written for the indigenous and/or person of colour trying to understand how their gender is/has been impacted by whiteness and colonialism.

    Ring of Fire is honest, engaging, and ahead of its time.Through black and white ink drawings, comics, linoleum block print portraits, essays, interviews and erotica, this collection explores the intersections of art, bodies, healthcare, ability, gender, race, community, class, healing and the politics of work.Alternately emotional and erotic, funny and political, Ring of Fire tells the author's personal story, and captures the work and words of various artists and leaders from disability culture and history. A young activist steeped in the cultures of queer and punk, Russian embraced a cultural identity of disability while writing Ring of Fire. Years later, Russian examines what it means to work in healthcare in the United States.

    Early in his career, he made deceptively simple sculptures of everyday objects--beginning with sinks and moving on to domestic furniture such as playpens, beds and doors. In the 1990s, his practice evolved from single works to theatrical room-sized environments. In all of his work, Gober's formal intelligence is never separate from a penetrating reading of the socio-political context of his time. His objects and installations are among the most psychologically charged artworks of the late twentieth century, reflecting the artist's sustained concerns with issues of social justice, freedom and tolerance. Published in conjunction with the first large-scale survey of the artist's career to take place in the United States, this publication presents his works in all media, including individual sculptures and immersive sculptural environments, as well as a distinctive selection of drawings, prints and photographs. Prepared in close collaboration with the artist, it traces the development of a remarkable body of work, highlighting themes and motifs that emerged in the early 1980s and continue to inform Gober's work today. An essay by Hilton Als is complemented by an in-depth chronology featuring a rich selection of images from the artist's archives, including never-before-published photographs of works in progress.Robert Gober was born in 1954 in Wallingford, Connecticut. He has had numerous one-person exhibitions, most notably at the Dia Center for the Arts, New York; The Museum of Contemporary Art, Los Angeles; and Schaulager, Basel. In 2001, he represented the United States at the 49th Venice Biennale. Gober's curatorial projects have been shown at The Institute of Contemporary Art, Boston; The Menil Collection, Houston; Hammer Museum, Los Angeles; and the Whitney Museum of American Art, New York. He lives and works in New York.

    Vincent Woodard takes the enslaved person’s claims of human consumption seriously, focusing on both the literal starvation of the slave and the tropes of cannibalism on the part of the slaveholder, and further draws attention to the ways in which Blacks experienced their consumption as a fundamentally homoerotic occurrence. The Delectable Negro explores these connections between homoeroticism, cannibalism, and cultures of consumption in the context of American literature and US slave culture.Utilizing many staples of African American literature and culture, such as the slave narratives of Olaudah Equiano, Harriet Jacobs, and Frederick Douglass, as well as other less circulated materials like James L. Smith’s slave narrative, runaway slave advertisements, and numerous articles from Black newspapers published in the nineteenth century, Woodard traces the racial assumptions, political aspirations, gender codes, and philosophical frameworks that dictated both European and white American arousal towards Black males and hunger for Black male flesh. Woodard uses these texts to unpack how slaves struggled not only against social consumption, but also against endemic mechanisms of starvation and hunger designed to break them. He concludes with an examination of the controversial chain gang oral sex scene in Toni Morrison’s Beloved, suggesting that even at the end of the twentieth and beginning of the twenty-first century, we are still at a loss for language with which to describe Black male hunger within a plantation culture of consumption.

    history and contextualization for the modern world. This is the first book designed for university and high school teachers who want to integrate queer history into the standard curriculum. With its inspiring stories, classroom-tested advice, and rich information, it is a valuable resource for anyone who thinks history should be an all-inclusive story.Understanding and Teaching U.S. Lesbian, Gay, Bisexual, and Transgender History offers a wealth of insight for teachers. Introductory essays by Leila J. Rupp and Susan K. Freeman make clear why queer history is important and provide global historical context, showing that same-sex sexual desire and gender change are not new, modern phenomena. Teachers in diverse educational settings provide narratives of their experiences teaching queer history. A topical section offers 17 essays on such themes as sexual diversity in early America, industrial capitalism and emergent sexual cultures, and gay men and lesbians in World War II. Contributors include detailed suggestions for integrating these topics into a standard U.S. history curriculum, including creative and effective assignments. A final section addresses sources and interpretive strategies well-suited to the history classroom.Taken as a whole, Understanding and Teaching U.S. Lesbian, Gay, Bisexual, and Transgender History will help teachers at all levels navigate through cultural touchstones and political debates and provide a fuller knowledge of significant events in history.

