Probing questions, the same ones that students often bring to the course, frame readable chapters that are packed with the most up-to-date scholarship available—in language students will understand. The authors use memorable examples mined from pop culture, history, psychology, biology, and everyday life to truly engage students in the study of gender and spark interest in sociological perspectives.

    Examples abound in popular culture, from actress Cynthia Nixon, who left her male partner of 15 years to be with a woman, to writer and comedienne Carol Leifer, who divorced her husband for the same reason.In a culture increasingly open to accepting this fluidity, Dear John, I Love Jane is a timely, fiercely candid exploration of female sexuality and personal choice. The book is comprised of essays written by a broad spectrum of women, including a number of well-known writers and personalities. Their stories are sometimes funny, sometimes painful—but always achingly honest—accounts of leaving a man for a woman, and the consequences of making such a choice.Arousing, inspiring, bawdy, bold, and heartfelt, Dear John, I Love Jane is an engrossing reflection of a new era of female sexuality.

    His essays are widely credited with being central to the sea change in Christian thinking that has occurred on this issue in recent years. UNFAIR offers the best of Shore's writings on homosexuality and Christians/Christianity, along with heart-wrenching but ultimately inspiring letters from gay people telling what it's like to grow up, and live today, both gay and Christian. The book's opening essay, "Taking God at His Word: The Bible and Homosexuality," is a must-read for anyone seeking clarity on the relationship between the Bible, Christianity, and LGBT people. If you read only one book on this subject, make it this one. (This is the revised and updated edition of Shore's book, "UNFAIR: Why the 'Christian' View of Gays Doesn't Work.")Dan Savage writes: "The touching, brave, and frequently heartbreaking letters in UNFAIR should be required reading for any Christian who claims that gay people can't also be Christians--and for LGBT people who feel there's some conflict between their sexual orientations or gender identities and their faith. John Shore is sharp, he's funny, and he's right. To find out why I've called him America's preeminent non-douchey Christian, buy and read this book. And I challenge anyone who believes that the Bible justifies the persecution of their gay and lesbian neighbors--particularly those on the religious right who've made lucrative careers for themselves out of bearing false witness against their gay and lesbian neighbors--to read this book's concluding essay, 'Taking God at His Word: The Bible and Homosexuality.' Read John with an open mind and he'll change yours."A few things others have said about Mr. Shore:"John Shore is awesome. The minute I started reading his stuff, I knew he was a brother from another mother."-- Rob Bell, author of "Love Wins," "Sex God," and "Velvet Elvis.""John Shore is a gadfly, calling the Christian Church everywhere to act the way it says it believes about love and justice, which of course makes him an uncomfortable presence in those churches that do not like to be forced to face reality. So were the prophets of old. So was Jesus of Nazareth."-- John Shelby Spong"John Shore is funny as hell and smart as hell."--Tony Jones, "Theoblogy"; author of "The New Christians," and "The Sacred Way.""Shore is a humorist whose work is more comedic than Donald Miller, and his appeal to Christians is more direct." -- Michael Spencer, a.k.a. The Internet Monk, and author of the bestseller "Mere Churchianity.""John Shore's unique, honest, and passionate writings draw us to dig a little deeper, to listen with the intention of truly hearing and understanding each other. He gives voice to those without a platform; he puts into words our latent questions/observations about today's topics that are begging to be addressed from the viewpoint of an informed Christian" -- Spencer Burke, founder of TheOOZE.com"John Shore is a remarkably gifted writer who knows exactly what he is doing."-- Jacquelyn Mitchard, author of "The Deep End of the Ocean" (an Oprah's Book Club selection), "Twelve Times Blessed," and "The Breakdown Lane.""John Shore is one of those rare writers who can make people laugh and think at the same time. He's one of the most talented, funny, and deeply thoughtful writers I know." -- Richard Louv, author of international bestsellers "Last Child in the Woods," and "The Nature Principle."

