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In Hold It Against Me, Jennifer Doyle explores the relationship between difficulty and emotion in contemporary art, treating emotion as an artist's medium. She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art.

Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

Hold On to Your Dreams is the first biography of the musician and composer Arthur Russell, one of the most important but least known contributors to New York's downtown music scene during the 1970s and 1980s. With the exception of a few dance recordings, including "Is It All Over My Face?" and "Go Bang! #5", Russell's pioneering music was largely forgotten until 2004, when the posthumous release of two albums brought new attention to the artist. This revival of interest gained momentum with the issue of additional albums and the documentary film Wild Combination. Based on interviews with more than seventy of his collaborators, family members, and friends, Hold On to Your Dreams provides vital new information about this singular, eccentric musician and his role in the boundary-breaking downtown music scene.

Tim Lawrence traces Russell's odyssey from his hometown of Oskaloosa, Iowa, to countercultural San Francisco, and eventually to New York, where he lived from 1973 until his death from AIDS-related complications in 1992. Resisting definition while dreaming of commercial success, Russell wrote and performed new wave and disco as well as quirky rock, twisted folk, voice-cello dub, and hip-hop-inflected pop. “He was way ahead of other people in understanding that the walls between concert music and popular music and avant-garde music were illusory,” comments the composer Philip Glass. "He lived in a world in which those walls weren't there." Lawrence follows Russell across musical genres and through such vital downtown music spaces as the Kitchen, the Loft, the Gallery, the Paradise Garage, and the Experimental Intermedia Foundation. Along the way, he captures Russell's openness to sound, his commitment to collaboration, and his uncompromising idealism.

Homecoming Queers provides a critical discussion of the multiple strategies used by queer Latina authors and artists in the United States to challenge silence and invisibility within mainstream media, literary canons, and theater spaces. Marivel T. Danielson's analysis reveals the extensive legacy of these cultural artists, including novelists, filmmakers, students and activists, comedians, performers, and playwrights. By clearly discussing the complexities and universalities of ethnic, racial, sexual, gender, and class intersections between queer Chicana and U.S. Latinas, Danielson explores the multiple ways identity shapes and shades creative expression. Weaknesses and gaps are revealed in the treatment of difference as a whole, within dominant and marginalized communities.

Spanning multiple genres and forms, and including scholarly theory alongside performances, films, narratives, and testimonials, Homecoming Queers leads readers along a crucial path toward understanding and overcoming the silences that previously existed across these fields.

What is it about “the homosexual” that incites vitriolic rhetoric and violence around the world? How and why do some people hate queers? Does homophobia operate differently across social, political, and economic terrains? What are the ambivalences in homophobic discourses that can be exploited to undermine its hegemonic privilege? This volume addresses these questions through critical interrogations of sites where homophobic discourses are produced. It provides innovative analytical insights that expose the complex and intersecting cultural, political, and economic forces contributing to the development of new forms of homophobia. And it is a call to action for anthropologists and other social scientists to examine more carefully the politics, histories, and contexts of places and people who profess hatred for queerness.

The contributors to this volume open up the scope of inquiry into processes of homophobia, moving the analysis of a particular form of “hate” into new, wider sociocultural and political fields. The ongoing production of homophobic discourses is carefully analyzed in diverse sites including New York City, Australia, the Caribbean, Greece, India, and Indonesia, as well as American Christian churches, in order to uncover the complex operational processes of homophobias and their intimate relationships to nationalism, sexism, racism, class, and colonialism. The contributors also critically inquire into the limitations of the term homophobia and interrogate its utility as a cross-cultural designation.

Contributors. Steven Angelides, Tom Boellstorff, Lawrence Cohen, Don Kulick, Suzanne LaFont, Martin F. Manalansan IV, David A. B. Murray, Brian Riedel, Constance R. Sullivan-Blum

Originally published in 1972 in France, Guy Hocquenghem's Homosexual Desire has become a classic in gay theory. Translated into English for the first time in 1978 and out of print since the early 1980s, this new edition, with an introduction by Michael Moon, will make available this vital and still relevant work to contemporary audiences. Integrating psychoanalytic and Marxist theory, this book describes the social and psychic dynamics of what has come to be called homophobia and on how the "homosexual" as social being has come to be constituted in capitalist society.
Significant as one of the earliest products of the international gay liberation movement, Hocquenghem's work was influenced by the extraordinary energies unleashed by the political upheavals of both the Paris "May Days" of 1968 and the gay and lesbian political rebellions that occurred in cities around the world in the wake of New York's Stonewall riots of June 1969.
Drawing on the theoretical work of Gilles Deleuze and Félix Guattari and on the shattering effects of innumerable gay "comings-out," Hocquenghem critiqued the influential models of the psyche and sexual desire derived from Lacan and Freud. The author also addressed the relation of capitalism to sexualities, the dynamics of anal desire, and the political effects of gay group-identities.
Homosexual Desire remains an exhilarating analysis of capitalist societies' pervasive fascination with, and violent fear of, same-sex desire and addresses issues that continue to be highly charged and productive ones for queer politics.

