Empfehlungen basierend auf "After Delores"

Liv Strömquists nya seriealbum Kunskapens frukt handlar om det som brukar kallas för det kvinnliga könsorganet. Vad är det för något? Och varför har mänskligheten ett så extremt osoft, bordelineartat love-or-hate-relationship med just denna mänskliga kroppsdel?I en brokig mosaik bestående av gamla greker, stenålderskvinnor, Sigmund Freud, Magnus Uggla, prinsessan Törnrosa, hinduistiska gudinnor, Dogge Doggelito, biologiböcker och Stig Larsson försöker Liv Strömquist knåpa ihop en bild av det organ som Gustave Coubert kallade Världens ursprung.

Nan Goldin (b.1953) is most famous for her long-term photographic record of her immediate circle, The Ballad of Sexual Dependency. Her work often breaks social taboos with its explicit exploration of relationships, sexuality and eroticism. More recently, her images have shown the devastating effects AIDS has had on this community of friends.

Pipe Bomb for the Soul is based on Alice Bag's 1986 Nicaraguan diaries. A post-punk look at life in a post-revolutionary socialist society, Pipe Bomb for the Soul explodes consumerist, capitalist, racial and gender assumptions and proposes a new model for growth from witnessing an alternate version of reality. 110 pages, illustrated. Softcover edition, 6" x 9"

Brings together a wealth of research and an expansive selection of photographs to create an enduring account of America's first-known trans network, Casa Susanna.

“I know I’m not a man . . . and I’ve come to the conclusion that I’m probably not a woman, either. . . . . The trouble is, we’re living in a world that insists we be one or the other.” With these words, Kate Bornstein ushers readers on a funny, fearless, and wonderfully scenic journey across the terrains of gender and identity. On one level, Gender Outlaw details Bornstein’s transformation from heterosexual male to lesbian woman, from a one-time IBM salesperson to a playwright and performance artist. But this particular coming-of-age story is also a provocative investigation into our notions of male and female, from a self-described nonbinary transfeminine diesel femme dyke who never stops questioning our cultural assumptions.Gender Outlaw was decades ahead of its time when it was first published in 1994. Now, some twenty-odd years later, this book stands as both a classic and a still-revolutionary work—one that continues to push us gently but profoundly to the furthest borders of the gender frontier.

Lillian Faderman tells the compelling story of lesbian life in the 20th century, from the early 1900s to today's diverse lifestyles. Using journals, unpublished manuscripts, songs, news accounts, novels, medical literature, and numerous interviews, she relates an often surprising narrative of lesbian life."A key work...the point of reference from which all subsequent studies of 20th-century lesbian life in the United States will begin."—San Francisco Examiner.

A brand-new collection from the award-winning poet, the companion piece to the Sunday Times bestselling Slug 'Funny, so smart and refreshingly honest' SARAH MILLICAN 'Hollie McNish's words always sweep me away' GIOVANNA FLETCHER 'Bold, hilarious and tender' SALENA GODDEN This book is written out of both hate and love for the world As people, we are capable of both love and hate; amazement and disgust; fun and misery. So why do we live in a world that is constantly telling us to hate, both ourselves and others? We are told to be repulsed by our own bodies, bodies that let us laugh and sweat and eat toast; to be ashamed of pleasure; to be embarrassed by fun. In this collection, Hollie McNish brings her inimitable style to the question of what have been taught to hate, and if we might learn to love again. 'Never have we needed her more' STYLIST 'I've loved her work for years' JO BRAND 'She writes with honesty, conviction, humour and love' KAE TEMPEST

In a lecture delivered before the University of Oxford's Anglo-French Society in 1936, Gertrude Stein described romance as "the outside thing, that . . . is always a thing to be felt inside." Hannah Roche takes Stein's definition as a principle for the reinterpretation of three major modernist lesbian writers, showing how literary and affective romance played a crucial yet overlooked role in the works of Stein, Radclyffe Hall, and Djuna Barnes. The Outside Thing offers original readings of both canonical and peripheral texts, including Stein's first novel Q.E.D. (Things As They Are), Hall's Adam's Breed and The Well of Loneliness, and Barnes's early writing alongside Nightwood. Is there an inside space for lesbian writing, or must it always seek refuge elsewhere? Crossing established lines of demarcation between the in and the out, the real and the romantic, and the Victorian and the modernist, The Outside Thing presents romance as a heterosexual plot upon which lesbian writers willfully set up camp. These writers boldly adopted and adapted the romance genre, Roche argues, as a means of staking a queer claim on a heteronormative institution. Refusing to submit or surrender to the "straight" traditions of the romance plot, they turned the rules to their advantage. Drawing upon extensive archival research, The Outside Thing is a significant rethinking of the interconnections between queer writing, lesbian living, and literary modernism.

