In beautiful prose, Sapphistries tells their stories, capturing the multitude of ways that diverse societies have shaped female same-sex sexuality across time and place.Leila J. Rupp reveals how, from the time of the very earliest societies, the possibility of love between women has been known, even when it is feared, ignored, or denied. We hear women in the sex-segregated spaces of convents and harems whispering words of love. We see women beginning to find each other on the streets of London and Amsterdam, in the aristocratic circles of Paris, in the factories of Shanghai. We find women's desire and love for women meeting the light of day as Japanese schoolgirls fall in love, and lesbian bars and clubs spread from 1920s Berlin to 1950s Buffalo. And we encounter a world of difference in the twenty-first century, as transnational concepts and lesbian identities meet local understandings of how two women might love each other.Giving voice to words from the mouths and pens of women, and from men's prohibitions, reports, literature, art, imaginings, pornography, and court cases, Rupp also creatively employs fiction to imagine possibilities when there is no historical evidence. Sapphistries combines lyrical narrative with meticulous historical research, providing an eminently readable and uniquely sweeping story of desire, love, and sex between women around the globe from the beginning of time to the present.

    But can straight white guys experience the same easy sexual fluidity, or would kissing a guy just mean that they are really gay? Not Gay thrusts deep into a world where straight guy-on-guy action is not a myth but a reality: there’s fraternity and military hazing rituals, where new recruits are made to grab each other’s penises and stick fingers up their fellow members’ anuses; online personal ads, where straight men seek other straight men to masturbate with; and, last but not least, the long and clandestine history of straight men frequenting public restrooms for sexual encounters with other men. For Jane Ward, these sexual practices reveal a unique social space where straight white men can—and do—have sex with other straight white men; in fact, she argues, to do so reaffirms rather than challenges their gender and racial identity.Ward illustrates that sex between straight white men allows them to leverage whiteness and masculinity to authenticate their heterosexuality in the context of sex with men. By understanding their same-sex sexual practice as meaningless, accidental, or even necessary, straight white men can perform homosexual contact in heterosexual ways. These sex acts are not slippages into a queer way of being or expressions of a desired but unarticulated gay identity. Instead, Ward argues, they reveal the fluidity and complexity that characterizes all human sexual desire. In the end, Ward’s analysis offers a new way to think about heterosexuality—not as the opposite or absence of homosexuality, but as its own unique mode of engaging in homosexual sex, a mode characterized by pretense, dis-identification and racial and heterosexual privilege. Daring, insightful, and brimming with wit, Not Gay is a fascinating new take on the complexities of heterosexuality in the modern era.

    An apartment house-turned-hotel, it has hosted generations of gossip and folklore: 1930s bombshell Jean Harlow took lovers during her third honeymoon there; director Nicholas Ray slept with his sixteen-year-old Rebel Without a Cause star Natalie Wood; Anthony Perkins and Tab Hunter met poolside and began a secret affair; Jim Morrison swung from the balconies, once falling nearly to his death; John Belushi suffered a fatal overdose in a private bungalow; Lindsay Lohan got the boot after racking up nearly $50,000 in charges in less than two months.Perched above the Sunset Strip like a fairytale castle, the Chateau seems to come from another world entirely. Its singular appearance houses an equally singular history. While a city, an industry, and a culture have changed around it, Chateau Marmont has welcomed the most iconic and iconoclastic personalities in film, music, and media. It appeals to the rich and famous not just for its European ambiance but for its seclusion: Much of what's happened inside the Chateau's walls has eluded the public eye.Until now. With wit and prowess, Shawn Levy recounts the wild revelries and scandalous liaisons; the creative breakthroughs and marital breakdowns; the births and deaths that the Chateau has been a party to. Vivid, salacious, and richly informed, his book is a glittering tribute to Hollywood as seen from inside the walls of its most hallowed hotel.

    The book is an urgent recall of heartbreak, a stark portrait of an identity in crisis.

    In terms that draw from feminist and queer theory, Butler considers the norms that govern and fail to govern gender and sexuality as they relate to the constraints on recognizable personhood. The book constitutes a reconsideration of her earlier view on gender performativity from Gender Trouble. In this work, the critique of gender norms is clearly situated within the framework of human persistence and survival. And to "do" one's gender in certain ways sometimes implies "undoing" dominant notions of personhood. She writes about the "New Gender Politics" that has emerged in recent years, a combination of movements concerned with transgender, transsexuality, intersex, and their complex relations to feminist and queer theory.

