. . . Using the language of the elemental world, he delineates a complex human intersection and transmutes cruelty into its opposite—a potent, lifegiving remedy.”—Alison Bechdel, author of Fun HomeFirst published in 1999, Exile & Pride established Eli Clare as one of the leading writers on the intersections of queerness and disability. With this critical tenth-anniversary edition, the groundbreaking publication secures its position as essential to the history of queer and disability politics, and, through significant new material that boldly interrogates and advances the original text, to its future as well. Clare’s writing on his experiences as a genderqueer activist/writer with cerebral palsy permanently changed the landscape of disability politics and queer liberation, and yet Exile & Pride is much too great in scope to be defined by even these two issues. Instead it offers an intersectional framework for understanding how our bodies actually experience the politics of oppression, power, and resistance. At the heart of Clare’s exploration of environmental destruction, white working-class identity, queer community, disabled sexuality, childhood sexual abuse, coalition politics, and his own gender transition is a call for social justice movements that are truly accessible for everyone.Blending prose and theory, personal experience and political debate, anger and compassion, Exile & Pride provides a window into a world where our whole selves in all their complexity can be loved and accepted.An award-winning poet and essayist, Eli Clare is also the author of The Marrow’s Telling.

    José Esteban Muñoz looks at how those outside the racial and sexual mainstream negotiate majority culture—not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Muñoz calls this process “disidentification,” and through a study of its workings, he develops a new perspective on minority performance, survival, and activism.Disidentifications is also something of a performance in its own right, an attempt to fashion a queer world by working on, with, and against dominant ideology. By examining the process of identification in the work of filmmakers, performance artists, ethnographers, Cuban choteo, forms of gay male mass culture (such as pornography), museums, art photography, camp and drag, and television, Muñoz persistently points to the intersecting and short-circuiting of identities and desires that result from misalignments with the cultural and ideological mainstream in contemporary urban America.Muñoz calls attention to the world-making properties found in performances by queers of color—in Carmelita Tropicana’s “Camp/Choteo” style politics, Marga Gomez’s performances of queer childhood, Vaginal Creme Davis’s “Terrorist Drag,” Isaac Julien’s critical melancholia, Jean-Michel Basquiat’s disidentification with Andy Warhol and pop art, Felix Gonzalez-Torres’s performances of “disidentity,” and the political performance of Pedro Zamora, a person with AIDS, within the otherwise artificial environment of the MTV serial The Real World.

    On the heels of last year's mesmerising film adaptation of 'Brokeback Mountain' comes this beautiful, single volume collection of Annie Proulx's celebrated Wyoming stories. Inventive, compassionate and wildly funny, they explore the unbreakable bond between a people and their land in rich and robust language, with an eye for detail unparalleled in American fiction. In 'The Contest', the men of Elk Tooth, Wyoming, vow to put aside their razors for two seasons and wait to see who has the longest beard come the 4th of July. Deb Sipple, the moving protagonist of 'That Trickle Down Effect', finds that his opportunism - and his smoking habit - lead to massive destruction. And 'What Kind of Furniture Would Jesus Pick?' is the story of Gilbert Wolfscale, whose rabid devotion to his ranch drives away his wife and sons. Every story of this stunning collection is a tribute to Proulx's wit, her knowledge of the West, and her profound sympathy for characters who must use sheer will and courage to make it in such unforgiving territory.

    Hothead Paisan, the over-caffeinated, media-crazed psychotic lesbian "with scary hair and a fetish for guns, grenades, mallets, and sharp objects, " returns for more search-and-destroy missions and preventative homicides A cult favorite, The Complete Collection combines Hothead Paisan and Revenge of Hothead Paisan with new strips in a single volume for the first time.

    A self-confessed "chubby smart bookish sissy with glasses and a Southern accent," Doty grew up on the move, the family following his father's engineering work across America-from Tennessee to Arizona, Florida to California. A lyrical, heartbreaking comedy of one family's dissolution through the corrosive powers of alcohol, sorrow, and thwarted desire, Firebird is also a wry evocation of childhood's pleasures and terrors, a comic tour of American suburban life, and a testament to the transformative power of art.

