However, I love a man and many say this makes me an evil person.' On 24 March 1962, when Emile Griffith stepped into the ring in Madison Square Garden to defend his world title against Benny Paret, he was filled with rage. During their weigh-in, the Cuban challenger had denounced Griffith as a 'faggot' and minced towards him. In the macho world of boxing, where fighters know they are engaged in the hurt game, there could be no greater insult. At that time, it was illegal for people of the same gender to have sex, or even for a bar to knowingly serve a drink to a gay person. It was an insinuation that could have had dangerous consequences for Griffith - especially as it was true. In the fight that followed, Griffith pounded Paret into unconsciousness, and the Cuban would die soon after, leaving Griffith haunted by what he had done. Despite this, he went on to fight more world championship rounds than any other fighter in history in a career that lasted for almost 20 years. In Donald McRae's first sports book in more than a decade, he weaves a compelling tale of triumph over prejudice - Griffith was black, so doubly damned by contemporary society, but refused to cower away as society wished. A Man's World, longlisted for the William Hill Sports Book of the Year, is sure to become a classic piece of sports writing.

    ¡Cuéntamelo! began as a cover story for SF Weekly, and, eventually in 2014 with local grant support, Juliana Delgado Lopera was able to publish a limited first edition of 300. Aunt Lute is pleased to bring this title back into circulation. In addition to beautiful black and white drawings of the contributors by artist Laura Cerón Melo, this edition features a number of candid earlier photographs of several of the contributors, as well as a new introduction from Juliana. ¡Cuéntamelo! is “[a] stunning collection of bilingual oral histories and illustrations by LGBT Latinx immigrants who arrived in the U.S. during the 80s and 90s. Stories of repression in underground Havana in the 60s; coming out trans in Catholic Puerto Rico in the 80s; Scarface, female impersonators, Miami and the 'boat people'; San Francisco’s underground Latinx scene during the 90s and more.”¡Cuéntamelo! is bilingual. All stories in this book have both an English and Spanish version.

    After a long, intense conversation, Williams sent Grissom on a journey on the playwright’s behalf to find out if he, Tennessee Williams, or his work, had mattered to those who had so deeply mattered to him, those who had led him to what he called the blank page, “the pale judgment.” Among the more than seventy giants of American theater and film Grissom sought out, chief among them the women who came to Williams out of the fog: Lillian Gish, tiny and alabaster white, with enormous, lovely, empty eyes (“When I first imagined a woman at the center of my fantasia, I . . . saw the pure and buoyant face of Lillian Gish. . . . [She] was the escort who brought me to Blanche”) . . . Maureen Stapleton, his Serafina of The Rose Tattoo, a shy, fat little girl from Troy, New York, who grew up with abandoned women and sad hopes and whose job it was to cheer everyone up, goad them into going to the movies, urge them to bake a cake and have a party.  (“Tennessee and I truly loved each other,” said Stapleton, “we were bound by our love of the theater and movies and movie stars and comedy. And we were bound to each other particularly by our mothers: the way they raised us; the things they could never say . . . The dreaming nature, most of all”) . . . Jessica Tandy (“The moment I read [Portrait of a Madonna],” said Tandy, “my life began. I was, for the first time . . . unafraid to be ruthless in order to get something I wanted”) . . . Kim Stanley . . . Bette Davis . . . Katharine Hepburn . . . Jo Van Fleet . . . Rosemary Harris . . . Eva Le Gallienne (“She was a stone against which I could rub my talent and feel that it became sharper”) . . . Julie Harris . . . Geraldine Page (“A titanic talent”) . . . And the men who mattered and helped with his creations, including Elia Kazan, José Quintero, Marlon Brando, John Gielgud . . . James Grissom’s Follies of God is a revelation, a book that moves and inspires and uncannily catches that illusive “dreaming nature.”

