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A Must-Read: Vogue, Nylon, Chicago Review of Books, Literary Hub, Frieze, The Millions, Publishers Weekly, InsideHook, The Next Big Idea Club,“[Lauren] Elkin is a stylish, determined provocateur . . . Sharp and cool . . . [Art Monsters is] exemplary. It describes a whole way to live, worthy of secret admiration.” —Maggie Lange, The Washington Post“Destined to become a new classic . . . Elkin shatters the truisms that have evolved around feminist thought.” —Chris Kraus, author of I Love Dick and After Kathy Acker: A Literary BiographyWhat kind of art does a monster make? And what if monster is a verb? Noun or a verb, the idea is a dare: to overwhelm limits, to invent our own definitions of beauty.In this dazzlingly original reassessment of women’s stories, bodies, and art, Lauren Elkin—the celebrated author of Flâneuse—explores the ways in which feminist artists have taken up the challenge of their work and how they not only react against the patriarchy but redefine their own aesthetic aims. How do we tell the truth about our experiences as bodies? What is the language, what are the materials, that we need to transcribe them? And what are the unique questions facing those engaged with female bodies, queer bodies, sick bodies, racialized bodies? Encompassing a rich genealogy of work across the literary and artistic landscape, Elkin makes daring links between disparate points of reference—among them Julia Margaret Cameron’s photography, Kara Walker’s silhouettes, Vanessa Bell’s portraits, Eva Hesse’s rope sculptures, Carolee Schneemann’s body art, Theresa Hak Kyung Cha’s trilingual masterpiece DICTEE—and steps into the tradition of cultural criticism established by Susan Sontag, Hélène Cixous, and Maggie Nelson. An erudite, potent examination of beauty and excess, sentiment and touch, the personal and the political, the ambiguous and the opaque, Art Monsters is a radical intervention that forces us to consider how the idea of the art monster might transform the way we imagine—and enact—our lives.

Praised by the Chicago Tribune as "an impressive study" and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film.

This book gives a voice to more than eighty people from every major continent and from all walks of life. It includes poets and philosophers, rulers and spies, activists and artists. Alongside such celebrated figures as Michelangelo, Frederick the Great and Harvey Milk are lesser-known but no less surprising individuals: Dong Xian and the Chinese emperor Ai, whose passion flourished in the 1st century BC; the unfortunate Robert De Péronne, first to be burned at the stake for sodomy; Katharine Philips, writing proto-lesbian poetry in seventeenth-century England; and 'Aimee' and 'Jaguar', whose love defied the death camps of wartime Germany. With many striking illustrations, Gay Life Stories will entertain, give pause for thought, and ultimately celebrate the diversity of human history.

"Soars on the plain yet eloquent voices of the women...A necessary and overdue addition to the archives of lesbian and gay history."—The Boston Globe. Chronicles working-class lesbians in Buffalo, New York from the 1930s through the 60s.

In this unusual, engaging, and intimate collection of personal essays, Lambda Literary Award finalist Tania De Rozario recalls growing up as a queer, brown, fat girl in Singapore, blending memoir with elements of history, pop culture, horror films, and current events to explore the nature of monsters and what it means to be different. Tania De Rozario was just twelve years old when she was gay-exorcised. Convinced that her boyish style and demeanor were a sign of something wicked, her mother and a pair of her church friends tried to “banish the evil” from Tania. That day, the young girl realized that monsters weren’t just found in horror tales. They could lurk anywhere—including your own family and community—and look just like you.  Dinner on Monster Island is Tania’s memoir of her life and childhood in Singapore—where she discovered how difference is often perceived as deviant, damaged, disobedient, and sometimes, demonic. As she pulls back the veil on life on the small island, she reveals the sometimes kind, sometimes monstrous side of all of us. Intertwined with her experiences is an analysis of the role of women in horror. Tania looks at films and popular culture such as Carrie, The Witch, and The Ring to illuminate the ways in which women are often portrayed as monsters, and how in real life, monsters are not what we think.  Moving and lyrical, written with earnest candor, and leavened with moments of humor and optimism, Dinner on Monster Island is a deeply personal examination of one woman’s experience grappling with her identity and a fantastic analysis of monsters, monstrous women and the worlds in which they live.