    His story begins here—before the homemade goat milk soaps and hand-gathered honeys, before his memoir of the city mouse’s move to the country, The Bucolic Plague—in I Am Not Myself These Days,  with “plenty of dishy anecdotes and moments of tragi-camp delight” (WashingtonPost).

    With tales of heroism and cunning, in-depth bios and witty storytelling, Bygone Badass Broads gives new life to these historic female pioneers. Starting in the fifth century BC and continuing to the present, the book takes a closer look at bold and inspiring women who dared to step outside the traditional gender roles of their time. Coupled with riveting illustrations and Lee’s humorous and conversational storytelling style, this book is an outright celebration of the badass women who paved the way for the rest of us.

    It is a red state in the heart of Trumpland that hasn't elected a Democrat to a statewide office in more than twenty years; but it is also a state in which minorities already form a majority (including the largest number of Muslims). The cities are blue and among the most diverse in the nation. Oil is still king but Texas now leads California in technology exports. The Texas economic model of low taxes and minimal regulation has produced extraordinary growth but also striking income disparities. Texas looks a lot like the America that Donald Trump wants to create. And Wright's profound portrait of the state not only reflects our country back as it is, but as it was and as it might be.

    She never knew her biological father, and while her mother and stepfather were loving parents, the situation was sometimes chaotic. While still a teenager, she met the love of her life. They were wed at 20, and the first of three children followed shortly. Jetté Knox finally had the stability she craved--or so it seemed. Their middle child struggled with depression and avoided school. The author was unprepared when the child she knew as her son came out as transgender at the age of eleven. Jetté Knox became an ardent advocate for trans rights.For many years, the author had coped with her spouse's moodiness, but that chronic unhappiness was taking a toll on their marriage. A little over a year after their child came out, her partner also came out as transgender. Knowing better than most what would lie ahead, Jetté Knox searched for positive examples of marriages surviving transition. When she found no role models, she determined that her family would become one.The shift was challenging, but slowly the family members noticed that they were becoming happier and more united. Love Lives Here is a story of transition, frustration, support, acceptance, and, of course, love.

    So too is a fat woman, a horny woman, a woman shrieking with laughter. Women who are one or more of these things have heard, or perhaps simply intuited, that we are repugnantly excessive, that we have taken illicit liberties to feel or fuck or eat with abandon. After bellowing like a barn animal in orgasm, hoovering a plate of mashed potatoes, or spraying out spit in the heat of expostulation, we've flinched-ugh, that was so gross. I am so gross. On rare occasions, we might revel in our excess--belting out anthems with our friends over karaoke, perhaps--but in the company of less sympathetic souls, our uncertainty always returns. A woman who is Too Much is a woman who reacts to the world with ardent intensity is a woman familiar to lashes of shame and disapproval, from within as well as without. Written in the tradition of Shrill, Dead Girls, Sex Object and other frank books about the female gaze, TOO MUCH encourages women to reconsider the beauty of their excesses-emotional, physical, and spiritual. Rachel Vorona Cote braids cultural criticism, theory, and storytelling together in her exploration of how culture grinds away our bodies, souls, and sexualities, forcing us into smaller lives than we desire. An erstwhile Victorian scholar, she sees many parallels between that era's fixation on women's "hysterical" behavior and our modern policing of the same; in the space of her writing, you're as likely to encounter Jane Eyre and Lizzie Bennet as you are Britney Spears and Lana Del Rey. This book will tell the story of how women, from then and now, have learned to draw power from their reservoirs of feeling, all that makes us "Too Much."

    So begins Spinster, a revelatory and slyly erudite look at the pleasures and possibilities of remaining single. Using her own experiences as a starting point, journalist and cultural critic Kate Bolick invites us into her carefully considered, passionately lived life, weaving together the past and present to examine why­ she - along with over 100 million American women, whose ranks keep growing - remains unmarried. This unprecedented demographic shift, Bolick explains, is the logical outcome of hundreds of years of change that has neither been fully understood, nor appreciated. Spinster introduces a cast of pioneering women from the last century whose genius, tenacity, and flair for drama have emboldened Bolick to fashion her life on her own terms: columnist Neith Boyce, essayist Maeve Brennan, social visionary Charlotte Perkins Gilman, poet Edna St. Vincent Millay, and novelist Edith Wharton. By animating their unconventional ideas and choices, Bolick shows us that contemporary debates about settling down, and having it all, are timeless - the crucible upon which all thoughtful women have tried for centuries to forge a good life. Intellectually substantial and deeply personal, Spinster is both an unreservedly inquisitive memoir and a broader cultural exploration that asks us to acknowledge the opportunities within ourselves to live authentically. Bolick offers us a way back into our own lives - a chance to see those splendid years when we were young and unencumbered, or middle-aged and finally left to our own devices, for what they really are: unbounded and our own to savor.

