Since that time, books such as Richard Plant's The Pink Triangle (and Martin Sherman's play Bent) have illuminated this nearly lost history. Heinz Heger's first-person account, The Men with the Pink Triangle, was one of the first books on the topic and remains one of the most important. In 1939, Heger, a Viennese university student, was arrested and sentenced to prison for being a "degenerate." Within weeks he was transported to Sachsenhausen, a concentration camp in East Germany, and forced to wear a pink triangle to show that his crime was homosexuality. He remained there, under horrific conditions, until the end of the war in 1945. The power of The Men with the Pink Triangle comes from Heger's sparse prose and his ability to recall--and communicate--the smallest resonant details. The pain and squalor of everyday camp life--the constant filth, the continuous presence of death, and the unimaginable cruelty of those in command--are all here. But Heger's story would be unbearable were it not for the simple courage he and others used to survive and, having survived, that he bore witness. This book is harrowing but necessary reading for everyone concerned about gay history, human rights, or social justice. --Michael Bronski

    Emma Donoghue brings to bear all her knowledge and grasp to examine how desire between women in English literature has been portrayed, from schoolgirls and vampires to runaway wives, from cross-dressing knights to contemporary murder stories. Donoghue looks at the work of those writers who have addressed the “unspeakable subject,” examining whether such desire between women is freakish or omnipresent, holy or evil, heartwarming or ridiculous as she excavates a long-obscured tradition of (inseparable) friendship between women, one that is surprisingly central to our cultural history.Donoghue writes about the half-dozen contrasting girl-girl plots that have been told and retold over the centuries, metamorphosing from generation to generation. What interests the author are the twists and turns of the plots themselves and how these stories have changed—or haven’t—over the centuries, rather than how they reflect their time and society. Donoghue explores the writing of Sade, Diderot, Balzac, Thomas Hardy, H. Rider Haggard, Elizabeth Bowen, and others and the ways in which the woman who desires women has been cast as not quite human, as ghost or vampire.She writes about the ever-present triangle, found in novels and plays from the last three centuries, in which a woman and man compete for the heroine’s love . . . about how—and why—same-sex attraction is surprisingly ubiquitous in crime fiction, from the work of Wilkie Collins and Dorothy L. Sayers to P. D. James.Finally, Donoghue looks at the plotline that has dominated writings about desire between women since the late nineteenth century: how a woman’s life is turned upside down by the realization that she desires another woman, whether she comes to terms with this discovery privately, “comes out of the closet,” or is publicly “outed.”She shows how this narrative pattern has remained popular and how it has taken many forms, in the works of George Moore, Radclyffe Hall, Patricia Highsmith, and Rita Mae Brown, from case-history-style stories and dramas, in and out of the courtroom, to schoolgirl love stories and rebellious picaresques. A revelation of a centuries-old literary tradition—brilliant, amusing, and until now, deliberately overlooked.

    And that's why in Shameless, Pastor Nadia sets out to reclaim the conversation for a new generation. In the spirit of Martin Luther, Bolz-Weber calls for a reformation of the way believers understand and express their sexuality. To make her case, Bolz-Weber draws on experiences from her own life as well as her parishoners', then puts them side by side with biblical narrative and theology to explore what the church has taught and about sex, and the harm that has often come as a result. Along the way, Bolz-Weber reexamines patriarchy, gender, and sexual orientation with candor but also with hope--because, as she writes, "I believe that the Gospel can heal the pain that even the church has caused."

    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.

    A personal story of Kate Millett's struggle to regain control of her life after falling under an ascription of manic depression.

    Portraits, family photographs, and candid images grace the pages, augmenting the emotional and physical journey each youth has taken. Each honest discussion and disclosure, whether joyful or heartbreaking, is completely different from the other because of family dynamics, living situations, gender, and the transition these teens make in recognition of their true selves.

    A serious consideration of trans survival and flourishing requires a radical rethinking of how care operates.

    Her solo stand up show, Susan Calman is Convicted, was broadcast on BBC Radio 4 and dealt with subjects like the death penalty, appearance and depression. The reaction to the show she wrote about mental health was so positive that she wanted to expand on the show and write a more detailed account of surviving when you're the world's most negative person. The Crab of Hate is the personification of Calman's depression and her version of the notorious Black Dog. A constant companion in her life, the Crab has provided her with the best, and very worst of times. This is a very personal memoir of how, after many years and with a lot of help and talking, she has embraced her dark side and realised that she can be the most joyous sad person you'll ever meet.

    From high-profile figures like Abraham Lincoln and Eleanor Roosevelt to the trailblazing gender-ambiguous Queen of Sweden and a bisexual blues singer who didn’t make it into your history books, these astonishing true stories uncover a rich queer heritage that encompasses every culture, in every era.

