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Pleasure refers to the freedom to pursue a desire, deliberately sought in order to satisfy the self. Putting pleasure first is liberating. During their extraordinary lives, Lena Horne, Moms Mabley, Yolande DuBois, and Memphis Minnie enjoyed pleasure as they gave pleasure to both those in their lives and to the public at large. They were Black women who, despite their public profiles, whether through Black society or through the world of entertainment, discovered ways to enjoy pleasure.They left home, undertook careers they loved, and did what they wanted, despite perhaps not meeting the standards for respectability in the interwar era. See Me Naked looks at these women as representative of other Black women of the time, who were watched, criticized, and judged by their families, peers, and, in some cases, the government, yet still managed to enjoy themselves. Among the voyeurs of Black women was Langston Hughes, whose novel Not Without Laughter was clearly a work of fiction inspired by women he observed in public and knew personally, including Black clubwomen, blues performers, and his mother. How did these complicated women wrest loose from the voyeurs to define their own sense of themselves? At very young ages, they found and celebrated aspects of themselves. Using examples from these women’s lives, Green explores their challenges and achievements.

In Sex Isn’t Real, Beans Velocci traces the history of current high stakes attempts to define sex and to create a world devoid of trans life. Drawing on lab notes, family genealogies, medical case studies, and more, Velocci follows scientists and clinicians from the mid-nineteenth through the mid-twentieth century and across five disciplines—zoology, eugenics, gynecology, statistical sexology, and transsexual medicine—as their ideas and practices created a definitional tangle. They demonstrate how the sorting of bodies into male and female persists not despite but because of sex’s incoherence: the defining features of these categories shift to contain various understandings of anatomy and physiology, theories of race, developments in research and medical methodologies, and bodies that cannot be accounted for in a binary framework. Exposing the endless work required to produce a world in which most people have a binary gender identity that neatly fits their binarily sexed body, Velocci demonstrates that it is not cis people who fit the categories; it’s the categories that flex to make them fit.

A clarion call for a new approach to feminist thought

In this major work, Carolyn Dever considers the ambivalence or outright hostility many feminists feel toward theory, arguing that a fundamental skepticism toward abstraction has been vital to the development of the movement.

Dever analyzes the politics of feminist theory by looking at its popular, activist, and academic modes, from the liberation movements of the 1970s to gender and queer studies now. Using key moments in the history of modern feminism-consciousness-raising, best-selling books like Sexual Politics by Kate Millett and The Women’s Room by Marilyn French, and media representations of women’s struggle for equality—Dever outlines heated debates over psychoanalysis, sexuality, and activism. The abstract and the grounded converge in discussions about the relationship between the feminist mind and the feminist body and in the preoccupation, both uneasy and utopian, with lesbian sexuality. Powerful, illuminating, and galvanizing, Skeptical Feminism traces the strategies the women’s movement has used to make theory matter—and points toward a new, politically engaged approach to feminist thought.

A leading feminist geographer puts forth new ways of thinking about space and place. In these days of global acceleration on the one hand and intensifying local nationalisms on the other, how should we be thinking about space and place? This new book brings together Doreen Massey's key writings on this debate. In it she argues that we have seen some problematical readings of both terms in recent years, and she proposes an alternative approach more adequate to the issues facing the social sciences today. Massey has organized these debates around the three themes of space, place, and gender. She traces the development of ideas about the social structure of space and place, and the relation of both to issues of gender and certain debates within feminism. Beginning with the economy and social structures of production, Massey develops a wider notion of spatiality as the product of intersecting social relations. On this basis she proposes an approach to "places" that is essentially open and hybrid while always provisional and contested. The themes intersect with much current thinking about identity within feminism and cultural studies. The chapters range from studies of the concepts of place employed in debates on uneven regional development and inner-city problems to arguments about the relationship between the conceptualization of space/place and the social construction of gender relations. "This book presents a collection of Massey's writings that have appeared over the last two decades. The volume is, however, more than a sum of its parts, in that Massey uses commentaries throughout the book to delineate an intellectual trajectory in Anglo geography that connects the concerns of economic geography with critiques and extensions by feminist and postcolonial writers. Massey builds a multifaceted argument of the richness of geographical analysis and its centrality for contemporary social theory debates." Professional Geographer "In a compilation of essays spanning over fifteen years, Space, Place and Gender, Doreen Massey explores the intricate and profound connection of space and place with gender and the construction of gender relations. Spaces and places are gendered, she argues, at once reflecting and affecting how gender is understood." Harvard Design Magazine Doreen Massey is professor of geography at the Open University in the United Kingdom. She is the author of five books, including Spatial Divisions of Labour (1984) and, with David Weild and Paul Quintas, High-Tech Fantasies (1991).

