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In eleven linked stories, prize-winning novelist John Weir brings his wit and compassion to the question of how a gay white guy from New Jersey lived through fifty years of the twin crises of global AIDS and toxic masculinity in America.
In eleven linked stories, prize-winning novelist John Weir brings his wit and compassion to the question of how a gay white guy from New Jersey lived through fifty years of the twin crises of global AIDS and toxic masculinity in America.
Set in a rapidly gentrifying New York City determined to move beyond the decimation of a generation a decade earlier, What I Did Wrong is a day in the life of Tom, a forty-two-year-old English professor, haunted by the death of his best friend, Zack, who died theatrically and calamitously of AIDS. Tom himself slouches gingerly and precariously into middle age questioning every certainty he had about himself as a gay man while negotiating the field of his college classes, populated as they are with guys whose cocky bravado can’t quite compensate for their own confused masculinity. Tom tries to balance his awkwardly developing friendships with them. In the process, he begins to find common ground with these proud young men and, surprisingly, a way to claim his own place in the world, and in history. A powerfully moving—and often disarmingly funny—book about loss, character, and sexuality in the wake of AIDS, What I Did Wrong is a survivor’s tale in an age when all certainties have lost their logic and focus. It is a romance that embraces its objects from the traumas of toxic masculinity to the aftermath of catastrophic loss amidst the enduring allure of New York City in all its manic and heartbreaking grandeur.
Winner of the 2015 Governor General's Award for Poetry Winner of the 2015 Canadian Jewish Literary Award for Poetry In My Shoes are Killing Me, poet Robyn Sarah reflects on the passing of time, the fleetingness of dreams, and the bittersweet pleasure of thinking on the "hazardous . . . treasurehouse" that is the past. Natural, musical, meditative, warm, and unexpectedly funny, this is a restorative and moving collection from one of Canada's most well-regarded poets. Robyn Sarah is the author of nine previous collections. Ten of her poems have appeared on The Writer's Almanac, and her work has been anthologized in Garrison Keillor's Good Poems for Hard Times (2005), The Norton Anthology of Poetry (2005), and The Bedford Introduction to Literature (2001).
Steven Hyden explores nineteen music rivalries and what they say about life in this "highly entertaining" book (Rolling Stone) perfect for every passionate music fan. Beatles vs. Stones. Biggie vs. Tupac. Kanye vs. Taylor. Who do you choose? And what does that say about you? Actually -- what do these endlessly argued-about pop music rivalries say about us? Music opinions bring out passionate debate in people, and Steven Hyden knows that firsthand. Each chapter in Your Favorite Band Is Killing Me focuses on a pop music rivalry, from the classic to the very recent, and draws connections to the larger forces surrounding the pairing. Through Hendrix vs. Clapton, Hyden explores burning out and fading away, while his take on Miley vs. Sinead gives readers a glimpse into the perennial battle between old and young. Funny and accessible, Hyden's writing combines cultural criticism, personal anecdotes, and music history -- and just may prompt you to give your least favorite band another chance.
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Twelve-year-old best friends Elizabeth and Tara*Starr continue their friendship through letter-writing after Tara*Starr's family moves to another state, in a complex and emotionally rich novel about two friends coping with overwhelming change.
In the spring of 2010, Toronto lost one of its most important queer civic heroes. Weaving together interviews and stories, Army of Lovers is a biography of Will Munro and a document of a galvanizing period when various subcultures — the queer community, the art scene, the independent music universe, the grassroots activist enclaves — came together.
Delves deep into the archives that keep the history and work of AIDS activism alive Serving as a vital supplement to the existing scholarship on AIDS activism of the 1980s and 1990s, ViralCultures is the first book to critically examine the archives that have helped preserve and create the legacy of those radical activities. Marika Cifor charts the efforts activists, archivists, and curators have made to document the work of AIDS activism in the United States and the infrastructure developed to maintain it, safeguarding the material for future generations to remember these social movements and to revitalize the epidemic’s past in order to remake the present and future of AIDS. Drawing on large institutional archives such as the New York Public Library, as well as those developed by small, community-based organizations, this work of archival ethnography details how contemporary activists, artists, and curators use these records to build on the cultural legacy of AIDS activism to challenge the conditions of injustice that continue to undergird current AIDS crises. Cifor analyzes the various power structures through which these archives are mediated, demonstrating how ideology shapes the nature of archival material and how it is accessed and used. Positioning vital nostalgia as both a critical faculty and a generative practice, this book explores the act of saving this activist past and reanimating it in the digital age. While many books, popular films, and major exhibitions have contributed to a necessary awareness of HIV and AIDS activism, Viral Cultures provides a crucial missing link by highlighting the powerful role of archives in making those cultural moments possible.
Early in the 1980s AIDS epidemic, six gay activists created one of the most iconic and lasting images that would come to symbolize a movement: a protest poster of a pink triangle with the words “Silence = Death.” The graphic and the slogan still resonate today, often used—and misused—to brand the entire movement. Cofounder of the collective Silence = Death and member of the art collective Gran Fury, Avram Finkelstein tells the story of how his work and other protest artwork associated with the early years of the pandemic were created. In writing about art and AIDS activism, the formation of collectives, and the political process, Finkelstein reveals a different side of the traditional HIV/AIDS history, told twenty-five years later, and offers a creative toolbox for those who want to learn how to save lives through activism and making art.