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.

    Queering Sexual Violence: Radical Voices from Within the Anti-Violence Movement locates them at the center of the anti-violence movement and creates a space for their voices to be heard. Moving beyond dominant narratives and the traditional “violence against women” framework, the book is multi-gendered, multi-racial and multi-layered. This thirty-seven piece collection disrupts the mainstream conversations about sexual violence and connects them to disability justice, sex worker rights, healing justice, racial justice, gender self-determination, queer & trans liberation and prison industrial complex abolition through reflections, personal narrative, and strategies for resistance and healing. Where systems, institutions, families, communities and partners have failed them, this collection lifts them up, honors a multitude of lived experiences and shares the radical work that is being done outside mainstream anti-violence and the non-profit industrial complex.

    Despite the group’s warm welcome, Kina (Nayfack) prepares for her life-altering operation all alone. But a caring nurse (Ivory Aquino), a wise couple (Kate Bornstein and Annie Golden), and a karaoke-loving bellhop (Telly Leung) may be exactly who she needs to ignite her truest sense of self. WTF Associate Artistic Director Laura Savia directs this spirited comedy about a woman who tests the bonds of an unlikely sisterhood.The playwright wishes to thank The Drama League's Beatrice Terry Residency, Daryl Roth, Natasha Sinha, Beehive Dramaturgy Studio, Playwrights Horizons, Rachel Jett, Daryl Roth, and the Eugene O’Neill Theatre Center’s National Theatre Institute.Note: This play contains mature themes and language.

    His goth look usually includes black nail polish and a little mascara.When he discovers Debbie Harry, the lead singer of Blondie, he not only likes her music but realizes that he kind of, sort of, wants to BE her. He’d like to be cool and tough and beautiful like her. He’d like to dress like her. He’s not gay, at least he doesn’t think so. So what does it mean? And what should he tell his amazing new girlfriend?This wise, hip novel introduces shades of gray into the black-and-white ideas of sexuality and gender. Anyone who has ever wished they could be a little bit tough and a little bit glamorous will recognize themselves in Johnny.

    Unfurling and unrelenting in its delivery, Candrilli has painted “the mountain” in excruciating detail. They show readers a world of Borax cured bear hides and canned peaches, of urine-filled Gatorade bottles and the syringe and all the syringe may carry. They show a violent world and its many personas. What Runs Over, too, is a story of rural queerness, of a transgender boy almost lost to the forest. The miracle of What Runs Over is that Candrilli has lived to write it at all."When Roethke said 'energy is the soul of poetry,' he might have been anticipating a book like What Runs Over, which is so full of energy it practically vibrates in your hand. Here, Candrilli’s speaker sticks their tongue 'into the heads / of venus fly traps just to feel the bite,' then later, burns holy books in the backyard and rolls around in the ashes until they become 'a painted god.' This is the verve of an urgent new poetic voice announcing itself to the world. As Candrilli writes: 'This is what I look like / when I’m trying to save myself.'"-Kaveh Akbar

    Jonathan Ames, Judy Budnitz, Glen David Gold, Jonathan Lethem and A.M. Homes are amongst the writers spreading their wings in this fine collection and showing once more why McSweeney's is now a byword for brilliance, innovation and the unexpected.

    My name is Hida Viloria. I was raised as a girl but discovered at a young age that my body looked different. Having endured an often turbulent home life as a kid, there were many times when I felt scared and alone, especially given my attraction to girls. But unlike most people in the first world who are born intersex--meaning they have genitals, reproductive organs, hormones, and/or chromosomal patterns that do not fit standard definitions of male or female--I grew up in the body I was born with because my parents did not have my sex characteristics surgically altered at birth. It wasn't until I was twenty-six and encountered the term intersex in a San Francisco newspaper that I finally had a name for my difference. That's when I began to explore what it means to live in the space between genders--to be both and neither. I tried living as a feminine woman, an androgynous person, and even for a brief period of time as a man. Good friends would not recognize me, and gay men would hit on me. My gender fluidity was exciting, and in many ways freeing--but it could also be isolating. I had to know if there were other intersex people like me, but when I finally found an intersex community to connect with I was shocked, and then deeply upset, to learn that most of the people I met had been scarred, both physically and psychologically, by infant surgeries and hormone treatments meant to "correct" their bodies. Realizing that the invisibility of intersex people in society facilitated these practices, I made it my mission to bring an end to it--and became one of the first people to voluntarily come out as intersex at a national and then international level.Born Both is the story of my lifelong journey toward finding love and embracing my authentic identity in a world that insists on categorizing people into either/or, and of my decades-long fight for human rights and equality for intersex people everywhere.

