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In this innovative study, Benjamin Kahan traces the elusive history of modern celibacy. Arguing that celibacy is a distinct sexuality with its own practices and pleasures, Kahan shows it to be much more than the renunciation of sex or a cover for homosexuality. Celibacies focuses on a diverse group of authors, social activists, and artists, spanning from the suffragettes to Henry James, and from the Harlem Renaissance's Father Divine to Andy Warhol. This array of figures reveals the many varieties of celibacy that have until now escaped scholars of literary modernism and sexuality. Ultimately, this book wrests the discussion of celibacy and sexual restraint away from social and religious conservatism, resituating celibacy within a history of political protest and artistic experimentation. Celibacies offers an entirely new perspective on this little-understood sexual identity and initiates a profound reconsideration of the nature and constitution of sexuality.

Can queer life be ordinary? By answering “yes,” Ordinary Queerness in American Modernism prompts queer studies to consider what it has long devalued and neglected: the ordinary lives queer people create. Declining to cede the ordinary to queer studies’ critique of the normal, Jess Shollenberger argues for and models a reading practice that is attuned to queer desires, figures, and intimacies arrayed against the normal yet enabled by ordinary life. By tracing the representation of queerness in modernist literature as presence, possibility, and insistence, Shollenberger illuminates how the modernist interest in ordinary life cannot be understood apart from queer experience, culture, and aesthetics. Ordinary Queerness in American Modernism disturbs queer studies by turning toward the ordinary as an object for queer inquiry and by reading perversely without the dominant hermeneutic for queer literary studies—the closet. Across interpretations of work by Sarah Orne Jewett, Gertrude Stein, Gwendolyn Brooks, and Elizabeth Bishop, Shollenberger develops the practice of reading modernist writing without the closet, expanding the scope of modernist studies and augmenting our knowledge of queerness for a shifting, unstable present.

Members of the Lost Generation, American writers and artists who lived in Paris during the 1920s, continue to occupy an important place in our literary history. Rebelling against increased commercialism and the ebb of cosmopolitan society in early twentieth-century America, they rejected the culture of what Ernest Hemingway called a place of “broad lawns and narrow minds.”
      Much of what we know about these iconic literary figures comes from their own published letters and essays, revealing how adroitly they developed their own reputations by controlling the reception of their work. Surprisingly the literary world has paid less attention to their autobiographies.
      In Writing the Lost Generation, Craig Monk unlocks a series of neglected texts while reinvigorating our reading of more familiar ones. Well-known autobiographies by Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined here by works from a variety of lesser-known—but still important—expatriate American writers, including Sylvia Beach, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. By bringing together the self-reflective works of the Lost Generation and probing the ways the writers portrayed themselves, Monk provides an exciting and comprehensive overview of modernist expatriates from the United States.