Coyote is a master storyteller and performer; their beautiful, funny stories about growing up a lesbian butch in the Canadian north have attracted big audiences whether gay, straight, or otherwise. Missed Her is Ivan's fifth story collection, following 2008's Lambda-nominated The Slow Fix and Bow Grip, their novel that was named a Stonewall Honor Book by the American Library Association. Whether discussing the politics of being a butch with a pet lapdog or berating a gay newspaper for considering butches and trans people as "extreme," Ivan traverses issues of gender and identity with a wistful, perceptive eye.

    Gripping, tender and fiercely funny, it has been instantly recognised as a modern classic about the way we live now.

    Joshua Goldstein analyzes the near-total exclusion of women from combat forces, through history and across cultures. He concludes that killing in war does not come naturally for either gender, and that gender norms often mold men, women, and children to the needs of the war system.

    Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence.Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible.Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

    Cohen show us that the antidote to our ever-growing rates of obesity and chronic diseases, such as heart disease and diabetes, lies not in our medical care system or in more health education but rather in how our environment affects our behavior.

    Praised by the Chicago Tribune as "an impressive study" and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film.

    In the richly illustrated pages of this book, she unfolds a myriad of wonders — the pattern of a bee abdomen, varieties of ice forms and sky colors, the joys of a garden — and shows us how to capture them on the page. Hinchman's respect for the miracle of our five senses, and her passion for what they can tell us about the world, is contagious. "Start with a smell, like a crushed marigold leaf, the sea, coal smoke," she advises, and from such raw materials begin to "decant the stuff of life" into journal form, "where it remains fresh, still tasting of its source." Even for one who has no intention of journal-keeping, to delve into Hinchman's own work is to see with new eyes. A Trail Through Leaves is a true gift and inspiration, a treasure-box of ways to write, draw, and be alive to the world. * "This is an important book, brilliantly produced. Its light will linger a long, long time." — John R. Stilgoe, professor in the history of landscape, Harvard University * "[B]oth a rich work of performance art and a personal growth tool with many handles." — Boston Globe

    It is the third of three plays written over twelve years (1957-1969) meant to symbolize the different stages of life, usually shown together. The first, representing birth, is "The Suitcase". The second, "The Cliff of Time," represents life itself, or "The Process," and the third, "The Man who Turned into a Stick," is death.This play has been considered as a main example of the current of Magic Realism in Japanese Literature. Other Japanese authors with considerable literary contributions to this genre are: Yasunari Kawabata, Oe Kenzaburo and Yasushi Inoue.

    In 1962, Williams retitled and expanded The Parade into a full-length play. Both versions of the play are set on the fishing wharves and in the sand dunes of Provincetown, Massachusetts, and tell the story of a young playwright named August dealing with his unrequited love for another man. It was produced posthumously in Provincetown in 2006.

    She has created an empire by discovering and developing new artists. When she agrees to visit an art school in Boston, she encounters a woman, Hayden Rowe, whose paintings take her breath away. Greer realizes Hayden is not a student, but lives in a remote wing of the school and the maddeningly frustrating headmaster is her mother.Mesmerized by Hayden and her art, Greer learns the young woman has Asperger syndrome. Hayden awakens something in Greer she didn’t know she was capable of. Having suffered from a profound loneliness for most of her life, Greer develops an overshadowing love and protectiveness toward Hayden. As she learns more about Hayden and her heartbreaking family situation, Greer is amazed at how courageous and brilliant she is. Can there be a future with a woman like this, and will Hayden, who can only put words to her emotions through her paintings, return her feelings?

    The introduction to the book is a 30-page analysis of the general themes presented in the stories.

    His main target is the all-pervasive figure of the child, which he reads as the linchpin of our universal politics of “reproductive futurism.” Edelman argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. He boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order. In No Future, Edelman urges queers to abandon the stance of accommodation and accede to their status as figures for the force of a negativity that he links with irony, jouissance, and, ultimately, the death drive itself.Closely engaging with literary texts, Edelman makes a compelling case for imagining Scrooge without Tiny Tim and Silas Marner without little Eppie. Looking to Alfred Hitchcock’s films, he embraces two of the director’s most notorious creations: the sadistic Leonard of North by Northwest, who steps on the hand that holds the couple precariously above the abyss, and the terrifying title figures of The Birds, with their predilection for children. Edelman enlarges the reach of contemporary psychoanalytic theory as he brings it to bear not only on works of literature and film but also on such current political flashpoints as gay marriage and gay parenting. Throwing down the theoretical gauntlet, No Future reimagines queerness with a passion certain to spark an equally impassioned debate among its readers.

    As the granddaughter of celebrities and the daughter of an interracial couple in an all-black town, she has become adept at isolating herself from curious neighbors. But then her cousin, Trout, comes to visit. Trout is exactly like Staggerlee wishes she could be: outspoken, sure of herself, beautiful. Finally, Staggerlee has a friend, someone she can share her deepest, most private thoughts with. Someone who will teach her how to be the strong girl she longs to be. But is Trout really the girl Staggerlee thinks she is?

    Among the contents are essays about other writers, accounts of the civil rights movement of the 1960s and the antinuclear movement of the 1980s, and a vivid memoir of a scarring childhood injury and her daughter's healing words.

    Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama.Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists.