Michel Foucault offers an iconoclastic exploration of why we feel compelled to continually analyze and discuss sex, and of the social and mental mechanisms of power that cause us to direct the questions of what we are to what our sexuality is.

    In lively and impassioned prose, she breaks down three key dualisms - sex/gender, nature/nurture, and real/constructed - and asserts that individuals born as mixtures of male and female exist as one of five natural human variants and, as such, should not be forced to compromise their differences to fit a flawed societal definition of normality.

    It tells the astonishing story of sex in the West from the ancients to the moderns in a precise account of developments in reproductive anatomy and physiology. We cannot fail to recognize the players in Thomas Laqueur's story--the human sexual organs and pleasures, food, blood, semen, egg, sperm--but we will be amazed at the plots into which they have been woven by scientists, political activists, literary figures, and theorists of every stripe.Laqueur begins with the question of why, in the late eighteenth century, woman's orgasm came to be regarded as irrelevant to conception, and he then proceeds to retrace the dramatic changes in Western views of sexual characteristics over two millennia. Along the way, two "master plots" emerge. In the one-sex story, woman is an imperfect version of man, and her anatomy and physiology are construed accordingly: the vagina is seen as an interior penis, the womb as a scrotum, the ovaries as testicles. The body is thus a representation, not the foundation, of social gender. The second plot tends to dominate post-Enlightenment thinking while the one-sex model is firmly rooted in classical learning. The two-sex story says that the body determines gender differences, that woman is the opposite of man with incommensurably different organs, functions, and feelings. The two plots overlap; neither ever holds a monopoly. Science may establish many new facts, but even so, Laqueur argues, science was only providing a new way of speaking, a rhetoric and not a key to female liberation or to social progress. Making Sex ends with Freud, who denied the neurological evidence to insist that, as a girl becomes a woman, the locus of her sexual pleasure shifts from the clitoris to the vagina; she becomes what culture demands despite, not because of, the body. Turning Freud's famous dictum around, Laqueur posits that destiny is anatomy. Sex, in other words, is an artifice.This is a powerful story, written with verve and a keen sense of telling detail (be it technically rigorous or scabrously fanciful). Making Sex will stimulate thought, whether argument or surprised agreement, in a wide range of readers.

    Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    Butler offers a brilliant reworking of the body, examining how the power of heterosexual hegemony forms the "matter" of bodies, sex, and gender. Butler argues that power operates to constrain sex from the start, delimiting what counts as a viable sex. She clarifies the notion of "performativity" introduced in Gender Trouble and via bold readings of Plato, Irigaray, Lacan, and Freud explores the meaning of a citational politics. She also draws on documentary and literature with compelling interpretations of the film Paris is Burning, Nella Larsen's Passing, and short stories by Willa Cather.

    Focusing on the “orientation” aspect of “sexual orientation” and the “orient” in “orientalism,” Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.Ahmed proposes that a queer phenomenology might investigate not only how the concept of orientation is informed by phenomenology but also the orientation of phenomenology itself. Thus she reflects on the significance of the objects that appear—and those that do not—as signs of orientation in classic phenomenological texts such as Husserl’s Ideas. In developing a queer model of orientations, she combines readings of phenomenological texts—by Husserl, Heidegger, Merleau-Ponty, and Fanon—with insights drawn from queer studies, feminist theory, critical race theory, Marxism, and psychoanalysis. Queer Phenomenology points queer theory in bold new directions.

    What is at stake in male homo/heterosexual definition? Through readings of Melville, Nietzsche, Wilde, James and Proust, the author argues that the vexed imperatives to specify straight and gay identities have become central to every important form of knowledge of the 20th century.

    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.

    Serano shares her experiences and observations—both pre- and post-transition—to reveal the ways in which fear, suspicion, and dismissiveness toward femininity shape our societal attitudes toward trans women, as well as gender and sexuality as a whole.Serano's well-honed arguments stem from her ability to bridge the gap between the often-disparate biological and social perspectives on gender. She exposes how deep-rooted the cultural belief is that femininity is frivolous, weak, and passive, and how this “feminine” weakness exists only to attract and appease male desire.In addition to debunking popular misconceptions about transsexuality, Serano makes the case that today's feminists and transgender activist must work to embrace and empower femininity—in all of its wondrous forms.

    Chapters cover the transsexual and transvestite communities in the years following World War II; trans radicalism and social change, which spanned from 1966 with the publication of The Transsexual Phenomenon, and lasted through the early 1970s; the mid-'70s to 1990-the era of identity politics and the changes witnessed in trans circles through these years; and the gender issues witnessed through the '90s and '00s. Transgender History includes informative sidebars highlighting quotes from major texts and speeches in transgender history and brief biographies of key players, plus excerpts from transgender memoirs and discussion of treatments of transgenderism in popular culture.

    Today's transgenders and other sex/gender radicals are writing a drastically new world into being. In Gender Outlaws, Bornstein, together with writer, raconteur, and theater artist S. Bear Bergman, collects and contextualizes the work of this generation's trans and genderqueer forward thinkers — new voices from the stage, on the streets, in the workplace, in the bedroom, and on the pages and websites of the world's most respected mainstream news sources. Gender Outlaws includes essays, commentary, comic art, and conversations from a diverse group of trans-spectrum people who live and believe in barrier-breaking lives.