    By night, I am Glamrou, an empowered, fearless and acerbic drag queen who wears seven-inch heels and says the things that nobody else dares to. Growing up in a strict Iraqi Muslim household, it didn’t take long for me to realise I was different. When I was ten years old, I announced to my family that I was in love with Macaulay Culkin in Home Alone. The resultant fallout might best be described as something like the Iraqi version of Jerry Springer: The Opera. And that was just the beginning. This is the story of how I got from there to here: about my teenage obsession with marine biology, and how fluid aquatic life helped me understand my non-binary gender identity; about my two-year scholarship at Eton college, during which I wondered if I could forge a new identity as a British aristocrat (spoiler alert: it didn’t work); about discovering the transformative powers of drag while at university (and how I very nearly lost my mind after I left); and about how, after years of rage towards it, I finally began to understand Islam in a new, queer way. Most of all, this is a book about my mother. It’s the journey of how we lost and found each other, about forgiveness, understanding, hope – and the life-long search for belonging.

    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.

    Space to think. Space to connect. Space to be yourself. And this is your invitation to join us. In Continuum, fine artist, activist, and Titans actor Chella Man uses his own experiences as a deaf, transgender, genderqueer, Jewish person of color to talk about cultivating self-acceptance and acting as one's own representation.Pocket Change Collective is a series of small books with big ideas from today's leading activists and artists.What constructs in your life must you unlearn to support inclusivity and respect for all? This is a question that artist, actor, and activist Chella Man wrestles with in this powerful and honest essay. A story of coping and resilience, Chella journeys through his experiences as a deaf, transgender, genderqueer, Jewish person of color, and shows us that identity lies on a continuum -- a beautiful, messy, and ever-evolving road of exploration.

    The major texts in sexuality studies, including queer theory, rarely mention disability, and foundational texts in disability studies do not discuss sex in much detail. What if "sex" and "disability" were understood as intimately related concepts? And what if disabled people were seen as both subjects and objects of a range of erotic desires and practices? These are among the questions that this collection's contributors engage. From multiple perspectives—including literary analysis, ethnography, and autobiography—they consider how sex and disability come together and how disabled people negotiate sex and sexual identities in ableist and heteronormative culture. Queering disability studies, while also expanding the purview of queer and sexuality studies, these essays shake up notions about who and what is sexy and sexualizable, what counts as sex, and what desire is. At the same time, they challenge conceptions of disability in the dominant culture, queer studies, and disability studies.Contributors. Chris Bell, Michael Davidson, Lennard J. Davis, Michel Desjardins, Lezlie Frye, Rachael Groner, Kristen Harmon, Michelle Jarman, Alison Kafer, Riva Lehrer, Nicole Markotić, Robert McRuer, Anna Mollow, Rachel O’Connell, Russell Shuttleworth, David Serlin, Tobin Siebers, Abby L. Wilkerson

    I suddenly feel very differently about my forthcoming operation.”In July 2012, aged thirty, Juliet Jacques underwent sex reassignment surgery—a process she chronicled with unflinching honesty in a serialised national newspaper column. Trans tells of her life to the present moment: a story of growing up, of defining yourself, and of the rapidly changing world of gender politics.Fresh from university, eager to escape a dead-end job, she launches a career as a writer in a publishing culture dominated by London cliques and still figuring out the impact of the Internet. She navigates the treacherous waters of a world where, even in the liberal and feminist media, transgender identities go unacknowledged, misunderstood or worse. Yet through art, film, music, politics and football, Jacques starts to become the person she had only imagined, and begins the process of transition. Interweaving the personal with the political, her memoir is a powerful exploration of debates that comprise trans politics, issues which promise to redefine our understanding of what it means to be alive.Revealing, honest, humorous, and self-deprecating, Trans includes an epilogue with Sheila Heti, author of How Should a Person Be?, in which Jacques and Heti discuss the cruxes of writing and identity.From the Hardcover edition.

    It was these concerns that prompted indie icon Michelle Tea--whose memoir The Chelsea Whistle details her own working-class roots in gritty Chelsea, Massachusetts--to collect these fierce, honest, tender essays written by women who can’t go home to the suburbs when their assignment is over. These wide-ranging essays cover everything from stealing and selling blood to make ends meet, to "jumping" class, how if time equals money then being poor means waiting, surviving and returning to the ghetto and how feminine identity is shaped by poverty. Contributors include Dorothy Allison, Diane Di Prima, Terri Griffith, Daisy Hernández, Frances Varian, Tara Hardy, Shawna Kenney, Siobhan Brooks, Terri Ryan, and more.