Advances in LGBTQ rights in the recent past—marriage equality, the repeal of Don't Ask, Don't Tell, and the expansion of hate crimes legislation—have been accompanied by a rise in attacks against trans, queer and/or gender-nonconforming people of color. In Atmospheres of Violence, theorist and organizer Eric A. Stanley shows how this seeming contradiction reveals the central role of racialized and gendered violence in the United States. Rather than suggesting that such violence is evidence of individual phobias, Stanley shows how it is a structuring antagonism in our social world. Drawing on an archive of suicide notes, AIDS activist histories, surveillance tapes, and prison interviews, they offer a theory of anti-trans/queer violence in which inclusion and recognition are forms of harm rather than remedies to it. In calling for trans/queer organizing and worldmaking beyond these forms, Stanley points to abolitionist ways of life that might offer livable futures.

When your stories flow from the brackish waters of the Gulf South, where the land and water merge, your narratives cannot be contained or constrained by the Eurocentric conventions of autobiography. When your story is rooted in the histories of your West African, Creek, and Creole ancestors, as well as your Black, feminist, and queer communities, you must create a biomythography that transcends linear time and extends beyond the pages of a book. 
 
Biomythography Bayou is more than just a book of memoir; it is a ritual for conjuring queer embodied knowledges and decolonial perspectives. Blending a rich gumbo of genres—from ingredients such as praise songs, folk tales, recipes, incantations, and invocations—it also includes a multimedia component, with “bayou tableau” images and audio recording links. Inspired by such writers as Audre Lorde, Zora Neale Hurston, and Octavia Butler, Mel Michelle Lewis draws from the well of her ancestors in order to chart a course toward healing Afrofutures. Showcasing the nature, folklore, dialect, foodways, music, and art of the Gulf’s coastal communities, Lewis finds poetic ways to celebrate their power and wisdom.

Disruptive Situations challenges representations of contemporary Beirut as an exceptional space for LGBTQ people by highlighting everyday life in a city where violence is the norm. Ghassan Moussawi, a Beirut native, seeks to uncover the underlying processes of what he calls “fractal orientalism,” a relational understanding of modernity and cosmopolitanism that illustrates how transnational discourses of national and sexual exceptionalism operate on multiple scales in the Arab world.

Moussawi’s intrepid ethnography features the voices of women, gay men and genderqueers in Beirut to examine how queer individuals negotiate life in this uncertain region. He examines “al-wad’,” or “the situation,” to understand the practices that form these strategies and to raise questions about queer-friendly spaces in and beyond Beirut. 

Disruptive Situations alsoshows how LGBTQ Beirutis resist reconciliation narratives and position their identities and visibility at different times as ways of simultaneously managing their multiple positionalities and al-wad’. Moussawi argues that the daily survival strategies in Beirut are queer—and not only enacted by LGBTQ people—since Beirutis are living amidst an already queer situation of ongoing precarity.

Courageous Surrealist artist Claude Cahun championed freedom at every turn, from rejecting gender norms and finding queer love to risking death to sabotage the Nazis.

At the turn of the twentieth century in Nantes, France, Lucy Schwob met Suzanne Malherbe, and lightning struck. The two became partners both artistically and romantically and transformed themselves into the creative personas Claude Cahun and Marcel Moore. Together, the couple embarked on a radical journey of Surrealist collaboration that would take them from conservative provincial France to the vibrancy of 1920s Paris to the oppression of Nazi-occupied Jersey during World War II, where they used art to undermine the Nazi regime.

Cahun and Moore challenged gender roles and championed freedom at a time when strict societal norms meant that the truth of their relationship had to remain secret. Featuring ten photographs by Cahun and Moore, this graphic biography by cartoonist Kaz Rowe brings Cahun’s inspiring story to life.

Ages thirteen to eighteen

Aleksandr Aleksandrov was an author and soldier in service of the Russian tsar, active in the Prussian theater of the War of the Fourth Coalition (1806–7) and in the Napoleonic Wars. In scholarship, he is better known by his birth name, Nadezhda Andreevna Durova, and often referred to with the female pronouns bestowed upon him at birth. In this first book-length study of Aleksandrov, Ruth Averbach argues that we should understand this celebrated figure of Imperial Russia, whose sex was legally changed by Tsar Aleksandr I, simply as a man, one whose masculinity was intimately connected to the imperialist cause and Russian nationalism.

For the majority of his life, Aleksandrov lived, wrote, and fought as a man and was recognized as such by most of his contemporaries. This contradicts the dominant position in especially Western feminist scholarship, which understands “Durova” either as a woman so patriotic that she dressed as a man to fight Russia’s wars or as a woman so frustrated by gender restrictions that she dramatically sought to cast them aside. Averbach instead asserts that we should take Aleksandrov at his word and accept his transition as genuine. Doing so allows for fresh interpretations of both his autobiographical writings and his works of fiction, interpretations that Averbach deftly shows have salience not just for a single man’s life but also for how we understand masculinity, imperialism, and nationalism in nineteenth-century Russia more broadly.