A heartbreaking and hilarious memoir about the author’s journey from a god-fearing Muslim boy to a proud, queer drag queenMy name is Amrou Al-Kadhi – by day. By night, I am Glamrou, an empowered, confident and acerbic drag queen who wears seven-inch heels and says the things that nobody else dares to.Growing up in a strict Iraqi-British Muslim household, it didn’t take long for me to realise I was different. When I was ten years old, I announced to my family that I was in love with Macaulay Culkin in Home Alone. The resultant fallout might best be described as something like the Iraqi version of Jeremy Kyle. And that was just the beginning.This is the story of how I got from there to here. You’ll read about my teenage obsession with marine biology, and how fluid aquatic life helped me understand my non-binary gender identity. You’ll read about my scholarship at Eton college, during which I wondered if I could forge a new identity as a British aristocrat (spoiler alert: it didn’t work). You’ll read about how I discovered the transformative powers of drag while at Cambridge university; about how I suffered a massive breakdown after I left, and very nearly lost my mind; and about how, after years of rage towards it, I finally began to understand Islam in a new, queer way.Most of all, this is a book about my mother, my first love, the most beautiful and glamorous woman I’ve ever known, the unknowing inspiration for my career as a drag queen – and a fierce, vociferous critic of anything that transgresses normal gender boundaries. It’s about how we lost and found each other, about forgiveness, understanding, hope – and the life-long search for belonging.

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.

Sappho of Lesbos lived and wrote poetry some twenty-six centuries ago, but hers remains a persistent and effective voice for the expression of a woman's desire for a woman. Lesbian Desire in the Lyrics of Sappho is the first book to examine Sappho's poetry through the lens of lesbian desire, focusing on the active female gaze in the texts and the narrative voice - one that describes female experience and desires as primary, not secondary to the dominant (male) culture. Snyder reads Sappho's songs against a woman-centered framework in which emotional and/or erotic bonds between and among women take center stage. Her close readings demonstrate the ways in which Sappho's lyrics focus on women's emotional lives with one another and on female erotic desire for other females. In Sappho's poetic world, male figures, when they do appear, stand on the periphery. In order to make Sappho accessible to everyone, Snyder presents detailed readings of the one complete existing song and of each of the major fragments of her poetry. She provides a clear English translation and a transliteration into our alphabet; the original Greek text is included in an appendix. Rather than making claims about the specific social contexts out of which the poems may have arisen, Snyder offers a close analysis of the words themselves, with comparative material drawn from other archaic Greek poets where there appear to be appropriate parallels. The book concludes with a chapter addressing Sappho's influence on a number of modern American woman poets, particularly Amy Lowell, H.D., and Olga Broumas. Snyder sees in these three poets qualities similar to Sappho's: a strong sense of self-definition; a display of independencewithin a poetic tradition; a relishing of the erotic and the sensual; and an emphasis on the mutuality of desire; and a blurring of the gaze that disrupts the hierarchy of subject versus object.

Male homosexual activity in public and semipublic locations is a central but seldom explored dimension of gay culture around the world. The majority of existing research emphasizes the impersonality of such erotic interaction and underscores the element of danger involved. While never denying the danger of anonymous public sex in the age of AIDS, the contributors to Public Sex/Gay Space go beyond narrow moralisms about the need to regulate unsafe sexual practices to discuss the significance of sex in public. William Leap has brought together contributions from such fields as anthropology, sociology, literary criticism, and history to reinvigorate the discussion on this issue, with twelve essays providing a more nuanced portrait of why public sexual activity is such an integral part of gay culture. The authors present rich ethnographic snapshots of male sex in public places--many drawn from interviews with participants or, in some instances, the authors' personal experiences.Contributors investigate a broad cultural spectrum of gay sexual space and activity: in a public park in contemporary Hanoi, at the beachfront community of New York's Fire Island, and in nineteenth-century Amsterdam, for example. They explore issues such as visibility and secrecy, as well as economic status and social class, and interrogate the historical trajectories through which certain locations come to be favored sites for sexual encounters. Together, they offer insight into the ways in which public sex calls into question the very line that divides "public" from "private."

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.