The first full-length study of same-sex love in any period of Russian or Soviet history, Homosexual Desire in Revolutionary Russia investigates the private worlds of sexual dissidents during the pivotal decades before and after the 1917 Bolshevik Revolution. Using records and archives available to researchers only since the fall of Communism, Dan Healey revisits the rich homosexual subcultures of St. Petersburg and Moscow, illustrating the ambiguous attitude of the late Tsarist regime and revolutionary rulers toward gay men and lesbians. Homosexual Desire in Revolutionary Russia reveals a world of ordinary Russians who lived extraordinary lives and records the voices of a long-silenced minority.

Breathtaking in its historical and geographical scope, this book provides a sweeping examination of the construction of male and female homosexualities, stressing both the variability of the forms same-sex desire can take and the key recurring patterns it has formed throughout history.

"[An] indispensable resource on same-sex sexual relationships and their social contexts. . . . Essential reading." —Choice

"[P]romises to deliver a lot, and even more extraordinarily succeeds in its lofty aims. . . . [O]riginal and refreshing. . . . [A] sensational book, part of what I see emerging as a new commonsense revolution within academe." —Kevin White, International Gay and Lesbian Review

A groundbreaking analysis of the troubled relationship between homosexuality and psychoanalysis, including two previously untranslated essays by Michel Foucault

Why has homosexuality always fascinated and vexed psychoanalysis? This groundbreaking collection of original essays reconsiders the troubled relationship between same-sex desire and psychoanalysis, assessing homosexuality's status in psychoanalytic theory and practice, as well as the value of psychoanalytic ideas for queer theory. The contributors, each distinguished clinicians and specialists, reexamine works by Freud, Klein, Reich, Lacan, Laplanche, and their feminist and queer revisionists. Sharing a commitment to conscious and unconscious forms of homosexual desire, they offer new perspectives on pleasure, perversion, fetishism, disgust, psychosis, homophobia, AIDS, otherness, and love. Including two previously untranslated essays by Michel Foucault, Homosexuality and Psychoanalysis will interest cultural theorists, psychoanalysts, and anyone concerned with the fate of sexuality in our time.

Contributors:
Lauren Berlant
Leo Bersani
Daniel L. Buccino
Arnold I. Davidson
Tim Dean
Jonathan Dollimore
Brad Epps
Michel Foucault
Lynda Hart
Jason B. Jones
Christopher Lane
H. N. Lukes
Catherine Millot
Elizabeth A. Povinelli
Ellie Ragland
Paul Robinson
Judith Roof
Joanna Ryan
Ramón E. Soto-Crespo
Suzanne Yang

Challenging widely held assumptions about postwar gay male culture and politics, Homosexuality in Cold War America examines how gay men in the 1950s resisted pressures to remain in the closet. Robert J. Corber argues that a form of gay male identity emerged in the 1950s that simultaneously drew on and transcended left-wing opposition to the Cold War cultural and political consensus. Combining readings of novels, plays, and films of the period with historical research into the national security state, the growth of the suburbs, and postwar consumer culture, Corber examines how gay men resisted the "organization man" model of masculinity that rose to dominance in the wake of World War II.
By exploring the representation of gay men in film noir, Corber suggests that even as this Hollywood genre reinforced homophobic stereotypes, it legitimized the gay male "gaze." He emphasizes how film noir’s introduction of homosexual characters countered the national "project" to render gay men invisible, and marked a deep subversion of the Cold War mentality. Corber then considers the work of gay male writers Tennessee Williams, Gore Vidal, and James Baldwin, demonstrating how these authors declined to represent homosexuality as a discrete subculture and instead promoted a model of political solidarity rooted in the shared experience of oppression. Homosexuality in Cold War America reveals that the ideological critique of the dominant culture made by gay male authors of the 1950s laid the foundation for the gay liberation movement of the following decade.

