Opacity and the Closet interrogates the viability of the metaphor of "the closet" when applied to three important queer figures in postwar American and French culture: the philosopher Michel Foucault, the literary critic Roland Barthes, and the pop artist Andy Warhol. Nicholas de Villiers proposes a new approach to these cultural icons that accounts for the queerness of their works and public personas. Rather than reading their self-presentations as "closeted," de Villiers suggests that they invent and deploy productive strategies of "opacity" that resist the closet and the confessional discourse associated with it. Deconstructing binaries linked with the closet that have continued to influence both gay and straight receptions of these intellectual and pop celebrities, de Villiers illuminates the philosophical implications of this displacement for queer theory and introduces new ways to think about the space they make for queerness. Using the works of Foucault, Barthes, and Warhol to engage each other while exploring their shared historical context, de Villiers also shows their queer appropriations of the interview, the autobiography, the diary, and the documentary-forms typically linked to truth telling and authenticity.

One of the most important figures of the American civil rights movement, Bayard Rustin taught Martin Luther King Jr. the methods of Gandhi, spearheaded the 1963 March on Washington, and helped bring the struggle of African Americans to the forefront of a nation's consciousness. But despite his incontrovertibly integral role in the movement, the openly gay Rustin is not the household name that many of his activist contemporaries are. In exploring history's Lost Prophet, acclaimed historian John D'Emilio explains why Rustin's influence was minimized by his peers and why his brilliant strategies were not followed, or were followed by those he never meant to help.

The AIDS epidemic soured the memory of the sexual revolution and gay liberation of the 1970s, and prominent politicians, commentators, and academics instructed gay men to forget the sexual cultures of the 1970s in order to ensure a healthy future. But without memory there can be no future, argue Christopher Castiglia and Christopher Reed in this exploration of the struggle over gay memory that marked the decades following the onset of AIDS. Challenging many of the assumptions behind first-wave queer theory, If Memory Serves offers a new perspective on the emergence of contemporary queer culture from the suppression and repression of gay memory. Drawing on a rich archive of videos, films, television shows, novels, monuments, paintings, and sculptures created in the wake of the epidemic, the authors reveal a resistance among critics to valuing-even recognizing-the inscription of gay memory in art, literature, popular culture, and the built environment. Castiglia and Reed explore such topics as the unacknowledged ways in which the popular sitcom Will and Grace circulated gay subcultural references to awaken a desire for belonging among young viewers; the post-traumatic (un)rememberings of queer theory; and the generation of "ideality politics" in the art of Felix Gonzalez-Torres, the film Chuck & Buck, and the independent video Video Remains. Inspired by Alasdair MacIntyre's insight that "the possession of a historical identity and the possession of a social identity coincide," Castiglia and Reed demonstrate that memory is crafted in response to inadequacies in the present-and therefore a constructive relation to the past is essential to the imagining of a new future.

Men are often thought to have less interest in parenting than women, and gay men are generally assumed to prefer pleasure over responsibility. The toxic combination of these two stereotypical views has led to a lack of serious attention being paid to the experiences of gay fathers. But the truth is that more and more gay men are setting out to become parents and succeeding--and "Gay Fatherhood" aims to tell their stories.

Ellen Lewin takes as her focus people who undertake the difficult process of becoming fathers as gay men, rather than having become fathers while married to women. These men face unique challenges in their quest for fatherhood, negotiating specific bureaucratic and financial conditions as they pursue adoption or surrogacy and juggling questions about their future child's race, age, sex, and health. "Gay Fatherhood" chronicles the lives of these men, exploring how they cope with political attacks from both the "family values" right and the "radical queer" left--while also shedding light on the evolving meanings of family in twenty-first-century America.

Since the early 2000s, the phenomenon of the "down low"--black men who have sex with men as well as women and do not identify as gay, queer, or bisexual--has exploded in news media and popular culture, from the "Oprah Winfrey Show" to R & B singer R. Kelly's hip hopera "Trapped in the Closet." Most down-low stories are morality tales in which black men are either predators who risk infecting their unsuspecting female partners with HIV or victims of a pathological black culture that repudiates openly gay identities. In both cases, down-low narratives depict black men as sexually dangerous, duplicitous, promiscuous, and contaminated.

