We like to think of ourselves as possessing an essential self, a core identity that is who we really are, regardless of where we live, work, or play. But places actually make us much more than we might think, argues Japonica Brown-Saracino in this novel ethnographic study of lesbian, bisexual, and queer individuals in four small cities across the United States. Taking us into communities in Ithaca, New York; San Luis Obispo, California; Greenfield, Massachusetts; and Portland, Maine; Brown-Saracino shows how LBQ migrants craft a unique sense of self that corresponds to their new homes. How Places Make Us demonstrates that sexual identities are responsive to city ecology. Despite the fact that the LBQ residents share many demographic and cultural traits, their approaches to sexual identity politics and to ties with other LBQ individuals and heterosexual residents vary markedly by where they live. Subtly distinct local ecologies shape what it feels like to be a sexual minority, including the degree to which one feels accepted, how many other LBQ individuals one encounters in daily life, and how often a city declares its embrace of difference. In short, city ecology shapes how one "does" LBQ in a specific place. Ultimately, Brown-Saracino shows that there isn't one general way of approaching sexual identity because humans are not only social, but fundamentally local creatures. Even in a globalized world, the most personal of questions who am I? is in fact answered collectively by the city in which we live.

A NEW YORK TIMES BESTSELLER From the co-creator and co-star of the hit series Broad City, a hilarious and poignant collection about love, loss, work, comedy and figuring out who you really are when you thought you already knew. When Abbi Jacobson announced to friends and acquaintances that she planned to drive across the country alone, she was met with lots of questions and opinions: Why wasn't she going with friends? Wouldn't it be incredibly lonely? The North route is better! Was it safe for a woman? The Southern route is the way to go! You should bring mace! And a common one . . . why? But Abbi had always found comfort in solitude, and needed space to step back and hit the reset button. As she spent time in each city and town on her way to Los Angeles, she mulled over the big questions - What do I really want? What is the worst possible scenario in which I could run into my ex? How has the decision to wear my shirts tucked in been pivotal in my adulthood? In this collection of anecdotes, observations and reflections - all told in the sharp, wildly funny and relatable voice that has endeared Abbi to critics and fans alike - readers will feel like they're in the passenger seat on a fun and, ultimately, inspiring journey. With some original illustrations by the author.

'We stand on the shoulders of giants. Now we learn their names.' THE QUEER BIBLE is a collection of essays written by queer icons, about the queer trailblazers throughout history who inspired them. From Elton John on Divine to Graham Norton on Armistead Maupin; Russell Tovey on David Robilliard to Lady Phyll on Moud Goba; Tan France on the Queer Eye cast to Mae Martin on Tim Curry, today's queer heroes write about the icons that provided a creative inspiration to them. Other contributors include Amelia Abraham, Paula Akpan, Courtney Act, Munroe Bergdorf, Mykki Blanco, Joseph Cassara, David Furnish, Paul Flynn, Paris Lees, Juliet Jacques, Gus Kenworthy, Freddy McConnell, Paul Mendez, Mark Moore, Hans Ulrich Obrist, Hanne Gaby Odiele and Matthew Todd. Each essay is accompanied by exclusive, bespoke illustrations by queer or ally artists, to create a truly beautiful celebration of queer culture. Based on the popular website QueerBible.com, founded by model and activist Jack Guinness, this timely collection, edited by him, continues his mission - to create a space dedicated to the celebration of queer history. The Queer Bible is a love letter to the LGBTQI+ community and its allies.

Hongwei Bao's Queer China: * Is the first study on queer literature and visual culture in contemporary China * Interdisciplinary in nature and draws from a host of case studies * Will be of great interest to scholars and students of literary and cultural studies, media and communication studies, film and screen studies, contemporary art, theatre and performance studies, gender and sexuality studies, China and Global South studies, sociology and anthropology, cultural history and cultural geography, political theory and the study of social movements

