America faced a troubling question: What happened? How was this epidemic allowed to spread so far before it was taken seriously? In answering these questions, Shilts weaves the disparate threads into a coherent story, pinning down every evasion and contradiction at the highest levels of the medical, political, and media establishments. Shilts shows that the epidemic spread wildly because the federal government put budget ahead of the nation's welfare; health authorities placed political expediency before the public health; and scientists were often more concerned with international prestige than saving lives. Against this backdrop, Shilts tells the heroic stories of individuals in science and politics, public health and the gay community, who struggled to alert the nation to the enormity of the danger it faced. And the Band Played On is both a tribute to these heroic people and a stinging indictment of the institutions that failed the nation so badly.

    Kept from his teens until his death from AIDS in 1990, these illuminating journals reveal Haring's conscious, committed drive to extend the boundaries of art. Photos & drawings throughout. Radio news feature.

    hotel room wondering how he would get through his scheduled interview with Hugh Jackman. For years he had interviewed the bright lights: Madonna, Courtney Love, Jessica Lange, and all the other usual suspects; but, Kevin knew that his rapidly unraveling life was as shallow as the hotel's hip furniture and he was hanging on by his fingertips. In I Left It on the Mountain, Sessums chronicles his early days in NY as an actor, his years working for Andy Warhol at Interview and Tina Brown at Vanity Fair, countless nights of anonymous sex, his HIV Positive diagnosis and his descent into addiction. It's also the chronicle of one man's spiritual redemption found while climbing to the top of Mt. Kilimanjaro, walking the Camino de Santiago de Compostelo and trudging across the cold, lonely winter beaches of Provincetown. Peopled with the famous like Daniel Radcliffe and Diane Sawyer as well as anonymous companions corporeal and otherwise whom he met while mountain climbing and hiking, I Left It on the Mountain is the story of one man's fall and rebirth, the next moving chapter in Kevin Sessums' extraordinary life that takes him from the high to the low and back again. For readers who loved Mississippi Sissy and want to know what happened to that tenacious little boy with the baseball mitt, New York Times Best Seller I Left It On the Mountain is the sometimes very dark, but ultimately hopeful answer.

    With grace and affectionate humor, he follows their relationship from their first meeting through Larry's death. "I'm so lucky, " his lover told him repeatedly, even as he was confronting HIV. "Denial, pure and simple, " Johnson told himself, "until our third and final trip to Paris, where on our last night in the city we sat together in the courtyard of the Picasso Museum. There I turned to him and said 'I'm so lucky, ' and it was as if the time allotted to him to teach me this lesson, the time allotted to me to learn it had been consumed, and there was nothing left but the facts of things to play out."

    -- Alison Lurie

    Suddenly the toast of Hollywood, Schlesinger used his newfound clout to film an expensive, Panavision adaptation of Far from the Madding Crowd. Expectations were huge, making the movie's complete critical and commercial failure even more devastating, and Schlesinger suddenly found himself persona non grata in the Hollywood circles he had hoped to conquer.Given his recent travails, Schlesinger's next project seemed doubly daring, bordering on foolish. James Leo Herlihy's novel Midnight Cowboy, about a Texas hustler trying to survive on the mean streets of 1960's New York, was dark and transgressive. Perhaps something about the book's unsparing portrait of cultural alienation resonated with him. His decision to film it began one of the unlikelier convergences in cinematic history, centered around a city that seemed, at first glance, as unwelcoming as Herlihy's novel itself.Glenn Frankel's Shooting Midnight Cowboy tells the story of a modern classic that, by all accounts, should never have become one in the first place. The film's boundary-pushing subject matter--homosexuality, prostitution, sexual assault--earned it an X rating when it first appeared in cinemas in 1969. For Midnight Cowboy, Schlesinger—who had never made a film in the United States—enlisted Jerome Hellman, a producer coming off his own recent flop and smarting from a failed marriage, and Waldo Salt, a formerly blacklisted screenwriter with a tortured past. The decision to shoot on location in New York, at a time when the city was approaching its gritty nadir, backfired when a sanitation strike filled Manhattan with garbage fires and fears of dysentery.Much more than a history of Schlesinger's film, Shooting Midnight Cowboy is an arresting glimpse into the world from which it emerged: a troubled city that nurtured the talents and ambitions of the pioneering Polish cinematographer Adam Holender and legendary casting director Marion Dougherty, who discovered both Dustin Hoffman and Jon Voight and supported them for the roles of "Ratso" Rizzo and Joe Buck--leading to one of the most intensely moving joint performances ever to appear on screen. We follow Herlihy himself as he moves from the experimental confines of Black Mountain College to the theatres of Broadway, influenced by close relationships with Tennessee Williams and Anaïs Nin, and yet unable to find lasting literary success.By turns madcap and serious, and enriched by interviews with Hoffman, Voight, and others, Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic is not only the definitive account of the film that unleashed a new wave of innovation in American cinema, but also the story of a country—and an industry—beginning to break free from decades of cultural and sexual repression.

