Focusing on queer female diasporic subjectivity, Gopinath develops a theory of diaspora apart from the logic of blood, authenticity, and patrilineal descent that she argues invariably forms the core of conventional formulations. She examines South Asian diasporic literature, film, and music in order to suggest alternative ways of conceptualizing community and collectivity across disparate geographic locations. Her agile readings challenge nationalist ideologies by bringing to light that which has been rendered illegible or impossible within diaspora: the impure, inauthentic, and nonreproductive.Gopinath juxtaposes diverse texts to indicate the range of oppositional practices, subjectivities, and visions of collectivity that fall outside not only mainstream narratives of diaspora, colonialism, and nationalism but also most projects of liberal feminism and gay and lesbian politics and theory. She considers British Asian music of the 1990s alongside alternative media and cultural practices. Among the fictional works she discusses are V. S. Naipaul’s classic novel A House for Mr. Biswas, Ismat Chughtai’s short story “The Quilt,” Monica Ali’s Brick Lane, Shyam Selvadurai’s Funny Boy, and Shani Mootoo’s Cereus Blooms at Night. Analyzing films including Deepa Mehta’s controversial Fire and Mira Nair’s Monsoon Wedding, she pays particular attention to how South Asian diasporic feminist filmmakers have reworked Bollywood’s strategies of queer representation and to what is lost or gained in this process of translation. Gopinath’s readings are dazzling, and her theoretical framework transformative and far-reaching.

    Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence.Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible.Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

    By contrast, Jewish religious leaders in the sixth century B.C.E. branded male homosexuality as a capital offense and, later, blamed it for the destruction of the biblical city of Sodom. When these two traditions collided in Christian Rome during the late empire, the tragic repercussions were felt throughout Europe and the New World.Louis Crompton traces Church-inspired mutilation, torture, and burning of "sodomites" in sixth-century Byzantium, medieval France, Renaissance Italy, and in Spain under the Inquisition. But Protestant authorities were equally committed to the execution of homosexuals in the Netherlands, Calvin's Geneva, and Georgian England. The root cause was religious superstition, abetted by political ambition and sheer greed. Yet from this cauldron of fears and desires, homoerotic themes surfaced in the art of the Renaissance masters--Donatello, Leonardo, Michelangelo, Sodoma, Cellini, and Caravaggio--often intertwined with Christian motifs. Homosexuality also flourished in the court intrigues of Henry III of France, Queen Christina of Sweden, James I and William III of England, Queen Anne, and Frederick the Great.Anti-homosexual atrocities committed in the West contrast starkly with the more tolerant traditions of pre-modern China and Japan, as revealed in poetry, fiction, and art and in the lives of emperors, shoguns, Buddhist priests, scholars, and actors. In the samurai tradition of Japan, Crompton makes clear, the celebration of same-sex love rivaled that of ancient Greece.Sweeping in scope, elegantly crafted, and lavishly illustrated, "Homosexuality and Civilization" is a stunning exploration of a rich and terrible past.

    Magazine, Bitch was launched in the mid-nineties as a Xerox-and-staple zine covering the landscape of popular culture from a feminist perspective. Both unabashed in its love for the guilty pleasures of consumer culture and deeply thoughtful about the way the pop landscape reflects and impacts women's lives, Bitch grew to be a popular, full-scale magazine with a readership that stretched worldwide. Today it stands as a touchstone of hip, young feminist thought, looking with both wit and irreverence at the way pop culture informs feminism--and vice versa--and encouraging readers to think critically about the messages lurking behind our favorite television shows, movies, music, books, blogs, and the like. BITCHFest offers an assortment of the most provocative essays, reporting, rants, and raves from the magazine's first ten years, along with new pieces written especially for the collection. Smart, nuanced, cranky, outrageous, and clear-eyed, the anthology covers everything from a 1996 celebration of pre-scandal Martha Stewart to a more recent critical look at the "gayby boom"; from a time line of black women on sitcoms to an analysis of fat suits as the new blackface; from an attempt to fashion a feminist vulgarity to a reclamation of female virginity. It's a recent history of feminist pop-culture critique and an arrow toward feminism's future.