"Definitive and well-rounded. . . . Explores how anthropologists manage issues of identity and sexuality in field research and professional life. In an era when the field worker's positionality is critical to research and ethnographic writing, this insightful book has much to say to gay and straight researchers alike." -- Louise Lamphere, University of New Mexico "Addresses sensitive, controversial, and tabooed subjects. . . . Out in the Field will be read by a variety of audiences, within and outside of anthropology." -- Jean Jackson, Massachusetts Institute of Technology Lesbian and gay anthropologists write candidly in Out in the Field about their research and personal experiences in conducting fieldwork, about the ethical and intellectual dilemmas they face in writing about lesbian or gay populations, and about the impact on their careers of doing lesbian/gay research. The first volume in which lesbian and gay anthropologists discuss personal experiences, Out in the Field offers compelling illustrations of professional lives both closeted and out to colleagues and fieldwork informants. It also concerns aligning career goals with personal sexual preferences and speaks directly to issues of representation and authority currently being explored throughout the social sciences. CONTRIBUTORS: Geoffrey Burkhart, Liz Goodman, Delores M. Walters, Walter L. Williams, Sabine Lang, Ellen Lewin, William L. Leap, Ralph Bolton, Elizabeth Lapovsky Kennedy, Madeline Davis, Will Roscoe, Esther Newton, Stephen O. Murray, James Wafer, Kath Weston, Sue-Ellen Jacobs

This important textbook makes a timely contribution to international agendas in social work with lesbian, gay, bisexual and trans (LGBT) people. It examines how practitioners and student social workers can provide appropriate care across the lifespan (including work with children and families and older people) and considers key challenges in social work practice, for example asylum, mental health, and substance misuse. Drawing on practice scenarios, the book takes an enquiry-based learning approach to facilitate critical reflection. Its distinctive approach includes: * use of the concepts of the Professional Capabilities Framework for social work * key theoretical perspectives including human rights * structuring of the text around the framework of the UK National Occupational Standards for Social Work * student-friendly features including key questions and exercises * a complete glossary of key terms and concepts * examination of the UK policy and legislative context It is informed by international research in social work with LGBT people The book is essential reading for students on qualifying social work programmes and practitioners in statutory, voluntary and independent sectors.

Love and Money argues that we can't understand contemporary queer cultures without looking through the lens of social class. Resisting old divisions between culture and economy, identity and privilege, left and queer, recognition and redistribution, Love and Money offers supple approaches to capturing class experience and class form in and around queerness. Contrary to familiar dismissals, not every queer television or movie character is like Will Truman on Will and Grace-rich, white, healthy, professional, detached from politics, community, and sex. Through ethnographic encounters with readers and cultural producers and such texts as Boys Don't Cry, Brokeback Mountain, By Hook or By Crook, and wedding announcements in the New York Times, Love and Money sees both queerness and class across a range of idioms and practices in everyday life. How, it asks, do readers of Dorothy Allison's novels use her work to find a queer class voice? How do gender and race broker queer class fantasy? How do independent filmmakers cross back and forth between industry and queer sectors, changing both places as they go and challenging queer ideas about bad commerce and bad taste? With an eye to the nuances and harms of class difference in queerness and a wish to use culture to forge queer and class affinities, Love and Money returns class and its politics to the study of queer life.

The right of same-sex couples to marry provoked decades of intense conflict before it was upheld by the U.S. Supreme Court in 2015. Yet some of the most divisive contests shaping the quest for marriage equality occurred not on the culture-war front lines but within the ranks of LGBTQ advocates. Nathaniel Frank tells the dramatic story of how an idea that once seemed unfathomable-and for many gays and lesbians undesirable-became a legal and moral right in just half a century. Awakening begins in the 1950s, when millions of gays and lesbians were afraid to come out, let alone fight for equality. Across the social upheavals of the next two decades, a gay rights movement emerged with the rising awareness of the equal dignity of same-sex love. A cadre of LGBTQ lawyers soon began to focus on legal recognition for same-sex couples, if not yet on marriage itself. It was only after being pushed by a small set of committed lawyers and grassroots activists that established movement groups created a successful strategy to win marriage in the courts. Marriage equality proponents then had to win over members of their own LGBTQ community who declined to make marriage a priority, while seeking to rein in others who charged ahead heedless of their carefully laid plans. All the while, they had to fight against virulent antigay opponents and capture the American center by spreading the simple message that love is love, ultimately propelling the LGBTQ community-and America-immeasurably closer to justice.

This text contends that being gay or lesbian is by definition political. The continually rising public consciousness of the needs and interests of gays and lesbians provides Blasius with a vehicle for showing how a particular aspect of human life comes to assume political dimensions.

When the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.

In a highly original and interdisciplinary work bridging French and Francophone studies, cultural studies, media studies, and gender and sexuality studies, Luis Navarro-Ayala examines the transnational queer body as a physical and symbolic entity intrinsically connected with space. Through a transcultural and intersectional approach to bodily representations, socioeconomic conditions, and postcolonial politics, Navarro-Ayala analyzes queerness and Frenchness in narratives from North Africa and Latin America, revealing that Frenchness is coded to represent a sexually deviant "Other." France and Frenchness, in two distinct regions of the global South, have come to represent an imagined queer space enabling sexual exploration, even in social conditions that would have otherwise prevented queer agency.

