In juxtaposing sex and the unbearable they don't propose that sex is unbearable, only that it unleashes unbearable contradictions that we nonetheless struggle to bear. In Berlant and Edelman's exchange, those terms invoke disturbances produced in encounters with others, ourselves, and the world, disturbances that tap into threats induced by fears of loss or rupture as well as by our hopes for repair. Through virtuoso interpretations of works of cinema, photography, critical theory, and literature, including Lydia Davis's story "Break It Down" (reprinted in full here), Berlant and Edelman explore what it means to live with negativity, with those divisions that may be irreparable. Together, they consider how such negativity affects politics, theory, and intimately felt encounters. But where their critical approaches differ, neither hesitates to voice disagreement. Their very discussion—punctuated with moments of frustration, misconstruction, anxiety, aggression, recognition, exhilaration, and inspiration—enacts both the difficulty and the potential of encounter, the subject of this unusual exchange between two eminent critics and close friends.

    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.

    Beginning with one of the foundations of queer theory—his famous meditation on how sex leads to a shattering of the self, “Is the Rectum a Grave?”—this volume charts the inspired connections Bersani has made between sexuality, psychoanalysis, and aesthetics.   Over the course of these essays, Bersani grapples with thinkers ranging from Plato to Descartes to Georg Simmel. Foucault and Freud recur as key figures, and although Foucault rejected psychoanalysis, Bersani contends that by considering his ideas alongside Freud’s, one gains a clearer understanding of human identity and how we relate to one another. For Bersani, art represents a crucial guide for conceiving new ways of connecting to the world, and so, in many of these essays, he stresses the importance of aesthetics, analyzing works by Genet, Caravaggio, Proust, Almodóvar, and Godard.   Documenting over two decades in the life of one of the best minds working in the humanities today, Is the Rectum a Grave? and Other Essays is a unique opportunity to explore the fruitful career of a formidable intellect.

    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.

    These essays explore and illuminate the roots of Lorde's intellectual development and her deep-seated and longstanding concerns about ways of increasing empowerment among minority women writers and the absolute necessity to explicate the concept of difference—difference according to sex, race, and economic status. The title Sister Outsider finds its source in her poetry collection The Black Unicorn (1978). These poems and the essays in Sister Outsider stress Lorde's oft-stated theme of continuity, particularly of the geographical and intellectual link between Dahomey, Africa, and her emerging self.

    Peeling away notions of a rigid pre-modern Islamic gender system, Afsaneh Najmabadi provides a compelling demonstration of the centrality of gender and sexuality to the shaping of modern culture and politics in Iran and of how changes in ideas about gender and sexuality affected conceptions of beauty, love, homeland, marriage, education, and citizenship. She concludes with a provocative discussion of Iranian feminism and its role in that country's current culture wars. In addition to providing an important new perspective on Iranian history, Najmabadi skillfully demonstrates how using gender as an analytic category can provide insight into structures of hierarchy and power and thus into the organization of politics and social life.

    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.

    Since its initial publication in 1983, it has become an essential text on Black women's lives and writings. This edition features an updated lists of contributor biographies and an all-new preface that provides a fresh assessment of how Black women's lives have changed- or not- since the book was first published.Includes:For a godchild, Regina, on the occasion of her first love by Toi DerricotteThe damned by Toi DerricotteHester's song by Toi DerricotteThe sisters by Alexis De VeauxDebra by Michelle T. ClintonIf I could write this in fire, I would write this in fire by Michelle CliffThe blood - yes, the blood: a conversation by Cenen and Barbara SmithSomething Latino was up with us by Spring ReddI used to think by Chirlane McCrayThe black back-ups by Kate RushinHome by Barbara SmithUnder the days: the buried life and poetry of Angelina Weld Grimké by Akasha (Gloria) HullThe black lesbian in American literature: an overview by Ann Allen ShockleyArtists without art form by Renita WeemsI've been thinking of Diana Sands by Patricia JonesA cultural legacy denied and discovered : black lesbians in fiction by women by Jewelle L. GomezWhat it is I think she's doing anyhow: a reading of Toni Cade Bambara's The salt eaters by Akasha (Gloria) HullTar beach by Audre LordeBefore I dress and soar again by Donna AllegraLeRoy's birthday by Raymina Y. MaysThe wedding by Beverly SmithMaria de las Rosas by Becky BirthaMiss Esther's land by Barbara A. BanksThe failure to transform: homophobia in the black community by Cheryl ClarkeWhere will you be? by Pat ParkerAmong the things that use to be by Willie M. ColemanFrom sea to shining sea by June JordanWomen of summer by Cheryl ClarkeThe tired poem: last letter from a typical unemployed black professional woman by Kate RushinShoes are made for walking by Shirley O. SteeleBilly de Lye by Deidre McCallaThe Combahee River Collective statement by Combahee River CollectiveBlack macho and black feminism by Linda C. PowellBlack lesbianbyfeminist organizing: a conversation by Tania Abdulahad ... [et al.]For strong women by Michelle T. ClintonThe black goddess by Kate RushinWomen's spirituality: a household act by Luisah TeishOnly justice can stop a curse by Alice WalkerCoalition politics: turning the century by Bernice Johnson Reagon