    A cold-eyed killer who drank nothing stronger than weak tea, he fought with his bare hands, a sharpened shovel and piano wire. He was a larrikin who went by the book, unless the book was wrong. He set his own bar high and expected others to do the same.Stone Cold is the extraordinary story of one of Australia's most fearless fighters. It takes us into the jungles of New Guinea and Borneo and some of the fiercest battles of World War II. It goes to the cold heart of Korea, where Len emerged from the ranks to excel in the epic Battle of Kapyong and play a key role at the Battle of Maryang San. And it drops us into the centre of the American counterinsurgency war in Vietnam with Len's involvement in the CIA's shadowy black ops program, Phoenix.Action-packed and surprising, Stone Cold gives rich life to a warrior soldier and one of Australia's greatest diggers.

    But what is missing from the picture--sexual difference--can be as instructive as what is present. In this ambitious work, Roderick A. Ferguson reveals how the discourses of sexuality are used to articulate theories of racial difference in the field of sociology. He shows how canonical sociology--Gunnar Myrdal, Ernest Burgess, Robert Park, Daniel Patrick Moynihan, and William Julius Wilson--has measured African Americans' unsuitability for a liberal capitalist order in terms of their adherence to the norms of a heterosexual and patriarchal nuclear family model. In short, to the extent that African Americans' culture and behavior deviated from those norms, they would not achieve economic and racial equality. Aberrations in Black tells the story of canonical sociology's regulation of sexual difference as part of its general regulation of African American culture. Ferguson places this story within other stories--the narrative of capital's emergence and development, the histories of Marxism and revolutionary nationalism, and the novels that depict the gendered and sexual idiosyncrasies of African American culture--works by Richard Wright, Ralph Ellison, James Baldwin, Audre Lorde, and Toni Morrison. In turn, this book tries to present another story--one in which people who presumably manifest the dys-functions of capitalism are reconsidered as indictments of the norms of state, capital, and social science. Ferguson includes the first-ever discussion of a new archival discovery--a never-published chapter of Invisible Man that deals with a gay character in a way thatcomplicates and illuminates Ellison's project. Unique in the way it situates critiques of race, gender, and sexuality within analyses of cultural, economic, and epistemological formations, Ferguson's work introduces a new mode of discourse--which Ferguson calls queer of color analysis--that helps to lay bare the mutual distortions of racial, economic, and sexual portrayals within sociology. A hard-hitting look at the regulation of sexual difference and its role in circumscribing African American culture.

    What must we do to work out who we are, and where we belong? How do we find the space to grow, unite and confront the systems of oppression? This conflict can be found in the fissures between the body, gender and identity. Too often, the glitch is considered a mistake, a faulty overlaying, a bug in the system; in contrast, Russell compels us to find liberation here. In a radical call to arms Legacy Russell argues that we need to embrace the glitch in order to break down the binaries and limitations that define gender, race, sexuality.Glitch Feminism is a vital new chapter in cyberfeminism, one that explores the relationship between gender, technology and identity. In an urgent manifesto, Russell reveals the many ways that the Glitch performs and transforms: how it refuses, throws shade, ghosts, errs, encrypt, mobilizes and survives. Developing the argument through memoir, art and critical theory, Russell also looks at the work of contemporary artists who travel through the glitch in their work. Timely and provocative, Glitch Feminism shows how the error can be a revolution.

    Using her nested model of attachment and trauma, she expands our understanding of how emotional experiences can influence our relationships. Then, she sets out six specific strategies to help you move toward secure attachments in your multiple relationships. Polysecure is both a theoretical treatise and a practical guide.

