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Dazzling essays from the award-winning author of Eighty-Sixed and Spontaneous Combustion--who is himself stricken with AIDS--make up one of the most important pieces of AIDS literature yet published.
“The ultimate gadlfly of the epidemic . . . here’s one book that truly deserves a place in a time capsule.”—Armistead Maupin "This is as close to the truth as I can get," writes David Feinberg in what he calls his "personal Portrait of the Artist as a Young Diseased Jew Fag Pariah"—a collection of autobiographical essays, gonzo journalism, and demented Feinbergian lists about AIDS activism and living, writing, and dying with AIDS.
In 1980, B. J. Rosenthal's only mission is to find himself a boyfriend and avoid setbacks like bad haircuts, bad sex, and Jewish guilt. In post-AIDS 1986, B.J.'s world has changed dramatically -- his friends and lovers are getting sick, everyone is at risk, and B.J. is panicking. Parrying high-wire wit against unbearable human tragedy, Eighty-Sixed now stands as a testament to an era. "If Woody Allen were gay and wrote novels, he'd produce something like David Feinberg's Eighty-Sixed." -- David Streitfeld, The Washington Post Book World "[Feinberg] has given us a painful story of one man coming of age in a terrifying age." -- The Plain Dealer (Cleveland) "Entertaining, harrowing, and powerfully unsensational." -- Booklist "[Eighty-Sixed] stands out for its frankness, ferocious wit, and total lack of sentimentality or self pity." -- Catherine Texier, The New York Times Book Review
Gema Pérez-Sánchez argues that the process of political and cultural transition from dictatorship to democracy in Spain can be read allegorically as a shift from a dictatorship that followed a self-loathing "homosexual" model to a democracy that identified as a pluralized "queer" body. Focusing on the urban cultural phenomenon of la movida, she offers a sustained analysis of high queer culture, as represented by novels, along with an examination of low queer culture, as represented by comic books and films. Pérez-Sánchez shows that urban queer culture played a defining role in the cultural and political processes that helped to move Spain from a premodern, fascist military dictatorship to a late-capitalist, parliamentary democracy. The book highlights the contributions of women writers Ana María Moix and Cristina Peri Rossi, as well as comic book artists Ana Juan, Victoria Martos, Ana Miralles, and Asun Balzola. Its attention to women's cultural production functions as a counterpoint to its analysis of the works of such male writers as Juan Goytisolo and Eduardo Mendicutti, comic book artists Nazario, Rubén, and Luis Pérez Ortiz, and filmmaker Pedro Almodóvar.
For more than twenty years, film critic, teacher, activist, and fan Thomas Waugh has been writing about queer movies. As a member of the Jump Cut collective and contributor to the Toronto-based gay newspaper the Body Politic, he emerged in the late 1970s as a pioneer in gay film theory and criticism, and over the next two decades solidified his reputation as one of the most important and influential gay film critics. The Fruit Machine—a collection of Waugh’s reviews and articles originally published in gay community tabloids, academic journals, and anthologies—charts the emergence and maturation of Waugh’s critical sensibilities while lending an important historical perspective to the growth of film theory and criticism as well as queer moviemaking. In this wide-ranging anthology Waugh touches on some of the great films of the gay canon, from Taxi zum Klo to Kiss of the Spider Woman. He also discusses obscure guilty pleasures like Born a Man . . . Let Me Die a Woman, unexpectedly rich movies like Porky’s and Caligula, filmmakers such as Fassbinder and Eisenstein, and film personalities from Montgomery Clift to Patty Duke. Emerging from the gay liberation movement of the 1970s, Waugh traverses crises from censorship to AIDS, tackling mainstream potboilers along with art movies, documentaries, and avant-garde erotic videos. In these personal perspectives on the evolving cinematic landscape, his words oscillate from anger and passion to wry wit and irony. With fifty-nine rare film stills and personal photographs and an introduction by celebrated gay filmmaker John Greyson, this volume demonstrates that the movie camera has been the fruit machine par excellence.
