Elizabeth Bishop: A Biography of a Poetry is a fascinating account of one of the most influential and beloved poets of the past fifty years. Writing a clean, spare poetry of elegance, lucidity, and great charm, Bishop appears to offer small insight into her private life, wryly remarking that confessional poets 'overdo the morbidity.'

Healing Victims of Sexual Assault Through Transformative Journaling "This is the most essential book on writing practice I know ... Every writing teacher, writing coach, writing workshop or group leader and every person with a history of any kind of trauma needs this book." -Pat Schneider, author of How the Light Gets In and founder of the Amherst Writers & Artists method #1 Best Seller in Obsessive Compulsive Disorder (OCD) and Study Aids One in six women is the victim of sexual assault. Using her own hard-won wisdom, author Jen Cross shows how to heal through journaling and personal writing Rape victims and victims of other sexual abuse. Writing Ourselves Whole is a collection of essays and creative writing encouragements for sexual trauma survivors who want to risk writing a different story. Each short chapter offers encouragement, experience, and exercises. A book that could change your life. When you can find language for the stories that are locked inside, you can change your life. Talk therapy can only go so far for the millions of Americans struggling in the aftermath of sexual abuse and sexual assault. Sexual assault survivors can heal themselves. Sexual trauma survivor communities (and their allies) have the capacity to hold and hear one another's stories-we do not have to relegate ourselves solely to the individual isolation of the therapist's office. What You'll Learn Inside Writing Ourselves Whole: How to reconnect with your creative instinct through freewriting How freewriting can help you reclaim the parts of yourself and your history How "restorying" the old myths about sexual trauma survivors can set you free If you have read books such as The Body Keeps the Score, The Artist's Way, Writing Down the Bones, or Writing as a Way of Healing, you will want to read Writing Ourselves Whole. Also try Jen Cross's self-care journal, Write to Restore.

In Queer Timing, Susan Potter offers a counter-history that reorients accepted views of lesbian representation and spectatorship in early cinema. Potter sees the emergence of lesbian figures as only the most visible but belated outcome of multiple sexuality effects. Early cinema reconfigured older erotic modalities, articulated new--though incoherent--sexual categories, and generated novel forms of queer feeling and affiliation. Potter draws on queer theory, silent film historiography, feminist film analysis, and archival research to provide an original and innovative analysis. Taking a conceptually oriented approach, she articulates the processes of filmic representation and spectatorship that reshaped, marginalized, or suppressed women's same-sex desires and identities. As she pursues a sense of "timing," Potter stages scenes of the erotic and intellectual encounters shared by historical spectators, on-screen figures, and present-day scholars. The result is a daring revision of feminist and queer perspectives that foregrounds the centrality of women's same-sex desire to cinematic discourses of both homo- and heterosexuality.

Twenty-four mothers, tweny-four stories capture the complexity of coming to terms with the loss of a daughter who has changed sex or an anticipated relationship with a daughter, now a lesbian, who lives in a different world and will lead a different life. This groundbreaking book will help other mothers as well as lesbian daughters and ftm transgender children to understand their own mothers, their changed lives, and their determination to remain connected.

"The L Word" captured international attention when it first appeared on American screens in January 2004. The groundbreaking primetime drama from Showtime is about a group of lesbian and bisexual friends living and loving in Los Angeles, and challenges traditional notions of relationships, queer life styles, gender identities, race and ethnicity and sex and sexuality. "Reading the L Word" is the first book about this television phenomenon. With an introduction by Sarah Warn, the founder of premier lesbian entertainment website, AfterEllen.com, and a foreword by Eve Kosofsky Sedgwick, the collection brings together leading academics, feminist critics, scholars and award-winning journalists to discuss "The L Word". There is also a complete episode guide, as well as a series of interviews with the actors Erin Daniels, Katherine Moennig, and the writer, Guinevere Turner. Analytical, often humorous and sometimes provocative, "Reading the L Word" uncovers what makes this show both so compelling and groundbreaking.

