Results by title

In a town trapped in endless July, love, resistance, and imagination break the loop

Enter a world where time stands still and summer never ends. In the enchanted town of Tannery Bay, it’s July 37, and then July 2 again, but the year is a mystery. Trapped in an eternal loop, the residents embark on an extraordinary journey of self-discovery, unity, and defiance against the forces that seek to divide them. 

Otis and Joy, intrepid siblings, work with their family and friends to oppose a formidable adversary: The Owners. These cunning and ruthless old men, driven by insatiable greed, hold the town hostage, exploiting its resources and dividing its people. In this powerful #OwnVoices narrative, Tannery Bay is a captivating tale of Black Joy and Queer Joy and the ways in which family is both biological and chosen, where love transcends boundaries, and where art is a vehicle for change.
 

Queer stories about love, loneliness, the surreal, and the self

The stories in Tell Me feature queer men of various ages reckoning with loneliness, selfishness, and the struggle for self-discovery and identity. In “The Vanisher,” a young bisexual man struggling with his own desire to be seen receives a bandana that allows him to become invisible. In “Retreat,” a widower travels to an artists’ colony to seek an audience with his recently deceased husband. And in “We Are Rendered Silent,” people lose their ability to speak when a man they love dies. Through Baumann’s inventive employment of the strange and surreal, these stories set out to explore the bizarre and often confounding experience of navigating modern-day queerness. With his unique voice and magnificent imagination, Baumann fully immerses readers in the queer experience.
 

The story of queer Mormons is one that some might not expect to be joyful. The Church of Jesus Christ of Latter-day Saints has traditionally asserted that queerness is counter to God’s plan and that gender as determined at birth is eternal. Any marriage other than a monogamous pairing of male and female is “counterfeit.” So called “wickedness,” we are told, “never was happiness.”

But queer Mormons tell different stories—stories filled with joy. This collection includes essays by queer Mormons across the LGBTQ spectrum who, when they looked inside themselves, found divinity rather than sin. Stories by people who are made exactly as they are meant to be, and live accordingly.

Queer Mormons who feel forced out of the institutional church don’t typically find despair on the outside or abandonment by the divine. Instead, their lives are rich and beautiful—made all the more so by the struggle. The Book of Mormon tells us, “Men are that they might have joy.” The Book of Queer Mormon Joy affirms that trans, nonbinary, intersex, asexual, bisexual, polyamorous, and gay people have joy. Joy is for everyone.

Leyla is a headstrong Brooklyn-born art historian at a prestigious upstate New York college. When she meets feckless young computer technician Pablo at a party, she quickly becomes pregnant with his child. There’s only one problem: she can’t stand him. And one more problem: her student Michael wants Pablo for himself.

Amid this love triangle, the objects of Leyla and Michael’s study take on a life of their own. Trying to learn more about Caravaggio’s masterpiece The Seven Works of Mercy, they pore over the journal and prison writings of maverick 17th-century utopian philosopher Tommaso Campanella, which, as if by enchantment, transport them back four centuries to Naples. And while the past and present miraculously converge, Leyla, Michael, and Tommaso embark on a voyage of self-discovery in search of a new life.
 
In this fusion of historical, queer, and speculative fiction, Alessandro Giardino combines the intellectual playfulness of Umberto Eco with the psychological finesse of Michael Cunningham.
 

This debut play from Mallorie Sievert follows what happens after two nuns fall in love.

When two young nuns in a seventeenth-century cloistered convent discover their feelings for each other, they must decide whether to conform to the life that was chosen for them or forge their own path and discover who God truly wants them to be. Set against the backdrop of Latin America during the Counter-Reformation, The City-Women explores love, spirituality, and sisterhood, and seeks to redefine what it means to be queer in the eyes of God.

On Thursday nights, the players assemble in the back of Readmore Comix and Games. Celeste is the dungeon master; Valerie, who works at the store, was roped in by default; Mooneyham, the banker, likes to argue; and Ben, sensitive, unemployed, and living at home, is still recovering from an unrequited love. In the real world they go about their days falling in love, coming out at work, and dealing with their family lives all with varying degrees of success. But in the world of their fantasy game, they are heroes and wizards fighting to stop an evil cult from waking a sleeping god.

But then a sexy new guy, Albert, joins the club, Ben’s character is killed, and Mooneyham’s boyfriend is accosted on the street. The connections and parallels between the real world and the fantasy one become stronger and more important than ever as Ben struggles to bring his character back to life and win Albert’s affection, and the group unites to organize a protest at a neighborhood bar. All the while the slighted and competing vampire role playing club, working secretly in the shadows, begins to make its move.

Finalist, PEN USA Literary Award for Fiction

A play that explores the influence of pioneer drag artist Bert Savoy.