    

    Unearthing startling new evidence from the National Archives, Margot Canaday shows how the state systematically came to penalize homosexuality, giving rise to a regime of second-class citizenship that sexual minorities still live under today.Canaday looks at three key arenas of government control--immigration, the military, and welfare--and demonstrates how federal enforcement of sexual norms emerged with the rise of the modern bureaucratic state. She begins at the turn of the twentieth century when the state first stumbled upon evidence of sex and gender nonconformity, revealing how homosexuality was policed indirectly through the exclusion of sexually degenerate immigrants and other regulatory measures aimed at combating poverty, violence, and vice. Canaday argues that the state's gradual awareness of homosexuality intensified during the later New Deal and through the postwar period as policies were enacted that explicitly used homosexuality to define who could enter the country, serve in the military, and collect state benefits. Midcentury repression was not a sudden response to newly visible gay subcultures, Canaday demonstrates, but the culmination of a much longer and slower process of state-building during which the state came to know and to care about homosexuality across many decades.Social, political, and legal history at their most compelling, The Straight State explores how regulation transformed the regulated: in drawing boundaries around national citizenship, the state helped to define the very meaning of homosexuality in America.

    These pieces are sure to raise the level of debate about sexuality, gender, and the ways that they tie in with struggles against our ruling institutions." - Roxanne Dunbar-Ortiz, "Outlaw Woman""Against the austerity of straight politics, "Queering Anarchism "sketches the connections between gender mutiny, queer sexualities, and anti-authoritarian desires. Through embodied histories and incendiary critique, the contributors gathered here show how we must not stop at smashing the state; rather normativity itself is the enemy of all radical possibility." - Eric A. Stanley, "Captive Genders"What does it mean to "queer" the world around us? How does the radical refusal of the mainstream codification of GLBT identity as a new gender norm come into focus in the context of anarchist theory and practice? How do our notions of orientation inform our politics - and vice versa? "Queering Anarchism "brings together a diverse set of writings ranging from the deeply theoretical to the playfully personal that explore the possibilities of the concept of "queering," turning the dominant, and largely heteronormative, structures of belief and identity entirely inside-out. Ranging in topic from the economy to disability, politics, social structures, sexual practice, interpersonal relationships, and beyond, the authors here suggest that queering might be more than a set of personal preferences - pointing toward the possibility of an entirely new way of viewing the world.Contributors include Jamie Heckert, Sandra Jeppesen, Ben Shepard, Ryan Conrad, Jerimarie Liesegang, Jason Lydon, Susan Song, Stephanie Grohmann, Liat Ben-Moshe, Anthony J. Nocella, A.J. Withers, and more.C.B. Daring, J. Rogue, Deric Shannon and Abbey Volcano are anarchists and activists who work in a wide variety of radical, feminist, and queer communities across the United States.

    Spider-Man, the Fantastic Four, Captain America, the Incredible Hulk, the Avengers, Iron Man, Thor, the X-Men, Daredevil—these superheroes quickly won children's hearts and sparked the imaginations of pop artists, public intellectuals, and campus radicals. Over the course of a half century, Marvel's epic universe would become the most elaborate fictional narrative in history and serve as a modern American mythology for millions of readers.Throughout this decades-long journey to becoming a multibillion-dollar enterprise, Marvel's identity has continually shifted, careening between scrappy underdog and corporate behemoth. As the company has weathered Wall Street machinations, Hollywood failures, and the collapse of the comic book market, its characters have been passed along among generations of editors, artists, and writers—also known as the celebrated Marvel "Bullpen." Entrusted to carry on tradition, Marvel's contributors—impoverished child prodigies, hallucinating peaceniks, and mercenary careerists among them—struggled with commercial mandates, a fickle audience, and, over matters of credit and control, one another.For the first time, Marvel Comics reveals the outsized personalities behind the scenes, including Martin Goodman, the self-made publisher who forayed into comics after a get-rich-quick tip in 1939; Stan Lee, the energetic editor who would shepherd the company through thick and thin for decades; and Jack Kirby, the World War II veteran who'd co-created Captain America in 1940 and, twenty years later, developed with Lee the bulk of the company's marquee characters in a three-year frenzy of creativity that would be the grounds for future legal battles and endless debates.Drawing on more than one hundred original interviews with Marvel insiders then and now, Marvel Comics is a story of fertile imaginations, lifelong friendships, action-packed fistfights, reformed criminals, unlikely alliances, and third-act betrayals— a narrative of one of the most extraordinary, beloved, and beleaguered pop cultural entities in America's history.

