Shapland recognizes herself in the letters’ language―but does not see Carson as history has portrayed her.And so, Shapland is compelled to undertake a recovery of the full narrative and language of Carson's life: She wades through the therapy transcripts; she stays at Carson’s childhood home, where she lounges in her bathtub and eats delivery pizza; she relives Carson’s days at her beloved Yaddo. As Shapland reckons with the expanding and collapsing distance between her and Carson, she see the way Carson’s story has become a way to articulate something about herself. The results articulate something entirely new not only about this one remarkable, walleyed life, but about the way we tell queer love stories.In genre-defying vignettes, Jenn Shapland interweaves her own story with Carson McCullers’s to create a vital new portrait of one of America’s most beloved writers, and shows us how the writers we love and the stories we tell about ourselves make us who we are. In genre-defying vignettes, Jenn Shapland interweaves her own story with Carson McCullers’s to create a vital new portrait of one of America’s most beloved writers, and shows us how the writers we love and the stories we tell about ourselves make us who we are.

    Focusing on Huli “passenger women,” (women who accept money for sex) Wayward Women explores the socio-economic factors that push women into the practice of transactional sex, and asks how these transactions might be an expression of resistance, or even revenge. Challenging conventional understandings of “prostitution” and “sex work,” Holly Wardlow contextualizes the actions and intentions of passenger women in a rich analysis of kinship, bridewealth, marriage, and exchange, revealing the ways in which these robust social institutions are transformed by an encompassing capitalist economy. Many passenger women assert that they have been treated “olsem maket” (like market goods) by their husbands and natal kin, and they respond by fleeing home and defiantly appropriating their sexuality for their own purposes. Experiences of rape, violence, and the failure of kin to redress such wrongs figure prominently in their own stories about becoming “wayward.” Drawing on village court cases, hospital records, and women’s own raw, caustic , and darkly funny narratives, Wayward Women provides a riveting portrait of the way modernity engages with gender to produce new and contested subjectivities.

    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.

    But as it is often said nothing ever really happened unless it is written down. There are so many stories to tell of the agonies and triumphs of both doctors and patients, who have peopled this venerable institution through the ages. I wrote the stories because I firmly believe that healing is a mutual process; that the healer is very often himself healed as he goes about caring for the ailing person. So the stories bite both ways.”

    But in the words of editor Honor Moore, what strikes the contemporary reader is not the sophistication of Lowell's feminist or antiwar stances, but the bald audacity of her eroticism. Her search for an imagist poetry that is hard and clear, never blurred nor indefinite, found its purest expression in sensual love poems that bristle with lyric intensity. This new selection explores Lowell's full formal range, including cadenced verse, polyphonic prose, narrative poetry, and adaptations from the Chinese, and gives a fresh sense of the passion and energy of her work.

    Glaude Jr., in a moment when the struggles of Black Lives Matter and the attempt to achieve a new America have been challenged by the election of Donald Trump, a president whose victory represents yet another failure of America to face the lies it tells itself about race. From Charlottesville to the policies of child separation at the border, his administration turned its back on the promise of Obama's presidency and refused to embrace a vision of the country shorn of the insidious belief that white people matter more than others.We have been here before: For James Baldwin, these after times came in the wake of the civil rights movement, when a similar attempt to compel a national confrontation with the truth was answered with the murders of Medgar Evers, Malcolm X, and Martin Luther King, Jr. In these years, spanning from the publication of The Fire Next Time in 1963 to that of No Name in the Street in 1972, Baldwin transformed into a more overtly political writer, a change that came at great professional and personal cost. But from that journey, Baldwin emerged with a sense of renewed purpose about the necessity of pushing forward in the face of disillusionment and despair.In the story of Baldwin's crucible, Glaude suggests, we can find hope and guidance through our own after times, this Trumpian era of shattered promises and white retrenchment. Mixing biography--drawn partially from newly uncovered interviews--with history, memoir, and trenchant analysis of our current moment, Begin Again is Glaude's endeavor, following Baldwin, to bear witness to the difficult truth of race in America today. It is at once a searing exploration that lays bare the tangled web of race, trauma, and memory, and a powerful interrogation of what we all must ask of ourselves in order to call forth a new America.

    This diverse cast stretches from the Edwardian period to today.Described by gay scholar Jonathan Katz as "willfully cacophonous, a chorus of voices untamed," The Right Side of History sets itself apart by starting with the turn-of-the-century bohemianism of Isadora Duncan and the 1924 establishment of the nation’s first gay group, the Society for Human Rights; it also includes gay activism of labor unions in the 1920s and 1930s; the 1950s civil rights movement; the 1960s anti-war protests; the sexual liberation movements of the 1970s; and more contemporary issues such as marriage equality.The book shows how LGBT folk have always been in the forefront of progressive social evolution in the United States. It references heroes like Abraham Lincoln, Eleanor Roosevelt, Bayard Rustin, Harvey Milk, and Edie Windsor. Equally, the book honors names that aren’t in history books, from participants in the Names Project, a national phenomenon memorializing 94,000 AIDS victims, to underground agitprop artists.