    Like the landscape studied over eons, change does not have an expiration date for these trans characters, who grow as tall as buildings, turn into mountains, unravel hometown mysteries, and give birth to cocoons. Portland-based author Callum Angus infuses his work with a mix of alternative history, horror, and a reality heavily dosed with magic.

    She holds up the Indigenous trans body as a site of struggle, liberation, and beauty. A confessional poet, Benaway narrates her sexual and romantic intimacies with partners as well as her work to navigate the daily burden of transphobia and violence. She examines the intersections of Indigenous and trans experience through autobiographical poems and continues to speak to the legacy of abuse, violence, and colonial erasure that defines Canada. Her sparse lines, interwoven with English and Anishinaabemowin (Ojibwe), illustrate the wonder and power of Indigenous trans womanhood in motion. Holy Wild is not an easy book, as Benaway refuses to give any simple answers, but it is a profoundly vibrant and beautiful work filled with a transcendent grace.Praise for Holy Wild:"This is a heart wrenching, thought provoking, honest, and graceful walkthrough of trans realities both on the homeland and in urban settings." —Joshua Whitehead, author of Jonny Appleseed, longlisted for the Scotiabank Giller Prize, and Full-Metal Indigiqueer"As the poet says, "they want one thing and I am many." This book is many things, and we are grateful." —Katherena Vermette, author of the award-winning novel The Break"Benaway conjures trans life in a place that is both prior to and in excess of the violence that mires it. It is the emotional infrastructure for something like freedom. Let Benaway lead you there." —Billy-Ray Belcourt, author of This Wound is a World

    It makes an effort to value aspects of historical gay experience that now threaten to disappear, branded as embarrassing evidence of the bad old days before Stonewall. Love argues that instead of moving on, we need to look backward.

    Morgan’s nîtisânak is woven around grief over the loss of their mother. It also explores despair and healing through community and family, and being torn apart by the same. Using cyclical narrative techniques and drawing on Morgan’s Cree, Saulteaux, and Métis ancestral teachings, this work offers a compelling perspective on the connections that must be broken and the ones that heal.

    This approach assumes that the state and its legal, policing, and social services apparatus—even its policies and documents of belonging and non-belonging—are neutral and benevolent. While we all have to comply with the gender binaries set forth by regulatory bodies of law and administration, many trans people, especially the most marginalized, are even more at risk for poverty, violence, and premature death by virtue of those same "neutral" legal structures.Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law raises revelatory critiques of the current strategies pivoting solely on a "legal rights framework," but also points to examples of an organized grassroots trans movement that is demanding the most essential of legal reforms in addition to making more comprehensive interventions into dangerous systems of repression—and the administrative violence that ultimately determines our life chances. Setting forth a politic that goes beyond the quest for mere legal inclusion, Normal Life is an urgent call for justice and trans liberation, and the radical transformations it will require.An attorney, educator, and trans activist, Dean Spade has taught classes on sexual orientation, gender identity, poverty and law at the City University of New York (CUNY), Seattle University, Columbia University, and Harvard. In 2002 he founded the Sylvia Rivera Law Project, a collective that provides free legal services and works to build trans resistance rooted in racial and economic justice.