In "Nobody Is Supposed to Know," C. Riley Snorton traces the emergence and circulation of the down low in contemporary media and popular culture to show how these portrayals reinforce troubling perceptions of black sexuality. Reworking Eve Sedgwick's notion of the "glass closet," Snorton advances a new theory of such representations in which black sexuality is marked by hypervisibility and confinement, spectacle and speculation. Through close readings of news, music, movies, television, and gossip blogs, "Nobody Is Supposed to Know "explores the contemporary genealogy, meaning, and functions of the down low.

Snorton examines how the down low links blackness and queerness in the popular imagination and how the down low is just one example of how media and popular culture surveil and police black sexuality. Looking at figures such as Ma Rainey, Bishop Eddie L. Long, J. L. King, and Will Smith, he ultimately contends that down-low narratives reveal the limits of current understandings of black sexuality.

Coined in the early 1990s to describe a burgeoning film movement, "New Queer Cinema" has turned the attention of film theorists, students, and audiences, to the proliferation of intelligent, stylish, and daring work by lesbian and gay filmmakers within independent cinema and to the proliferation of "queer" images and themes within the mainstream. Why did this transition take place? Was it political gains, cultural momentum, or market forces that energized the evolution and transformation of this cinematic genre? The volume is divided into four sections: defining "new queer cinema," assessing its filmmakers, examining geographic and national differences, and theorizing spectatorship. Chapters address the pivotal directors (Todd Haynes and Gregg Araki) and salient films (Paris is Burning, Boys Don't Cry), as well as nonmainstream and non-Anglo-American work (experimental filmmaking and third world cinema). With a critical eye to its uneasy relationship to the mainstream, New Queer Cinema explores the aesthetic, sociocultural, political, and, necessarily, commercial investments of the movement. Although there are certainly other books on gay and lesbian issues in film, this is the first full-length study of recent developments in queer cinema, combining indispensable discussions of central issues with exciting new work by key writers. Features .Provides a definitive introduction to New Queer Cinema .Clear structure with each section addressing a key topic in the study of New Queer Cinema .Themes covered include genre, gender and race, politics, media, and the relationship between New Queer Cinema and the mainstream. Michele Aaron is Lecturer in Film Studies at Brunel University, London.

In this portrait of the everyday world of lesbian and gay relationships, Christopher Carrington captures the experiences of creating and maintaining a home and a "chosen" family. Observing lesbians and gay men as they go about their daily routines, Carrington unveils the complex, frequently hidden, and sometimes artful ways that gay people make a family and home for themselves. Based on a careful analysis of interviews and field evidence, "No Place Like Home" demonstrates how gay and lesbian couples attempt to strike a balance between work and family obligations, and how they must also struggle against forces undermining their relationships. Carrington skillfully addresses the conflicts that surround domestic tasks and shows how gay and lesbian couples sometimes hold unspoken or unrealistic expectations about household and family life. Carrington brings such expectations into the open, and in the process he challenges many stereotypes about gay and lesbian family life, from the myth of gay family affluence to the notion that such relationships are beacons of equality. He argues that family life really varies by class, gender, race, occupation, and neighborhood. Finally, with one eye on the day-to-day domestic lives of diverse gay and lesbian households and the other eye on the public policy options now emerging to address lesbian and gay family life, Carrington makes the case for expanding domestic partnership policies instead of attaining legal marriage as the ideal solution for achieving happiness, equity, and longevity for lesbian and gay families.

What does camp have to do with capitalism? How have queer men created a philosophy of commodity culture? Why is cinema central to camp? With chapters on the films of Vincente Minnelli, Andy Warhol, Kenneth Anger, and John Waters, "Working Like a Homosexual "responds to these questions by arguing that post-World War II gay male subcultures have fostered their own ways not only of consuming mass culture but of producing it as well.
With a special emphasis on the tensions between high and low forms of culture and between good and bad taste, Matthew Tinkcom offers a new vision of queer politics and aesthetics that is critically engaged with Marxist theories of capitalist production. He argues that camp--while embracing the cheap, the scorned, the gaudy, the tasteless, and what Warhol called "the leftovers" of artistic production--is a mode of intellectual production and a critical philosophy of modernity as much as it is an expression of a dissident sex/gender difference. From Minnelli's musicals and the "everyday glamour" of Warhol's films to Anger's experimental films and Waters's "trash aesthetic," Tinkcom demonstrates how camp allowed these gay men to design their own relationship to labor and to history in a way that protected them from censure even as they struggled to forge a role for themselves within a system of "value" that failed to recognize them.

