The journal GLQ: A Journal of Lesbian and Gay Studies is where queer theory has defined and transformed itself. On the occasion of the GLQ’s twenty-fifth anniversary, the editors, authors, and readers of the journal commemorate its impact on the field. The issue includes an extended “GLQ Forum” that looks back at specific articles and special issues, examines the significance and impact of each, and includes critiques and considerations of how these key works continue to resonate. A special section highlights and reflects on the contributions of major theorists such as Cathy Cohen, Eve Kosofsky Sedgwick, and Susan Stryker.

Contributors: Jafari S. Allen, Marlon M. Bailey, Gabby Benavente, Jennifer DeVere Brody, Andy Campbell, V Varun Chaudhry, Mel Y. Chen, Jih-Fei Cheng, Oliver Coates, Cathy Cohen, Rachel Corbman, Carolyn Dinshaw, Allen Durgin, Elizabeth Freeman, John S. Garrison, Julian Gill-Peterson, Chase Gregory, Sarah Haley, David M. Halperin, Christina B. Hanhardt, Scott Herring, Heather Love, Dana Luciano, Whitney Monaghan, Marcia Ochoa, John Petrus, Elliott H. Powell, Nic John Ramos, Chandan Reddy, Richard T. Rodríguez, Nayan Shah, Stephanie Shelton, C. Riley Snorton, Ragini Tharoor Srinivasan, L. H. Stallings, Susan Stryker, Omise’eke Natasha Tinsley, Karen Tongson, Salvador Vidal-Ortiz, Rachel Walerstein, Mary Zaborskis

Using black feminist theory and African American studies to read Victorian culture, Impossible Purities looks at the construction of “Englishness” as white, masculine, and pure and “Americanness” as black, feminine, and impure. Brody’s readings of Victorian novels, plays, paintings, and science fiction reveal the impossibility of purity and the inevitability of hybridity in representations of ethnicity, sexuality, gender, and race. She amasses a considerable amount of evidence to show that Victorian culture was bound inextricably to various forms and figures of blackness.
Opening with a reading of Daniel Defoe’s “A True-Born Englishman,” which posits the mixed origins of English identity, Brody goes on to analyze mulattas typified by Rhoda Swartz in William Thackeray’s Vanity Fair, whose mixed-race status reveals the “unseemly origins of English imperial power.” Examining Victorian stage productions from blackface minstrel shows to performances of The Octoroon and Uncle Tom’s Cabin, she explains how such productions depended upon feminized, “black” figures in order to reproduce Englishmen as masculine white subjects. She also discusses H.G. Wells’s The Island of Dr. Moreau in the context of debates about the “new woman,” slavery, and fears of the monstrous degeneration of English gentleman. Impossible Purities concludes with a discussion of Bram Stoker’s novella, “The Lair of the White Worm,” which brings together the book’s concerns with changing racial representations on both sides of the Atlantic.
This book will be of interest to scholars in Victorian studies, literary theory, African American studies, and cultural criticism.

Four-year-old TJ spends his days on his lively Harlem block playing with his best friends WT and Blinky and running errands for neighbors. As he comes of age as a “Little Man” with big dreams, TJ faces a world of grown-up adventures and realities. Baldwin’s only children’s book, Little Man, Little Man celebrates and explores the challenges and joys of black childhood.

Now available for the first time in forty years, this new edition of Little Man, Little Man—which retains the charming original illustrations by French artist Yoran Cazac—includes a foreword by Baldwin’s nephew Tejan "TJ" Karefa-Smart and an afterword by his niece Aisha Karefa-Smart, with an introduction by two Baldwin scholars. In it we not only see life in 1970s Harlem from a black child’s perspective, but we also gain a fuller appreciation of the genius of one of America’s greatest writers.

In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital art, from emoticons to dance pieces, Brody suggests that instead of always clarifying meaning, punctuation can sometimes open up space for interpretation, enabling writers and visual artists to interrogate and reformulate notions of life, death, art, and identity politics.

Brody provides a playful, erudite meditation on punctuation’s power to direct discourse and, consequently, to shape human subjectivity. Her analysis ranges from a consideration of typography as a mode for representing black subjectivity in Ralph Ellison’s Invisible Man to a reflection on hyphenation and identity politics in light of Strunk and White’s prediction that the hyphen would disappear from written English. Ultimately, Brody takes punctuation off the “stage of the page” to examine visual and performance artists’ experimentation with non-grammatical punctuation. She looks at different ways that punctuation performs as gesture in dances choreographed by Bill T. Jones, in the hybrid sculpture of Richard Artschwager, in the multimedia works of the Japanese artist Yayoi Kusama, and in Miranda July’s film Me and You and Everyone We Know. Brody concludes with a reflection on the future of punctuation in the digital era.