Roof's ambitious, wide-ranging book links narrative theory, theories of sexuality, and gay and lesbian theory to explore the place of homosexuality, and specifically the lesbian, in the tradition of western narrative. According to Freud, perversions are the necessary obstacles in a heroic plot of normal heterosexual development; and homosexuality is the nineteenth century's classic case of perversion. Roof builds on Freud to illustrate that a structural understanding of narrative enforces a heterosexual paradigm, a sense of meaning that provides psychological stability for the reader. Looking at film, television, and lesbian novels, Roof explores how ideas of narrative and sexuality inform, determine, and reproduce one another. She identifies the paradigmatic lesbian story, its unvarying repetition, and how it might be recast. Understanding identification as a narrative practice, and narrative as typically heterosexual and reproductive, Roof shows how sexuality and narrative must be disentangled to alter oppressive social practices.Come As You Are marks a significant contribution to lesbian and gay studies, psychoanalytic theory, and feminism.

The men of Renaissance Florence were so renowned for sodomy that "Florenzer" in German meant "sodomite." Indeed, in the late fifteenth century, as many as one in two Florentine men had come to the attention of the authorities for sodomy by the time they were thirty. In the seventy years from 1432 to 1502, some 17,000 men--in a city of only 40,000--were investigated for sodomy; 3,000 were convicted and thousands more confessed to gain amnesty. Michael Rocke vividly depicts this vibrant sexual culture in a world where these same-sex acts were not the deviant transgressions of a small minority, but an integral part of a normal masculine identity. In 1432 The Office of the Night was created specifically to police sodomy in Florence. Seventy years of denunciations, interrogations, and sentencings left an extraordinarily detailed record, which Rocke uses to its fullest in this richly documented portrait. He describes a wide range of sexual experiences between males, ranging from boys such as fourteen-year-old Morello di Taddeo, who prostituted himself to fifty-seven men, to the notorious Jacopo di Andrea, a young bachelor implicated with forty adolescents over a seventeen-year period and convicted thirteen times; same-sex "marriages" like that of Michele di Bruno and Carlo di Berardo, who were involved for several years and swore a binding oath to each other over an altar; and Bernardo Lorini, a former Night Officer himself with a wife and seven children, accused of sodomy at the age of sixty-five. (Mortified, he sent his son Taddeo to confess for him and plead for a discreet resolution of his case.) Indeed, nearly all Florentine males probably had some kind of same-sex experience as a part of their "normal" sexual life. Rocke uncovers a culture in which sexual roles were strictly defined by age, with boys under eighteen the "passive" participants in sodomy, youths in their twenties and older men the "active" participants, and most men at the age of thirty marrying women, their days of sexual frivolity with boys largely over. Such same sex activities were a normal phase in the transition to adulthood, and only a few pursued them much further. Rather than precluding heterosexual experiences, they were considered an extension of youthful and masculine lust and desire. As Niccolo Machiavelli quipped about a handsome man, "When young he lured husbands away from their wives, and now he lures wives away from their husbands." Florentines generally accepted sodomy as a common misdemeanor, to be punished with a fine, rather than as a deadly sin and a transgression against nature. There was no word, in the otherwise rich Florentine sexual lexicon, for "homosexual," nor was there a distinctive and well-developed homosexual "subculture." Rather, sexual acts between men and boys were an integral feature of the dominant culture. Rocke roots this sexual activity in the broader context of Renaissance Florence, with its social networks of families, juvenile gangs, neighbors, patronage, workshops, and confraternities, and its busy political life from the early years of the Republic through the period of Lorenzo de' Medici, Savonarola, and the beginning of Medici princely rule. His richly detailed book paints a fascinating picture of a vibrant time and place and calls into question our modern conceptions of gender and sexual identity.