Histories of the Transgender Child shatters this myth, uncovering a previously unknown twentieth-century history when transgender children not only existed but preexisted the term transgender and its predecessors, playing a central role in the medicalization of trans people, and all sex and gender.Beginning with the early 1900s when children with “ambiguous” sex first sought medical attention, to the 1930s when transgender people began to seek out doctors involved in altering children’s sex, to the invention of the category gender, and finally the 1960s and ’70s when, as the field institutionalized, transgender children began to take hormones, change their names, and even access gender confirmation, Julian Gill-Peterson reconstructs the medicalization and racialization of children’s bodies. Throughout, they foreground the racial history of medicine that excludes black and trans of color children through the concept of gender’s plasticity, placing race at the center of their analysis and at the center of transgender studies.Until now, little has been known about early transgender history and life and its relevance to children. Using a wealth of archival research from hospitals and clinics, including incredible personal letters from children to doctors, as well as scientific and medical literature, this book reaches back to the first half of the twentieth century—a time when the category transgender was not available but surely existed, in the lives of children and parents.

    I hate what words are like, I hate the idea of putting these preformed gestures on the tip of my tongue, or through my lips, or through the inside of my mouth, forming sounds to approximate something that's like a cyclone, or something that's like a flood, or something that's like a weather system that's out of control, that's dangerous, or alarming.... It just seems like sounds that have been uttered back and forth maybe now over centuries. And it always boils down to the same meaning within those sounds, unless you're more intense uttering them, or you precede them or accompany them with certain forms of violence. —from The Weight of the EarthArtist, writer, and activist David Wojnarowicz (1954—4w`1992) was an important figure in the downtown New York art scene. His art was preoccupied with sex, death, violence, and the limitations of language. At the height of the AIDS epidemic, Wojnarowicz began keeping audio journals, returning to a practice he'd begun in his youth. Weight of the Earth presents transcripts of these tapes, documenting Wojnarowicz's turbulent attempts to understand his anxieties and passions, and tracking his thoughts as they develop in real time.In these taped diaries, Wojnarowicz talks about his frustrations with the art world, recounts his dreams, and describes his rage, fear, and confusion about his HIV diagnosis. Primarily spanning the years 1987--1989, recorded as Wojnarowicz took solitary road trips around the United States or ruminated in his New York loft, the audio journals are an intimate and affecting record of an artist facing death. By turns despairing, funny, exalted, and angry, this volume covers a period largely missing from Wojnarowicz's written journals, providing us with an essential new record of a singular American voice.

    But why is it that some people experience dissonance between their biological sex and their personal identity? Is gender something we are, or something we do? Is our expression of gender a product of biology, or does it develop based on our environment? Are the traditional binary male and female gender roles relevant in an increasingly fluid and flexible world? Sally Hines, whose work on transgender issues draws on the intersections and disconnections of gender, sexuality, and their biological embodiment, is an ideally well-informed author to explore these questions. Supplementing this text are numerous illustrations that provide an accessible and informative visual component to the book.This intelligent volume in the Big Idea series considers the relations between gender, psychology, culture, and sexuality, examining the evolution of individual and social attitudes over the centuries and throughout the world.

    First displayed in raw storefront galleries, his work achieved national attention at the same moment that the AIDS epidemic was affecting a generation of artists, himself included.   In a thoughtful overview essay, David Breslin looks at the breadth of the artist’s work as well as Wojnarowicz’s broad range of interests and influences, situating the artist in the art-historical canon and pushing beyond the biographical focus that has characterized much of the scholarship on Wojnarowicz to fully assess his paintings, photographs, installations, performances, and writing. A close examination of groups of works by David Kiehl sheds new light on the artist’s process and the context in which the works were created. Essays by Julie Ault, Gregg Bordowitz, C. Carr, Marvin Taylor, and National Book Award finalist Hanya Yanagihara investigate the relationship between artistic production and cultural activism during the AIDS crisis, as well as provide a necessary accounting and close evaluation of divergent practices that have frequently been subsumed under broad labels like “East Village,” “queer,” “postmodern,” and “neo-expressionist.”