    But in that year, Quentin Crisp made the courageous decision to "come out" as a homosexual. This exhibitionist with the henna-dyed hair was harassed, ridiculed and beaten. Nevertheless, he claimed his right to be himself—whatever the consequences. The Naked Civil Servant is both a comic masterpiece and a unique testament to the resilience of the human spirit.

    Unable to face his family, Sutton heads to Manhattan with no plans and little money in his pocket but with a desire to call his life his own. Jack Bailey lost his parents to influenza and now hopes to save the family novelty shop by advertising on the radio, a medium barely more than a novelty, itself. His nights are spent in a careless and debauched romp through the gayer sections of Manhattan. When these two men cross paths, despite a world of differences separating them, their attraction cannot be denied. Sutton finds himself drawn to the piano, playing for Jack. But can his music heal them both, or will sudden prosperity jeopardize their chance at love?

    Selznick. The starmaker-to-be was on the lookout for promising newcomers when he received an unsolicited photograph from a movie star hopeful named Roy Fitzgerald. The photograph of the handsome young man with bad teeth not only had a career defining impact for Willson but, more importantly, it redefined Hollywood's concept of the male heartthrob. Roy Fitzgerald became Rock Hudson and, for the next twenty-five years, Henry Willson became the man behind movie "beefcake." The Man Who Invented Rock Hudson delves into Willson's life in explicit, unsparing detail. Variety reporter Robert Hofler deftly chronicles Willson's maneuvers to sidestep the FBI's investigation into Hudson's sex life; the agent's use of off-duty L.A.P.D. cops and Mob ties to scare off Hudson's blackmailers; Hudson's "arranged" marriage to Willson's secretary, Phyllis Gates; as well as Hudson's affair with a Universal Pictures vice-president to help secure starring roles. Additionally, the book discusses Willson's other star clients, including Robert Wagner, Troy Donahue, Tab Hunter, John Derek, James Darren, Chad Everett, Mike Connors, and many others.

    His groundbreaking work explores India's sexual fantasies and ideals, the "unlit stage of desire where so much of our inner theater takes place."Kakar's sources are primarily textual, celebrating the primacy of the story in Indian life. He practices a cultural psychology that distills the psyches of individuals from the literary products and social institutions of Indian culture. These include examples of lurid contemporary Hindi novels; folktales; Sanskrit, Tamil, and Hindi proverbs; hits of the Indian cinema; Gandhi's autobiography; interviews with women from the slums of Delhi; and case studies from his own psychoanalytic practice. His attentive readings of these varied narratives from a vivid portrait of sexual fantasies and realities, reflecting the universality of sexuality as well as cultural nuances specific to India.Moving from genre to genre, Kakar offers a brilliant reading of verses from the Laws of Manu, the original source of Hindu religious laws, to uncover their psychological foundations—male terror of the female sexual appetite that shields itself by idealizing women's maternal role. Kakar also examines the psychosexual history of Gandhi at length, though his near-lifelong celibacy makes him an atypical subject. Gandhi's story is universal, Kakar says, because "we all wage war on our wants."In India's lore and tradition, complex symbols abound—snakes that take the shape of sensual women or handsome men, celibates sleep with naked women, gods rape their daughters, and a goddess fries a king in oil. With the analyst's "third ear," Kakar listens, decodes, and translates the psychological longings that find expression in Indian sexual relations.

    He finds himself torn between desire and duty, his lover Adam awaits but so too does Margot, the pregnant fiancée of his dead brother. Set in a time when homosexuality was still illegal, Paul has to decide where his loyalty and his heart lie.

    Will the privileged Boston feminist Olive Chancellor succeed in turning her beloved ward into a celebrated activist and lifetime companion? Or will Basil Ransom, a conservative southern lawyer, steal Verena’s heart and remove her from the limelight? “The Bostonians has a vigor and blithe wit found nowhere else in James,” writes A. S. Byatt in her Introduction. “It is about idealism in a democracy that is still recovering from a civil war bitterly fought for social ideals . . . [written] with a ferocious, precise, detailed—and wildly comic—realism.”

    Whether she is writing about an enraged teenager gone "wilding" in Central Park, fifteen-year-old Latasha Harlins gunned down by a Korean grocer, or a brutalized child who grows up to escape her probable fate through the miracle of art, Sapphire's vision in this collection of poetry and prose is unswervingly honest."Stunning . . . . One of the strongest debut collections of the '90s."--Publishers Weekly