Drawing on extensive archival and ethnographic research in New York City and San Francisco, Hanhardt traces the entwined histories of LGBT activism, urban development, and U.S. policy in relation to poverty and crime over the past fifty years. She highlights the formation of a mainstream LGBT movement, as well as the very different trajectories followed by radical LGBT and queer grassroots organizations. Placing LGBT activism in the context of shifting liberal and neoliberal policies, Safe Space is a groundbreaking exploration of the contradictory legacies of the LGBT struggle for safety in the city.
In this book, Robin Hackett examines portrayals of race, class, and sexuality in modernist texts by white women to argue for the existence of a literary device that she calls “Sapphic primitivism.” The works vary widely in their form and content and include Olive Schreiner’s proto-modernist exploration of New Womanhood, The Story of an African Farm; Virginia Woolf’s high modernist “play-poem,” The Waves; Sylvia Townsend Warner’s historical novel, Summer Will Show; and Willa Cather’s Southern pastoral, Sapphira and the Slave Girl. In each, blackness and working-class culture are figured to represent sexual autonomy, including lesbianism, for white women. Sapphic primitivism exposes the ways several classes of identification were intertwined with the development of homosexual identities at the turn of the century. Sapphic primitivism is not, however, a means of disguising lesbian content. Rather, it is an aesthetic displacement device that simultaneously exposes lesbianism and exploits modern, primitivist modes of self-representation. Hackett’s revelations of the mutual interests of those who study early twentieth-century constructions of race and sexuality and twenty-first-century feminists doing anti-racist and queer work are a major contribution to literary studies and identity theory.
Through virtuoso interpretations of works of cinema, photography, critical theory, and literature, including Lydia Davis's story "Break It Down" (reprinted in full here), Berlant and Edelman explore what it means to live with negativity, with those divisions that may be irreparable. Together, they consider how such negativity affects politics, theory, and intimately felt encounters. But where their critical approaches differ, neither hesitates to voice disagreement. Their very discussion—punctuated with moments of frustration, misconstruction, anxiety, aggression, recognition, exhilaration, and inspiration—enacts both the difficulty and the potential of encounter, the subject of this unusual exchange between two eminent critics and close friends.
Sexology and Translation is the first study of the contemporaneous emergence of sexology in Europe, Asia, and the Middle East. Heike Bauer and her contributors—historians, literary and cultural critics, and translation scholars—address the intersections between sexuality and modernity in a range of contexts during the period from the 1880s to the 1930s.
From feminist sexualities in modern Japan to Magnus Hirschfeld’s affective sexology, this book offers compelling new insights into how sexual ideas were formed in different contexts via a complex process of cultural negotiation. By focusing on issues of translation—the dynamic process by which ideas are produced and transmitted—the essays in Sexology and Translation provide an important corrective to the pervasive idea that sexuality is a “Western” construct that was transmitted around the world.
This volume deepens understanding of how the intersections between national and transnational contexts, between science and culture, and between discourse and experience, shaped modern sexuality.
This rich collection of essays presents a new vision of adolescent sexuality shaped by a variety of social factors: race and ethnicity, gender, sexual identity, physical ability, and cultural messages propagated in films, books, and within families. The contributors consider the full range of cultural influences that form a teenager's sexual identity and argue that education must include more than its current overriding message of denial hinged on warnings of HIV and AIDS infection and teenage pregnancy. Examining the sexual experiences, feelings, and development of Asians, Latinos, African Americans, gay man and lesbians, and disabled women, this book provides a new understanding of adolescent sexuality that goes beyond the biological approach all too often simplified as "surging hormones."
In the series Health, Society, and Policy, edited by Sheryl Ruzek and Irving Kenneth Zola.
Christians who struggle with a conflict between their sexual and religious identities have few therapeutic options available to them. ‘Sexual orientation change efforts’ (SOCE) have rightly fallen out of favor and are no longer practiced by most clinicians. At the same time, the common approach of gay affirmative therapy (GAT) can at times present challenges and may not be a good fit when clients hold to conventional religious beliefs and values.