A rethinking of realism that reveals its relevance to sexual and cultural politics.

Despite rumors of its demise in literary theory and practice, realism persists. Why this is, and how realism is relevant to current interdisciplinary debates in gender studies and cultural studies, are the questions underlying Spectacles of Realism. With particular reference to nineteenth-century French culture, the contributors explore the role realism has played in the social construction of gender and sexuality. Among their subjects are nineteenth-century physiologies, photographs, caricatures, and Balzac’s Comédie humaine; the ethnographic claims of Goncourt’s naturalism and the historical claims of Zola’s; and the allure of exotica displayed at new museums and international expositions.

Contributors: April Alliston, Princeton U; Emily Apter, UCLA; Charles Bernheimer, U of Pennsylvania; Rhonda Garelick; Judith Goldstein, Vassar; Anne Higonnet, Wellesley; Roger Huss, Queen Mary and Westfield College; Dorothy Kelly, Boston U; Diana Knight, U of Nottingham; Jann Matlock, Harvard U; Linda Nochlin, NYU; Patrick O’Donovan, King’s College; Vanessa Schwartz, American U; Naomi Segal, U of Reading; Barbara Vinken, NYU.

Strange Tastes is a philosophical excursion into aesthetic experience and the public through the works of contemporary Latin American and Latinx women writers and artists. In a careful study of this revelatory archive, Monique Roelofs shows how life lived aesthetically can embrace public space instead of surrendering it to the constrictive forces of gendering and racial capital. Joining notions of sensibility grounded in Enlightenment aesthetics with the creative capabilities of a decolonial aesthetics, Roelofs looks to practices that animate the public through intimate, social, and political registers, particularly by engaging the historical and critical potentialities of disinterested play and what she calls “strange tastes,” or the unusual, uncanny, and nonnormative desires and sensations of marginalized individuals. Through sustained attention to materiality and lived experience, Roelofs offers a feminist philosophy of aesthetics that takes seriously the role of the public, where strange tastes turn aesthetic imaginaries into powerful possibilities to remake self, city, nation, and world.

In 2014 Barbados introduced a vaccine to prevent certain strains of the human papillomavirus (HPV) and reduce the risk of cervical cancer in young women. Despite the disproportionate burden of cervical cancer in the Caribbean, many Afro-Barbadians chose not to immunize their daughters. In Suspicion, Nicole Charles reframes Afro-Barbadian vaccine refusal from a question of hesitancy to one of suspicion. Drawing on ethnographic fieldwork, black feminist theory, transnational feminist studies and science and technology studies, Charles foregrounds Afro-Barbadians' gut feelings and emotions and the lingering trauma of colonial and biopolitical violence. She shows that suspicion, far from being irrational, is a fraught and generative affective orientation grounded in concrete histories of mistrust of government and coercive medical practices foisted on colonized peoples. By contextualizing suspicion within these longer cultural and political histories, Charles troubles traditional narratives of vaccine hesitancy while offering new entry points into discussions on racialized biopolitics, neocolonialism, care, affect, and biomedicine across the Black diaspora.

Duke University Press Scholars of Color First Book Award recipient