    And this story stands to shatter our preconceptions of Orientalism.To illuminate why and how the Islamicate world became the locus for such fantasies and desires, Boone deploys a supple mode of analysis that reveals how the cultural exchanges between Middle East and West have always been reciprocal and often mutual, amatory as well as bellicose. Whether examining European accounts of Istanbul and Egypt as hotbeds of forbidden desire, juxtaposing Ottoman homoerotic genres and their European imitators, or unlocking the homoerotic encoding in Persian miniatures and Orientalist paintings, this remarkable study models an ethics of crosscultural reading that exposes, with nuance and economy, the crucial role played by the homoerotics of Orientalism in shaping the world as we know it today.A contribution to studies in visual culture as well as literary and social history, The Homoerotics of Orientalism draws on primary sources ranging from untranslated Middle Eastern manuscripts and European belles-lettres to miniature paintings and photographic erotica that are presented here for the first time.

    Despite some important advances in recognizing and protecting the rights of its transgender community, including legislation against hate crimes targeting transgender people, discrimination still persists, and the majority of the often appallingly violent attacks against the LGBT community are against transgender women.In the highly personal profiles that make up Bordered Livese, including the first transgender couple to be married in Mexico and one of the country's most high-profile transgender entertainers, Arnal looks at seven individuals in and around Mexico City. He shows them going about their day-to-day lives: getting ready in the morning, interacting with family and friends, and devoting their lives to helping others in the transgender community.Moving in its honesty, Coraje challenges society’s preconceived notions of sexuality, gender, and beauty not only in Mexico but across the globe.

    A collection of short fiction, poetry, creative nonfiction, personal narratives, critical essays and visual art produced by 61 cisgender and transgender bisexual, pansexual, polysexual and fluid men from the United States, Canada, Chile, India, Spain, Sweden and the United Kingdom.This compelling anthology—which also includes a resource section—is a significant contribution to literature available about and by bisexual men and expands our understanding of how bisexuality is lived by men across race, class, gender, age and nationality.

    Considering the ways in which bodily movement is assigned cultural meaning, Juana María Rodríguez takes the stereotypes of the hyperbolically gestural queer Latina femme body as a starting point from which to discuss how gestures and forms of embodiment inform sexual pleasures and practices in the social realm.Centered on the sexuality of racialized queer female subjects, the book’s varied archive—which includes burlesque border crossings, daddy play, pornography, sodomy laws, and sovereignty claims—seeks to bring to the fore alternative sexual practices and machinations that exist outside the sightlines of mainstream cosmopolitan gay male culture. Situating articulations of sexual subjectivity between the interpretive poles of law and performance, Rodríguez argues that forms of agency continually mediate among these various structures of legibility—the rigid confines of the law and the imaginative possibilities of the performative. She reads the strategies of Puerto Rican activists working toward self-determination alongside sexual performances on stage, in commercial pornography, in multi-media installations, on the dance floor, and in the bedroom. Rodríguez examines not only how projections of racialized sex erupt onto various discursive mediums but also how the confluence of racial and gendered anxieties seeps into the gestures and utterances of sexual acts, kinship structures, and activist practices.Ultimately, Sexual Futures, Queer Gestures, and Other Latina Longings reveals—in lyrical style and explicit detail—­how sex has been deployed in contemporary queer communities in order to radically reconceptualize sexual politics.