An alternative to these methods is Sexual Identity Therapy (SIT)—an approach that aims to provide individuals with a safe therapeutic space to explore the tension between their sexuality and their faith. Working within the SIT framework, clients are able to resolve their inner conflict to their personal satisfaction and to freely choose a coherent identity that enables them to move forward in life.
SIT has several stages, each designed to enable the client to make meaning out of his or her same-sex sexuality. At no point in the process is the client encouraged to choose one sexual identity over another. The ultimate goal of SIT is congruence. Congruence is achieved when a person freely adopts an identity and lives it out in ways that are in keeping with his or her beliefs and values. The SIT model is brought to life throughout the book with the help of case studies drawn from the author’s 20 years of experience.
Written for both Christian and non-religious clinicians, Sexual Identity and Faith is an informed, respectful, and nuanced guide to help people navigate the difficult conflict between who they are sexually and what they believe religiously.
Compelling and thought-provoking, The Sexual Politics of Empire examines LGBTQI life in contemporary Haiti against the backdrop of American imperialism and intervention.
From concerns over the bullying of LGBTQ youth and battles over sex education to the regulation of sexual activity and the affirmation of queer youth identity, sexuality saturates the school day. Rather than understand these conflicts as an interruption to the work of education, Jen Gilbert explores how sexuality comes to bear on and to enliven teaching and learning.
Gilbert investigates the breakdowns, clashes, and controversies that flare up when sexuality enters spaces of schooling. Education must contain the volatility of sexuality, Gilbert argues, and yet, when education seeks to limit the reach of sexuality, it risks shutting learning down. Gilbert penetrates this paradox by turning to fiction, film, legal case studies, and personal experiences. What, she asks, can we learn about school from a study of sexuality?
By examining the strange workings of sexuality in schools, Gilbert draws attention to the explosive but also compelling force of erotic life in teaching and learning. Ultimately, this book illustrates how the most intimate of our experiences can come to shape how we see and act in the world.
Contributors. Matt Bell, Amanda Berry, Daniel Boyarin, Judith Brown, Steven Bruhm, Peter Coviello, Julie Crawford, Drew Daniel, Mario DiGangi, Lee Edelman, Jason Edwards, Aranye Fradenburg, Carla Freccero, Daniel Juan Gil, Jonathan Goldberg, Jody Greene, Stephen Guy-Bray, Ellis Hanson, Sharon Holland, Cary Howie, Lynne Huffer, Barbara Johnson, Hector Kollias, James Kuzner , Arthur L. Little Jr., Philip Lorenz, Heather Love, Jeffrey Masten, Robert McRuer , Madhavi Menon, Michael Moon, Paul Morrison, Andrew Nicholls, Kevin Ohi, Patrick R. O’Malley, Ann Pellegrini, Richard Rambuss, Valerie Rohy, Bethany Schneider, Kathryn Schwarz, Laurie Shannon, Ashley T. Shelden, Alan Sinfield, Bruce Smith, Karl Steel, Kathryn Bond Stockton, Amy Villarejo, Julian Yates
How the “bad feelings” of trans experience inform trans survival and flourishing
Some days—or weeks, or months, or even years—being trans feels bad. Yet as Hil Malatino points out, there is little space for trans people to think through, let alone speak of, these bad feelings. Negative emotions are suspect because they unsettle narratives of acceptance or reinforce virulently phobic framings of trans as inauthentic and threatening.
In Side Affects, Malatino opens a new conversation about trans experience that acknowledges the reality of feeling fatigue, envy, burnout, numbness, and rage amid the ongoing onslaught of casual and structural transphobia in order to map the intricate emotional terrain of trans survival. Trans structures of feeling are frequently coded as negative on both sides of transition. Before transition, narratives are framed in terms of childhood trauma and being in the “wrong body.” Posttransition, trans individuals—especially trans people of color—are subject to unrelenting transantagonism. Yet trans individuals are discouraged from displaying or admitting to despondency or despair.
