From rethinking feminist archives, to inserting postpornography in academia, to approaching sex toys from a transpositive perspective, to dismantling the foundations of techno-capitalism, the areas of inquiry in this book are lenses through which to explore the relationships between genders, bodies and technologies. All the various chapters work to reimagine the body as a hybrid, malleable and subversive source of potentiality. These essays offer readers road maps for unimagined and uncharted social scapes: the relationship between bodies-technologies-genders means working within a space of monstrosity. Through this embodied discomfort the book questions existing techno-social norms, and imagines tranfeminist futures. Contributors are: Carlotta Cossutta, Valentina Greco, Arianna Mainardi, Stefania Voli, Lucia Egana Rojas, Ludovico Virtu, Angela Balzano, Obiezione Respinta, Elisa Virgili, Rachele Borghi, and Diego Marchante "Genderhacker".

This is one of the first book-length English translations of Nazik Al-Mala'ika's Arabic poetry. One of the most influential Iraqi poets of the twentieth century, Nazik Al-Mala'ika pioneered the modern Arabic verse movement when she broke away from the formalistic classical modes of Arabic poetry that had prevailed for more than fifteen centuries. Along with 'Abdulwahhab Al-Bayyati and Badre Shakir Al-Sayyab, she paved the way for the birth of a new modernist poetic movement in the Arab world. Until now, very little of Al-Mala'ika's poetry has been translated into English. Listen to the Mourners contains forty of her most significant poems selected from six published volumes, including Life Tragedy and a Song for Man, The Woman in Love with the Night, Sparks and Ashes, The Wave's Nadir, The Moon Tree, and The Sea Alters Its Colours. These poems show the beginning of her development from the late romantic orientation in Arabic poetry toward a more psychological approach. Her poetic form shows a significant liberation from the traditional two-hemistich line in traditional Arabic poetry, which adheres to the traditional Arabic measures of prosody and rhyme. 'Abdulwahid Lu'lu'a's introduction functions as a critical analysis of the liberated verse movement of the era and situates the poet among her Arab and Western counterparts. This accessible, beautifully rendered, and long overdue translation fills a gap in modern Arabic poetry in translation and will interest students and scholars of Iraqi literature, Middle East studies, women's studies, and comparative literature.

How do we represent the experience of being a gender and sexual outlaw? In Queer Forms, Ramzi Fawaz explores how the central values of 1970s movements for women's and gay liberation-including consciousness-raising, separatism, and coming out of the closet-were translated into a range of American popular culture forms. Throughout this period, feminist and gay activists fought social and political battles to expand, transform, or wholly explode definitions of so-called "normal" gender and sexuality. In doing so, they inspired artists, writers, and filmmakers to invent new ways of formally representing, or giving shape to, non-normative genders and sexualities. This included placing women, queers, and gender outlaws of all stripes into exhilarating new environments-from the streets of an increasingly gay San Francisco to a post-apocalyptic commune, from an Upper East Side New York City apartment to an all-female version of Earth-and finding new ways to formally render queer genders and sexualities by articulating them to figures, outlines, or icons that could be imagined in the mind's eye and interpreted by diverse publics. Surprisingly, such creative attempts to represent queer gender and sexuality often appeared in a range of traditional, or seemingly generic, popular forms, including the sequential format of comic strip serials, the stock figures or character-types of science fiction genre, the narrative conventions of film melodrama, and the serialized rhythm of installment fiction. Through studies of queer and feminist film, literature, and visual culture including Mart Crowley's The Boys in the Band (1970), Armistead Maupin's Tales of the City (1976-1983), Lizzy Borden's Born in Flames (1983), and Tony Kushner's Angels in America (1989-1991), Fawaz shows how artists innovated in many popular mediums and genres to make the experience of gender and sexual non-conformity recognizable to mass audiences in the modern United States. Against the ideal of ceaseless gender and sexual fluidity and attachments to rigidly defined identities, Queer Forms argues for the value of shapeshifting as the imaginative transformation of genders and sexualities across time. By taking many shapes of gender and sexual divergence we can grant one another the opportunity to appear and be perceived as an evolving form, not only to claim our visibility, but to be better understood in all our dimensions.

A Feminist Mythology takes us on a poetic journey through the canonical myths of femininity, testing them from the point of view of our modern condition. A myth is not an object, but rather a process, one that Chiara Bottici practises by exploring different variants of the myth of "womanhood" through first- and third-person prose and poetry. We follow a series of myths that morph into each other, disclosing ways of being woman that question inherited patriarchal orders. In this metamorphic world, story-telling is not just a mix of narrative, philosophical dialogues and metaphysical theorizing: it is a current that traverses all of them by overflowing the boundaries it encounters. In doing so, A Feminist Mythology proposes an alternative writing style that recovers ancient philosophical and literary traditions from the pre-Socratic philosophers and Ovid's Metamorphoses to the philosophical novellas and feminist experimental writings of the last century.