It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist.Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future.In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

    The introduction to the book is a 30-page analysis of the general themes presented in the stories.

    But by the early 1990s, the organization they founded, ACT UP, was no more; even as the AIDS epidemic raged on. Weaving together interviews with activists, extensive research, and reflections on the author's time as a member of the organization, Moving Politics is the first book to chronicle the rise and fall of ACT UP, highlighting a key factor in its trajectory: emotion.Surprisingly overlooked by many scholars of social movements, emotion, Gould argues, plays a fundamental role in political activism. From anger to hope, pride to shame, and solidarity to despair, feelings played a significant part in ACT UP's provocative style of protest, which included raucous demonstrations, die-ins, and other kinds of street theater. Detailing the movement's public triumphs and private setbacks, Moving Politics is the definitive account of ACT UP’s origin, development, and decline as well as a searching look at the role of emotion in contentious politics.

    She takes the book’s title from Dionne Brand’s novel In Another Place, Not Here, where eroticism between women is likened to the sweet and subversive act of cane cutters stealing sugar. The natural world is repeatedly reclaimed and reinterpreted to express love between women in the poetry and prose that Tinsley analyzes. She not only recuperates stories of Caribbean women loving women, stories that have been ignored or passed over by postcolonial and queer scholarship until now, she also shows how those erotic relations and their literary evocations form a poetics and politics of decolonization. Tinsley’s interpretations of twentieth-century literature by Dutch-, English-, and French-speaking women from the Caribbean take into account colonialism, migration, labor history, violence, and revolutionary politics. Throughout Thiefing Sugar, Tinsley connects her readings to contemporary matters such as neoimperialism and international LGBT and human-rights discourses. She explains too how the texts that she examines intervene in black feminist, queer, and postcolonial studies, particularly when she highlights the cultural limitations of the metaphors that dominate queer theory in North America and Europe, including those of the closet and “coming out.”

    Here, under the author’s careful control and easygoing charisma, everything seems up for grabs, and almost anything seems possible.”—Time Out New York Impossible Princess is the third collection of gay short fiction by PEN Award–winning San Francisco–based author Kevin Killian. A member of the “new narrative” circle including Dennis Cooper and Kathy Acker, Killian is a master short story writer, crafting campy and edgy tales that explore the humor and darkness of desire. A former director of Small Press Traffic and a co-editor of Mirage/Periodical, Killian co-wrote Jack Spicer’s biography, Poet Be Like God, and co-edited three Spicer books, including My Vocabulary Did This To Me: Collected Poems. His latest book, Action Kylie, is a collection of poems devoted to Kylie Minogue.

    Building on a legacy of savage hate crimes—such as the killings of Matthew Shepard and James Byrd—McWhorter shows that racism, sexual oppression, and discrimination against the disabled, the feeble, and the poor are all aspects of the same societal distemper, and that when the civil rights of one group are challenged, so are the rights of all.

    The zine is meant to be a resource for those who are living with illness as well as those who have not directly experienced it themselves. Contributors discuss personal experiences as well as topics such as receiving support, providing support, and being an informed patient. These writings are meant to increase understandings of illness and further discussion as well as action towards building communities of care.

    Alongside the party outfits, drugs, lights, and DJs is a volunteer care team trained to deal with the drug-related emergencies that occasionally occur. But when police appear at the gates with drug-detecting dogs, mild panic ensues. Some patrons down all their drugs, heightening their risk of overdose. Others try their luck at the gates. After twenty-six attendees are arrested with small quantities of illicit substances, the party is shut down and the remaining partygoers disperse into the city streets. For Kane Race, the Azure Party drug search is emblematic of a broader technology of power that converges on embodiment, consumption, and pleasure in the name of health. In Pleasure Consuming Medicine, he illuminates the symbolic role that the illicit drug user fulfills for the neoliberal state. As he demonstrates, the state’s performance of moral sovereignty around substances designated “illicit” bears little relation to the actual dangers of drug consumption; in fact, it exacerbates those dangers. Race does not suggest that drug use is risk-free, good, or bad, but rather that the regulation of drugs has become a site where ideological lessons about the propriety of consumption are propounded. He argues that official discourses about drug use conjure a space where the neoliberal state can be seen to be policing the “excesses” of the amoral market. He explores this normative investment in drug regimes and some “counterpublic health” measures that have emerged in response. These measures, which Race finds in certain pragmatic gay men’s health and HIV prevention practices, are not cloaked in moralistic language, and they do not cast health as antithetical to pleasure.