    Perfect for fans of Lindy West, Samantha Irby, and Rebecca Solnit—and anyone who wants, and deserves, to be seen. If Jen Winston knows one thing for sure, it’s that she’s bisexual. Or wait—maybe she isn’t? Actually, she definitely is. Unless…she’s not? Jen’s provocative, laugh-out-loud debut takes us inside her journey of self-discovery, leading us through stories of a childhood “girl crush,” an onerous quest to have a threesome, and an enduring fear of being bad at sex. Greedy follows Jen’s attempts to make sense of herself as she explores the role of the male gaze, what it means to be “queer enough,” and how to overcome bi stereotypes when you’re the posterchild for all of them: greedy, slutty, and constantly confused. With her clever voice and clear-eyed insight, Jen draws on personal experiences with sexism and biphobia to understand how we all can and must do better. She sheds light on the reasons women, queer people, and other marginalized groups tend to make ourselves smaller, provoking the question: What would happen if we suddenly stopped?​​ Greedy shows us that being bisexual is about so much more than who you’re sleeping with—it’s about finding stability in a state of flux and defining yourself on your own terms. This book inspires us to rethink the world as we know it, reminding us that Greedy was a superpower all along.

    With all the revolutionary zeal, laugh-out-loud humour and intelligence of Laura Bates, Caitlin Moran and Bell Hooks, Emer O'Toole explores what it really means to 'act like a girl'.Being a woman is, largely, about performance - how we dress and modify our bodies, what we say, the roles we play, and how we conform to expectations. Gender stereotypes are still deeply embedded in our society, but Emer O'Toole is on a mission to re-write the old script and bend the rules of gender - and she shows how and why we should all be joining in.With game-changing ideas and laugh-out-loud humour, this book will open your mind and revolutionise the way that you think about gender.

    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.

    Gushee, “For us, it’s the LGBT issue.” In Changing Our Mind, Gushee takes the reader along his personal and theological journey as he changes his mind about gay, lesbian, bisexual and transgender inclusion in the Church. With 19 books to his name, Gushee is no stranger to the public arena. He is the author of the “Evangelical Declaration Against Torture” and drafted the “Evangelical Climate Initiative. “For decades now, David Gushee has earned the reputation as America's leading evangelical ethicist. In this book, he admits that he has been wrong on the LGBT issue.” writes Brian D. McLaren, author and theologian. With the support of activists, authors and theologians like Matthew Vines, Phyllis Tickle, James V. Brownson and Mark Achtemeier, Gushee writes clearly and carefully about people dear to him and his study of Scripture. Brian D. McLaren says it best: “Not only is David Gushee's work deep, thoughtful and brilliant; and not only is David philosophically and theologically careful and astute; he is also refreshingly clear and understandable by ‘common people’ who know neither philosophical nor theological mumbo jumbo.”

    In order to help create that community, YA authors David Levithan and Billy Merrell have collected original poems, essays, and stories by young adults in their teens and early 20s. The Full Spectrum includes a variety of writers—gay, lesbian, bisexual, straight, transitioning, and questioning—on a variety of subjects: coming out, family, friendship, religion/faith, first kisses, break-ups, and many others. This one of a kind collection will, perhaps, help all readers see themselves and the world around them in ways they might never have imagined. We have partnered with the Gay, Lesbian and Straight Education Network (GLSEN) and a portion of the proceeds from this book will be donated to them.

    Trans visibility is touted as a sign of a liberal society, but it has coincided with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door grapples with these contradictions. The essays, conversations, and dossiers gathered here delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps” accommodating trans bodies and communities only insofar as they cooperate with dominant norms. The volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, neither entrance nor exit, but a secret passageway leading elsewhere. Trap Door begins a conversation that extends through and beyond trans culture, showing how these issues have relevance for anyone invested in the ethics of visual culture.

    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.