The metropolis has been the near exclusive focus of queer scholars and queer cultures in America. Asking us to look beyond the cities on the coasts, Scott Herring draws a new map, tracking how rural queers have responded to this myopic mindset. Interweaving a wide range of disciplines--art, media, literature, performance, and fashion studies--he develops an extended critique of how metronormativity saturates LGBTQ politics, artwork, and criticism. To counter this ideal, he offers a vibrant theory of queer anti-urbanism that refuses to dismiss the rural as a cultural backwater.

Impassioned and provocative, Another Country expands the possibilities of queer studies beyond its city limits. Herring leads his readers from faeries in the rural Midwest to photographs of white supremacists in the deep South, from Roland Barthes's obsession with Parisian fashion to a graphic memoir by Alison Bechdel set in the Appalachian Mountains, and from cubist paintings in Lancaster County to lesbian separatist communes on the northern California coast. The result is an entirely original account of how queer studies can--and should--get to another country.

In the 1930s, Freud observed that "when you meet a human being, the first distinction you make is `male or female?' and you are accustomed to make the distinction with unhesitating certainty." As Freud suggests, society is divisible by gender. We are taken to be either "male" or "female." This notion seems to be fixed within our culture and is often unquestioned. In this dynamic book, fashion journalist Laura Cherrie Beaney examines gender as a concept and as a practice that is also challenged and contested in the fashion industry. While gender has been relatively fixed within our society, we are nevertheless entertained by "gender bending." The media and entertainment industries now represent a range of gender identities. As much as it is a cultural phenomenon, gender is also an individual practice. Social theorists describe some individuals as "gender outlaws" for actively choosing to blend and shape their own gender identities. Fashionable clothing makes multiple statements about the wearer. It can identify social status and tell the viewer, "This is the type of person I am." In contemporary culture, fashion designers, stylists, photographers, and other media professionals have been fascinated with the idea of gender and its ever-changing boundaries. In recent years, the fashion industry has also focused on ideas of unisex identity and androgyny. Indeed, the fashion industry seems to afford a decadent sense of power to alternative gender identities. Fashion designers and stylists have been inspired by alternative gender identities when creating images and when showcasing their designs. Crossing the Catwalk explores fashion to understand how this mediated image of gender equality in the twenty-first century relates to reality by examining cross-dressing and transvestism through the construction of personal style. By using case studies from a range of different sources, the book will give a clear idea of how the reality of cross-dressing compares to the glamorous and decadent images portrayed by the fashion industry. It will aim to uncover the true motivations for those who cross dress and analyze the construction of gendered personal styles in relation to fashion.

"This stimulating collection of essays critically examines and celebrates what, for centuries, many have deeply feared and many others have known and cherished to be true-that theatre is, indeed, the queerest art. The special ephermerality and perilousness of queer existence on- and offstage make this volume's excellently rendered project of documentation through performance, writing, and publication not only admirable and necessary but urgent."--"The Drama Review"

"A rich and varied collection, featuring the voices both of academics and theatre practitioners."
--"American Theatre"

"Eclectic array of essays."
--"Theater Journal"

"The panel discussions...contributes a warm, witty and deliciously rhetorical piece."
--"Lambda Book Report"

From Shakespeare's gender-bending play "Twelfth Night" to the the critically-acclaimed Broadway hit "Angels in America," from 17th century kabuki theater of Japan--performed by cross-dressing prostitutes--to the NEA-denounced performance art of Holly Hughes, theater has long been--as co-editor Alisa Solomon terms it--the queerest art.

The Queerest Art is a pioneering collection of essays by and conversations among a diverse range of leading theater academics and artists. The first anthology to bring scholars and makers of queer theater into direct dialogue, the volume explores such subjects as same-sex desire in Restoration comedy, the racialized impact of colonial Shakespeare, the cuerpo politizado of a performance artist in contemporary Los Angeles, and the nitty-gritty of getting a queer show presented in Peoria. The Queerest Art rereads the history of performance as a celebration and critique of dissident sexualities, exploring the politics of pleasure and the pleasure of politics that drive the theater.

Lively and accessible, The Queerest Art will be useful to scholars, students, artists, and theater-goers alike interested in what makes queer theater . . . and what makes theater queer.

Contributors include: Jill Dolan, Brian Freeman, Randy Gener, George E. Haggerty, Holly Hughes, Ania Loomba, Tim Miller, JosA(c) Esteban MuAoz, Deb Parks-Satterfield, Lola Pashalinski, Everett Quinton, David RomAn, David Savran, Laurence Senelick, Don Shewey, Carmelita Tropicana, Valerie Traub, Paula Vogel, Doric Wilson, and Stacy Wolf.

