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This groundbreaking book reframes five hundred years of western Nicaraguan history by giving gender and sexuality the attention they deserve. Victoria González-Rivera decenters nationalist narratives of triumphant mestizaje and argues that western Nicaragua’s LGBTQIA+ history is a profoundly Indigenous one.

In this expansive history, González-Rivera documents connections between Indigeneity, local commerce, and femininity (cis and trans), demonstrating the long history of LGBTQIA+ Nicaraguans. She sheds light on historical events, such as Andres Caballero’s 1536 burning at the stake for sodomy. González-Rivera discusses how elite efforts after independence to “modernize” open-air markets led to increased surveillance of LGBTQIA+ working-class individuals. She also examines the 1960s and the Somoza dictatorship, when another wave of persecution emerged, targeting working-­class gay men and trans women, leading to a more stringent anti-sodomy law.

The centuries prior to the post-1990 political movement for greater LGBTQIA+ rights demonstrate that, far from being marginal, LGBTQIA+ Nicaraguans have been active in every area of society for hundreds of years.

For the preconquest Maya, sexuality was a part of ritual discourse and performance, and all sex acts were understood in terms of their power to create, maintain, and destroy society. As postconquest Maya adapted to life under colonial rule, they neither fully abandoned these views nor completely adopted the formulation of sexuality prescribed by Spanish Catholicism. Instead, they evolved hybridized notions of sexual desire, represented in the figure of the Virgin Mary as a sexual goddess, whose sex acts embodied both creative and destructive components.

This highly innovative book decodes the process through which this colonization of Yucatan Maya sexual desire occurred. Pete Sigal frames the discussion around a series of texts, including the Books of Chilam Balam and the Ritual of the Bacabs, that were written by seventeenth and eighteenth century Maya nobles to elucidate the history, religion, and philosophy of the Yucatecan Maya communities. Drawing on the insights of philology, discourse analysis, and deconstruction, he analyzes the sexual fantasies, fears, and desires that are presented, often unintentionally, in the "margins" of these texts and shows how they illuminate issues of colonialism, power, ritual, and gender.

Funk. It is multisensory and multidimensional philosophy used in conjunction with the erotic, eroticism, and black erotica. It is the affect that shapes film, performance, sound, food, technology, drugs, energy, time, and the seeds of revolutionary ideas for black movements. But funk is also an experience to feel, to hear, to touch and taste, and in Funk the Erotic, L. H. Stallings uses funk in all its iterations as an innovation in black studies.

Stallings uses funk to highlight the importance of the erotic and eroticism in Black cultural and political movements, debunking "the truth of sex" and its histories. Brandishing funk as a theoretical tool, Stallings argues that Western theories of the erotic fail as universally applicable terms or philosophies, and thus lack utility in discussions of black bodies, subjects, and culture. In considering the Victorian concept of freak in black funk, Stallings proposes that black artists across all media have fashioned a tradition that embraces the superfreak, sexual guerrilla, sexual magic, mama's porn, black trans narratives, and sex work in a post-human subject position. Their goal: to ensure survival and evolution in a world that exploits black bodies in capitalist endeavors, imperialism, and colonization.

Revitalizing and wide-ranging, Funk the Erotic offers a needed examination of black sexual cultures, a discursive evolution of black ideas about eroticism, a critique of work society, a reexamination of love, and an articulation of the body in black movements.