    By examining the ethics of medical treatment and the repercussions of intersex surgery, “Intersex and After” demonstrates how biology, activism, law, morality, and ethics have a shared interest in the relationship between intersexuality and the meaning of sex, gender, and sexuality.In one essay, two prominent intersex activists reflect on their often controversial work on behalf of the Intersex Society of North America to achieve change in medical policy over the last ten years. Other essays explore the impact of the categorization of intersexuality as a “disorder of sex development” and of the treatment guidelines published in 2006 by the Consortium on the Management of Disorders of Sex Development. An essay by the issue’s guest editor takes a comprehensive look at the relationship between intersexuality and the study of gender and sexuality. The issue also includes a portfolio of photographs as well as a roundtable discussion that brings together intersex experts from medicine, law, psychology, and the humanities.Contributors. Sarah M. Creighton, Alice D. Dreger, Ellen K. Feder, Julie A. Greenberg, April Herndon, Iain Morland, Katrina Roen, Vernon A. Rosario, Nikki Sullivan, Del LaGrace Volcano

    He explains how queer films and videos made in response to the AIDS epidemics in North America, Europe, Australia, and South Africa challenge longstanding assumptions about both historical trauma and the politics of gay visibility. Drawing on a wide range of works, including activist tapes, found footage films, autobiographical videos, documentary portraits, museum installations, and even film musicals, Hallas reveals how such “queer AIDS media” simultaneously express both immediacy and historical consciousness. Queer AIDS media are neither mere ideological critiques of the dominant media representation of homosexuality and AIDS nor corrective attempts to produce “positive images” of people living with HIV/AIDS. Rather, they perform complex, mediated acts of bearing witness to the individual and collective trauma of AIDS.Challenging the entrenched media politics of who gets to speak, how, and to whom, Hallas offers a bold reconsideration of the intersubjective relations that connect filmmakers, subjects, and viewers. He explains how queer testimony reframes AIDS witnesses and their speech through its striking combination of direct address and aesthetic experimentation. In addition, Hallas engages recent historical changes and media transformations that have not only displaced queer AIDS media from activism to the archive, but also created new witnessing dynamics through the logics of the database and the remix. Reframing Bodies provides new insight into the work of Gregg Bordowitz, John Greyson, Derek Jarman, Matthias Müller, and Marlon Riggs, and offers critical consideration of important but often overlooked filmmakers, including Jim Hubbard, Jack Lewis, and Stuart Marshall.

    Identity/Difference Politics offers a nuanced critique of these debates by switching the focus from culture to power. Issues of power are examined through accounts of meaning-making - those processes through which meanings of difference are produced, organized, and regulated. Other forms of identity/difference such as whiteness, ableism, gender, and heteronormativity establish the analytic and normative value of Dhamoon's alternative theoretical framework, and reveal that an exclusive preoccupation with culture can dissolve into essentialism - which too often provides a rationale for state regulation of groups deemed to be too different.