    Focusing on the LGBT movement, Myrl Beam argues that the conservative turn in queer movement politics, as exemplified by the shift toward marriage and legal equality, is due mostly to the movement’s embrace of the nonprofit structure. Based on oral histories as well as archival research, and drawing on the author’s own extensive activist work, Gay, Inc. presents four compelling case studies. Beam looks at how people at LGBT nonprofits in Minneapolis and Chicago grapple with the contradictions between radical queer social movements and their institutionalized iterations. Through interview subjects’ incisive, funny, and heartbreaking commentaries, Beam exposes a complex world of committed people doing the best they can to effect change, and the flawed structures in which they participate, rail against, ignore, and make do. Providing a critical look at a social formation whose sanctified place in the national imagination has for too long gone unquestioned, Gay, Inc. marks a significant contribution to scholarship on sexuality, neoliberalism, and social movements.

    And just as Ezili appears in different guises and characters, so too does Omise’eke Natasha Tinsley in her voice- and genre-shifting, exploratory book Ezili's Mirrors. Drawing on her background as a literary critic as well as her quest to learn the lessons of her spiritual ancestors, Tinsley theorizes black Atlantic sexuality by tracing how contemporary queer Caribbean and African American writers and performers evoke Ezili. Tinsley shows how Ezili is manifest in the work and personal lives of singers Whitney Houston and Azealia Banks, novelists Nalo Hopkinson and Ana Lara, performers MilDred Gerestant and Sharon Bridgforth, and filmmakers Anne Lescot and Laurence Magloire—none of whom identify as Vodou practitioners. In so doing, Tinsley offers a model of queer black feminist theory that creates new possibilities for decolonizing queer studies.

    Yet its origins are much more complicated than this single-issue interpretation would have us believe, and to ignore gay liberation's multidimensional beginnings is to drastically underestimate its radical potential for social change. Ferguson shows how queer liberation emerged out of various insurgent struggles crossing the politics of race, gender, class, and sexuality, and deeply connected to issues of colonization, incarceration, and capitalism. Tracing the rise and fall of this intersectional politics, he argues that the one-dimensional mainstreaming of queerness falsely placed critiques of racism, capitalism, and the state outside the remit of gay liberation. As recent activism is increasingly making clear, this one-dimensional legacy has promoted forms of exclusion that marginalize queers of color, the poor, and transgender individuals. This forceful book joins the call to reimagine and reconnect the fight for social justice in all its varied forms.

    Through the exemplary work of Nina Simone, Jorge Ignacio Cortiñas, Danh Vō, Felix Gonzalez-Torres, Eiko, and Tseng Kwong Chi, and with additional appearances by Nao Bustamante, Audre Lorde, Martin Wong, Assata Shakur, and Nona Faustine, After the Party considers performance as it is produced within and against overlapping histories of US colonialism, white supremacy, and heteropatriarchy. Building upon the thought of José Esteban Muñoz alongside prominent scholarship in queer of color critique, black studies, and Marxist aesthetic criticism, Joshua Chambers-Letson maps a portrait of performance’s capacity to produce what he calls a communism of incommensurability, a practice of being together in difference.Describing performance as a rehearsal for new ways of living together, After the Party moves between slavery, the Civil Rights Movement, the first wave of the AIDS crisis, the Vietnam War, and the catastrophe-riddled horizon of the early twenty-first century to consider this worldmaking practice as it is born of the tension between freedom and its negation. With urgency and pathos, Chambers-Letson argues that it is through minoritarian performance that we keep our dead alive and with us as we struggle to survive an increasingly precarious present.

    The book delves into a number of gender identities and what it means to be first perceived as a girl, then a woman and not identifying as either but instead identify as non-binary. These are people who you meet and speak with every day. When you go to work, when you play your weekend sports, when you’re grocery shopping – they are there. They are your doctors, your teachers, your hairdressers, your attorneys, your neighbors, your friends, and yes, even your children, siblings, and parents. Readers will learn about terminologies (including the ones defined by personal experience), common attitudes and perceptions in society, and issues such as pronoun usage, misgendering, gender expectations, and discrimination. Part I is concentrated on education, while Part II consists of the contributed stories of sixteen non-binary individuals who have chosen to share their stories with the world. What others are saying “….This long-overdue manuscript provides an essential foundation for those seeking answers about the diversity of gender.” Shaun-Adrián Choflá, Ed.D. - Anti-Bias Educator and Scholar “…outstanding educational and emotional work that will help to dissolve the lines that separate us as well as lift the curtain of ignorance that permeates this subject.” Ms. Kari Samantha McAllister, Gender Lecturer, Library Commissioner, Hayward, CA

