Looks can be deceiving, and in a society where one's status and access to opportunity are largely attendant on physical appearance, the issue of how difference is constructed and interpreted, embraced or effaced, is of tremendous import.

Lisa Walker examines this issue with a focus on the questions of what it means to look like a lesbian, and what it means to be a lesbian but not to look like one. She analyzes the historical production of the lesbian body as marked, and studies how lesbians have used the frequent analogy between racial difference and sexual orientation to craft, emphasize, or deny physical difference. In particular, she explores the implications of a predominantly visible model of sexual identity for the feminine lesbian, who is both marked and unmarked, desired and disavowed.

Walker's textual analysis cuts across a variety of genres, including modernist fiction such as "The Well of Loneliness "and "Wide Sargasso Sea, "pulp fiction of the Harlem Renaissance, the 1950s and the 1960s, post-modern literature as Michelle Cliff's "Abeng, "and queer theory.

In the book's final chapter, "How to Recognize a Lesbian," Walker argues that strategies of visibility are at times deconstructed, at times reinscribed within contemporary lesbian-feminist theory.

Kendall, Sabrina, and Gabrielle have more in common than good genes, status, and a French manicure. Sabrina is married to Marcus James, an NBA star, but behind closed doors she's a paper wife, that is a wife on paper only. Gabrielle was dumped by Brian the love of her life, when without rhyme or reason he called her an average chick and walked out on her, that's when she grabbed hold of Aaron, a sweat-suit wearing, ketchup-stained, loud mouthed fiasco. Kendall's been with Jason for three years but after he lost his job she became certain the only reason he's with her is for food, shelter, and an endless stream of cash. Will each of these women continue to accept fractional love served on a conditional platter? Will they continue to pretend like they have a man, happy to settle for what they know is a lie? www.lisawalkerthomas.com

For My Sisters is a collection of poems that gets to the heart of the matter as they lend credence to the various moods and attitudes we often find ourselves in. Through the pages of this book you'll find a poem entitled, "Dishonored Sister" it turns the mirror on our sisters who have agreed to share a married man with his wife. We also have the poem entitled, "The Angry Sister," in this poem we acknowledge that there are angry sisters out there, but we go deeper in that we try to look beyond the anger to see how our sister may have gotten that way. For My Sisters also takes a look at the lives of the Sister Giver, the Church Girl, and Sister Peace to name a few. As always thank you for agreeing to take this journey with me perhaps you'll see yourself or someone you know in the poems in this book, whatever the case I hope you enjoy it as you take some time for you. Blessings in Abundance! www.lisawalkerthomas.com

Stephanie, Monique and Cheryl are three high powered women, one is married and two are not. So how did all three end up with the same man? Two of whom attend the same church. Do they really believe the words coming out of their Pastor's mouth on Sunday morning? Or are they simply playing a role? Church hat on, hands raised in praise, belting out a "hallelujah," gleaming smile and the baddest suit known to man, a costume, the perfect embodiment carefully hidden behind a Church Face. www.lisawalkerthomas.com

A classic fish-out-of-water romantic comedy - can a city-slicker fall for a wildlife ranger? Can a city bird change her feathers? PR whizz Cassandra Daley isn't afraid of using all the dirty tricks of the trade to spin a story her way. A glitzy city-slicker, she has never given much thought to wildlife until she loses a PR war with a potoroo. Sacked and disgraced, she flees the city for an anonymous bolt hole. But small-town Beechville has other plans for her. Feral pigs, a snake in the dunny, a philosopher frog and a town with a secret - could things get worse? Add one man who has the sexiest way with maps she's ever seen and Cassandra's really in trouble. Her best friend Jessica thinks she's been brainwashed by some kind of rural cult, and Jessica could be right. Can Cassandra reinvent herself or will she always be a liar bird?

Looks can be deceiving, and in a society where one's status and access to opportunity are largely attendant on physical appearance, the issue of how difference is constructed and interpreted, embraced or effaced, is of tremendous import.

Lisa Walker examines this issue with a focus on the questions of what it means to look like a lesbian, and what it means to be a lesbian but not to look like one. She analyzes the historical production of the lesbian body as marked, and studies how lesbians have used the frequent analogy between racial difference and sexual orientation to craft, emphasize, or deny physical difference. In particular, she explores the implications of a predominantly visible model of sexual identity for the feminine lesbian, who is both marked and unmarked, desired and disavowed.

Walker's textual analysis cuts across a variety of genres, including modernist fiction such as "The Well of Loneliness "and "Wide Sargasso Sea, "pulp fiction of the Harlem Renaissance, the 1950s and the 1960s, post-modern literature as Michelle Cliff's "Abeng, "and queer theory.

In the book's final chapter, "How to Recognize a Lesbian," Walker argues that strategies of visibility are at times deconstructed, at times reinscribed within contemporary lesbian-feminist theory.