Based on eighteen months of fieldwork in a racially diverse working-class high school, Dude, You're a Fag sheds new light on masculinity both as a field of meaning and as a set of social practices. C. J. Pascoe's unorthodox approach analyzes masculinity as not only a gendered process but also a sexual one. She demonstrates how the "specter of the fag" becomes a disciplinary mechanism for regulating heterosexual as well as homosexual boys and how the "fag discourse" is as much tied to gender as it is to sexuality.

    An essential element of self-realization, it is the unabashed acceptance of one's "outlaw" standing in a predominantly heterosexual world.These accounts -- sometimes heart-wrenching, often exhilarating -- encompass a wide breadth of backgrounds and experiences. From a teenager institutionalized for her passion for women to the mother who must come out to her young sons at the risk of losing them -- from the cautious academic to the raucous liberated femme -- each woman represented here tells of forging a unique path toward the difficult but emancipating recognition of herself. Extending from the 1940s to the present day, these intensely personal stories in turn reflect a unique history of the changing social mores that affected each woman's ability to determine the shape of her own life. Together they form an ornate tapestry of lesbian and bisexual experience in the United States over the past half-century. This song is dedicated to the one I love / Bertha Harris --Widows / Judy Grahn --Mad for her / Jill Johnston --First love / Karla Jay --Novelties / Joan Nestle --The secret agent / Jane DeLynn --My debut / Blanche McCrary Boyd --Red light, green light / Beatrix Gates --A vision / Rebecca Brown --Richard Nixon and me / Heather Lewis --Cherry picker / Chrystos --Born queer / Judith Katz --What comes first / Holly Hughes --House of corals / Cheryl Boyce Taylor --Bride of Christ / Mary Beth Caschetta --The coming out of a gay pride child / Elizabeth Lorde-Rollins --Easter Weekend / Minnie Bruce Pratt --Pot luck / Cynthia Bond --A letter to some lesbians who've been out for a long time / Mariana Romo-Carmona --Waking up / Jacquie Bishop --Banditos / Eileen Myles --Coming out--or going more deeply in? / Margaret Randall --Sequins in the mud : a cover girl comes out! / Karin Cook --Mind and body / Wendy W. Fairey --Always coming / Letta Neely --This girl is different / Tristam Taormino --Picture this / Cecilia Tan --Layers of the onion, spokes of the wheel / Pat Calafia --Freedom rings / Kanani Kauka --Together alone / Eva Kollisch --Diary of a mad lesbian / Lesléa Newman.

    The idea of “the heterosexual” was unprecedented. After all, men and women had been having sex, marrying, building families, and sometimes even falling in love for millennia without having any special name for their emotions or acts. Yet, within half a century, “heterosexual” had become a byword for “normal,” enshrined in law, medicine, psychiatry, and the media as a new gold standard for human experience. With an eclectic scope and fascinating detail, Straight tells the eye-opening story of a complex and often contradictory man-made creation that turns out to be anything but straight or narrow.

    This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.Cherríe Moraga is the co-editor of the classic feminist anthology This Bridge Called My Back and the author of The Last Generation. She is Artist-in-Residence at Stanford University.

    Disgusted by an overabundance of phallocratic narratives and Freytag’s pyramid, she turns to a subcultural canon of resistance and failure. Wryly riffing on feminist literary tropes, it documents the survival of a demonized single mother figuring things out.

    By that time, she had put her deep disappointment in her marriage behind her and developed an independent life—now threatened by the public role she would be forced to play. A lifeline came to her in the form of a feisty campaign reporter for the Associated Press: Lorena Hickok. Over the next thirty years, until Eleanor’s death, the two women carried on an extraordinary relationship: They were, at different points, lovers, confidantes, professional advisors, and caring friends. They couldn't have been more different. Eleanor had been raised in one of the nation’s most powerful political families and was introduced to society as a debutante before marrying her distant cousin, Franklin. Hick, as she was known, had grown up poor in rural South Dakota and worked as a servant girl after she escaped an abusive home, eventually becoming one of the most respected reporters at the AP. Her admiration drew the buttoned-up Eleanor out of her shell, and the two quickly fell in love. For the next thirteen years, Hick had her own room at the White House, next door to the First Lady. These fiercely compassionate women inspired each other to right the wrongs of the turbulent era in which they lived. During the Depression, Hick reported from the nation’s poorest areas for the WPA, and Eleanor used these reports to lobby her husband for New Deal programs. Hick encouraged Eleanor to turn their frequent letters into her popular and long-lasting syndicated column "My Day," and to befriend the female journalists who became her champions. When Eleanor’s tenure as First Lady ended with FDR's death, Hick pushed her to continue to use her popularity for good—advice Eleanor took by leading the UN’s postwar Human Rights Commission. At every turn, the bond these women shared was grounded in their determination to better their troubled world. Deeply researched and told with great warmth, Eleanor and Hick is a vivid portrait of love and a revealing look at how an unlikely romance influenced some of the most consequential years in American history.

    In his search for new friends and potential lovers, he becomes sucked into London’s gay drug culture, soon becoming addicted to partying and the phenomenon that is ‘chemsex’. Exploring his own journey through this dark but popular world, James looks at the motivating factors that led him to the culture, as well as examining the paths taken by others. He reveals the real goings-on at the weekends for thousands of people after most have gone to bed, and how modern technology allows them to arrange, congregate, furnish themselves with drugs and spend hours, often days, behind closed curtains, with strangers and in states of heightened sexual desire.Something for the Weekend looks compassionately at a growing culture that’s now moved beyond London and established itself as more than a short-term craze.

    In this extraordinarily candid and radically inventive memoir, Machado tackles a dark and difficult subject with wit, inventiveness and an inquiring spirit, as she uses a series of narrative tropes—including classic horror themes—to create an entirely unique piece of work which is destined to become an instant classic.

