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In this provocative study, Dana Cairns Watson traces Gertrude Stein's growing fascination with the cognitive and political ramifications of conversation and how that interest influenced her writing over the course of her career. No book in recent decades has illuminated so many of Stein's works so extensively--from the early fiction of The Making of Americans to the poetry of Tender Buttons to her opera libretto The Mother of Us All.

Seeking to sustain Stein's lively, pleasant, populist spirit, Watson shows how the writer's playful entanglement of sight and sound--of silent reading and social speaking--reveals the crucial ambiguity by which reading and conversation build communities of meaning, and thus form not only personal relationships but also our very selves and the larger political structures we inhabit. Stein reminds us that the residual properties of words and the implications behind the give-and-take of ordinary conversation offer alternatives to linear structures of social order, alternatives especially precious in times of political oppression. For example, her novels Mrs. Reynolds and Brewsie and Willie, both written in embattled Vichy France, contemplate the speech patterns of totalitarian leaders and the ways in which everyday discourse might capitulate to--or resist--such verbal tyranny.

Like recent theorists, Stein recognized the repressiveness of conventional order--carried in language and thus in thought and social organization--but as Watson persuasively shows, she also insisted that the free will of individuals can persist in language and enable change. In the play of literary aesthetics, Stein saw a liberating force.

A prehistory of transness that recovers early modern theological resources for trans lifeworlds.
 
In this striking contribution to trans history, Colby Gordon challenges the prevailing assumption that trans life is a byproduct of recent medical innovation by locating a cultural imaginary of transition in the religious writing of the English Renaissance. Marking a major intervention in early modern gender studies, Glorious Bodies insists that transition happened, both socially and surgically, hundreds of years before the nineteenth-century advent of sexology. Pairing literary texts by Shakespeare, Webster, Donne, and Milton with a broad range of primary sources, Gordon examines the religious tropes available to early modern subjects for imagining how gender could change. From George Herbert’s invaginated Jesus and Milton’s gestational Adam to the ungendered “glorious body” of the resurrection, early modern theology offers a rich conceptual reservoir of trans imagery.
 
In uncovering early modern trans theology, Glorious Bodies mounts a critique of the broad consensus that secularism is a necessary precondition for trans life, while also combating contemporary transphobia and the right-wing Christian culture war seeking to criminalize transition. Developing a rehabilitative account of theology’s value for positing trans lifeworlds, this book leverages premodern religion to imagine a postsecular transness in the present.

Spanning nearly six decades and three continents, this engrossing memoir traces one woman’s sexual awakening amid a reckoning with family secrets. After a teenage Virginia stumbles onto her father’s closeted homosexuality and rampant infidelity, she spends the next few years suppressing memories of the discovery and the traumatic night when she first realized her family had a secret. Simultaneously, the glamorous jet-setting existence she had known throughout her childhood—following her father’s business ventures in France, Kenya, and Denmark—comes to a sudden end.

Years later, when Virginia Scott confides in her father about her own lesbian awakening, he advises her to “live it on the side” as he had. The consequences of this advice are disastrous: A failed marriage results in loss of custody of her children, forcing her to reckon with her sexuality and its place in her life. Forthright and unflinching, Scott’s memoir follows her path from trauma to healing, from secrets to truth, and from denying to embracing her identity.

A ground-breaking new collection of queer poetry from a leading contemporary Korean poet.
 
Kim Hyun’s Glory Hole is the first Korean queer poetry collection. Featuring gay teens, elders, cats, caterpillars, robots, and other unexpected characters, Kim’s fifty-one eccentric poems trace themes of love, sexual desire, abandonment, destitution, and death. In recounting the splendid yet tragic journeys of his speakers, Kim defies meaningful sense-making. His poems are a mishmash of dystopian sci-fi and pornography, storytelling and poetry, fictive references, and real figures. They are not embellished with elegant imagery; in fact, they are antithetical to it, opting instead for incoherent tense, unidiomatic expressions, and never-ending puns. After all, like LGBTQ+ people in many cultures, Korean queers live in this site of violence. Bewilderment, deliberately, is Kim Hyun’s form. Glory Hole invites readers into a very queer world.

Winner, 2025 Tennessee Book Award, Fiction

Grappling with innate desires and LGBTQ identity, a family struggles under the oppressive expectations foisted on them by fundamentalist Christianity.

Told through alternating perspectives, God of River Mud chronicles the lives of Berna Minor, her husband, their four children, and Berna’s secret lover.

To escape a life of poverty and abuse, Berna Cannaday marries Zechariah Minor, a fundamentalist Baptist preacher, and commits herself to his faith, trying to make it her own. After Zechariah takes a church beside the Elk River in rural Clay, West Virginia, Berna falls in love with someone from their congregation—Jordan, a woman who has known since childhood that he was meant to be a man. Berna keeps her secret hidden as she struggles to be the wife and mother she believes God wants her to be. Berna and Zechariah’s children struggle as well, trying to reconcile the theology they are taught at home with the fast-changing world around them. And Jordan struggles to find a community and a life that allow him both to be safely and fully himself, as Jay, and to be loved for who he is.

