Cameron's work together for the first time, and highlights characteristics of her work with which many readers will be familiar: a combination of linguistic and feminist political orientation; and a distinct focus on conflict in gender relations. Including a new introductory essay and eleven articles, three of which are previously unpublished, with short introductions to contextualize each piece, the collection is extremely useful for students and teachers on a variety of courses including English language and linguistics, women's studies, gender studies and communication studies.

    Still writing from a certain historical and cultural margin, these women from East Central Europe have begun to explore a new freedom whose fruits are displayed to exhilarating effect in this book-a freedom to experiment, to innovate, to create a literature uniquely expressive of their world. This volume for the first time allows English-speaking readers to discover the pleasures of these women's writing.A rich compendium of fiction by twenty-five women from eighteen different nations ranging from Lithuania to Ukraine to Poland, the Czech Republic, Romania, Albania, and Slovenia, The Third Shore brings to light a whole spectrum of women's literary accomplishment and experience virtually unknown in the West. Gracefully translated, and with an introduction that establishes their political, historical, and literary context, these stories written in the decade after the fall of the Iron Curtain are tales of the familiar-of illness and death, love and desire, motherhood and war, feminism, and patriarchy-reconceived and turned into something altogether new by the distinctive experience they reflect.Contents:Women's space and women's writing in post-Communist Europe / [Agata Schwartz and Louise von Flotow] --Plaza de España / Diana Çuli --The shears / Mira Mekşi --The dancer in the window / Sanja Lovrenčić --Why do these black worms fly just everywhere I am myself only accidentally / Lela B. Njatin --How we killed the sailor / Alma Lazarevska --20 Firula Road / Ljiljiana Đurđić --The story of the man who sold sauerkraut and had a lioness-daughter / Judita Šalgo --The same old story / Jadranka Vladova --The herbarium / Hristina Marinova --Everything's OK / Daniela Crăsnaru --from A day without a president / Carmen Francesca Banciu --South wind and a sunny day / Zsuzsa Kapecz --from Like two peas in a pod / Dóra Esze --A little bedtime story / Jana Juránová --Day by day / Etela Farkašová --Far and near / Daniela Fischerová --I, Milena / Oksana Zabuzhko --The cyber / Ljubovʹ Romanchuk --from E.E. / Olga Tokarczuk --The third shore / Natasza Goerke --The men and the gentlemen / Gabriele Eckart --Dance on the canal / Kerstin Hensel --Lady with cowshit / Renata Šerelytė --Pleasures of the saints / Nora Ikstẹna --The mill ghost / Maimu Berg --from Alchemy / Kärt Hellermaa.

    When his father, a fundamentalist preacher, dropped dead at his son's eighth birthday party, Kevin already knew he wasn't supposed to cry.He also knew there was no salvation for homosexuals, who weren't "real men"—or Christians, for that matter. But Jennings found his salvation in school, inspired by his mother. Self-taught, from Appalachia, her formal education had ended in sixth grade, but she was determined that her son would be the first member of their extended family to go to college, even if it meant going North. Kevin, propelled by her dream, found a world beyond poverty. He earned a scholarship to Harvard and there learned not only about history and literature, but also that it was possible to live openly as a gay man.But when Jennings discovered his vocation as a teacher and returned to high school to teach, he was forced back into the closet. He saw countless teachers and students struggling with their sexual orientation and desperately trying to hide their identity. For Jennings, coming out the second time was more complicated and much more important than the first—because this time he was leading a movement for justice.Mama's Boy, Preacher's Son is that rare memoir that is both a riveting personal story and an inside account of a critical chapter in our recent history. Creating safe schools for teenagers is now a central part of the progressive agenda in American education. Like Paul Monette's landmark Becoming a Man, Dorothy Allison's Bastard Out of Carolina, and Rick Bragg's All Over but the Shoutin', Kevin Jennings's poignant, razor-sharp memoir will change the way we see our contemporary world.

    The book weaves together personal stories from interviews, statistical material, and evidence from archival research in Berlin, Potsdam, Leipzig, Merseburg, and Chemnitz to reconstruct the complex interplay between state policy toward women and the family on the one hand, and women's reactions to policy on the other. Donna Harsch demonstrates that women resisted state decisions as citizens, wageworkers, mothers, wives, and consumers, and that in every guise they maneuvered to overcome official neglect of the family. As state dependence on female employment increased, the book shows, the Communists began to respond to the insistence of women that the state pay attention to the family. In fits and starts, the party state begrudgingly retooled policy in a more consumerist and family-oriented direction. This "domestication" was partial, ambivalent, and barely acknowledged from above. It also had ambiguous, arguably regressive, effects on the private gender arrangements and attitudes of East Germans. Nonetheless, the economic and social consequences of this domestication were cumulatively powerful and, the book argues, gradually undermined the foundations of the GDR.

    After German unification, approaches to household management that had originally emerged among the bourgeoisie became central to German national identity by 1914. Thrift, order, and extreme cleanliness, along with particular domestic markers (such as the linen cabinet) and holiday customs, were used by many Germans to define the distinctions between themselves and neighboring cultures. What was bourgeois at home became German abroad, as "German domesticity" also helped to define and underwrite colonial identities in Southwest Africa and elsewhere. After 1933, this idealized notion of domestic Germanness was racialized and incorporated into an array of Nazi social politics. In occupied Eastern Europe during WWII Nazi women's groups used these approaches to household management in their attempts to "Germanize" Eastern European women who were part of a large-scale project of population resettlement and ethnic cleansing.

    Nearly 200,000 African American men joined the Allied forces in France. At home, black clubwomen raised more than $125 million in wartime donations and assembled "comfort kits" for black soldiers, with chocolate, cigarettes, socks, a bible, and writing materials. Given the hostile racial climate of the day, why did black women make considerable financial contributions to the American and Allied war effort? Brown argues that black women approached the war from the nexus of the private sphere of home and family and the public sphere of community and labor activism. Their activism supported their communities and was fueled by a personal attachment to black soldiers and black families. Private Politics and Public Voices follows their lives after the war, when they carried their debates about race relations into public political activism.

    In The Aesthetics of Disengagement Christine Ross shows how contemporary art is a powerful yet largely unacknowledged player in the articulation of depression in Western culture, both adopting and challenging scientific definitions of the condition. Ross explores the ways in which contemporary art performs the detached aesthetics of depression, exposing the viewer's loss of connection and ultimately redefining the function of the image. Ross examines the works of Ugo Rondinone, Rosemarie Trockel, Ken Lum, John Pilson, Liza May Post, Vanessa Beecroft, and Douglas Gordon, articulating how their art conveys depression's subjectivity and addresses a depressed spectator whose memory and perceptual faculties are impaired. Drawing from the fields of psychoanalysis as well as psychiatry, Ross demonstrates the ways in which a body of art appropriates a symptomatic language of depression to enact disengagement - marked by withdrawl, radical protection of the self from the other, distancing signals, isolation, communication ruptures, and perceptual insufficiency. Most important, Ross reveals the ways in which art transforms disengagement into a visual strategy of disclosure, a means of reaching the viewer, and how in this way contemporary art puts forth a new understanding of depression.