    Long before Stonewall and Gay Pride, there was such a thing as gay culture, and it was recognized throughout Europe and America. Graham Robb, brilliant biographer of Balzac, Hugo, and Rimbaud, examines how homosexuals were treated by society and finds a tale of surprising tolerance. He describes the lives of gay men and women: how they discovered their sexuality and accepted or disguised it; how they came out; how they made contact with like-minded people. He also includes a fascinating investigation of the encrypted homosexuality of such famous nineteenth-century sleuths as Edgar Allan Poe's Auguste Dupin and Sherlock Holmes himself (with glances forward in time to Batman and J. Edgar Hoover). Finally, Strangers addresses crucial questions of gay culture, including the riddle of its relationship to religion: Why were homosexuals created with feelings that the Creator supposedly condemns? This is a landmark work, full of tolerant wisdom, fresh research, and surprises.

    In the seventy years from 1432 to 1502, some 17,000 men--in a city of only 40,000--were investigated for sodomy; 3,000 were convicted and thousands more confessed to gain amnesty. Michael Rocke vividly depicts this vibrant sexual culture in a world where these same-sex acts were not the deviant transgressions of a small minority, but an integral part of a normal masculine identity.In 1432 The Office of the Night was created specifically to police sodomy in Florence. Seventy years of denunciations, interrogations, and sentencings left an extraordinarily detailed record, which Rocke uses to its fullest in this richly documented portrait. He describes a wide range of sexual experiences between males, ranging from boys such as fourteen-year-old Morello di Taddeo, who prostituted himself to fifty-seven men, to the notorious Jacopo di Andrea, a young bachelor implicated with forty adolescents over a seventeen-year period and convicted thirteen times; same-sex "marriages" like that of Michele di Bruno and Carlo di Berardo, who were involved for several years and swore a binding oath to each other over an altar; and Bernardo Lorini, a former Night Officer himself with a wife and seven children, accused of sodomy at the age of sixty-five. (Mortified, he sent his son Taddeo to confess for him and plead for a discreet resolution of his case.) Indeed, nearly all Florentine males probably had some kind of same-sex experience as a part of their "normal" sexual life.Rocke uncovers a culture in which sexual roles were strictly defined by age, with boys under eighteen the "passive" participants in sodomy, youths in their twenties and older men the "active" participants, and most men at the age of thirty marrying women, their days of sexual frivolity with boys largely over. Such same sex activities were a normal phase in the transition to adulthood, and only a few pursued them much further. Rather than precluding heterosexual experiences, they were considered an extension of youthful and masculine lust and desire. As Niccolo Machiavelli quipped about a handsome man, "When young he lured husbands away from their wives, and now he lures wives away from their husbands." Florentines generally accepted sodomy as a common misdemeanor, to be punished with a fine, rather than as a deadly sin and a transgression against nature. There was no word, in the otherwise rich Florentine sexual lexicon, for "homosexual," nor was there a distinctive and well-developed homosexual "subculture." Rather, sexual acts between men and boys were an integral feature of the dominant culture.Rocke roots this sexual activity in the broader context of Renaissance Florence, with its social networks of families, juvenile gangs, neighbors, patronage, workshops, and confraternities, and its busy political life from the early years of the Republic through the period of Lorenzo de' Medici, Savonarola, and the beginning of Medici princely rule. His richly detailed book paints a fascinating picture of a vibrant time and place and calls into question our modern conceptions of gender and sexual identity.

    Featuring work by Margaret Atwood (The Heart Goes Last), Mariko Tamaki (This One Summer), Trina Robbins (Wonder Woman), Marguerite Bennett (Marvel's A-Force), Noelle Stevenson (Nimona), Marjorie Liu (Monstress), Carla Speed McNeil (Finder), and over fifty more creators. It's a compilation of tales told from both sides of the tables: from the fans who love video games, comics, and sci-fi to those that work behind the scenes: creators and industry insiders.