As the decades and stories unfold, traditional evangelical Bible culture and the values of rural Appalachia clash against innate desires, LGBTQ identity, and gender orientation. Sympathies develop—sometimes unexpectedly—as the characters begin to reconcile their faith and their love. God of River Mud delves into the quandary of those marginalized and dehumanized within a religious patriarchy and grapples with the universal issues of identity, faith, love, and belonging.

Greasepaint Puritan details the life and work of Bradford Ropes, author of the bawdy 1932 novel 42nd Street, on which the classic film and its stage adaptation are based. Each of Ropes’s long-forgotten novels was inspired by his own experiences as a performer, and focused on the lives of gay men in show business, offering rare glimpses into backstage Broadway. But why did Ropes’s body of work, and consequently his biographical footsteps, disappear into such obscurity? 

Greasepaint Puritan aims to find out and reclaim his story. Descended from Mayflower Pilgrims, Ropes rebelled against the “Proper Bostonian” life, in a career that touched upon the Jazz Age, American vaudeville, and theater censorship. We follow Ropes’s successful career as both a performer and the author of the trilogy of backstage novels: 42nd Street, Stage Mother, and Go Into Your Dance. Populated by scheming stage mothers, precocious stage children, grandiose bit players, and tart-tongued chorines, these novels centered on the lives and relationships of gay men on Broadway during the Jazz Age and Prohibition era. Rigorously researched, Greasepaint Puritan chronicles Ropes’s career as a successful screenwriter in 1930s and ’40s Hollywood, where he continued to be a part of a dynamic gay subculture within the movie industry before returning to obscurity in the 1950s. His legacy lives on in the Hollywood and Broadway incarnations of 42nd Street—but Greasepaint Puritan restores the “forgotten melody” of the man who first envisioned its colorful characters.

The first monograph to trace artist and activist Gregg Bordowitz’s visual practice.

For over four decades, Gregg Bordowitz has been a force in contemporary art, recognized for his work as an AIDS activist and an artist working in video, conceptual art, and institutional critique. During the 1980s, Bordowitz made vital contributions in the early years of ACT UP (AIDS Coalition to Unleash Power) in New York, where he cofounded video collectives including Testing the Limits and DIVA (Damn Interfering Video Activists). His collaborative activist work formed the foundation of his art practice—a sprawling, diverse, and deeply human endeavor that has explored his gay and Jewish identities within the context of the ongoing AIDS crisis. 

Despite his expansive artistic production, activism, and influence, there has yet to be a full monographic exploration of Bordowitz’s work. This landmark volume serves as the first publication dedicated exclusively to his visual work, offering a comprehensive portrait of an artist in constant motion. I Wanna Be Well—named after the 1977 Ramones song—traces the emergence of his visual art practice. Developed in close collaboration with Bordowitz and a team of art historians, curators, scholars, poets, and artists who have worked with him over the years, this book reveals Bordowitz’s practice as an evolving investigation of how to live, teach, and make art through sustained acts of care, critique, and remembrance. Lavishly illustrated with color throughout, the essays, interviews, poetry, and other writings gathered here present a rich look at Bordowitz’s life and career.

Growing Up in the Gutter offers new understandings of contemporary graphic coming-of-age narratives by looking at the genre’s growth in stories by and for young BIPOC, LGBTQ+, and diasporic readers. Through a careful examination of the genre, Ricardo Quintana-Vallejo analyzes the complex identity formation of first- and subsequent-generation migrant protagonists in globalized rural and urban environments and dissects the implications that these diasporic formative processes have for a growing and popular genre.

While the most traditional iteration of the bildungsroman—the coming-of-age story—follows middle-class male heroes who forge their identities in a process of complex introspection, contemporary graphic coming-of-age narratives represent formative processes that fit into, resist, or even disregard narratives of socialization under capitalism, of citizenship, and of nationhood.

Quintana-Vallejo delves into several important themes: how the coming-of-age genre can be used to study adulthood, how displacement and international or global heritage are fundamental experiences, how multidiasporic approaches foreground lived experiences, and how queerness opens narratives of development to the study of adulthood as fundamentally diverse and nonconforming to social norms. Quintana-Vallejo shows how openness enables belonging among chosen families and, perhaps most importantly, freedom to disidentify. And, finally, how contemporary authors writing for the instruction of BIPOC children (and children otherwise affected by diaspora and displacement) use the didactic power of the coming-of-age genre, combined with the hybrid language of graphic narratives, to teach difficult topics in accessible ways.