    Her election was and is controversial, with opponents seeking to have her removed and some even threatening violence against her. The denomination has been debating the inclusion of LGBTQ people for decades and will be gathering in February 2019 to determine whether it can agree to let conferences within the church ordain as they see fit and let congregations decide what weddings to hold or whether conservative and liberal factions will break off from the denominational body.Bishop Oliveto believes that the church can stay together--that people of different convictions can remain in communion with one another. Woven together with her own story of coming out and following God's call to ordained ministry is her guidance for how to live together despite differences--by practicing empathy, living with ambiguity, appreciating the diversity of creation, and embracing unity without uniformity.

    Spanning film, fine art, poetry, and photography, these cultural forms—which Gopinath conceptualizes as aesthetic practices of queer diaspora—reveal the intimacies of seemingly disparate histories of (post)colonial dwelling and displacement and are a product of diasporic trajectories. Countering standard formulations of diaspora that inevitably foreground the nation-state, as well as familiar formulations of queerness that ignore regional gender and sexual formations, she stages unexpected encounters between works by South Asian, Middle Eastern, African, Australian, and Latinx artists such as Tracey Moffatt, Akram Zaatari, and Allan deSouza. Gopinath shows how their art functions as regional queer archives that express alternative understandings of time, space, and relationality. The queer optics produced by these visual practices creates South-to-South, region-to-region, and diaspora-to-region cartographies that profoundly challenge disciplinary and area studies rubrics. Gopinath thereby provides new critical perspectives on settler colonialism, empire, military occupation, racialization, and diasporic dislocation as they indelibly mark both bodies and landscapes.

    imperialism, global capitalism, and a repressive racial state. In Fugitive Life Stephen Dillon examines these activists' communiqués, films, memoirs, prison writing, and poetry to highlight the centrality of gender and sexuality to a mode of racialized power called the neoliberal-carceral state. Drawing on writings by Angela Davis, the George Jackson Brigade, Assata Shakur, the Weather Underground, and others, Dillon shows how these activists were among the first to theorize and make visible the links between conservative "law and order" rhetoric, free market ideology, incarceration, sexism, and the continued legacies of slavery. Dillon theorizes these prisoners and fugitives as queer figures who occupied a unique position from which to highlight how neoliberalism depended upon racialized mass incarceration. In so doing, he articulates a vision of fugitive freedom in which the work of these activists becomes foundational to undoing the reign of the neoliberal-carceral state.

    In None Like Us Stephen Best reappraises what he calls “melancholy historicism”—a kind of crime scene investigation in which the forensic imagination is directed toward the recovery of a “we” at the point of “our” violent origin. Best argues that there is and can be no “we” following from such a time and place, that black identity is constituted in and through negation, taking inspiration from David Walker’s prayer that “none like us may ever live again until time shall be no more.” Best draws out the connections between a sense of impossible black sociality and strains of negativity that have operated under the sign of queer. In None Like Us the art of El Anatsui and Mark Bradford, the literature of Toni Morrison and Gwendolyn Brooks, even rumors in the archive, evidence an apocalyptic aesthetics, or self-eclipse, which opens the circuits between past and present and thus charts a queer future for black study.

    The ground-breaking work was subsequently collected into the 1978 publication of his book Witchcraft and the Gay Counterculture. Working with Arthur at the end of his life, White Crane Books convinced Evans to gather the remaining materials that had been edited from the original book into a sequel of sorts to that book. Arthur did so and called it Moon Lady Rising. We present the entirety of Arthur Evans work for his symposium material here.

    Lothian shows how queer possibilities emerge when we practice the art of speculation: of imagining things otherwise than they are and creating stories from that impulse. Queer theory offers creative ways to think about time, breaking with straight and narrow paths toward the future laid out for the reproductive family, the law-abiding citizen, and the believer in markets. Yet so far it has rarely considered the possibility that, instead of a queer present reshaping the ways we relate to past and future, the futures imagined in the past can lead us to queer the present.Narratives of possible futures provide frameworks through which we understand our present, but the discourse of "the" future has never been a singular one. Imagined futures have often been central to the creation and maintenance of imperial domination and technological modernity; Old Futures offers a counterhistory of works that have sought--with varying degrees of success--to speculate otherwise. Examining speculative texts from the 1890s to the 2010s, from Samuel R. Delany to Sense8, Lothian considers the ways in which early feminist utopias and dystopias, Afrofuturist fiction, and queer science fiction media have insisted that the future can and must deviate from dominant narratives of global annihilation or highly restrictive hopes for redemption.Each chapter chronicles some of the means by which the production and destruction of futures both real and imagined takes place: through eugenics, utopia, empire, fascism, dystopia, race, capitalism, femininity, masculinity, and many kinds of queerness, reproduction, and sex. Gathering stories of and by populations who have been marked as futureless or left out by dominant imaginaries, Lothian offers new insights into what we can learn from efforts to imaginatively redistribute the future.