For decades, Elisabeth Ladenson says, critics have misread or ignored a crucial element in Marcel Proust's fiction--his representation of lesbians. Her challenging new book definitively establishes the centrality of lesbianism as sexual obsession and aesthetic model in Proust's vast novel A la recherche du temps perdu. Traditional readings of the Recherche have dismissed Proust's "Gomorrah"--his term for women who love other women--as a veiled portrayal of the novelist's own homosexuality. More recently, "queer-positive" rereadings have viewed the novel's treatment of female sexuality as ancillary to its accounts of Sodom and its meditations on time and memory. Ladenson instead demonstrates the primacy of lesbianism to the novel, showing that Proust's lesbians are the only characters to achieve a plenitude of reciprocated desire. The example of Sodom, by contrast, is characterized by frustrated longing and self-loathing. She locates the work's paradigm of hermetic relations between women in the self-sufficient bond between the narrator's mother and grandmother. Ladenson traces Proust's depictions of male and female homosexuality from his early work onward, and contextualizes his account of lesbianism in late-nineteenth-century sexology and early twentieth-century thought. A vital contribution to the fields of queer theory and of French literature and culture, Ladenson's book marks a new stage in Proust studies and provides a fascinating chapter in the history of a literary masterpiece's reception.
After landing in the hospital after a bad breakup and an ensuing drug-and-alcohol binge, college student Jake Chapman is given two options: rehab, or spend the summer at his dying grandmother’s decaying home in rural Alabama. The choice is obvious. His grandmother’s land has been in Jake’s family since the early nineteenth century; the ruins of the old plantation house are a short walk through the woods behind her home. An archaeological team is excavating the ruins, looking for evidence to prove an old family legend—and there’s a meth lab just over the ridge. Once Jake is there, he begins having strange experiences—flashes of memory, inexplicable emotions—that he can’t explain, and he keeps seeing something strange out in the woods. As he explores his family history, he uncovers some dark secrets someone—or something—is willing to kill to keep hidden.
Get an inside perspective on life as a disabled gay man! Queer Crips: Disabled Gay Men and Their Stories reverberates with the sound of “cripgay” voices rising to be heard above the din of indifference and bias, oppression and ignorance. This unique collection of compelling first-person narratives is at once assertive, bold, and groundbreaking, filled with characters—and character. Through the intimacy of one-on-one storytelling, gay men with mobility and neuromuscular disorders, spinal cord injury, deafness, blindness, and AIDS, fight isolation from society—and each other—to establish a public identity and a common culture. Queer Crips features more than 30 first-hand accounts from a variety of perspectives, illuminating the reality of the everyday struggle disabled gay men face in a culture obsessed with conformist good looks. Themes include rejection, love, sex, dating rituals, gaycrip married life, and the profound difference between growing up queer and disabled, and suffering a life-altering injury or illness in adulthood. Co-edited by Bob Guter, creator and editor of the webzine BENT: A Journal of Cripgay Voices, the book includes: two performance pieces from acclaimed author and actor Greg Walloch poetry from Chris Hewitt, Joel S. Riche, Raymond Luczak, Mark Moody, and co-editor John Killacky essays from BENT contributors Blaine Waterman, Raymond J. Aguilera, Danny Kodmur, Thomas Metz, Max Verga, and Eli Clare interviews with community activist Gordon Elkins and Alan Sable, one of the first self-identified gay psychotherapists in the United States and much more! Queer Crips is a forum for neglected cripgay voices speaking words that are candid, edgy, bold, dreamy, challenging, and sexy. The book is essential reading for academics and students working in lesbian and gay studies, and disability studies, and for anyone who's ever visited the place where queerness and disability meet.
A Time Best YA Book of All Time (2021) From the “author to watch” (Kirkus Reviews) of The Five Stages of Andrew Brawley comes an “equal parts sarcastic and profound” (Kirkus Reviews, starred review) novel about a teenage boy who must decide whether or not the world is worth saving. Henry Denton has spent years being periodically abducted by aliens. Then the aliens give him an ultimatum: The world will end in 144 days, and all Henry has to do to stop it is push a big red button. Only he isn’t sure he wants to. After all, life hasn’t been great for Henry. His mom is a struggling waitress held together by a thin layer of cigarette smoke. His brother is a jobless dropout who just knocked someone up. His grandmother is slowly losing herself to Alzheimer’s. And Henry is still dealing with the grief of his boyfriend’s suicide last year. Wiping the slate clean sounds like a pretty good choice to him. But Henry is a scientist first, and facing the question thoroughly and logically, he begins to look for pros and cons: in the bully who is his perpetual one-night stand, in the best friend who betrayed him, in the brilliant and mysterious boy who walked into the wrong class. Weighing the pain and the joy that surrounds him, Henry is left with the ultimate choice: push the button and save the planet and everyone on it…or let the world—and his pain—be destroyed forever.