written for the indigenous and/or person of colour trying to understand how their gender is/has been impacted by whiteness and colonialism.

    Newton spent time in the noisy bars, the chaotic dressing rooms, and the cheap apartments and hotels that make up the lives of drag queens, interviewing informants whose trust she had earned and compiling a lively, first-hand ethnographic account of the culture of female impersonators. Mother Camp explores the distinctions that drag queens make among themselves as performers, the various kinds of night clubs and acts they depend on for a living, and the social organization of their work. A major part of the book deals with the symbolic geography of male and female styles, as enacted in the homosexual concept of "drag" (sex role transformation) and "camp," an important humor system cultivated by the drag queens themselves."Newton's fascinating book shows how study of the extraordinary can brilliantly illuminate the ordinary—that social-sexual division of personality, appearance, and activity we usually take for granted."—Jonathan Katz, author of Gay American History"A trenchant statement of the social force and arbitrary nature of gender roles."—Martin S. Weinberg, Contemporary Sociology

    Yet consent is a blunt tool. To grasp sex in all its complexity—its deep ambivalences, its relationship to gender, class, race and power—we need to move beyond yes and no, wanted and unwanted.We do not know the future of sex—but perhaps we could imagine it. Amia Srinivasan’s stunning debut helps us do just that. She traces the meaning of sex in our world, animated by the hope of a different world. She reaches back into an older feminist tradition that was unafraid to think of sex as a political phenomenon. She discusses a range of fraught relationships—between discrimination and preference, pornography and freedom, rape and racial injustice, punishment and accountability, students and teachers, pleasure and power, capitalism and liberation.The Right to Sex: Feminism in the Twenty-First Century is a provocation and a promise, transforming many of our most urgent political debates and asking what it might mean to be free.

    Feminist, political, and activist writers alike will present their ideas for a paradigm shift from the “No Means No” model—an approach that while necessary for where we were in 1974, needs an overhaul today.Yes Means Yes will bring to the table a dazzling variety of perspectives and experiences focused on the theory that educating all people to value female sexuality and pleasure leads to viewing women differently, and ending rape. Yes Means Yes aims to have radical and far-reaching effects: from teaching men to treat women as collaborators and not conquests, encouraging men and women that women can enjoy sex instead of being shamed for it, and ultimately, that our children can inherit a world where rape is rare and swiftly punished. With commentary on public sex education, pornography, mass media, Yes Means Yes is a powerful and revolutionary anthology.

    Some, such as reporter John Wing, were public figures. Others, like Henry Gerber, who created the first “homophile” organization in the United States, were practically invisible to their contemporaries. But their stories are all riveting. Female impersonators and striptease artists Quincy de Lang and George Quinn were arrested and put on trial at the behest of a leader of Chicago’s anti-“indecency” movement. African American ragtime pianist Tony Jackson’s most famous song, “Pretty Baby,” was written about one of his male lovers. Alfred Kinsey’s explorations of the city’s netherworld changed the future of American sexuality while confirming his own queer proclivities. What emerges from The Boys of Fairy Town is a complex portrait and a virtually unknown history of one of the most vibrant cities in the United States.

    Dylan's story—which is, sadly, not that unusual—has already received attention from such shows as 20/20, Dateline, Today, and Leeza. But his memoir, bound to become a classic, tells the story in a funny, ironic, unforgettable voice that "isn't all grim; Scholinski tells [his] story in beautifully evocative prose and mines [his] experiences for every last drop of ironic humor, determined to have the last laugh." (Time Out New York)

    Analyzing a range of sources, including sexology texts, early cinema, and African American literature, Siobhan B. Somerville argues that the emerging understanding of homosexuality depended on the context of the black/white “color line,” the dominant system of racial distinction during this period. This book thus critiques and revises tendencies to treat race and sexuality as unrelated categories of analysis, showing instead that race has historically been central to the cultural production of homosexuality.At about the same time that the 1896 Supreme Court Plessy v. Ferguson decision hardened the racialized boundary between black and white, prominent trials were drawing the public’s attention to emerging categories of sexual identity. Somerville argues that these concurrent developments were not merely parallel but in fact inextricably interrelated and that the discourses of racial and sexual “deviance” were used to reinforce each other’s terms. She provides original readings of such texts as Havelock Ellis’s late nineteenth-century work on “sexual inversion,” the 1914 film A Florida Enchantment, the novels of Pauline E. Hopkins, James Weldon Johnson’s Autobiography of an Ex-Coloured Man, and Jean Toomer’s fiction and autobiographical writings, including Cane. Through her analyses of these texts and her archival research, Somerville contributes to the growing body of scholarship that focuses on discovering the intersections of gender, race, and sexuality.Queering the Color Line will have broad appeal across disciplines including African American studies, gay and lesbian studies, literary criticism, cultural studies, cinema studies, and gender studies.