    As the author of Borderlands / La Frontera: The New Mestiza, Anzaldúa played a major role in shaping contemporary Chicano/a and lesbian/queer theories and identities. As an editor of three anthologies, including the groundbreaking This Bridge Called My Back: Writings by Radical Women of Color, she played an equally vital role in developing an inclusionary, multicultural feminist movement. A versatile author, Anzaldúa published poetry, theoretical essays, short stories, autobiographical narratives, interviews, and children’s books. Her work, which has been included in more than 100 anthologies to date, has helped to transform academic fields including American, Chicano/a, composition, ethnic, literary, and women’s studies.This reader—which provides a representative sample of the poetry, prose, fiction, and experimental autobiographical writing that Anzaldúa produced during her thirty-year career—demonstrates the breadth and philosophical depth of her work. While the reader contains much of Anzaldúa’s published writing (including several pieces now out of print), more than half the material has never before been published. This newly available work offers fresh insights into crucial aspects of Anzaldúa’s life and career, including her upbringing, education, teaching experiences, writing practice and aesthetics, lifelong health struggles, and interest in visual art, as well as her theories of disability, multiculturalism, pedagogy, and spiritual activism. The pieces are arranged chronologically; each one is preceded by a brief introduction. The collection includes a glossary of Anzaldúa’s key terms and concepts, a timeline of her life, primary and secondary bibliographies, and a detailed index.

    In Through the Door of Life, Joy Ladin takes readers inside her transition as she changed genders and, in the process, created a new self.    With unsparing honesty and surprising humor, Ladin wrestles with both the practical problems of gender transition and the larger moral, spiritual, and philosophical questions that arise. Ladin recounts her struggle to reconcile the pain of her experience living as the “wrong” gender with the pain of her children in losing the father they love. We eavesdrop on her lifelong conversations with the God whom she sees both as the source of her agony and as her hope for transcending it. We look over her shoulder as she learns to walk and talk as a woman after forty-plus years of walking and talking as a man. We stare with her into the mirror as she asks herself how the new self she is creating will ever become real.    Ladin’s poignant memoir takes us from the death of living as the man she knew she wasn’t, to the shattering of family and career that accompanied her transition, to the new self, relationships, and love she finds when she opens the door of life.“Wrenching—and liberating. . . .[it] opens up new ways of looking at gender and the place of LGBT Jews in community.”—Greater Phoenix Jewish News“Given her high-profile academic position, Ladin’s transition was a major news story in Israel and even internationally. But behind the public story was a private struggle and learning experience, and Ladin pulls no punches in telling that story. She offers a peek into how daunting it was to learn, with little support from others, how to dress as a middle-aged woman, to mu on make-up, to walk and talk like a female. She provides a front-row seat for observing how one person confronted a seemingly impossible situation and how she triumphed, however shakingly, over the many adversities, both societal and psychological, that stood in the way.”—The Gay and Lesbian Review Worldwide

    Taking on topics as eclectic as vomit, Kathy Acker's wardrobe, and Occupy Oakland, Bellamy here examines illness, health, and the body -- both the social body and the individual body -- in essays that glitter with wit even at their darkest moments.In a safe house in Marin County, strangers allergic to the poisons of the world gather for an evening's solace. In Oakland, protesters dance an ecstatic bacchanal over the cancerous body of the city-state they love and hate. In the elegiac memoir, "Phone Home," Bellamy meditates on her dying mother's last days via the improbable cipher of Steven Spielberg's E.T. the Extra-Terrestrial. Finally, Bellamy offers a piercing critique of the displacement and blight that have accompanied Twitter's move into her warehouse-district neighborhood, and the pitiless imperialism of tech consciousness.A participant in the New Narrative movement and a powerful influence on younger writers, Bellamy views heteronormativity and capitalism as plagues, and celebrates the micro-revolts of those on the outskirts. In its deft blending of forms, When the Sick Rule the World resiliently and defiantly proclaims the "undeath of the author." In the realm of sickness, Bellamy asserts, subjectivity is not stable. "When the sick rule the world, mortality will be sexy," Bellamy prophesies. Those defined by society as sick may, in fact, be its saviors.