    Lillian Faderman persuasively argues that their lesbianism may in fact have facilitated their accomplishments. A book of impeccable research and compelling readability, TO BELIEVE IN WOMEN will be a source of enlightenment for all, and for many a singular source of pride.

    His subsequent works, from Nights in Aruba and The Beauty of Men to the essays in Ground Zero, established Holleran as the preeminent voice in the contemporary gay literary canon. His fiction has earned comparisons to that of Guy de Maupassant, Somerset Maugham, and E Scott Fitzgerald, and now Holleran returns with a collection of sixteen powerful short stories. Exploring the lives and times of those who have lived past the exuberance of youth, these tales make for a moving journey across landscapes of regret and loss, shame and pride, loneliness and love. With a surprising yet sensitive comic touch, Andrew Holleran has written his most mature work to date -- a poignant, polished collection.

    Reaching beyond both medieval and queer studies, Dinshaw demonstrates in this challenging work how intellectual inquiry into pre-modern societies can contribute invaluably to current issues in cultural studies. In the process, she makes important connections between past and present cultures that until now have not been realized. In her pursuit of historical analyses that embrace the heterogeneity and indeterminacy of sex and sexuality, Dinshaw examines canonical Middle English texts such as the Canterbury Tales and The Book of Margery Kempe. She examines polemics around the religious dissidents known as the Lollards as well as accounts of prostitutes in London to address questions of how particular sexual practices and identifications were normalized while others were proscribed. By exploring contemporary (mis)appropriations of medieval tropes in texts ranging from Quentin Tarantino’s Pulp Fiction to recent Congressional debates on U.S. cultural production, Dinshaw demonstrates how such modern media can serve to reinforce constrictive heteronormative values and deny the multifarious nature of history. Finally, she works with and against the theories of Michel Foucault, Homi K. Bhabha, Roland Barthes, and John Boswell to show how deconstructionist impulses as well as historical perspectives can further an understanding of community in both pre- and postmodern societies. This long-anticipated volume will be indispensible to medieval and queer scholars and will be welcomed by a larger cultural studies audience.

    "Like Tosca, Charles Henri Ford has lived for art and love...a masterpiece"---Edmund White

    Holy the sea, the palpitating membrane divided into dazzling fields and whaledark by the sun. Holy the dark, pierced by late revelers and dawnbirds, the garbage truck suspended in shy light, the oystershell and crushed clam of the driveway, the dahlia pressed like lotus on its open palm. Holy the handmade and created side by side, the sapphire of their marriage, green flies and shit in condums in the crabshell rinsed by the buzzing tide. Holy the light-- the poison ivy livid in its glare, the gypsy moths festooning the pine barrens, the mating monarch butterflies between the chic boutiques. The mermaids handprint on the artificial reef. Holy the we, cast in the mermaid's image, smooth crotch of mystery and scale, inscrutable until divulged by god and sex into its gender, every touch a secret intercourse with angels as we walk proffered and taken. Their great wings batter the air, our retinas bloom silver spots like beacons. Better than silicone or graphite flesh absorbs the shock of the divine crash-landing. I roll my eyes back, skylights brushed by plumage of detail, the unrehearsed and minuscule, the anecdotal midnight themes of the carbon sea where we are joined: zinnia, tomato, garlic wreaths crowning the compost heap.ElegySomebody left the world last night, I felt it so, last minute, last half-breath before the storm that hit all night last night drew back. Midmorning windows streaked with mud like sides of ears. How longthe journey? Sails, the windowpanes the black thick tarp that kept the woodpile. Dry Southern wind, in minutes clothes bone-hard, clamped to the line. Clouds heaving in. The sky, the sky, who did arriveto kiss the eye behind the windswept sheet? Who was it, solo no longer, shy and desirous to be clean? What song arose, what crust between the lids spat and forgot? I woke, my fingers in my eyes