    Celebrating the growing femme presence, here you will meet members Atlanta’s Femme Mafia, San Francisco’s Harlem Shake Burlesque, and Paris’ Fem Menace. Femmes of Power features both everyday heroines and many queer feminist icons, including Michelle Tea, Virginie Despentes, Amber Hollibaugh, Marla Stewart, Lydia Lunch, Kate Bornstein, and Lois Weaver. The first book of its kind, Femmes of Power unsettles the objectifying male gaze on femininity and presents femmes as speaking subjects and high-heeled theorists. Look closerâ��these powerful, sexy, and sincerely ironic feminine figures are larger than life, bravely challenging femininity’s negative connotations and replacing femme invisibility with a fresh new face for femme-inism. Del LaGrace Volcano is one of the world’s leading queer cultural producers, cited and reproduced in numerous publications, journals, and books on visual art, including The Drag King Book. Ulrika Dahl is a writer, activist, and cultural anthropologist who has been a femme voice in the Scandinavian feminist and queer debate since 2002. She teaches gender studies at Södertörn University College in Stockholm.

    Delany (b. 1942) is also one of the most acclaimed figures in contemporary literary theory and gay/lesbian literature. As a gay African American writer, Delany's cerebral, experimental prose crosses lines of genre, gender, sexuality, and class. Several of his works--Dhalgren, The Einstein Intersection, Babel-17, Stars in My Pocket like Grains of Sand, and the Neveryon quartet are considered landmarks of -new wave- science fiction. His essays and critical works approach a wide variety of subjects from a perspective that is both resolutely philosophical and deeply provocative. Conversations with Samuel R. Delany collects interviews with the writer from 1980 to 2007. Delany considers the interview an especially fruitful form for the generation of ideas, and he has made it an integral part of his own work. In fact, two of his critical works are collections of interviews and correspondence. He insists that all interviews with him be written correspondence so that he is allowed the time and space to deliberate on each response. As a result, the conversations presented here are as rigorously constructed, elusive, and intellectually stimulating as his essays.

    Anachronism and Its Others traces contemporary analogies between homosexuality and blackness to their nineteenth-century origins--particularly the notions of "primitivism" associated with people of color as promoted by scientific racism, and the characterization of homosexuality as "arrested development," according to sexologists. Valerie Rohy explores the linked tropes of backwardness and regression associated with race and sexuality in U.S. culture and included in literary works by Edgar Allen Poe, Frederick Douglass, Pauline Hopkins, Willa Cather, and Ernest Hemingway, as well as interdisciplinary cultural contexts such as the history of science, psychoanalytic theory, popular journalism, and political rhetoric. Linking together two major directions in current queer scholarship--the relationship between race and sexuality and queer temporality--Rohy offers a critical genealogy that illuminates the ways in which race and sexuality are connected by concepts of time and untimeliness.

    After he graduated from high school and enrolled at Gallaudet University, the world’s only university for Deaf people, he discovered gay literature and came out soon after. He eventually got involved with Deaf theater collaborators, educators, and sign language interpreters, from which his worldview is substantially reshaped on issues of identity, literacy, technology, and family.Assembly Required offers a rare in-depth glimpse into what it means to be a Deaf gay man who lives between the Deaf and hearing worlds.

    Highlighting cultural and political resistance within Puerto Rico’s gay, lesbian, bisexual, and transgender subcultures, La Fountain-Stokes pays close attention to differences of gender, historical moment, and generation, arguing that Puerto Rican queer identity changes over time and is experienced in very different ways. He traces an arc from 1960s Puerto Rico and the writings of Luis Rafael Sánchez to New York City in the 1970s and 1980s (Manuel Ramos Otero), Philadelphia and New Jersey in the 1980s and 1990s (Luz María Umpierre and Frances Negrón-Muntaner), and Chicago (Rose Troche) and San Francisco (Erika López) in the 1990s, culminating with a discussion of Arthur Avilés and Elizabeth Marrero’s recent dance-theater work in the Bronx. Proposing a radical new conceptualization of Puerto Rican migration, this work reveals how sexuality has shaped and defined the Puerto Rican experience in the United States.

    The contributors are united in their commitment to the idea of narrative as central to the study of sexual identity, offering an analytic approach to social science inquiry on sexual identity that restores the voices of sexual subjects. The result is a rich examination of lives in context, with an eye toward multiplicity and meaning across the life course. Central to the chapters in this volume is the significance of history, generation, and narrative in the provision of a workable and meaningful configuration of identity.