That Gad Beck, a Jew in the Berlin of Nazi Germany, lived through the Holocaust at all is surprising. The fact that he lived it as a homosexual Jew who spent the entire war funnelling food, money and clothing to hidden Jews and helping smuggle others out of the country is amazing. It was love that gave him both the impetus and the strength to fight. The rise of National Socialism was tearing his family apart, destroying his school, thwarting his dream of emigration to Israel. Then the Nazis came for Manfred Lewin, Beck's first love, and for his family. Gad's love for Manfred gave him the courage to don a three-sizes-too-large Hitler Youth uniform, march into the transit camp where the Lewins were being held, and demand - and obtain, to his astonishment - the release of his lover. But Manfred would not leave without his family, and so went back into the camp. The Lewins did not survive. Coming of age as a gay man during the war and maintaining a series of romantic relationships while carrying on his resistance work, Beck reveals a tenacity and irrepressible spirit that is his real legacy. His determination to keep loving, living and believing in every human possibility without compromise - even in the face of the unthinkably monstrous - makes this quite a different story of the Holocaust.

The history of American gender and sexuality is examined here through a case study of the YMCA, the organization devoted to young men. The social history of the YMCA has been filled with strife, tragedy and irony, reflecting the struggle and shifting societal mores about masculine friendship and intimacy. In the 19th-century the YMCA was built on intense male friendships that involved economic as well as emotional independence. Some men found in the YMCA an alternative to mainstream patterns of heterosexual marriage and family life, choosing to live their lives as bachelors in community with other men. But with the turn of the century, social perceptions of gender and sexuality began to change and certain forms of male intimacy were regarded as deviant. The text argues that the YMCA grew more hostile to masculine love and sought to expand its control over the emotional and sexual lives of its members through programs in physical training, reinforcing new images of masculinity. Pointing out, ironically, that the YMCA's gymnasiums and dormitories became primary sites for illicit male sexual encounters.

Based on surveys and interviews of two hundred gay men, Peter Nardi's new study presents the first book-length examination of contemporary urban gay men's friendships. Expertly weaving historical and sociological research on friendship with firsthand information, Nardi argues that friendship is the central organizing element of gay men's lives. Through friendship, gay identities and communities are created, transformed, maintained, and reproduced.
Nardi explores the meaning of friends to some gay men, how friends often become a surrogate family, how sexual behavior and attraction affects these friendships, and how, for many, friends mean more and last longer than romantic relationships. While looking at the psychological joys and sorrows of friendship, he also considers the cultural constraints limiting gay men in contemporary urban America--especially those that deal with dominant images of masculinity and heterosexuality--and how they relate to friendship.
By listening to gay men talk about their interactions, Nardi offers a rare glimpse into the mechanisms of gay life. We learn how gay men meet their friends, what they typically do and talk about, and how these strong relationships contain the roots of larger cultural forces such as social movements and gay identities and neighborhoods. Nardi also points out the political and social consequences when friendships fail to provide support against oppression.
An intimate and informative look at gay life in urban America, "Gay Men's Friendships" ultimately shows how these relationships challenge the gender order of our society by questioning how masculinity is constructed and by offering a model for a more creative blending of gay and heterosexual masculinity.

Based on long-term field research carried out over more than 15 years, "Beneath the Equator" examines the changing shape of male homosexuality and the emergence of diverse and vibrant gay communities in urban Brazil. Drawing on detailed ethnographic description of multiple sexual worlds organized around street cruising and impersonal sex, male prostitution, transgender performances, gay commercial markets and establishments, gay rights activism and AIDS service provision, Richard Parker examines the changing sexual identities, cultures and communities that have taken shape in Brazil in recent years. Also includes 15 maps.