    It is multisensory and multidimensional philosophy used in conjunction with the erotic, eroticism, and black erotica. It is the affect that shapes film, performance, sound, food, technology, drugs, energy, time, and the seeds of revolutionary ideas for black movements. But funk is also an experience to feel, to hear, to touch and taste, and in Funk the Erotic , L. H. Stallings uses funk in all its iterations as an innovation in black studies. Stallings uses funk to highlight the importance of the erotic and eroticism in Black cultural and political movements, debunking "the truth of sex" and its histories. Brandishing funk as a theoretical tool, Stallings argues that Western theories of the erotic fail as universally applicable terms or philosophies, and thus lack utility in discussions of black bodies, subjects, and culture. In considering the Victorian concept of freak in black funk, Stallings proposes that black artists across all media have fashioned a tradition that embraces the superfreak, sexual guerrilla, sexual magic, mama's porn, black trans narratives, and sex work in a post-human subject position. Their goal: to ensure survival and evolution in a world that exploits black bodies in capitalist endeavors, imperialism, and colonization. Revitalizing and wide-ranging, Funk the Erotic offers a needed examination of black sexual cultures, a discursive evolution of black ideas about eroticism, a critique of work society, a reexamination of love, and an articulation of the body in black movements.

    It takes a conceptual approach by covering the wide range of scholarship being done on masculinities beyond the model of hegemonic masculinity. C.J. Pascoe and Tristan Bridges extend the boundaries of the field and provide a new framework for understanding masculinities studies. Rather than taking a topics-based approach to masculinity, Exploring Masculinities offers an innovative conceptual approach that enables students to study a given phenomenon from a variety of perspectives. It divides up the field in ways that provide accessible introductions to complex debates and key intra- and interdisciplinary distinctions. The book provides a portable set of conceptual tools on which scholars and students can rely to analyze masculinities in different contexts, time periods, and embodiments.

    This is how I learn about love: in the violence of the senses. In the inside. In the outside coming in.This is an astonishing new work from a writer who is concerned not only with the question of how we survive after trauma, but how we thrive ... Quinn weaves together philosophy, autobiography, poetry, and queer theory to achieve a narrative that is as compelling as it is thought provoking, in a voice that is raw, poetic, and unafraid.— Dr Kylie Mirmohamadi

    What Woubshet dubs a "poetics of compounding loss" expresses what it was like for queer mourners to grapple with the death of lovers and friends in rapid succession while also coming to terms with the fact of their own imminent mortality. The time, consolation, and closure that allow the bereaved to get through loss were for the mourners in this book painfully thwarted, since with each passing friend, and with mounting numbers of the dead, they were provided with yet more evidence of the certain fatality of the virus inside them.Ultimately, the book argues, these disprized mourners turned to their sorrow as a necessary vehicle of survival, placing open grief at the center of art and protest, insisting that lives could be saved through the very speech acts precipitated by death. An innovative and moving study, The Calendar of Loss illuminates how AIDS mourning confounds and traverses how we have come to think about loss and grief, insisting that the bereaved can confront death in the face of shame and stigma in eloquent ways that also imply a fierce political sensibility and a longing for justice.

    Merrill was born to high privilege and high expectations as the son of Charles Merrill, the charismatic cofounder of the brokerage firm Merrill Lynch, and Hellen Ingram, a muse, ally, and antagonist throughout her son’s life. Wounded by his parents’ bitter divorce, he was the child of a broken home, looking for repair in poetry and love. This is the story of a young man escaping, yet also reenacting, the energies and obsessions of those powerful parents. It is the story of a gay man inventing his identity against the grain of American society during the eras of the closet, gay liberation, and AIDS. Above all, it is the story of a brilliantly gifted, fiercely dedicated poet working every day to turn his life into art.   After college at Amherst and a period of adventure in Europe, Merrill returned to the New York art world of the 1950s (he was friendly with W. H. Auden, Maya Deren, Truman Capote, Larry Rivers, Elizabeth Bishop, and other midcentury luminaries) and began publishing poems, plays, and novels. In 1953, he fell in love with an aspiring writer, David Jackson. They explored “boys and bars” as they made their life together in Connecticut and later in Greece and Key West. At the same time, improbably, they carried on a forty-year conversation with spirits of the Other World by means of a Ouija board. The board became a source of poetic inspiration for Merrill, culminating in his prizewinning, uncanny, one-of-a-kind work The Changing Light at Sandover. In his virtuosic poetry and in the candid letters and diaries that enrich every page of this deliciously readable life, Merrill created a prismatic art of multiple perspectives and comic self-knowledge, expressing hope for a world threatened by nuclear war and environmental catastrophe. Holding this life and art together in a complex, evolving whole, Hammer illuminates Merrill's “chronicles of love & loss” and the poignant personal journey they record.