By moving these unloved feelings to the center of trans experience, Side Affects proposes an affective trans commons that exists outside political debates about inclusion. Acknowledging such powerful and elided feelings as anger and exhaustion, Malatino contends, is critical to motivating justice-oriented advocacy and organizing—and recalibrating new possibilities for survival and well-being.
Pundits often wax eloquent about the power of music, asserting that it can, in some positive way, change the world. Such statements often rest on an unexamined claim that music can and does foster social justice. Singing Out: GALA Choruses and Social Change tackles the premise underlying such claims, analyzing groups of amateur singers who are explicitly committed to an agenda of social justice.
Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.
Moon illuminates the careers of James, Warhol, and others by examining the imaginative investments of their protogay childhoods in their work in ways that enable new, more complex cultural readings. He deftly engages notions of initiation and desire not within the traditional framework of “sexual orientation” but through the disorienting effects of imitation. Whether invoking the artist Joseph Cornell’s early fascination with the Great Houdini or turning his attention to James’s self-described “initiation into style” at the age of twelve—when he first encountered the homoerotic imagery in paintings by David, Géricault, and Girodet—Moon reveals how the works of these artists emerge from an engagement that is obsessive to the point of “queerness.”
Rich in historical detail and insistent in its melding of the recent with the remote, the literary with the visual, the popular with the elite, A Small Boy and Others presents a hitherto unimagined tradition of brave and outrageous queer invention. This long-awaited contribution from Moon will be welcomed by all those engaged in literary, cultural, and queer studies.
Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.
Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.
We are all caught up in one another, Scott Lauria Morgensen asserts, we who live in settler societies, and our interrelationships inform all that these societies touch. Native people live in relation to all non-Natives amid the ongoing power relations of settler colonialism, despite never losing inherent claims to sovereignty as indigenous peoples. Explaining how relational distinctions of “Native” and “settler” define the status of being “queer,” Spaces between Us argues that modern queer subjects emerged among Natives and non-Natives by engaging the meaningful difference indigeneity makes within a settler society.
Morgensen’s analysis exposes white settler colonialism as a primary condition for the development of modern queer politics in the United States. Bringing together historical and ethnographic cases, he shows how U.S. queer projects became non-Native and normatively white by comparatively examining the historical activism and critical theory of Native queer and Two-Spirit people.
Presenting a “biopolitics of settler colonialism”—in which the imagined disappearance of indigeneity and sustained subjugation of all racialized peoples ensures a progressive future for white settlers—Spaces between Us newly demonstrates the interdependence of nation, race, gender, and sexuality and offers opportunities for resistance in the United States.
Cynthia Wu’s provocative Sticky Rice examines representations of same-sex desires and intraracial intimacies in some of the most widely read pieces of Asian American literature. Analyzing canonical works such as John Okada’s No-No Boy, Monique Truong’s The Book of Salt, H. T. Tsiang’s And China Has Hands, and Lois-Ann Yamanaka’s Blu’s Hanging, as well as Philip Kan Gotanda’s play, Yankee Dawg You Die, Wu considers how male relationships in these texts blur the boundaries among the homosocial, the homoerotic, and the homosexual in ways that lie beyond our concepts of modern gay identity.
The “sticky rice” of Wu’s title is a term used in gay Asian American culture to describe Asian American men who desire other Asian American men. The bonds between men addressed in Sticky Rice show how the thoughts and actions founded by real-life intraracially desiring Asian-raced men can inform how we read the refusal of multiple normativities in Asian Americanist discourse. Wu lays bare the trope of male same-sex desires that grapple with how Asian America’s internal divides can be resolved in order to resist assimilation.
To be taken seriously, therapies that claim to “cure” homosexuality wrap themselves in lab coats. Even though the fit is bad, and such therapies and their theorists now inhabit the scientific fringe, the science of sexuality has made some adjustments, too, Tom Waidzunas tells us in this provocative work.