Pier Paolo Pasolini (1922-1975) was arguably the most complex director of postwar Italian cinema. His films--"Accattone," "The Canterbury Tales," "Medea," "Salo"--continue to challenge and entertain new generations of moviegoers. A leftist, a homosexual, and a distinguished writer of fiction, poetry, and criticism, Pasolini once claimed that "a certain realism" informed his filmmaking.
Masterfully combining analyses of Pasolini's literary and theoretical writings and of all his films, Maurizio Viano offers the first thorough study of Pasolini's cinematic realism, in theory and in practice. He finds that Pasolini's cinematic career exemplifies an "expressionistic realism" that acknowledges its subjective foundation instead of striving for an impossible objectivity.
Focusing on the personal and expressionistic dimensions of Pasolini's cinema, Viano also argues that homosexuality is present in the films in ways that critics have thus far failed to acknowledge. Sure to generate controversy among film scholars, Italianists, and fans of the director's work, this accessible film-by-film treatment is an ideal companion for anyone watching Pasolini's films on video.

A taboo subject in many cultures, homosexuality has been traditionally repressed in Latin America, both as a way of life and as a subject for literature. Yet numerous writers have attempted to break the cultural silence surrounding homosexuality, using various strategies to overtly or covertly discuss lesbian and gay themes. In this study, David William Foster examines more than two dozen texts that deal with gay and lesbian topics, drawing from them significant insights into the relationship between homosexuality and society in different Latin American countries and time periods.

Foster's study includes works both sympathetic and antagonistic to homosexuality, showing the range of opinion on this topic. The preponderance of his examples come from Argentina, Brazil, and Mexico, countries with historically active gay communities, although he also includes material on other countries. Noteworthy among the authors covered are Reinaldo Arenas, Adolfo Caminha, Isaac Chocron, Jose Donoso, Sylvia Molloy, Alejandra Pizarnik, and Luis Zapata.

David William Foster is Regents' Professor of Spanish at Arizona State University.

From his days as a club face alongside Philip Sallon, Marilyn and Steve Strange, through the years of global pop superstardom with Culture Club, his rebirth as a world-class DJ, as a leading light of musical theatre with the award-winning Taboo, a cutting edge photographer and a confrontational and acclaimed fashion designer, one of the many things you can say about George is: he's never stood still. It's been one hell of a trip. A decade and a half ago, George was coming to terms with the fall-out from serious drug addiction, the failure of his relationship with Jon Moss and the collapse of Culture Club.For lesser men this would have been the end but for George it became the start of a period of remarkable reinvention. Told with George's trademark biting wit, brutal honesty and sparkling insight, this book reveals the whole story, reappraising his rise to stardom and all the madness that followed.He talks about his solo singing career, his initiation into the dance music scene, and his role as the driving force behind theatrical sensation Taboo.George also discusses the achievement of the apparently impossible task of reuniting the famously fractious Culture Club. It is only now, many years on from the glittering, glossy Eighties, that George makes an insightful and often hilarious assessment of the impact of that extraordinary era.

Over time, male homosexuality and effeminacy have become indelibly associated, sometimes even synonymous. In "Faeries, Bears, and Leathermen," Peter Hennen contends that this stigma of effeminacy exerts a powerful influence on gay subcultures. Through a comparative ethnographic analysis of three communities, Hennen explores the surprising ways that conventional masculinity is being collectively challenged, subverted, or perpetuated in contemporary gay male culture.
Hennen's colorful study focuses on a trio of groups: the Radical Faeries, who parody effeminacy by playfully embracing it, donning prom dresses and glitter; the Bears, who strive to appear like "regular guys" and celebrate their larger, hairier bodies; and the Leathermen, who emulate hypermasculine biker culture, simultaneously paying homage to and undermining notions of manliness. Along with a historical analysis of the association between effeminacy and homosexuality, Hennen examines how this connection affects the groups' sexual practices. Ultimately, he argues, while all three groups adopt innovative approaches to gender issues and sexual pleasure, masculine norms continue to constrain members of each community.

