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Typescript, dated copyright 2009. Without music. Unmarked typescript like that used when the musical opened April 13, 2013, for a second run at Kraine Theatre, 85 East Fourth Street, New York, N.Y., directed by Kim Kressal.
Parody, cross-dressing, zany comedy, and unbridled eroticism at a women's theater space in the East Village
Adds historical and philosophical perspectives to current debates over whether lesbian identity is socially constructed or genetically based.
An art form combining the skills of a DJ with the intimacy of a letter, a good mixtape was the ultimate audio valentine. Today, when the iPod and playlists reign supreme, the cassette has been rendered obsolete, and the art of crafting these sonic calling cards has been relegated to back-of-the-closet, thirty-something nostalgia. Now, thanks to Jason Bitner, we can relive our lost youth and lost loves. In Cassette from My Ex, sixty noted writers and musicians wax poetic about their own experiences with these charming artifacts and the relationships that inspired them. Contributors include: Maxim editor Joe Levy Author Rick Moody Former Rolling Stone writer and MTV2 veejay Jancee Dunn The Magnetic Fields' Claudia Gonson Stories range from the irreverently sweet, such as the doomed love affair between a Deadhead and a Goth, to the touching, such as the heartbreaking discovery of a former love passing away. Everyone will find a story or a song to relate to. Just hit play.
In his first collection of poetry, 2019: A Year in Verse, we saw writer Douglas Palermo deal with grief, depression, and spiritual rebirth as he was hurled unexpectedly into the chaos that would be the year 2020. Now in this new collection of poetic word portraits, 2021: A Year Inverse, we get to join him as he confidently marches back. He is still processing the grief, still carrying the depression, but he has matured in his faith through the mastery of his craft. Readers should expect to buckle up for another 365-day trip around the sun, because this time we’re stuck in reverse. The parentheses will be closed as the masterpiece is finished. There will be no encore. There will be no curtain call. The cellar door has been closed. The author has seen his shadow and is ready for his soul to spring forth to higher dimensions and realities. So join him for this one last peek through his I of the Universe. Enjoy!
Cites nearly 900 works written in, or translated into, English that contain significant information or ideas about women or gender. Includes encyclopedia and journal articles, bibliographies, histories, poetry, autobiographies, dissertations, and works of sociology and psychology. Arranged in chronological sections stretching from the ancient period, through the empire and revolutions, to the end of the Soviet Union in 1991. The annotations are descriptive. Annotation copyright by Book News, Inc., Portland, OR
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.
In this innovative study, Benjamin Kahan traces the elusive history of modern celibacy. Arguing that celibacy is a distinct sexuality with its own practices and pleasures, Kahan shows it to be much more than the renunciation of sex or a cover for homosexuality. Celibacies focuses on a diverse group of authors, social activists, and artists, spanning from the suffragettes to Henry James, and from the Harlem Renaissance's Father Divine to Andy Warhol. This array of figures reveals the many varieties of celibacy that have until now escaped scholars of literary modernism and sexuality. Ultimately, this book wrests the discussion of celibacy and sexual restraint away from social and religious conservatism, resituating celibacy within a history of political protest and artistic experimentation. Celibacies offers an entirely new perspective on this little-understood sexual identity and initiates a profound reconsideration of the nature and constitution of sexuality.
An uprooted Lily falls in love with a blushing bride, much to the dismay of The Great Longing Deity, a malicious stage curtain hell-bent on spreading nostalgia and institutionalized narrative. Tasked with becoming a real man in order to wed its beloved, the Lily attempts to hijack the story and create its own kind of narrative. What follows is an epic dismantling of theatrical norms and an inspiring, raucous ode to storytelling in all its myriad forms. Part Noh play, part musical, part verse play, part dance-theater, part silent film, and part party, The Lily's Revenge is a one-of-a-kind extravaganza of theater, love, and community.
Cutting across the humanities and social sciences, and situated in sites across the black diaspora, the work in this book collectively challenges notions that we are living in a post-racial age and instead argue for the specificity of black cultural experiences as shaped by gender and sex.