    Through poignant stories and well-reasoned principles, Karen Oliveto discloses why and how spiritual renewal and a personal call to ministry emerge in the strangely warmed hearts of lesbian and gay Christians. In The United Methodist Church (and other Christian denominations), it is difficult or impossible for lesbian, gay, transsexual, and bisexual clergy or laity to become a visible and outward channel for God’s saving grace. This book traces the history of the church’s struggle with homosexuality, highlighting critical incidents in the culture and church polity which shape the church’s response. The controversy is deeply rooted in how God’s people are searching the scriptures, which are interpreted as a means of grace for some and as a rulebook for others. This book includes first-person narratives of LGBTQ persons faithfully serving in a denomination that denies their calls and—in some cases—their presence. These stories will show how the coming out process is deeply spiritual as one grows into an authentic, God-created and graced self.  “You are the one who created my innermost parts; you knit me together while I was still in my mother’s womb. I give thanks to you that I was marvelously set apart. Your works are wonderful—I know that very well.” Psalm 139:13-14 (CEB) “Our Strangely Warmed Hearts is a breath of fresh air in the study of the United Methodist struggle and intense debate regarding human sexuality. Karen Oliveto lives in faithful witness and serves people with the heart of Christian leadership."—Bishop Hee-Soo Jung, Wisconsin Conference of the United Methodist Church. “Karen Oliveto offers a compelling window into the steadfast faith and the resilience of the LGBTQ Christian movement in the United States.  After offering an extraordinary history of the LGBTQ equality movement in our society and in The United Methodist Church, she rightly asks, 'Is there any other group that we would marginalize in this way?'  I wholeheartedly recommend Karen Oliveto's new book to everyone who is affected by the debate over the sacred worth and place of LGBTQ people in our lives and churches. This book inspires hope.” —Michael J. Adee, Ph.D., Director, Global Faith and Justice Project, San Francisco Theological Seminary, San Anselmo, CA “Bishop Oliveto's story mirrors the experience of many LGBTQ ministers who are serving the Body of Christ openly, and not in the shadows. The integrity, courage, and deep faith of God’s LGBTQ people who are called into ministry have enriched the church and encouraged the outsiders who were always welcome at Jesus' table.”–Andy Lang, Executive Director, Open and Affirming Coalition, United Church of Christ “I loved it! It drew me in immediately and kept me strapped in on what I knew would be a roller coaster of painful history, sprinkled triumphs, and then stories that broke my heart, gave me cheer, and brought tears to my eyes. Bishop Oliveto takes readers on a fascinating trip through LGBTQ history, and into the often contentious collision with mainstream religion…and then brings it all together through the personal stories that make our past and present come alive! I applaud Bishop Oliveto’s book and will highly recommend it to the faithful and faith curious of all religions.”–The Reverend Marian Edmonds-Allen, Executive Director, Parity "[Bishop Karen Oliveto] is sharing the love of Jesus, and meeting people where they are, no matter who they are, and no matter what they think about her. She loves them." —Kent Ingram, senior pastor of First United Methodist Church in Colorado Springs, Colorado.

    Gritty, inspiring, and often devastating oral histories of gay, transsexual, and minority truck drivers allow award-winning author Anne Balay to shed new light on the harsh realities of truckers' lives behind the wheel. A licensed commercial truck driver herself, Balay discovers that, for people routinely subjected to prejudice, hatred, and violence in their hometowns and in the job market, trucking can provide an opportunity for safety, welcome isolation, and a chance to be themselves--even as the low-wage work is fraught with tightening regulations, constant surveillance, danger, and exploitation. The narratives of minority and queer truckers underscore the working-class struggle to earn a living while preserving one's safety, dignity, and selfhood. Through the voices of drivers from marginalized communities who spend eleven- to fourteen-hour days hauling America's commodities in treacherous weather and across mountain passes, Semi Queer reveals the stark differences between the trucking industry's crushing labor practices and the perseverance of its most at-risk workers.