    Four decades later, in June 2011, New York legalized gay marriage—the most populous state in the country to do so thus far. The armed services stopped enforcing Don't Ask, Don't Tell, ending a law that had long discriminated against gay and lesbian members of the military. Successful social movements are always extraordinary, but these advances were something of a miracle.Political columnist Linda Hirshman recounts the long roads that led to these victories, viewing the gay rights movement within the tradition of American freedom as the third great modern social-justice movement, alongside the civil rights movement and the women's rights movement. Drawing on an abundance of published and archival material, and hundreds of in-depth interviews, Hirshman shows, in this astute political analysis, how the fight for gay rights has changed the American landscape for all citizens—blurring rigid gender lines, altering the shared culture, and broadening our definitions of family.From the Communist cross-dresser Harry Hay in 1948 to New York's visionary senator Kirsten Gillibrand in 2010, the story includes dozens of brilliant, idiosyncratic characters. Written in vivid prose, at once emotional and erudite, Victory is an utterly vibrant work of reportage and eyewitness accounts, revealing how, in a matter of decades, while facing every social adversary—church, state, and medical establishment—a focused group of activists forged a classic campaign for cultural change that will serve as a model for all future political movements.

    Instead she found herself drawn deeply into the pained and powerful group of transgirls she discovered. In Transparent she intro­duces four of them—Christina, Domineque, Foxxjazell, and Ariel—and shows us their world, a dizzying mix of familiar teenage cliques and crushes with far less familiar challenges like how to morph your body on a few dollars a day. Funny, heartbreaking, defiant, and sometimes defeated, the girls form a singular community. But they struggle valiantly to resolve the gap between the way they feel inside and the way the world sees them—a struggle we can all identify with. Beam’s careful reporting, sensitive writing, and intimate relationship with her characters place Transparent in the ranks of the best narrative nonfiction.

    The Disappearing L explores the rise and fall of the hugely popular women-only concerts, festivals, bookstores, and support spaces built by and for lesbians in the era of woman-identified activism. Through the stories unfolding in these chapters, anyone unfamiliar with the Michigan festival, Olivia Records, or the women’s bookstores once dotting the urban landscape will gain a better understanding of the era in which artists and activists first dared to celebrate lesbian lives. This book offers the backstory to the culture we are losing to mainstreaming and assimilation. Through interviews with older activists, it also responds to recent attacks on lesbian feminists who are being made to feel that they’ve hit their cultural expiration date.“The Disappearing L is both an ‘insider’ story and a well-written analysis of a neglected piece of cultural history. Morris delivers convincing arguments about why the lesbian-feminist era was important not only to the individuals who lived it but also to a broader understanding of what has come to be called ‘LGBT’ history. No one could be better positioned to write this book than Morris.” — Lillian Faderman, author of The Gay Revolution: The Story of the StruggleBonnie J. Morris is Adjunct Professor of Women’s Studies at both George Washington University and Georgetown University. She is the author of several books, including Eden Built by Eves: The Culture of Women’s Music Festivals and Lubavitcher Women in America: Identity and Activism in the Postwar Era, also published by SUNY Press.

    From Weimar Berlin to LA's Chinatown, from a seaside resort in East Germany to a luxury apartment on the Champs-Élysées, the different settings they inhabit are as richly textured as the roles they play: siren, muse, predator, or lover, each one a carefully calibrated performance. And in the orbit of each star live secondary players--a Chinese immigrant housemaid, a German soldier on leave from North Africa, a pompous Hollywood director--whose voices and viewpoints reveal the legacy each woman left in her own time, as well as in ours. Amanda Lee Koe's playful, wry prose guides the reader dexterously around murky questions of ego, persona, complicity, desire, and difference. Intimate and raw, Delayed Rays of a Star is a visceral depiction of womanhood--its particular hungers, its calculations, and its eventual betrayals--and announces a bold new literary voice.

    Not wanting to face a court martial for being gay, he had to live in a world where he had to watch everything he did and said for fear of being outed; and in another world where he was free to be himself. "One of the hardest things for me to reconcile was the fact that I was completely open with my family and friends but faced the very real possibility of being court martialed and going to jail if I was open with my 'work' colleagues." As Reichen explains, "The don't ask don't tell policy is so contradictory to what the Air Force and all the armed forces stand for ... but they force you to lie in order to serve your country." It was the contradictions which led Reichen to leave the Air Force once he completed his commitment. Happenstance brought Reichen to meet a friend at a Los Angeles restaurant where he was approached by the casting director for "The Amazing Race." Reichen believes his military training was extremely helpful in his winning the show's million dollar prize.

    The diversity and inclusivity of these pages is as inspiring as it is important, both in terms of the objects represented as well as in the array of creators; from buttons worn to protest Anita Bryant, to the original 'The Future is Female' and 'Lavender Menace' t-shirt; from the logos of Pleasure Chest and GLAAD, to the poster for Cheryl Dunye's queer classic The Watermelon Woman; from Gilbert Baker's iconic rainbow flag, to the quite laments of the AIDS quilt and the impassioned rage conveyed in ACT-UP and Gran Fury ephemera. More than just an accessible history book, Queer X Design tells the story of queerness as something intangible, uplifting, and indestructible. Found among these pages is sorrow, loss, and struggle; an affective selection that queer designers and artists harnessed to bring about political and societal change. But here is also: joy, hope, love, and the enduring fight for free expression and representation. Queer X Design is the potent, inspiring, and colorful visual history of activism and pride.

    The ensuing libel trial, brought to life in this authoritative, spellbinding book, raised the specters of hysteria, homophobia, and paranoia that, like Wilde himself, have haunted our century.