    The authors unpack queer criminal archetypes--like "gleeful gay killers," "lethal lesbians," "disease spreaders," and "deceptive gender benders"--to illustrate the punishment of queer expression, regardless of whether a crime was ever committed. Tracing stories from the streets to the bench to behind prison bars, the authors prove that the policing of sex and gender both bolsters and reinforces racial and gender inequalities. A groundbreaking work that turns a "queer eye" on the criminal legal system, Queer (In)Justice illuminates and challenges the many ways in which queer lives are criminalized, policed, and punished.

    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

    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.

    Thus did Harriet Beecher Stowe announce her decision to beginwork on what would become one of the most influential novels ever written. The subject she had hesitated to meddle with was slavery, and the novel, of course, was Uncle Tom's Cabin. Still debated today for its portrayal of African Americans and its unresolved place in the literary canon, Stowe'sbest-known work was first published in weekly installments from June 5, 1851 to April 1, 1852. It caused such a stir in both the North and South, and even in Great Britain, that when Stowe met President Lincoln in 1862 he is said to have greeted her with the words, So you are the little woman whowrote the book that created this great war! In this landmark book, the first full-scale biography of Harriet Beecher Stowe in over fifty years, Joan D. Hedrick tells the absorbing story of this gifted, complex, and contradictory woman. Hedrick takes readers into the multilayered world of nineteenth century morals and mores, exploring theinfluence of then-popular ideas of true womanhood on Stowe's upbringing as a member of the outspoken Beecher clan, and her eventful life as a writer and shaper of public opinion who was also a mother of seven. It offers a lively record of the flourishing parlor societies that launched andsustained Stowe throughout the 44 years of her career, and the harsh physical realities that governed so many women's lives. The epidemics, high infant mortality, and often disastrous medical practices of the day are portrayed in moving detail, against the backdrop of western expansion, and thegreat social upheaval accompanying the abolitionist movement and the entry of women into public life. Here are Stowe's public triumphs, both before and after the Civil War, and the private tragedies that included the death of her adored eighteen month old son, the drowning of another son, and the alcohol and morphine addictions of two of her other children. The daughter, sister, and wife ofprominent ministers, Stowe channeled her anguish and her ambition into a socially acceptable anger on behalf of others, transforming her private experience into powerful narratives that moved a nation. Magisterial in its breadth and rich in detail, this definitive portrait explores the full measure of Harriet Beecher Stowe's life, and her contribution to American literature. Perceptive and engaging, it illuminates the career of a major writer during the transition of literature from anamateur pastime to a profession, and offers a fascinating look at the pains, pleasures, and accomplishments of women's lives in the last century.

    Her debut book upends mainstream ideas about race, class and gender and sets forth a radically inclusive path to collective liberation. Her inclusive story about Black struggle draws on Black intellectual and grassroots organizing traditions including the Haitian Revolution, U.S. Civil Rights, and Black and LGBTQ Feminist Movements. Bold and honest, Unapologetic is an inside look from an on-the-ground activist and movement leader about how to move people from the margins to the center of political strategy and practice.

    methodologically innovative... precise and perceptive and conscious... " --Text and Performance QuarterlyWoman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." --Chandra Talpade MohantyThe idea of Trinh T. Minh-ha is as powerful as her films... formidable... " --Village Voice... its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." --ArtpaperHighly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." --Religious Studies Review

    A work that rethinks gender as a Western construction, The Invention of Women offers a new way of understanding both Yoruban and Western cultures. Author Oyeronke Oyewumi reveals an ideology of biological determinism at the heart of Western social categories-the idea that biology provides the rationale for organizing the social world. And yet, she writes, the concept of OC woman, OCO central to this ideology and to Western gender discourses, simply did not exist in Yorubaland, where the body was not the basis of social roles. Oyewumi traces the misapplication of Western, body-oriented concepts of gender through the history of gender discourses in Yoruba studies. Her analysis shows the paradoxical nature of two fundamental assumptions of feminist theory: that gender is socially constructed and that the subordination of women is universal. The Invention of Women demonstrates, to the contrary, that gender was not constructed in old Yoruba society, and that social organization was determined by relative age. A meticulous historical and epistemological account of an African culture on its own terms, this book makes a persuasive argument for a cultural, context-dependent interpretation of social reality. It calls for a reconception of gender discourse and the categories on which such study relies. More than that, the book lays bare the hidden assumptions in the ways these different cultures think. A truly comparative sociology of an African culture and the Western tradition, it will change the way African studies and gender studies proceed. "