Intervening in the politics of sexuality and science, The Straight Line argues that scientific definitions of sexual orientation do not merely reflect the results of investigations into human nature, but rather emerge through a process of social negotiation between opposing groups. The demedicalization of homosexuality and the discrediting of reparative therapies, ex-gay ministries, and reorientation research have, Waidzunas contends, required scientists to enforce key boundaries around scientific expertise and research methods. Drawing on extensive participant observation at conferences for ex-gays, reorientation therapists, mainstream psychologists, and survivors of ex-gay therapy, as well as interviews with experts and activists, The Straight Line traces reorientation debates in the United States from the 1950s to the present, following homosexuality therapies from the mainstream to the margins. As the ex-gay movement has become increasingly transnational in recent years, Waidzunas turns to Uganda, where ideas about the scientific nature of homosexuality influenced the passage of the Anti-Homosexuality Act of 2014.
While most studies treat the ex-gay movement as a religious phenomenon, this book looks at how the movement, in its attempts to establish legitimacy, has engaged with scientific institutions, shaping virulent anti-gay public policy.
Contributors
Victor Bascara
Lisa Marie Cacho
M. Bianet Castellanos
Martha Chew Sánchez
Roderick A. Ferguson
Grace Kyungwon Hong
Helen H. Jun
Kara Keeling
Sanda Mayzaw Lwin
Jodi Melamed
Chandan Reddy
Ruby C. Tapia
Cynthia Tolentino
William S. Burroughs arrived in Mexico City in 1949, having slipped out of New Orleans while awaiting trial on drug and weapons charges that would almost certainly have resulted in a lengthy prison sentence. Still uncertain about being a writer, he had left behind a series of failed business ventures—including a scheme to grow marijuana in Texas and sell it in New York—and an already long history of drug use and arrests. He would remain in Mexico for three years, a period that culminated in the defining incident of his life: Burroughs shot his common-law wife, Joan Vollmer, while playing William Tell with a loaded pistol. (He would be tried and convicted of murder in absentia after fleeing Mexico.)
First published in 1995 in Mexico, where it received the Malcolm Lowry literary essay award, The Stray Bullet is an imaginative and riveting account of Burroughs’s formative experiences in Mexico, his fascination with Mexico City’s demimonde, his acquaintances and friendships there, and his contradictory attitudes toward the country and its culture. Mexico, Jorge García-Robles makes clear, was the place in which Burroughs embarked on his “fatal vocation as a writer.”
Through meticulous research and interviews with those who knew Burroughs and his circle in Mexico City, García-Robles brilliantly portrays a time in Burroughs’s life that has been overshadowed by the tragedy of Joan Vollmer’s death. He re-creates the bohemian Roma neighborhood where Burroughs resided with Joan and their children, the streets of postwar Mexico City that Burroughs explored, and such infamous figures as Lola la Chata, queen of the city’s drug trade. This compelling book also offers a contribution by Burroughs himself—an evocative sketch of his shady Mexican attorney, Bernabé Jurado.
Betty Berzon, renowned psychotherapist and author of the bestselling book Permanent Partners, tells her own incredible story here. Berzon’s journey from psychiatric patient on suicide watch—her wrists tethered to the bed rails in a locked hospital ward—to her present role as a groundbreaking therapist and gay pioneer makes for purely compelling reading.
Berzon is recognized today as a trailblazing co-founder of a number of important lesbian and gay organizations and one of the first therapists to focus on means of developing healthy gay relationships and overcoming homophobia. Her sometimes bumpy road to success never fails to fascinate. Along the way she encounters such luminaries as Anaïs Nin, Eleanor Roosevelt, the Sitwells, Evelyn Hooker, and Paul Monette. Her recollections here provide a collective portrait of her fellow pioneers and a stirring lesson in twentieth-century history.
It is, however, the intimate story of Berzon’s own private passage toward self-discovery—from mental breakdown and suicide attempts, through hospitalization, eventual triumphant recovery, and her own coming out as an open lesbian at the age of forty—that makes this memoir an urgent, insightful, and deeply emotional testament to human survival.
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