This groundbreaking collection of LGBTQ prayers, poems, liturgy, and rituals is both a spiritual resource and a celebratory affirmation of Jewish diversity. Giving voice to the private and public sectors of queer Jewish experience, Mishkan Ga'avah is also a commemoration of the fiftieth anniversary of both the Stonewall Riots and the first pride march, reflecting the longtime advocacy of the Reform Movement for full LGBTQ inclusion.

Genderqueer and nonbinary people of color often experience increased marginalization, belonging to an ethnic group that seldom recognizes their gender identity and a queer community that subscribes to white norms. Yet for this very reason, they have a lot to teach about how racial, sexual, and gender identities intersect. Their experiences of challenging social boundaries demonstrate how queer communities can become more inclusive and how the recognition of nonbinary genders can be an anti-racist practice. 
 
My Race is My Gender is the first anthology by nonbinary writers of color to include photography and visual portraits, centering their everyday experiences of negotiating intersectional identities. While informed by queer theory and critical race theory, the authors share their personal stories in accessible language. Bringing together Black, Indigenous, Latine, and Asian perspectives, its six contributors present an intergenerational look at what it means to belong to marginalized queer communities in the U.S. and feel solidarity with a global majority at the same time. They also provide useful insights into how genderqueer and nonbinary activism can both energize and be fueled by such racial justice movements as Black Lives Matter. 

Notions of hip hop authenticity, as expressed both within hip hop communities and in the larger American culture, rely on the construction of the rapper as a Black, masculine, heterosexual, cisgender man who enacts a narrative of struggle and success.  In Queer Voices in Hip Hop, Lauron J. Kehrer turns our attention to openly queer and trans rappers and positions them within a longer Black queer musical lineage.  Combining musical, textual, and visual analysis with reception history, this book reclaims queer involvement in hip hop by tracing the genre’s beginnings within Black and Latinx queer music-making practices and spaces, demonstrating that queer and trans rappers draw on Ballroom and other cultural expressions particular to queer and trans communities of color in their work in order to articulate their subject positions. By centering the performances of openly queer and trans artists of color, Queer Voices in Hip Hop reclaims their work as essential to the development and persistence of hip hop in the United States as it tells the story of hip hop’s queer roots.

A history of trans medicine that uses Scandinavian sources to tell a global story.
 
Standardizing Sex traces the emergence of trans medicine in Scandinavia in the twentieth century, exploring the construction and negotiation of medical expertise among medical professionals, patients, and activists in the media and government bureaucracy. The book combines the author’s analysis of medical records and other archival sources with oral history interviews with former patients, activists, doctors, psychologists, and civil servants. Physician-historian Ketil Slagstad uses the Scandinavian story of sex reassignment to anchor not only the role of the state but also bureaucracy and social rights. Scandinavian countries, he shows, played a foundational role in the emergence of trans medicine internationally. As a result, Standardizing Sex tells a transnational history of medicine that sheds light on a set of relations and problems that continue to impact discussions of trans medicine and trans rights around the world.
 
Slagstad’s sources offer a rare opportunity to explore the emergence of trans medicine in action in the clinic, laboratory, waiting room, and operating room, as well as in the bureaucrat’s office, on the psychologist’s couch, and in the publications and meetings of activist groups. Together, these sources allow for the analysis of the increasingly complex negotiations of nosological criteria, medical knowledge, and medical practices in a formative period for transgender medicine. More generally, the book offers a story about the reshaping of the normal and the pathological in modern societies.

A debut essay collection that upends our notions of loneliness, wilderness, and liberation

Transanything reveals a world in metamorphosis. A hermit crab retires its shell, lovers drift apart, and seasons churn, all amid Ever Jones’s own narrative of midlife gender transition.
 
Jones takes up a tradition of writing—about the American landscape, solitude, wilderness, and the West—long intertwined with colonialism and heteropatriarchy, and makes it wholly their own. A self-proclaimed “nature essay” misbehaves, wandering away from the hummingbird outside Jones’s window. In their chronicle of a week in Yellowstone, Jones navigates trails frequented by grizzlies and a campground where their identity is regarded as equally dangerous. Elk, bison, and bark spiders roam this book’s pages, but it is the gray wolf—the embattled apex predator of the American West, narrow survivor of settler colonial violence, and vessel for American myths of independence—who emerges as Jones’s shapeshifting coprotagonist.
 
Taking on a global web of colonial systems that seek to divide us, Jones disrupts loneliness and forges space for queerness and transness to be aliveness—to be transanything.

In Transformismo, M. Myrta Leslie Santana draws on years of embedded research within Cuban trans/queer communities to analyze how transformistas, or drag performers, understand their roles in the social transformation of the island. Once banned and censored in Cuba, drag performance is now a state-sponsored event. Transformismo suggests that these performances make critical interventions in Cuban trans/queer life and politics and in doing so, the volume offers critical insight into how Cuba’s postsocialist reform has exacerbated racial, sexual, and economic inequalities. Leslie Santana argues that mainstream trans/queer nightlife in Cuba is entangled with the island’s tourism economy and has shaped the aesthetics and social makeup of transformismo in coastal Havana, which largely caters to foreigners. Leslie Santana considers how Black lesbian and transgender transformistas are expanding understandings of sexual selfhood and politics on the island, particularly questioning the ways that Black women’s creativity is prominently featured in the aesthetics of tourism and trans/queer nightlife, while Black women themselves are denied social and material capital.