    That he was a homosexual and a teenage leader in the resistance and yet survived is amazing. But that he endured the ongoing horror with an open heart, with love and without vitriol, and has written about it so beautifully is truly miraculous. This is Gad Beck’s story.

    His surprising journey illuminates not only our understanding of this immensely troubled, misunderstood, and complicated soul genius but the ways in which our cultural heritage has been shaped by Brown’s legacy.  Kill ’Em and Leave is more than a book about James Brown. Brown’s rough-and-tumble life, through McBride’s lens, is an unsettling metaphor for American life: the tension between North and South, black and white, rich and poor. McBride’s travels take him to forgotten corners of Brown’s never-before-revealed history: the country town where Brown’s family and thousands of others were displaced by America’s largest nuclear power bomb-making facility; a South Carolina field where a long-forgotten cousin recounts, in the dead of night, a fuller history of Brown’s sharecropping childhood, which until now has been a mystery. McBride seeks out the American expatriate in England who co-created the James Brown sound, visits the trusted right-hand manager who worked with Brown for forty-one years, and interviews Brown’s most influential nonmusical creation, his “adopted son,” the Reverend Al Sharpton. He describes the stirring visit of Michael Jackson to the Augusta, Georgia, funeral home where the King of Pop sat up all night with the body of his musical godfather, spends hours talking with Brown’s first wife, and lays bare the Dickensian legal contest over James Brown’s estate, a fight that has consumed careers; prevented any money from reaching the poor schoolchildren in Georgia and South Carolina, as instructed in his will; cost Brown’s estate millions in legal fees; and left James Brown’s body to lie for more than eight years in a gilded coffin in his daughter’s yard in South Carolina.   James McBride is one of the most distinctive and electric literary voices in America today, and part of the pleasure of his narrative is being in his presence, coming to understand Brown through McBride’s own insights as a black musician with Southern roots. Kill ’Em and Leave is a song unearthing and celebrating James Brown’s great legacy: the cultural landscape of America today.Praise for Kill ’Em and Leave “The definitive look at one of the greatest, most important entertainers, The Godfather, Da Number One Soul Brother, Mr. Please, Please Himself—JAMES BROWN.”—Spike Lee “Please, please, please: Can anybody tell us who and what was James Brown? At last, the real deal: James McBride on James Brown is the matchup we’ve been waiting for, a musician who came up hard in Brooklyn with JB hooks lodged in his brain, a monster ear for the truth, and the chops to write it. This is no celeb bio but a compelling personal quest—so very timely, angry, hilarious, and as irresistible as any James Brown beat.”—Gerri Hirshey, author of Nowhere to Run: The Story of Soul Music “An unconventional and fascinating portrait of Soul Brother No. 1 and the significance of his rise and fall in American culture.” —Kirkus Reviews

    Ultimately, they are forced to make life-changing decisions that depend on their courage and their commitment to one another.First self-published in 1969 (titled A Place for Us) in an edition of 1,000 copies, the author hand-sold the book on New York street corners; it garnered increasing attention to the point of receiving the American Library Association's first Gay Book Award in 1971. McGraw-Hill's version of the book a year later brought it to mainstream bookstores across the country.Patience & Sarah is a historical romance whose drama was a touchstone for the burgeoning gay and women's activism of the 1960s and early 1970s. It celebrates the joys of an uninhibited love between two strong women with a confident defiance that remains relevant today.Features an appendix of supplementary materials about Patience & Sarah and the author, as well as an introduction by acclaimed novelist Emma Donoghue.

    But for someone who should have been hailed as a pioneer in the genre there was little information available. For, as O’Meara soon discovered, Patrick’s contribution had been claimed by a jealous male colleague, her career had been cut short and she soon after had disappeared from film history. No one even knew if she was still alive.As a young woman working in the horror film industry, O’Meara set out to right the wrong, and in the process discovered the full, fascinating story of an ambitious, artistic woman ahead of her time. Patrick’s contribution to special effects proved to be just the latest chapter in a remarkable, unconventional life, from her youth growing up in the shadow of Hearst Castle, to her career as one of Disney’s first female animators. And at last, O’Meara discovered what really had happened to Patrick after The Creature’s success, and where she went.A true-life detective story and a celebration of a forgotten feminist trailblazer, Mallory O’Meara’s The Lady from the Black Lagoon establishes Patrick in her rightful place in film history while calling out a Hollywood culture where little has changed since.