    Here, on a locked adolescent psychiatric ward, Keith meets the bewitching Laura. The two teens begin a passionate love affair--only to be separated and placed in different hospitals.By turns lyrical, funny, and poignant, and always informed by touching candor, The Boy with the Thorn in His Side is full of fascinating characters and unexpected twists-at once an odyssey into the extremes of the American 1970s, a universal tale of star-crossed teenage love, and an account of a deeply sensitive young person's struggle to find his place in the world. It marks the debut of a poised and compelling writer.Keith Fleming had been a pretty ordinary Midwestern kid--Little League, Boy Scouts--but the year he turns twelve, his family is torn apart by divorce when he learns that his mother and his Uncle Ed are both gay. By the time Keith is fifteen he has become disfigured by severe acne and is so wild that his father and stepmother place him in a draconian adolescent mental institution. Here he meets Laura, a pretty Mexican girl with whom he begins a passionate love affair.Keith's mother finally demands his release after a series of hospitalizations and sends him off to live with his uncle, Edmund White, in New York. Keith is soon transformed by his young uncle: He is sent to a dermatologist, to Barneys "Boy's Town" for new clothes, and to prep school. He receives a broad cultural education from Uncle Ed at home--all this despite Ed's being poor as well as completely caught up in the beehive of social and sexual activity of 1970s gay Manhattan. In the tradition of This Boy's Life and Girl, Interrupted, The Boy with a Thorn in His Side is a beautifully rendered saga of a deeply sensitive and alienated teen struggling to find his place in the world-and at the same time a very modern tale of teenage love and a young person's touching and complicated bond with an unlikely hero.

    Valerie Solanas, the woman who shot Andy Warhol, self-published this work just before her rampage against the king of Pop Art made her a household name and resulted in her confinement to a mental institution. But the Manifesto, for all its vitriol, is impossible to dismiss as just the rantings of a lesbian lunatic. In fact, the work has indisputable prescience, not only as a radical feminist analysis light-years ahead of its timepredicting artificial insemination, ATMs, a feminist uprising against under-representation in the artsbut also as a stunning testament to the rage of an abused and destitute woman.The focus of this edition is not on the nostalgic appeal of the work, but on Avital Ronell’s incisive introduction, “Deviant Payback: The Aims of Valerie Solanas.” Here is a reconsideration of Solanas’s infamous text in light of her social milieu, Derrida’s “The Ends of Man” (written in the same year), Judith Butler’s Excitable Speech, Nietzsche’s Ubermensch and notorious feminist icons from Medusa, Medea and Antigone, to Lizzie Borden, Lorenna Bobbit and Aileen Wournos, illuminating the evocative exuberance of Solanas’s dark tract.

    But it wasn’t long before Timothy’s path and the outside world converged when a friend came out as a lesbian, and revealed she had been excommunicated by her family.Distraught and overcome with questions and doubts about his religious upbringing, Timothy decided the only way to empathize and understand her pain was to walk in the shoes of very people he had been taught to shun. He decided to come out as a gay man to everyone in his life, and to see for himself how the label of gay would impact his life.In the tradition of Black Like Me, The Cross in the Closet is a story about people, a story about faith, and about one man’s “abominable” quest to find Jesus in the margins.

    A New York Times Notable Book of the Year   When Marion Winik fell in love with Tony Heubach during a wild Mardi Gras in New Orleans, her friends shook their heads.  For starters, she was straight and he was gay.  But Marion and Tony's impossible love turned out to be true enough to produce a marriage and two beautiful sons, true enough to weather drug addiction, sexual betrayal, and the AIDS that would kill Tony at the age of thirty-seven, twelve years after they met.    In a memoir heartbreaking and hilarious by turns, Marion Winik tells a story that is all more powerful for the way in which it defies easy judgments.  As it charts the trajectory of a marriage so impossible that it became inevitable, First Comes Love reminds us—poignantly indelibly—that every story is a special case.

    Some 50 years later, author Carolyn Wood embarks on a solo pilgrimage to walk the 500 miles of the Camino de Santiago in an attempt to reclaim her "inner tough girl" as she reflects on coming out as gay in the 1970s after a brief marriage and motherhood, and the disillusionment and loss she experiences when her 30-year relationship suddenly ends. After several failed attempts at learning to swim, young Carolyn Wood finally conquers her fears and dives into unknown waters. By 1958 she sets a goal to make the 1960 Olympic team and, along with teammates and competitors, begins the arduous road to Rome. Losses, pain, fear, and fatigue accompany the rambunctious athlete as she finds her way through athletic training, school, and dealing with social gender expectations as she realizes she's gay. Tough Girl artfully weaves Wood's life story around the tale of her long walk on the Camino de Santiago, an effort to tap into her tough girl resilience so she can begin to accept the end of her long marriage. The ups and downs of Carolyn's childhood road to the Olympics as well as her journey on the Camino, will thrill and inspire readers.