    Writing the Walls Down is a multi-genre gathering of US and international voices in an effort to generate a cross cultural and nuanced dialogue that not only examines the power of walls to divide, but walls as sites of resistance, (re)connection, and community.

    As images of same-sex intimacy have become an ordinary part of the Western mainstream and discourse, Haritaworn shows that politicians and pundits have used that acceptance as a weapon to attack “Muslim homophobia” to promote their Islamophobic agendas. Haritaworn argues that this is simply the newest wrinkle in a long history of the deliberate misuse of colonized and racialized intimacies, and he raises provocative questions about how we should think about identity and how we should enact it in political practice. What, he asks, would it mean to really decolonize gender and sexuality?

    The country’s harsh Islamic code of Lavat is used to execute gay men, and LGBT individuals who avoid execution are often subjected to severe lashings, torture and imprisonment. It was in this unforgiving environment that Arsham Parsi came to terms with his identity as a gay man. When a close friend committed suicide after his family learned he was gay, Arsham felt compelled to act. Risking his life as well as the safety of his family, he used the anonymity of the Internet to speak out about the human rights abuses against LGBT people in his country. In 2005 Parsi learned that an order had been issued for his arrest and execution. He was forced to seek refuge in neighbouring Turkey until, thirteen months later, he was granted asylum in Canada.Exiled for Love follows Parsi’s incredible journey from his first understanding of his sexual orientation to his eventual exile. It explores the reality for LGBT people in Iran through the deeply personal and inspiring story of his life, escape and continuing work.

    The home of the world s first gay rights movement, the republic embodied a progressive, secular vision of sexual liberation. Immortalized however misleadingly in Christopher Isherwood s Berlin Stories and the musical Cabaret, Weimar s freedoms have become a touchstone for the politics of sexual emancipation.Yet, as Laurie Marhoefer shows in Sex and Weimar Republic, those sexual freedoms were only obtained at the expense of a minority who were deemed sexually disordered. In Weimar Germany, the citizen s right to sexual freedom came with a duty to keep sexuality private, non-commercial, and respectable.Sex and the Weimar Republic examines the rise of sexual tolerance through the debates which surrounded immoral sexuality: obscenity, male homosexuality, lesbianism, transgender identity, heterosexual promiscuity, and prostitution. It follows the sexual politics of a swath of Weimar society ranging from sexologist Magnus Hirschfeld to Nazi stormtrooper Ernst Rohm. Tracing the connections between toleration and regulation, Marhoefer s observations remain relevant to the politics of sexuality today."

    Yet the accompanying rise of gay 'normality' has been disconcerting for activists with radical sympathies. Global in scope and drawing on a wide range of feminist, anti-racist and queer scholarship and analysis, Warped: Gay Normality and Queer Anti-Capitalism shows how the successive 'same-sex formations' of the past century and a half, corresponding to different phases of capitalist development, have led both to the emergence of today's 'homonormativity' and 'homonationalism' and to ongoing queer resistance. The book's second half summarises different sexual rebellions and the queer dimension of multifarious movements for social justice and transformation, seeing in them harbingers of a unified and powerful queer anti-capitalism.

    In Love's Refraction, Jillian Deri explores the distinctive question of how and why polyamorists - people who practice consensual non-monogamy - manage jealousy. Her focus is on the polyamorist concept of "compersion" - taking pleasure in a lover's other romantic and sexual encounters.By discussing the experiences of queer, lesbian, and bisexual polyamorous women, Deri highlights the social and structural context that surrounds jealousy. Her analysis, making use of the sociology of emotion and feminist intersectionality theory, shows how polyamory challenges traditional emotional and sexual norms.Clear and concise, Love's Refraction speaks to both the academic and the polyamorous community. Deri lets her interviewees speak for themselves, linking academic theory and personal experiences in a sophisticated, engaging, and accessible way.