Baby You Are My Religion argues that American butch-femme bar culture of the mid-20th Century should be interpreted as a sacred space for its community. Before Stonewall when homosexuals were still deemed mentally ill, these bars were the only place where many could have any community at all. Baby You Are My Religion explores this community as a site of a lived corporeal theology and political space. It reveals that religious institutions such as the Metropolitan Community Church were founded in such bars, that traditional and non-traditional religious activities took place there, and that religious ceremonies such as marriage were often conducted within the bars by staff. Baby You Are My Religion examines how these bars became not only ecclesiastical sites but also provided the fertile ground for the birth of the struggle for gay and lesbian civil rights. Based on over 100 new primary interviews.

Caravaggio (1986), Derek Jarman's portrait of the Italian Baroque artist, shows the painter at work with models drawn from Rome's homeless and prostitutes, and his relationship with two very different lovers: Ranuccio, played by Sean Bean, and Lena, played by Tilda Swinton. It is probably the closest Derek Jarman came to a mainstream film. And yet the film is a uniquely complex and lucid treatment of Jarman's major concerns: violence, history, homosexuality, and the relation between film and painting. In particular, according to Leo Bersani and Ulysse Dutoit, Caravaggio is unlike Jarman's other work in avoiding a sentimentalising of gay relationships and in making no neat distinction between the exercise and the suffering of violence. Film-making involves a coercive power which, for Bersani and Dutoit, Jarman may, without admitting it to himself, have found deeply seductive. But in Caravaggio this power is renounced, and the result is Jarman's most profound, unsettling and astonishing reflection on sexuality and identity.

They did so in the midst of the 1984 miners' strike - the most bitter and divisive dispute for more than half a century, and in one of the most turbulent periods in modern British history. In the 1980s Margaret Thatcher's hardcore social and fiscal policies devastated Britain's traditional industries, and at the same time, AIDS began to claim lives across the nation. At the very height of this perfect storm, as the government and police battled 'the enemy within' in communities across the land and newspapers whipped up fear of the gay 'perverts' who were supposedly responsible for inflicting this lethal new pestilence upon the entire population, two groups who ostensibly had nothing in common - miners and homosexuals - unexpectedly made a stand together and forged a lasting friendship. It was an alliance which helped keep an entire valley clothed and fed during the darkest months of the strike. And it led directly to a long-overdue acceptance by trades unions and the Labour Party that homosexual equality was a cause to be championed. Pride tells the inspiring true story of how two very different communities - each struggling to overcome its own bitter internal arguments and long established fault lines, as well as facing the power of a hostile government and press - found common cause against overwhelming odds. And how this one simple but unlikely act of friendship would, in time, help change life in Britain - forever.

Trailblazing transgender actress, activist, and style icon Candis Cayne has spent a lifetime learning how to see herself for who she really is, and along the way has taught herself and others how to celebrate inner beauty as the perfect starting point for outer radiance. Drawing from her personal journey to self-acceptance and comprised of a unique combination of cross-barrier, body-positive wellness and style advice, Hi Gorgeous is a one-of-a-kind beauty guide that will speak to all women. Engagingly written, highly visual, and filled with "Glam on the Go" tips and exclusive interviews with Candis's team of "radiance experts," the book will cover everything from new definitions of womanhood and beauty (with elements of Candis's own journey artfully woven in) to hands-on makeup and style tips aimed at enhancing every woman's natural beauty. Hi Gorgeous! opens with a foreword by Candis's best friend, former Olympian and transgender star Caitlyn Jenner. Part I focuses on "Finding Your Natural Radiance," Part II on "Giving Them the Highlights" (makeup tips), and Part III on "Accentuating Your True Self" (fashion, accessories, putting forward your best). As Candis says, "Inner empowerment leads to owning who you really are, which creates true, radiant beauty. The rest is just the icing on the cake." This beautiful, inspiring, and informative book will empower women on their own path and help them convey their radiance to the world.