    Ignatz nominated creator.Bird Girl and Fox Girl is the third book in the Sparkplug Minis Series, a series of short-run (500 copies) mini comics by new and/or underappreciated artists.

    and Sybil Lewis Prize “Outstanding. One of the best examinations of the dissonance between official sexual ideologies and actual social and cultural practices I have had the pleasure of reading.”—David William Foster, author of São Paulo: Perspectives on the City and Cultural Production“A thoughtful exploration of how Caribbean women and sexual minorities are at the center of a sexual revolution that refuses containment within Euro-American concepts of identity and sexuality. This is an unprecedented sexual revolution, led by sexual minorities, transforming the region and giving new meanings to what inclusion and liberation look like.”—Amalia L. Cabezas, author of Economies of Desire: Sex Tourism in Cuba and the Dominican RepublicIn Island Bodies, Rosamond King examines sexualities, violence, and repression in the Caribbean experience. Analyzing the sexual norms and expectations portrayed in Caribbean and diaspora literature, music, film, and popular culture, King skillfully demonstrates how many individuals contest traditional roles by maneuvering within and/or trying to change their society’s binary gender systems. These transgressions have come to better represent Caribbean culture than the “official” representations perpetuated by governmental elites and often codified into laws that reinforce patriarchal, heterosexual stereotypes.            Unique in its breadth as well as its multilingual and multidisciplinary approach, Island Bodies addresses homosexuality, interracial relations, transgender people, and women’s sexual agency in Dutch, Francophone, Anglophone, and Hispanophone works of Caribbean literature. Additionally, King explores the paradoxical nature of sexuality across the region: discussing sexuality in public is often considered taboo, yet the tourism economy trades on portraying Caribbean residents as hypersexualized. Ultimately King reveals that despite the varied national specificity, differing colonial legacies, and linguistic diversity across the islands, there are striking similarities in the ways Caribglobal cultures attempt to restrict sexuality and in the ways individuals explore and transgress those boundaries.

    They are ubiquitous visual objects on display at which we are incessantly invited to look. Investigating our cultural obsession with both everyday and high-profile celebrity girls, Sarah Projanskyuses a queer, anti-racist feminist approach to explore the diversity of girlhoods in contemporary popular culture.The book addresses two key themes: simultaneous adoration and disdain for girls and the pervasiveness of whiteness and heteronormativity. While acknowledging this context, Projansky pushes past the dichotomy of the "can-do" girl who has the world at her feet and the troubled girl who needs protection and regulation to focus on the variety of alternative figures who appear in media culture, including queer girls, girls of color, feminist girls, active girls, and sexual girls, all of whom are present if we choose to look for them. Drawing on examples across film, television, mass-market magazines and newspapers, live sports TV, and the Internet, Projansky combines empirical analysis with careful, creative, feminist analysis intent on centering alternative girls. She undermines the pervasive "moral panic" argument that blames media itself for putting girls at risk by engaging multiple methodologies, including, for example, an ethnographic study of young girls who themselves critique media. Arguing that feminist media studies needs to understand the spectacularization of girlhood more fully, she places active, alternative girlhoods right in the heart of popular media culture. Sarah Projansky is Professor of Film and Media Arts and of Gender Studies at the University of Utah. She is author of Watching Rape: Film and Television in Postfeminist Culture (also available from New York University Press) and co-editor of Enterprise Zones: Critical Positions on Star Trek.

    "I'm thinking of what any of us / can tolerate," the poets write in "Fall, Then Falling." I feel as if I need a shower after reading Crush; I can think of no higher praise. Randall Mann, author of Breakfast With Thom Gunn and Straight Razor The louche candor of Crush, like Calamus before it, makes a ravishing case for poetry as queer theory. Smitingly smart, smartingly sexy, frank as nerve endings, and swoony as the first warm nights of Spring: these poems are as vividly compelling an account of erotic multiplicity as any I know. Michael Snediker, author of The Apartment of Tragic Appliances In Crush, a stunning collection of erotic poems and queer meditations delineating Stockton' and Gilson's mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write, In Aranye Fradenburg's words, Shakespeare's sonnets describe "the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you." Let's start here, for much of this description applies to Petrarchan conventions as well. Let's start here, with this affective entrance into the poems and the impossibility of dispossessing the other's voice in the manufacture of one's own machine. Let's start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self. Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O'Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, Jose Esteban Munoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections - other, more improbable modes of being, as Foucault might have said.