    The result is Persistence: All Ways Butch and Femme. The stories in these pages resist simple definitions. The people in these stories defy reductive stereotypes and inflexible categories. The pages in this book describe the lives of an incredible diversity of people whose hearts also pounded for some reason the first time they read or heard the words "butch" or "femme."Contributors such as Jewelle Gomez (The Gilda Stories), Thea Hillman (Intersex), S. Bear Bergman (Butch is a Noun), Chandra Mayor (All the Pretty Girls), Amber Dawn (Sub Rosa), Anna Camilleri (Brazen Femme), Debra Anderson (Code White), Anne Fleming (Anomaly), Michael V. Smith (Cumberland), and Zoe Whittall (Bottle Rocket Hearts) explore the parameters, history, and power of a multitude of butch and femme realities. It's a raucous, insightful, sexy, and sometimes dangerous look at what the words butch and femme can mean in today’s ever-shifting gender landscape, with one eye on the past and the other on what is to come.Includes a foreword by Joan Nestle, renowned femme author and editor of The Persistent Desire: A Femme-Butch Reader, a landmark anthology originally published in 1992.Ivan E. Coyote is the author of seven books (including the novel Bow Grip, an American Library Association Stonewall Honor Book) and a long-time muser on the trappings of the two-party gender system.Zena Sharman is the assistant director of Canada's national Institute of Gender and Health.

    Native people live in relation to all non-Natives amid the ongoing power relations of settler colonialism, despite never losing inherent claims to sovereignty as indigenous peoples. Explaining how relational distinctions of “Native” and “settler” define the status of being “queer,” Spaces between Us argues that modern queer subjects emerged among Natives and non-Natives by engaging the meaningful difference indigeneity makes within a settler society.Morgensen’s analysis exposes white settler colonialism as a primary condition for the development of modern queer politics in the United States. Bringing together historical and ethnographic cases, he shows how U.S. queer projects became non-Native and normatively white by comparatively examining the historical activism and critical theory of Native queer and Two-Spirit people.Presenting a “biopolitics of settler colonialism”—in which the imagined disappearance of indigeneity and sustained subjugation of all racialized peoples ensures a progressive future for white settlers—Spaces between Us newly demonstrates the interdependence of nation, race, gender, and sexuality and offers opportunities for resistance in the United States.

    For more than 50 years, Marvel and DC have been locked in an epic war, tirelessly trading punches and trying to do to each other what Batman regularly does to the Joker's face. Slugfest, the first book to tell the history of this epic rivalry into a single, juicy narrative, is the story of the greatest corporate rivalry never told. It is also an alternate history of the superhero, told through the lens of these two publishers.Slugfest will combine primary-source reporting with in-depth research to create a more fun Barbarians at the Gate for the comic book industry. Complete with interviews with the major names in the industry, Slugfest reveals the arsenal of schemes the two companies have employed in their attempts to outmaneuver the competition, whether it be stealing ideas, poaching employees, planting spies, ripping off characters or launching price wars. Sometimes the feud has been vicious, at other times, more cordial. But it has never completely disappeared, and it simmers on a low boil to this day. The competition has spilled over to the even the casual fans, bisecting the world into two opposing tribes. You are either a Marvel or a DC fan, and allegiance is hardly a trivial matter. Perhaps the most telling question one can ask of a superhero fan is, Marvel or DC? The answer often reveals something deeper about personality, and the reason is wrapped up in the history of both companies."A smart, blow-by-blow narrative of the sometimes-friendly, often bitter rivalry between corporate comic-book behemoths...A wild haymaker for the masses, perhaps, but a knockout read for capes-and-cowls aficionados."―Kirkus "Reed Tucker masterfully dissects the REAL issue dividing us as a nation."―Seth Meyers, host of NBC's Late Night with Seth Meyers "This is a book for 'Fans.' I consider myself a 'Fan.' I love this book. I guess you could say I am a 'Fan' of this book. If you are not a 'Fan' of 'Things' then this is not a book for you. It is a book for me. GIVE ME BACK MY BOOK!"―Bobby Moynihan, comedian and former Saturday Night Live cast member "Slugfest is the ringside commentator for the clash of the comic book titans. A must-read for all comic fans."―Scott Sigler, author of the #1 New York Times bestselling novel Alive

    Are you wrestling with questions surrounding your gender that just don't seem to go away? Do you want answers to questions about your gender identity, but aren't sure how to get started?In this groundbreaking guide, Dara Hoffman-Fox, LPC--accomplished gender therapist and thought leader whose articles, blogs, and videos have empowered thousands worldwide--helps you navigate your journey of self-discovery in three approachable stages: preparation, reflection, and exploration.In You and Your Gender Identity, you will learn: Why understanding your gender identity is core to embracing your full beingHow to sustain the highs and lows of your journey with resources, connection, and self-careHow to uncover and move through your feelings of fear, loneliness, and doubtWhy it's important to examine your past through the lens of gender explorationHow to discover and begin living as your authentic selfWhat options you have after making your discoveries about your gender identity