..". a work that builds a substantial bridge between Freudian psychoanalysis and radical feminist thought, particularly on the subject of lesbianism.... Presenting a complex argument about an issue vital to the psychoanalytic endeavor as well as to feminist theory, The Practice of Love should stimulate a reconsideration of perversion and the construction of sexual fantasy. The illumination of the fantasies that make lesbian desire distinctive will necessarily open up our understanding of all sexuality." Jessica Benjamin, New York Times Book Review

"Teresa de Lauretis has entwined three books into one: a critical history of psychoanalytic theories of female homosexuality; a bold study of how lesbians keep disappearing from popular culture, especially film; and an original speculation on the dynamics of lesbian desire." Elisabeth Young-Bruehl

"An important and original contribution not only to lesbian and gay studies, but also to psychoanalytic theory and film criticism. De Lauretis brings a unique and valuable perspective to issues of great importance today in all these areas." Leo Bersani

"De Lauretis s influential theory gets top marks from sapphic scholars who know best." Out

In an eccentric reading of Freud through Laplanche and the Lacanian and feminist revisions, Teresa de Lauretis delineates a model of "perverse" desire and a theory of lesbian sexuality. The Practice of Love discusses classic psychoanalytic narratives of female homosexuality, contemporary feminist writings on female sexuality, and the evolution of the original fantasies into cultural myths or public fantasies."

"Thoughtful and often moving." Gaby Hinsliff, The Guardian Female Masculinities and the Gender Wars provides important theoretical background and context to the 'gender wars' or 'TERF wars' - the fracture at the forefront of the LGBTQ international conversation. Using queer and female masculinities as a lens, Finn Mackay investigates the current generational shift that is refusing the previous assumed fixity of sex, gender and sexual identity. Transgender and trans rights movements are currently experiencing political backlash from within certain lesbian and lesbian feminist groups, resulting in a situation in which these two minority communities are frequently pitted against one another or perceived as diametrically opposed. Uniquely, Finn Mackay approaches this debate through the context of female masculinity, butch and transmasculine lesbian masculinities. There has been increasing interest in the study of masculinity, influenced by a popular discourse around so-called 'toxic masculinity', the rise of men's rights activism and theory and critical work on Trump's America and the MeToo movement. An increasingly important topic in political science and sociological academia, this book aims to break new ground in the discussion of the politics of gender and identity.

Barbara Hammer: Pushing Out of the Frame by Sarah Keller explores the career of experimental filmmaker and visual artist Barbara Hammer. Hammer first garnered attention in the early 1970s for a series of films representing lesbian subjects and subjectivity. Over the five decades that followed, she made almost a hundred films and solidified her position as a pioneer of queer experimental cinema and art. In the first chapter, Keller covers Hammer's late 1960s-1970s work and explores the tensions between the representation of women's bodies and contemporary feminist theory. In the second chapter, Keller charts the filmmaker's physical move from the Bay Area to New York City, resulting in shifts in her artistic mode. The third chapter turns to Hammer's primarily documentary work of the 1990s and how it engages with the places she travels, the people she meets, and the histories she explores. In the fourth chapter, Keller then considers Hammer's legacy, both through the final films of her career-which combine the methods and ideas of the earlier decades-and her efforts to solidify and shape the ways in which the work would be remembered. In the final chapter, excerpts from the author's interviews with Hammer during the last three years of her life offer intimate perspectives and reflections on her work from the filmmaker herself. Hammer's full body of work as a case study allows readers to see why a much broader notion of feminist production and artistic process is necessary to understand art made by women in the past half century. Hammer's work-classically queer and politically feminist-presses at the edges of each of those notions, pushing beyond the frames that would not contain her dynamic artistic endeavors. Keller's survey of Hammer's work is a vital text for students and scholars of film, queer studies, and art history.

Refuting commonly held beliefs within women's and lesbian history, feminist theory, and histories of the novel, Dangerous Intimacies challenges the idea that sex between women was unimaginable in British culture before the late nineteenth century. Lisa L. Moore argues that literary representations of female sexual agency-and in particular "sapphic" relationships between women-were central to eighteenth-century debates over English national identity. Moore shows how the novel's representation of women's "romantic friendships"-both platonic and sexual-were encoded within wider social concerns regarding race, nation, and colonialist ventures. Moore demonstrates that intimacy between women was vividly imagined in the British eighteenth century as not only chaste and virtuous, but also insistently and inevitably sexual. She looks at instances of sapphism in such novels as Millenium Hall, Memoirs of a Woman of Pleasure, Belinda, and Emma and analyzes how the new literary form of the novel made the bourgeois heroine's successful negotiation of female friendship central to the establishment of her virtue. Moore also examines representations of sapphism through the sweeping economic and political changes of the period and claims that middle-class readers' identifications with the heroine's virtue helped the novel's bourgeois audience justify the violent bases of their new prosperity, including slavery, colonialism, and bloody national rivalry. In revealing the struggle over sapphism at the heart of these novels of female friendship-and at the heart of England's national identity-Moore shows how feminine sexual agency emerged as an important cultural force in post-Enlightenment England