Queering the Interior problematizes the familiar space of 'home'. It deploys a queer lens to view domestic interiors and conventions and uncovers some of the complexities of homemaking for queer people.Each of the book's six sections focuses on a different room or space inside the home. The journey starts with entryways, and continues through kitchens, living spaces, bedrooms, bathrooms, and finally, closets and studies. In each case up to three specialists bring their disciplinary expertise and queer perspectives to bear. The result is a fascinating collection of essays by scholars from literary studies, geography, sociology, anthropology, history and art history. The contributors use historical and sociological case studies; spatial, art and literary analyses; interviews; and experimental visual approaches to deliver fresh, detailed and grounded perspectives on the home and its queer dimensions. A highly creative approach to the analysis of domestic spaces, Queering the Interior makes an important contribution to the fields of gender studies, social and cultural history, cultural studies, design, architecture, anthropology, sociology, and cultural geography.

The follow-up to the groundbreaking Black Queer Studies, the edited collection No Tea, No Shade brings together nineteen essays from the next generation of scholars, activists, and community leaders doing work on black gender and sexuality. Building on the foundations laid by the earlier volume, this collection's contributors speak new truths about the black queer experience while exemplifying the codification of black queer studies as a rigorous and important field of study. Topics include "raw" sex, pornography, the carceral state, gentrification, gender nonconformity, social media, the relationship between black feminist studies and black trans studies, the black queer experience throughout the black diaspora, and queer music, film, dance, and theater. The contributors both disprove naysayers who believed black queer studies to be a passing trend and respond to critiques of the field's early U.S. bias. Deferring to the past while pointing to the future, No Tea, No Shade pushes black queer studies in new and exciting directions. Contributors. Jafari S. Allen, Marlon M. Bailey, Zachary Shane Kalish Blair, La Marr Jurelle Bruce, Cathy J. Cohen, Jennifer DeClue, Treva Ellison, Lyndon K. Gill, Kai M. Green, Alexis Pauline Gumbs, Kwame Holmes, E. Patrick Johnson, Shaka McGlotten, Amber Jamilla Musser, Alison Reed, Ramon H. Rivera-Servera, Tanya Saunders, C. Riley Snorton, Kaila Story, Omise'eke Natasha Tinsley, Julia Roxanne Wallace, Kortney Ziegler

The Myth of the Queer Criminal documents over a century of writings by sociologists, psychologists, criminologists, and forensic scientists, in Europe and the United States, who asserted that LGBT persons were innately and uniquely criminal. Applying the tools of narratology and queer theory, Jeffery P. Dennis examines the ten types of queer criminal that have appeared in seminal texts, both literary and scientific, over the past 140 years - beginning with Lombroso's Criminal Man (1876) and extending to postmodern criminologists and contemporary textbooks. Each type is named after its defining characteristic. The pederast, for example, was believed to be a master-criminal, leading vast criminal empires. The degenerate, intellectually and morally corrupted, was perceived as a symptom or cause of societal decay. The silly, lisping pansy was a figure of ridicule, rather than of dread. The traitor was murderous and depraved, prepared to destroy democratic institutions worldwide. The book aims to contextualize this mythology, revealing the motivations of the agents behind it, the influence of broader preoccupations and anxieties of the age, and its societal, political and cultural impact. This carefully researched, meticulously written history of the queer criminal will be of interest to students and researchers in criminology, gender studies, queer studies, and the history of sexuality.

While scholars have theorized major film festivals, they have ignored smaller, ephemeral, events. In taking seriously minor European and North-American LGBTQ festivals which often only exist as traces within archival collections, this book revisits festival studies' methodological and theoretical apparatuses. As the first 'critique' of festival studies from within, LGBTQ Film Festivals argues that both festivals and queer film cultures are by definition ephemeral. The book is organized around two concepts: First, 'critical festival studies' examines the political project and disciplinary assumptions that structure festival research. Second, 'the festival as a method' pays attention to festivals' role as producers of knowledge: it argues that festivals are not mere objects of research but also actors already shaping academic, industrial, and popular cinematic knowledge. Drawing on the author's experience on the festival circuit, this book pays homage to the labour of queer organizers, critics, and scholars and opens up new avenues for festival research.

This edited volume focuses on a key notion in Queer Theory and activism: challenging, resisting and subverting contestations to the identitarian expression and performance of LGBTIQ+ (lesbian, gay, bisexual, trans*, intersex, queer/querying etc.) subjects. The chapters in this volume address queer bodies and spaces both transnationally and within specific contexts-including focus studies on the U.S.; Russia; China; Yemen; and the Anglophone Caribbean. Part I addresses queer and contested forms of lived experiences and embodiments such as trans* and non-binary bodies. Part II explores spaces of belonging and exemplifies contested and negotiated in/exclusion. Part III focusses on (socio-)legal spaces of belonging, Human Rights and legal activism. In line with QPs ethics of genial intergenerational exchange and support, this volume features prominently the voices of doctoral and early-career researchers.