    In her groundbreaking book, New York magazine writer Ariel Levy argues that, if male chauvinist pigs of years past thought of women as pieces of meat, Female Chauvinist Pigs of today are doing them one better, making sex objects of other women – and of themselves. Irresistibly witty and wickedly intelligent, Female Chauvinist Pigs makes the case that the rise of raunch does not represent how far women have come; it only proves how far they have left to go.

    Truman Capote, the enfant terrible, whose finely wrought fiction and nonfiction captured the nation's imagination. Gore Vidal, the wry, withering chronicler of politics, sex, and history. Tennessee Williams, whose powerful plays rocketed him to the top of the American theater. James Baldwin, the harrowingly perceptive novelist and social critic. Christopher Isherwood, the English novelist who became a thoroughly American novelist. And the exuberant Allen Ginsberg, whose poetry defied censorship and exploded minds. Together, their writing introduced America to gay experience and sensibility, and changed our literary culture. But the change was only beginning. A new generation of gay writers followed, taking more risks and writing about their sexuality more openly. Edward Albee brought his prickly iconoclasm to the American theater. Edmund White laid bare his own life in stylized, autobiographical works. Armistead Maupin wove a rich tapestry of the counterculture, queer and straight. Mart Crowley brought gay men's lives out of the closet and onto the stage. And Tony Kushner took them beyond the stage, to the center of American ideas. With authority and humor, Christopher Bram weaves these men's ambitions, affairs, feuds, loves, and appetites into a single sweeping narrative. Chronicling over fifty years of momentous change-from civil rights to Stonewall to AIDS and beyond. Eminent Outlaws is an inspiring, illuminating tale: one that reveals how the lives of these men are crucial to understanding the social and cultural history of the American twentieth century.

    — Case 129, Autobiography, from Psychopathia Sexualis, a Medico-Forensic Study by Richard Von Krafft-Ebing At the time the passage above was written, people who felt trapped in the wrong gender automatically became case-studies. Today they become the men and women they always felt they were. Transsexuals test our notions of what it is to be male or female and, more provocatively, what it means to be one self as opposed to another. “Their stories,” says Jonathan Ames, “hold the appeal of an adventurer’s tale.” In Sexual Metamorphosis, Ames presents the personal narratives of seventeen gender pioneers. Here is Christine Jorgensen, the first celebrity transsexual, greeting thousands of well-wishers from the stage of Madison Square Garden. Here is Caroline Cossey, former model and Bond (as in James) girl, being outed in the tabloid press. Here is novelist and English professor Jennifer Finney Boylan discussing her impending transformation with her heartbroken spouse and supportive yet confused colleagues. The result is a fascinating and compulsively readable book, filled with anguish, introspection and courage.

    By exploring and giving equal weight to transgendered subjectivities, however, Gayle Salamon upends these certainties. Considering questions of transgendered embodiment via phenomenology (Maurice Merleau-Ponty), psychoanalysis (Sigmund Freud and Paul Ferdinand Schilder), and queer theory, Salamon advances an alternative theory of normative and non-normative gender, proving the value and vitality of trans experience for thinking about embodiment.Salamon suggests that the difference between transgendered and normatively gendered bodies is not, in the end, material. Rather, she argues that the production of gender itself relies on a disjunction between the "felt sense" of the body and an understanding of the body's corporeal contours, and that this process need not be viewed as pathological in nature. Examining the relationship between material and phantasmatic accounts of bodily being, Salamon emphasizes the productive tensions that make the body both present and absent in our consciousness and work to confirm and unsettle gendered certainties. She questions traditional theories that explain how the body comes to be--and comes to be made one's own--and she offers a new framework for thinking about what "counts" as a body. The result is a groundbreaking investigation into the phenomenological life of gender.