Many straight Americans would never embrace homosexuals as neighbors, co-workers, or friends. Still less would they accept as equals those transgendered individuals who work the streets to provide themselves with drug money.

This book seeks to change that perception. It celebrates the lives of Shontae, China, Keisha, Detra, and Monique, five Afro-American gay hustlers who struggle to survive and to maintain a life of dignity and value in the face of their drug use and criminal activity. As individuals they vary in terms of background, the manner in which they entered the transgendered world, and the nature of their initiation into the drug subculture. None of them has escaped the ravages of urban decline, crime, drugs, and poverty that accompany life in an inner city, but by the same token, none of them has capitulated to the stresses with which they live.

It is impossible to read these accounts and not come away emotionally drained. As Monique explains, their lives take place in a world of chances. "You take a chance on living or dying, on being hurt or not being hurt, a chance on finding a friend or finding an enemy." It is from this world that their voices speak so eloquently about their families, hustling, sexuality, sexual abuse, friendship, and intimacy.

By letting these women speak, Leon E. Pettiway evokes questions and encourages discussion and a re-evaluation of those who are labeled as deviant. Pettiway reaches beyond academic convention to offer a view with depth and emotion that mere statistics could never provide. While the poverty and often destructive lifestyle of these women may be gut-wrenching, their experiences reveal joy, pain, and the profound strength of the human spirit with which we can all identify. These lives have much to teach us about ourselves and those we label as "other."

Brian Bouldrey traveled to the island of Corsica, with its wine-dark Mediterranean waters, powdered-sugar beach sand, sumptuous cuisine, and fine wine. And then he walked away from all of them.
     Bouldrey strapped on a backpack and walked across Napoleon's native land with the same spirit many choose to dance or drink: to celebrate, to mourn, to think, to avoid thinking, to recall, to ignore, to escape, and to arrive.
     This wonderfully textured account of a two-week ramble along a famous Corsican hiking trail with his German friend Petra (she was good at the downhills while he was better at the uphills) offers readers a journal that is a launching point for reflection: thoughts on cultural differences, friendship, physical challenge, personal challenge, and getting very, very lost. Part travelogue, part memoir, and part lampoon, this book offers readers an impressionistic view of a little talked about yet stunningly beautiful landscape.

This riveting debut from poet Faylita Hicks is a reclamation of power for black women and nonbinary people whose bodies have become the very weapons used against them. HoodWitch tells the story of a young person who discovers that they are “something that can & will survive / a whole century of hunt.” Through a series of poems based on childhood photographs, Hicks invokes the spirits of mothers and daughters, sex workers and widows, to conjure an alternative to their own early deaths and the deaths of those whom they have already lost.

In this collection about resilience, Hicks speaks about giving her child up for adoption, mourning the death of her fiancé, and embracing the nonbinary femme body—persevering in the face of medical malpractice, domestic abuse, and police violence. The poems find people transformed, “remade out of smoke & iron” into cyborgs and wolves, machines and witches—beings capable of seeking justice in a world that refuses them the option.

​Exploring the intersections of Christianity, modern mysticism, and Afrofuturism in a sometimes urban, sometimes natural setting, Hicks finds a place where “everyone everywhere is hands in the air,” where “you know they gonna push & pull it together. / Just like they learned to.” It is a place of natural magick—where someone like Hicks can have more than one name: where they can be both dead and alive, both a mortal and a god.

How Soon Is Now? performs a powerful critique of modernist temporal regimes through its revelatory exploration of queer ways of being in time as well as of the potential queerness of time itself. Carolyn Dinshaw focuses on medieval tales of asynchrony and on engagements with these medieval temporal worlds by amateur readers centuries later. In doing so, she illuminates forms of desirous, embodied being that are out of sync with ordinarily linear measurements of everyday life, that involve multiple temporalities, that precipitate out of time altogether. Dinshaw claims the possibility of a fuller, denser, more crowded now that theorists tell us is extant but that often eludes our temporal grasp.

Whether discussing Victorian men of letters who parodied the Book of John Mandeville, a fictionalized fourteenth-century travel narrative, or Hope Emily Allen, modern coeditor of the early-fifteenth-century Book of Margery Kempe, Dinshaw argues that these and other medievalists outside the academy inhabit different temporalities than modern professionals operating according to the clock. How Soon Is Now? clears space for amateurs, hobbyists, and dabblers who approach medieval worlds from positions of affect and attachment, from desires to build other kinds of worlds. Unruly, untimely, they urge us toward a disorderly and asynchronous collective.