    Although regarded as an essential element of fashionable dress from the Renaissance into the twentieth century, the corset was also frequently condemned as an instrument of torture and the cause of ill health. Why did women continue to don steel and whalebone corsets for four hundred years? And why did they finally stop? This lavishly illustrated book offers fascinating and often surprising answers to these questions. Valerie Steele, one of the world’s most respected fashion historians, explores the cultural history of the corset, demolishing myths about this notorious garment and revealing new information and perspectives on its changing significance over the centuries. Whereas most historians have framed the history of the corset in terms of oppression vs. liberation and fashion vs. health and comfort, Steele contends that women’s experiences of corsetry varied considerably and cannot be fully understood within these narrow frames.Drawing on extensive research in textual, visual, and materials sources, the author disproves the beliefs that the corset was dangerously unhealthy and was designed primarily for the oppression of women. Women persisted in wearing corsets—despite powerful male authorities trying to dissuade them—because corsetry had positive connotations of social status, self-discipline, youth, and beauty. In the twentieth century the garment itself fell out of fashion but, Steele points out, it has become internalized as women replace the boned corset with diet, exercise, and plastic surgery. The book concludes with insightful analyses of such recent developments as the reconception of the corset as a symbol of rebellion and female sexual empowerment, the revival of the corset in contemporary high fashion, and its transformation from an item of underwear to outerwear.

    The subjects of this study are hijras or the "third sex" of India, individuals who occupy a unique, liminal space between male and female, sacred and profane. Hijras are men who sacrifice their genitalia to a goddess in return for the power to confer fertility on newlyweds and newborn children, a ritual role they are respected for, at the same time as they are stigmatized for their ambiguous sexuality. By focusing on the hijra community, Reddy sheds new light on Indian society and the intricate negotiations of identity across various domains of everyday life. Further, by reframing hijra identity through the local economy of respect, this ethnography highlights the complex relationships between local and global, sexual and moral, economies. This book will be regarded as the definitive work on hijras, one that will be of enormous interest to anthropologists, students of South Asian culture, and specialists in gender, queer, and sexuality studies.

    Joanne Meyerowitz tells a powerful human story about people who had a deep and unshakable desire to transform their bodily sex. In the last century when many challenged the social categories and hierarchies of race, class, and gender, transsexuals questioned biological sex itself, the category that seemed most fundamental and fixed of all.From early twentieth-century sex experiments in Europe, to the saga of Christine Jorgensen, whose sex-change surgery made headlines in 1952, to today’s growing transgender movement, Meyerowitz gives us the first serious history of transsexuality. She focuses on the stories of transsexual men and women themselves, as well as a large supporting cast of doctors, scientists, journalists, lawyers, judges, feminists, and gay liberationists, as they debated the big questions of medical ethics, nature versus nurture, self and society, and the scope of human rights.In this story of transsexuality, Meyerowitz shows how new definitions of sex circulated in popular culture, science, medicine, and the law, and she elucidates the tidal shifts in our social, moral, and medical beliefs over the twentieth century, away from sex as an evident biological certainty and toward an understanding of sex as something malleable and complex. How Sex Changed is an intimate history that illuminates the very changes that shape our understanding of sex, gender, and sexuality today.

    New thought and new dialogue: a book that will teach in the most multiple sense of that word: a book that will be of lasting value to many diverse communities of women as well as to students from those communities. The authors explore a full spectrum of present concerns in over seventy pieces that vary from writing by new talents to published pieces by Audre Lorde, Joy Harjo, Norma Alarcón and Trinh T. Minh-ha."At one level or another, all the work in the collection seeks to find ways to understand and articulate our multiple identities and senses of place….Making Face/Making Soul is an exciting collection of dynamic, important writings that all women of color and white feminists will learn from, enjoy, and return to again and again and again."—Sojourner"...the pieces are stunning in what they risk and reveal..."—The San Francisco Chronicle

    Now, in this funny and necessary book, he turns round to look at men with a clear eye and ask, what sort of men would make the world a better place, for everyone?What would happen if we rethought the old, macho, outdated version of manhood, and embraced a different idea of what makes a man? Apart from giving up the coronary-inducing stress of always being 'right' and the vast new wardrobe options, the real benefit might be that a newly fitted masculinity will allow men to have better relationships - and that's happiness, right?Grayson Perry admits he's not immune from the stereotypes himself - as the psychoanalysts say, 'if you spot it, you've got it' - and his thoughts on everything from power to physical appearance, from emotions to a brand new Manifesto for Men, are shot through with honesty, tenderness and the belief that, for everyone to benefit, upgrading masculinity has to be something men decide to do themselves. They have nothing to lose but their hang-ups.