    Feder seeks to clarify how we should understand "the problem" of intersex. Adults often report that medical interventions they underwent as children to "correct" atypical sex anatomies caused them physical and psychological harm. Proposing a philosophical framework for the treatment of children with intersex conditions--one that acknowledges the intertwined identities of parents, children, and their doctors--Feder presents a persuasive moral argument for collective responsibility to these children and their families.

    Fiction. Literary Nonfiction. LGBT Studies. ASSARACUS: A JOURNAL OF GAY POETRY presents JOY EXHAUSTIBLE, a look at the work, through poetry, prose, and memoir, of both contemporary and history-making gay publishers and editors. JOY EXHAUSTIBLE features work by James Mitchell, John Lauritsen, Donald Weise, William Johnson, Michael Hathaway, Felice Picano, Steve Berman, Ian Young, Charlie Bondhus, Ron Mohring, Kirby Congdon, Charles Flowers, Perry Brass, John Stahle, Jameson Currier, Lawrence Schimel, and a cover poem by Paul Mariah. It is edited by Bryan Borland and Seth Pennington, publishers of Sibling Rivalry Press, who also contribute their first collaborative poem. This anthology, which doubles as issue 14 of the journal, tells the story of the small gay press in North America and the publishers behind the scenes whose love of writing changed the geography of gay literature.

    In particular, Queer Nostalgia engages in a critical discussion of nostalgia-in-motion, the significance of 'femininostlagia' (gay men's effeminate nostalgia), the intricate relationship between queer nostalgia, martyrdom and emergent queer mythology, the contribution of nostalgia to 'autoqueerography' (queer autobiography inspired by women's dissident autobiography or 'autogynography'), and the interrelationship between ethnic and queer nostalgias.

    and internationally—such as Kazuo Ishiguro’s science fiction novel Never Let Me Go or Ruth Ozeki’s My Year of Meats and exhibits like that of Body Worlds in which many of the bodies on display originated from Chinese prisons—Rachel C. Lee teases out the preoccupation with human fragments and posthuman ecologies in the context of Asian American cultural production and theory. She unpacks how the designation of “Asian American” itself is a mental construct that is paradoxically linked to the biological body.Through chapters that each use a body part as springboard forreading Asian American texts, Lee inaugurates a new avenue of research on biosociality and biopolitics within Asian American criticism, focused on the literary and cultural understandings of pastoral governmentality, the divergent scales of embodiment, and the queer (cross)species being of racial subjects. She establishes an intellectual alliance and methodological synergy between Asian American studies and Science and Technology Studies (STS), biocultures, medical humanities, and femiqueer approaches to family formation, carework, affect, and ethics. In pursuing an Asian Americanist critique concerned with speculative and real changes to human biologies, she both produces innovation within the field and demonstrates the urgency of that critique to other disciplines.

    Combining literary analysis, legal history, and visual culture, Ellen Samuels traces the evolution of the “fantasy of identification”—the powerful belief that embodied social identities are fixed, verifiable, and visible through modern science. From birthmarks and fingerprints to blood quantum and DNA, she examines how this fantasy has circulated between cultural representations, law, science, and policy to become one of the most powerfully institutionalized ideologies of modern society. Yet, as Samuels demonstrates, in every case, the fantasy distorts its claimed scientific basis, substituting subjective language for claimed objective fact. From its early emergence in discourses about disability fakery and fugitive slaves in the nineteenth century to its most recent manifestation in the question of sex testing at the 2012 Olympic Games, Fantasies of Identification explores the roots of modern understandings of bodily identity.