    But while the famous question, "Are you now or have you ever been a member of the Communist Party?" resonated in the halls of Congress, security officials were posing another question at least as frequently, if more discreetly: "Information has come to the attention of the Civil Service Commission that you are a homosexual. What comment do you care to make?"Historian David K. Johnson here relates the frightening, untold story of how, during the Cold War, homosexuals were considered as dangerous a threat to national security as Communists. Charges that the Roosevelt and Truman administrations were havens for homosexuals proved a potent political weapon, sparking a "Lavender Scare" more vehement and long-lasting than McCarthy's Red Scare. Relying on newly declassified documents, years of research in the records of the National Archives and the FBI, and interviews with former civil servants, Johnson recreates the vibrant gay subculture that flourished in New Deal-era Washington and takes us inside the security interrogation rooms where thousands of Americans were questioned about their sex lives. The homosexual purges ended promising careers, ruined lives, and pushed many to suicide. But, as Johnson also shows, the purges brought victims together to protest their treatment, helping launch a new civil rights struggle.The Lavender Scare shatters the myth that homosexuality has only recently become a national political issue, changing the way we think about both the McCarthy era and the origins of the gay rights movement. And perhaps just as importantly, this book is a cautionary tale, reminding us of how acts taken by the government in the name of "national security" during the Cold War resulted in the infringement of the civil liberties of thousands of Americans.

    Despite the prevalence of bisexuality among Generation X and Y women, she finds that it continues to be marginalized by both gay and straight cultures, and dismissed either as a phase or a cop-out. With intimacy and humor, Baumgardner discusses her own experience as a bisexual, and the struggle she's undergone to reconcile the privilege she's garnered as a woman who is perceived as straight and the empowerment and satisfaction she's derived from her relationships with women. Part memoir, part pop-culture study, "Look Both Ways "connects the prominent dots of a bisexual community (Alix Kates Shulman, Ani DiFranco, Rebecca Walker, and, of course, Anne Heche) that Baumgardner argues have bridged feminist aims with those of the gay rights movement. "Look Both Ways "is a compelling and current study in bisexual lives lived secretly and openly, and an exploration of the lessons learned by writers, artists, and activists who have refused the either/or paradigm defended by both gay and straight communities.

    This book celebrates this vibrant artistic underground by gathering together a collection of excellent stories that can be enjoyed by all.No Straight Lines showcases major names such as Alison Bechdel (whose book Fun Home was named Time Magazine's 2006 Book of the Year), Howard Cruse (whose groundbreaking Stuck Rubber Baby is now back in print), and Ralf Koenig (one of Europe's most popular cartoonists), as well as high-profile, cross-over creators who have dabbled in LGBT cartooning, like legendary NYC artist David Wojnarowicz and media darling and advice columnist Dan Savage. No Straight Lines also spotlights many talented creators who never made it out of the queer comics ghetto, but produced amazing work that deserves wider attention.Until recently, queer cartooning existed in a parallel universe to the rest of comics, appearing only in gay newspapers and gay bookstores and not in comic book stores, mainstream bookstores or newspapers. The insular nature of the world of queer cartooning, however, created a fascinating artistic scene. LGBT comics have been an uncensored, internal conversation within the queer community, and thus provide a unique window into the hopes, fears, and fantasies of queer people for the last four decades.These comics have forged their aesthetics from the influences of underground comix, gay erotic art, punk zines, and the biting commentaries of drag queens, bull dykes, and other marginalized queers. They have analyzed their own communities, and their relationship with the broader society. They are smart, funny, and profound. No Straight Lines will be heralded by people interested in comics history, and people invested in LGBT culture will embrace it as a unique and invaluable collection.

    In this boldly original work, Jonathan Ned Katz challenges the common notion that the distinction between heterosexuality and homosexuality has been a timeless one.  Building on the history of medical terminology, he reveals that as late as 1923, the term “heterosexuality” referred to a "morbid sexual passion," and that its current usage emerged to legitimate men and women having sex for pleasure. Drawing on the works of Sigmund Freud, James Baldwin, Betty Friedan, and Michel Foucault, The Invention of Heterosexuality considers the effects of heterosexuality’s recently forged primacy on both scientific literature and popular culture.  “Lively and provocative.”—Carol Tavris, New York Times Book Review  “A valuable primer . . . misses no significant twists in sexual politics.”—Gary Indiana, Village Voice Literary Supplement  “One of the most important—if not outright subversive—works to emerge from gay and lesbian studies in years.”—Mark Thompson, The Advocate