Jean Genet (1910–1986) resonates, perhaps more than any other canonical queer figure from the pre-Stonewall past, with contemporary queer sensibilities attuned to a defiant non-normativity. Not only sexually queer, Genet was also a criminal and a social pariah, a bitter opponent of the police state, and an ally of revolutionary anticolonial movements. In Disturbing Attachments, Kadji Amin challenges the idealization of Genet as a paradigmatic figure within queer studies to illuminate the methodological dilemmas at the heart of queer theory. Pederasty, which was central to Genet's sexuality and to his passionate cross-racial and transnational political activism late in life, is among a series of problematic and outmoded queer attachments that Amin uses to deidealize and historicize queer theory. He brings the genealogy of Genet's imaginaries of attachment to bear on pressing issues within contemporary queer politics and scholarship, including prison abolition, homonationalism, and pinkwashing. Disturbing Attachments productively and provocatively unsettles queer studies by excavating the history of its affective tendencies to reveal and ultimately expand the contexts that inform the use and connotations of the term queer.

For gay, lesbian, bisexual, and transgender people in the United States, the twenty-first century has brought dramatic changes: the end of sodomy laws, the elimination of “Don’t Ask, Don’t Tell,” a move toward recognition of same-sex marriage, Gay-Straight Alliances in thousands of high schools, and an explosion of visibility in the media and popular culture. All of this would have been unimaginable to those living just a few decades ago. Yet, at the same time, the American political system has grown ever more conservative, and increasing economic inequality has been a defining feature of the new century.
            A pioneering scholar of gay history, John D’Emilio reflects in this wide-ranging collection of essays upon the social, cultural, and political changes provoked by LGBT activism. He offers provocative questions and historical analyses: What can we learn from a life-long activist like Bayard Rustin, who questioned the wisdom of “identity politics”? Was Richard Nixon a “gay liberationist”? How can knowing local stories—like those of Chicago in the 1950s, 1960s, and 1970s—help build stronger communities and enrich traditions of activism? Might the focus on achieving actually be evidence of growing conservatism in LGBT communities?
            In a New Century provides a dynamic, thoughtful, and important resource for identifying changes that have occurred in the United States since 1960, taking stock of the work that still needs to be done, and issuing an urgent call to action for getting there.

Best Books for General Audiences, selected by the American Association of School Librarians

Best Special Interest Books, selected by the Public Library Reviewers

A Queer History of Flamenco offers a groundbreaking exploration of flamenco through the lenses of queer theory and cultural studies. Previous histories have provided a largely distorted image about why, where, and how people have done flamenco—as well as who has performed flamenco. Yet feminists, transvestites, butches, femmes, the Spanish Roma, disabled people, guiris, and “incomprehensible” artists have been determined to do things differently without giving up their flamenco status. In this skillful translation of his book Historia Queer del Flamenco, Fernando López Rodríguez draws on diverse archival materials as well as his own lived experience and artistic practice, unearthing queer flamenco histories, voices, and perspectives that were previously unknown, avoided, or purposely hidden. 

Tracing flamenco’s development from its birth up to the contemporary era, the book places flamenco within significant historical periods such as the Spanish Civil War, Franco’s dictatorship, the transition to democracy, and the economic crisis of 2008, up to contemporary performances of the late 2010s. In taking a queer approach to History, the author abandons antiquated debates about purities and impurities; anecdotes about the lives of artists that are completely detached from their processes of creation; and myths about geniuses who seem to make art alone and completely detached from their collaborators and the historical, social, economic and artistic moment in which they lived. A Queer History of Flamenco is not only about the present and the queerness of people living, performing, or creating in it, but also about flamenco’s past in which so many queer artists and practices and their lives have remained unearthed and unaddressed.

From the haute couture runways of Paris and New York and editorial photo shoots for glossy fashion magazines to reality television, models have been a ubiquitous staple of twentieth- and twenty-first-century American consumer culture. In Work! Elspeth H. Brown traces the history of modeling from the advent of photographic modeling in the early twentieth century to the rise of the supermodel in the 1980s. Brown outlines how the modeling industry sanitized and commercialized models' sex appeal in order to elicit and channel desire into buying goods. She shows how this new form of sexuality—whether exhibited in the Ziegfeld Follies girls' performance of Anglo-Saxon femininity or in African American models' portrayal of black glamour in the 1960s—became a central element in consumer capitalism and a practice that has always been shaped by queer sensibilities. By outlining the paradox that queerness lies at the center of capitalist heteronormativity and telling the largely unknown story of queer models and photographers, Brown offers an out of the ordinary history of twentieth-century American culture and capitalism.