    By examining the perilous intersections of identity, categorization, and community, contributors challenge societal mores and countercultural norms. Nobody Passes explores and critiques the various systems of power seen (or not seen) in the act of “passing.” In a pass-fail situation, standards for acceptance may vary, but somebody always gets trampled on. This anthology seeks to eliminate the pressure to pass and thereby unearth the delicious and devastating opportunities for transformation that might create.Mattilda, aka Matt Bernstein Sycamore, has a history of editing anthologies based on brazen nonconformity and gender defiance. Mattilda sets out to ask the question, “What lies are people forced to tell in order to gain acceptance as 'real'.” The answers are as varied as the life experiences of the writers who tackle this urgent and essential topic.

    In place of sexual status quo, Warner offers a vision of true sexual autonomy that will forever change the way we think about sex, shame, and identity.

    Drawing on a rich trove of diaries, legal records, and other unpublished documents, George Chauncey constructs a fascinating portrait of a vibrant, cohesive gay world that is not supposed to have existed. Called "monumental" (Washington Post), "unassailable" (Boston Globe), "brilliant" (The Nation), and "a first-rate book of history" (The New York Times), Gay New Yorkforever changed how we think about the history of gay life in New York City, and beyond.

    To cover is to downplay a disfavored trait so as to blend into the mainstream. Because all of us possess stigmatized attributes, we all encounter pressure to cover in our daily lives. Given its pervasiveness, we may experience this pressure to be a simple fact of social life.Against conventional understanding, Kenji Yoshino argues that the demand to cover can pose a hidden threat to our civil rights. Though we have come to some consensus against penalizing people for differences based on race, sex, sexual orientation, religion, and disability, we still routinely deny equal treatment to people who refuse to downplay differences along these lines. Racial minorities are pressed to “act white” by changing their names, languages, or cultural practices. Women are told to “play like men” at work. Gays are asked not to engage in public displays of same-sex affection. The devout are instructed to minimize expressions of faith, and individuals with disabilities are urged to conceal the paraphernalia that permit them to function. In a wide-ranging analysis, Yoshino demonstrates that American civil rights law has generally ignored the threat posed by these covering demands. With passion and rigor, he shows that the work of civil rights will not be complete until it attends to the harms of coerced conformity. At the same time, Yoshino is responsive to the American exasperation with identity politics, which often seems like an endless parade of groups asking for state and social solicitude. He observes that the ubiquity of the covering demand provides an opportunity to lift civil rights into a higher, more universal register. Since we all experience the covering demand, we can all make common cause around a new civil rights paradigm based on our desire for authenticity–a desire that brings us together rather than driving us apart. Yoshino’s argument draws deeply on his personal experiences as a gay Asian American. He follows the Romantics in his belief that if a human life is described with enough particularity, the universal will speak through it. The result is a work that combines one of the most moving memoirs written in years with a landmark manifesto on the civil rights of the future. “This brilliantly argued and engaging book does two things at once, and it does them both astonishingly well. First, it's a finely grained memoir of young man’s struggles to come to terms with his sexuality, and second, it's a powerful argument for a whole new way of thinking about civil rights and how our society deals with difference. This book challenges us all to confront our own unacknowledged biases, and it demands that we take seriously the idea that there are many different ways to be human. Kenji Yoshino is the face and the voice of the new civil rights.” -Barbara Ehrenreich, author of Nickel and Dimed“Kenji Yoshino has not only given us an important, compelling new way to understand civil rights law, a major accomplishment in itself, but with great bravery and honesty, he has forged his argument from the cauldron of his own experience. In clear, lyrical prose, Covering quite literally brings the law to life. The result is a book about our public and private selves as convincing to the spirit as it is to the mind.” -Adam Haslett, author of You Are Not A Stranger Here“Kenji Yoshino's work is often moving and always clarifying. Covering elaborates an original, arresting account of identity and authenticity in American culture.”-Anthony Appiah, author of The Ethics of Identity and Laurance S. Rockefeller University Professor Of Philosophy at Princeton University“This stunning book introduces three faces of the remarkable Kenji Yoshino: a writer of poetic beauty; a soul of rare reflectivity and decency; and a brilliant lawyer and scholar, passionately committed to uncovering human rights. Like W.E.B. DuBois's The Souls of Black Folk and Betty Friedan's The Feminine Mystique, this book fearlessly blends gripping narrative with insightful analysis to further the cause of human emancipation. And like those classics, it should explode into America's consciousness.”-Harold Hongju Koh Dean, Yale Law School and former Assistant Secretary of State for Human Rights“Covering is a magnificent work - so eloquently and powerfully written I literally could not put it down. Sweeping in breadth, brilliantly argued, and filled with insight, humor, and erudition, it offers a fundamentally new perspective on civil rights and discrimination law. This extraordinary book is many things at once: an intensely moving personal memoir; a breathtaking historical and cultural synthesis of assimilation and American equality law; an explosive new paradigm for transcending the morass of identity politics; and in parts, pure poetry. No one interested in civil rights, sexuality, discrimination - or simply human flourishing - can afford to miss it.” -Amy Chua, author of World on Fire“In this stunning, original book, Kenji Yoshino demonstrates that the struggle for gay rights is not only a struggle to liberate gays---it is a struggle to free all of us, straight and gay, male and female, white and black, from the pressures and temptations to cover vital aspects of ourselves and deprive ourselves and others of our full humanity. Yoshino is both poet and lawyer, and by joining an exquisitely observed personal memoir with a historical analysis of civil rights, he shows why gay rights is so controversial at present, why “covering” is the issue of contention, and why the “covering demand,” universal in application, is the civil rights issue of our time. This is a beautifully written, brilliant and hopeful book, offering a new understanding of what is at stake in our fight for human rights.” -Carol Gilligan, author of In a Different Voice