The Half of It is inspired by the life and work of Bert Savoy, a Vaudeville drag artist who was active in the 1910s and early 1920s. Savoy was at the height of his career when he was tragically killed by lightning in 1923. The play highlights the groundbreaking and inspirational work of this important, yet largely forgotten, pioneer. Characters include some of Savoy’s famous friends, such as Klondike Kate and Mae West (who many believe borrowed her sassy stage persona from Savoy’s drag act). The play explores themes of gender identity, gender expression, celebrity in the modern era, the LGBTQ community of the early twentieth century, and the origins of contemporary drag performance.

A witch, a ward, and a houseboat adrift in time—where beauty and terror share the helm.

The mysterious houseboat Veronica motors across a postapocalyptic freshwater lake, inhabited by a black-haired witch and her young male ward. They explore an unfolding world of shape-shifting moons, vampire moths, and submerged witch cemeteries—a world where voluntary imprisonment holds its own appeal and the heart yearns for the delicate dance between blood and power, beauty and terror.

Neither a pirate nor a mere witch, she is an artist, a master of water and time who shapes reality with her baffling powers. This lyrical and compelling novel beckons readers to explore the enigmatic depths of its prose, inviting them to traverse the waters of wonder and bewilderment. Embrace the bewitching allure of The Houseboat Veronica and lose yourself in its enchanting embrace.

In-depth and dramatic, Andrew E. Stoner's biography follows the remarkable life of the brash, pioneering journalist. Shilts's reporting on AIDS in San Francisco broke barriers even as other gay writers and activists ridiculed his overtures to the mainstream and labeled him a traitor to the movement, charges the combative Shilts forcefully answered. Behind the scenes, Shilts overcame career-threatening struggles with alcohol and substance abuse to achieve the notoriety he had always sought, while the HIV infection he had purposely kept hidden began to take his life.

Filled with new insights and fascinating detail, The Journalist of Castro Street reveals the historic work and passionate humanity of the legendary investigative reporter and author.

The Juggler (La Jongleuse) is a "decadent" novel that was first published in 1900. Its author, Marguerite Vallette-Eymery (1860-1953), who used the pseudonym Rachilde, was a prolific novelist (over sixty works of fiction), playwright, literary critic and reviewer, and a forceful presence in French literary society of her time.

The protagonist of the novel, Eliante Donalger, is in some sense an exaggerated double for her creator--bizarre in appearance, clothing, and interests. Instinctively grasping a medical and psychological truth that the turn-of-the-century scientific world was only beginning to understand, Eliante maintains that there is nothing "natural" about human sexual expression. She claims to be in love with an inanimate (though anthropomorphic and sexually ambiguous) object, a Greek amphora, and the novel traces the rivalry between this faithful partner and an ardent human suitor, a young medical student. It is only through juggling, both literally and metaphorically, that Eliante is able to use her seductive power to maintain desire. The surprise ending challenges the limits of such power in a controversial and surprising twist.

Although Rachilde's work has been neglected in the past, the women's movement and feminist criticism have stimulated renewed interest in her fiction. The Juggler is a major rediscovery.

Electroshock. Hysterectomy. Lobotomy. These are only three of the many “cures” to which lesbians have been subjected in this century. How does a society develop such a profound aversion to a particular minority? In what ways do images in the popular media perpetuate cultural stereotypes about lesbians, and to what extent have lesbians been able to subvert and revise those images? This book addresses these and other questions by examining how lesbianism has been represented in American popular culture in the twentieth century and how conflicting ideologies have shaped lesbian experiences and identity.

In the first section, “Inventing the Lesbian,” Sherrie A. Inness explores depictions of lesbians in popular texts aimed primarily at heterosexual consumers. She moves from novels of the 1920s to books about life at women's colleges and boarding schools, to such contemporary women's magazines as Cosmopolitan, Glamour, and Vogue.

In the next section, “Forms of Resistance,” Inness probes the ways in which lesbians have refashioned texts intended for a heterosexual audience or created their own narratives. One chapter shows how lesbian readers have reinterpreted the Nancy Drew mysteries, looking at them from a distinctly “queer” perspective. Another chapter addresses the changing portrayal of lesbians in children's books over the past two decades.

The last section, “Writing in the Margins,” scrutinizes the extent to which lesbians, themselves a marginalized group, have created a society that relegates some of its own members to the outskirts. Topics include the geographic politics of lesbianism, the complex issue of "passing," and the meaning of butch identity in twentieth-century lesbian culture.

At the Ndola Muto Salon Douala, Cameroon, women slip behind closed doors to seek pleasure, refuge, and one another. When young Violette begins work there as a courtesan for women to support her family, she enters a world her mother cannot accept, where desire moves quietly but powerfully. Part sanctuary, part hidden house of pleasure, the salon becomes a mirror of empowerment, longing, and possibility beyond the restrictions of Cameroonian society. Within its walls, Violette encounters a constellation of women who shape her awakening: Lady Budu, the formidable owner; Caroline, who first opens her to joy; and the enigmatic Lady with Sexy Toes, who urges her to imagine a life of her own making. As these lives intertwine in this evocative novel, the salon reveals how tenderness between women can become an act of resistance, defying patriarchy, class, and convention in small but profound revolutions.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.