    As Jemima Repo argues in this book, gender has come to be the major sexual signifier of the mid-twentieth and early twenty-first century. In fact, in thishistorical excavation of the biopolitical significance of the term, she argues that it could not have emerged at any other time. Repo shows that gender is not originally a feminist term, but emerged from the study of intersex and transsexual persons in the fields of sexology and psychology inthe1950s and 1960s. Prior to the 1950s gender was used to refer to various types of any number of phenomena - sometimes sex, but not necessarily. Its only regular usage was in linguistics, where it was used to classify nouns as masculine, feminine, or neuter. In the mid-twentieth century, gendershifted from being a nominator of types to designating the sexual order of things. As with sexuality in the Victorian period, over the last sixty years, the notion of gender has become an entire field of knowledge. Feminists famously took up the term in the 1970s to challenge biological determinism, and in government, women have been replaced by gender in policy-making processes that aim to advance equality between women and men. Gender has also become a key variable in social scientific surveys of different socio-political phenomena like voting, representation, employment, salaries, andparental leave decisions. The Biopolitics of Gender analyzes the strategies and tactics of power involved in the use of gender in sexology and psychology, and subsequently its reversal and counter-deployment by feminists in the 1970s and 1980s. It critiques the emergence of gender in demographicscience and the implications of this genealogy for feminist theory and politics today. Drawing on a wide variety of historical and contemporary sources, the book makes a major theoretical argument about gender as a historically specific apparatus of biopower and calls into question the emancipatorypotential of the category in feminist theory and politics.

    The book is organized around three interlinked thematic areas, focusing on sexual citizenship, nationalism and international borders (Part 1); sexuality and "race" (Part 2); and sexuality and religion (Part 3). In revisiting notions of sexual citizenship and belonging, contributors engage with topical debates about "sexual nationalism," or the construction of western/European nations as exceptional in terms of attitudes to sexual and gender equality vis-a-vis an uncivilized, racialized "Other."The collection explores macro-level perspectives by attending to the geopolitical and socio-legal structures within which competing claims to citizenship and belonging are played out; at the same time, micro-level perspectives are utilized to explore the interplay between sexuality and "race," nation, ethnicity and religious identities. Geographically, the collection has a prevalently European focus, yet contributions explore a range of trans-national spatial dimensions that exceed the boundaries of "Europe" and of European nation-states.

    imperial incursions into the Philippines enabled the growth of unprecedented social and sexual intimacies between native Philippine and U.S. subjects. The real and imagined intimacies—whether expressed through friendship, love, or eroticism—threatened U.S. gender and sexuality norms. To codify U.S. heteronormative behavior, the colonial government prohibited anything loosely defined as perverse, which along with popular representations of Filipinos, regulated colonial subjects and depicted them as sexually available, diseased, and degenerate. Mendoza analyzes laws, military records, the writing of Philippine students in the United States, and popular representations of Philippine colonial subjects to show how their lives, bodies, and desires became the very battleground for the consolidation of repressive legal, economic, and political institutions and practices of the U.S. colonial state. By highlighting the importance of racial and gendered violence in maintaining control at home and abroad, Mendoza demonstrates that studies of U.S. sexuality must take into account the reach and impact of U.S. imperialism.

    Carol Mason weaves a story about how homogenizing, antigay ideas evolve from generation to generation so that they achieve particular economic, imperial, racial, and gendered goals. Using engaging and accessible commentary on antigay crusaders (Sally Kern and Anita Bryant) and two queer teachers dismissed from their positions (Billy James Hargis and Bruce Goff), Mason illustrates how the lives of these figures represent paradigmatic moments in conservative confrontations with queers and help us to understand the conflation of terrorism with homosexuality, which dates back to the McCarthy era.