Queer Subjects in Modern Japanese Literature: Male Love, Erotics, and Intimacy, 1886-2014 is an anthology of translated Japanese literature about men behaving lovingly, erotically, and intimately with other men. Covering more than 125 years of modern and contemporary Japanese history, this book aims to introduce a diverse array of authors to an English-speaking audience and provide further context for their works. While no anthology can comprehensively represent queer Japanese literature, these selections nonetheless expand our understanding of queerness in Japanese culture.

A much-needed exploration of the history and philosophy of scientific research into male homosexuality. Questions about the naturalness or unnaturalness of homosexuality are as old as the hills, and the answers have often been used to condemn homosexuals, their behaviors, and their relationships. In the past two centuries, a number of sciences have involved themselves in this debate, introducing new vocabularies, theories, arguments, and data, many of which have gradually helped tip the balance toward tolerance and even acceptance. In this book, philosophers Pieter R. Adriaens and Andreas De Block explore the history and philosophy of the gay sciences, revealing how individual and societal values have colored how we think about homosexuality. The authors unpack the entanglement of facts and values in studies of male homosexuality across the natural and human sciences and consider the extent to which science has mitigated or reinforced homonegative mores. The focus of the book is on homosexuality's assumed naturalness. Geneticists rephrased naturalness as innateness, claiming that homosexuality is innate-colloquially, that homosexuals are born gay. Zoologists thought it a natural affair, documenting its existence in myriad animal species, from maybugs to men. Evolutionists presented homosexuality as the product of natural selection and speculated about its adaptive value. Finally, psychiatrists, who initially pathologized homosexuality, eventually appealed to its naturalness or innateness to normalize it. Discussing findings from an array of sciences-comparative zoology, psychiatry, anthropology, evolutionary biology, social psychology, developmental biology, and machine learning-this book is essential reading for anyone interested in what science has to say about homosexuality.

While social change regarding trans(sexuality) has evolved within an expanding nexus of concepts, practices, regulations and institutions, this process has barely been analysed systematically. Against the background of legislative processes on gender recognition in a society shaped by heteronormative hegemony, Adrian de Silva traces how sexology, the law, federal politics and the trans movement interacted to generate or challenge concepts of trans(sexuality) from the mid-1960s to 2014 in the Federal Republic of Germany. The interdisciplinary study draws upon and contributes to debates in (trans)gender and queer studies, political science, sociology of law, sexology and the social movement.

In recent years, the representation of alternative sexuality in the horror film and television has "outed" itself from the shadows from which it once lurked, via the embrace of an outrageously queer horror aesthetic where homosexuality is often unequivocally referenced. In this book, Darren Elliott-Smith departs from the analysis of the monster as a symbol of heterosexual anxiety and fear, and moves to focus instead on queer fears and anxieties within gay male subcultures. Furthermore, he examines the works of significant queer horror film, television producers, and directors to reveal gay men's anxieties about: acceptance and assimilation into Western culture, the perpetuation of self-loathing and gay shame, and further anxieties associations shameful femininity. This book focuses mainly on representations of masculinity, and gay male spectatorship in queer horror films and television post-2000. In titling this sub-genre "queer horror," Elliott-Smith designates horror that is crafted by male directors/producers who self-identify as gay, bi, queer, or transgendered and whose work features homoerotic, or explicitly homosexual, narratives with "out" gay characters. In terms of case studies, this book considers a variety of genres and forms from: video art horror; independently distributed exploitation films (A Far Cry from Home, Rowe Kelly, 2012); queer Gothic soap operas (Dante's Cove, 2005-7); satirical horror comedies (such as The Gay Bed and Breakfast of Terror (Thompson, 2008); low-budget slashers (Hellbent, Etheredge-Outzs, 2007); and contemporary representations of gay zombies in film and television from the pornographic LA Zombie (Bruce LaBruce, 2010)) to the melodramatic In the Flesh (BBC Three 2013-15). Moving from the margins to the mainstream, via the application of psychoanalytic theory, critical and cultural interpretation, interviews with key directors and close readings of classic, cult and modern horror, this book will be invaluable to students and researchers of gender and sexuality in horror film and television.