    Claiming the B in LGBT strives to give bisexuals a seat at the table. This guidebook to the history and future of the bisexual movement fuses a chronology of bisexual organizing with essays, poems, and articles detailing the lived experiences of bisexual activities struggling against a dominant culture driven by norms of monosexual attraction, compulsory monogamy, and inflexible notions of gender expression and identity. Kate Harrad’s anthology of a thriving identity yearning to realize itself provides a vision of bisexuality that is beyond gay and straight, rather than left to merely occupy the space between.

    

    In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves. An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang’s work uncovers a rich queer imaginary that has been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity.At the heart of Xiang’s argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences.By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination.

    11, 2001, George W. Bush declared, "Either you are with us, or you are with the terrorists." Bush's assertion was not simply jingoist bravado--it encapsulates the civilizationalist moralism that has motivated and defined the United States since its beginning, linking the War on Terror to the nation's settlement and founding.In Queer Terror, C. Heike Schotten offers a critique of U.S. settler-colonial empire that draws on political, queer, and critical indigenous theory to situate Bush's either/or moralism and reframe the concept of terrorism. The categories of the War on Terror exemplify the moralizing politics that insulate U.S. empire from critique, render its victims deserving of its abuses, and delegitimize resistance to it as unthinkable and perverse. Schotten provides an anatomy of this moralism, arguing for a new interpretation of biopolitics that is focused on sovereignty and desire rather than racism and biology. This rethinking of biopolitics puts critical political theory of empire in dialogue with the insights of both native studies and queer theory. Building on queer theory's refusal of sanctity, propriety, and moralisms of all sorts, Schotten ultimately contends that the answer to Bush's ultimatum is clear: dissidents must reject the false choice he presents and stand decisively against "us," rejecting its moralism and the sanctity of its "life," in order to further a truly emancipatory, decolonizing queer politics.

    Humorous as well as agonizing stories filled with attempts to become straight are weaved throughout the authentic narrative. When the battle was finally won, other challenges loomed. Easing Out is a fascinating book that offers thought-provoking insights, understanding, and encouragement for others who are grappling with their own conflicts, as well as for those who love and support them. LGBT resources are included at the end of the story.

    To do so, she works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics. Each chapter draws our attention to particular aspects of pornotropic capture that black and brown bodies must always negotiate. Though these technologies differ according to the nature of their encounters with white supremacy, together they add to our understanding of the ways that structures of domination produce violence and work to contain bodies and pleasures within certain legible parameters. To do so, Sensual Excess analyzes moments of brown jouissance that exceed these constraints. These ruptures illuminate multiple epistemologies of selfhood and sensuality that offer frameworks for minoritarian knowledge production which is designed to enable one to sit with uncertainty. Through examinations of installations and performances like Judy Chicago's The Dinner Party, Kara Walker's A Subtlety, Patty Chang's In Love and Nao Bustamante's Neapolitan, Musser unpacks the relationships between racialized sexuality and consumption to interrogate foundational concepts in psychoanalytic theory, critical race studies, feminism, and queer theory. In so doing, Sensual Excess offers a project of knowledge production focused not on mastery, but on sensing and imagining otherwise, whatever and wherever that might be.

    We are now, though, in a time of incredible political uncertainty for queer people. LGBTQ Social Movements provides an accessible introduction to mainstream LGBTQ movements in the US, illustrating the many forms that LGBTQ activism has taken since the mid-twentieth century. Covering a range of topics, including the Stonewall uprising and gay liberation, AIDS politics, queer activism, marriage equality fights, youth action, and bisexual and transgender justice, Lisa M. Stulberg explores how marginalized people and communities have used a wide range of political and cultural tools to demand and create change. The five key themes that guide the book are assimilationism and liberationism as complex strategies for equality, the limits and possibilities of legal change, the role of art and popular culture in social change, the interconnectedness of social movements, and the role of privilege in movement organizing. This book is an important tool for understanding current LGBTQ politics and will be essential reading for students and scholars of sexuality, LGBTQ studies, and social movements, as well as anyone new to thinking about these issues.