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Dense living conditions in Hong Kong do not provide much privacy for lesbians and other sexual minorities living with their families. As a result, lesbians often locate alternative spaces to develop support networks with other women. Others reject the notion of lesbian spaces and instead assert their visibility in different aspects of everyday life. Based on life-history interviews with several dozen lesbians living in Hong Kong, this book maps the complex relations between personal subjectivities and spatialities as they emerge and interact with various social-justice movements and alternative communities. It explores how the impossibly dense spaces of neoliberal Hong Kong enable and curtail the emergence of lesbian life.

This volume poses new challenges to queer studies and demonstrates the study of Chinese sexuality as an emergent field currently emanating from multiple disciplines. Issues related to sexuality have acquired a new visibility in China in the past several years. The growth of religious fundamentalists and global gay discourses, heightened media attention and even more intense censorship, LBGTIQ activist movements, and the struggles of sex workers, have all contributed to this visibility. There is an urgent need for intellectual work to articulate and analyze the complexity of issues of sexuality, and the ways in which different norms line up and become synonymous with one another, in order to build situated knowledge in strengthening the discursive power of non-normative sexual-subjects-in-alliance. This book showcases the work of scholars working mostly outside Euro-America and focuses on cities including Hong Kong, Shanghai, and Beijing. It is a sustained collections on Chinese non-normative sexual subjectivities and contemporary sexual politics published in English. It highlights the various ways in which different individuals and communities — including male sex workers, transsexual subjects, lesbians, and Indonesian migrants — negotiate with notions of normativity and modernity, fine-tuned according to the different power structures of each context, and making new and different meanings.

The Thai capital Bangkok is the unrivalled centre of the country's gay, lesbian, and transgender communities. These communities are among the largest in Southeast Asia, and indeed in the world, and have a diversity, social presence, and historical depth that set them apart from the queer cultures of many neighbouring societies. The first years of the twenty-firsy century have marked a significant transition moment for all of Thailand's LGBT cultures, with a multidimensional expansion in the geographical extent, media presence, economic importance, political impact, social standing, and cultural relevance of Thai queer communities. This book analyzes the roles of the market and media—especially cinema and the Internet—in these transformations, and considers the ambiguous consequences that the growing commodification and mediatization of queer lives have had for LGBT rights in Thailand. A key finding is that in the early twenty-first century, processes of global queering are leading to a growing Asianization of Bangkok's queer cultures. The book traces Bangkok's emergence as a central focus of an expanding regional network linking gay, lesbian, and transgender communities in Hong Kong, Singapore, Taiwan, Indonesia, the Philippines, and other rapidly developing East and Southeast Asian societies.

Before the movement commonly described as “gay liberation” was well under way, queer life in the United States is sometimes thought to have been a veritable prison of shame, repression, illegality, and invisibility. Indeed during the 1950s, on the very eve of the “liberation,” the United States experienced an especially harsh, widespread outbreak of homophobia—with countless arrests, lost jobs, even lost lives, in a fierce cultural orgy of mandatory heterosexuality. Focusing on several American males who lived before the “liberation,” in stories of agency as well as agony, of fulfillment and pleasure as well as thwarted desire and self-loathing, Men without Maps freshly explores the actual quality of life for those “of the generation before Stonewall” who yearned for and sometimes experienced sexual involvements with other men. A few of the men studied are moderately well known today, but most are not. The involvements of some with other men were examples of long-lasting gay domesticity, while the encounters that others had were fleeting. Relying mostly on archival material--such as letters, memoirs, and snapshots--previously unused by a scholar, the book first explores those midcentury males, more numerous than usually realized, who lived as part of a male couple; it then examines experiences of solitary queer men who found coupling to be either unappealing or simply unattainable. Men without Maps joins John Ibson’s acclaimed previous books, Picturing Men and The Mourning After, to form a trilogy of studies, from varying angles, of male relationships in modern American society.

Since Foucault's History of Sexuality, historians have traced in ever increasing detail the formation of modern sexual identities in the west. Relatively less attention has been addressed to historians, writers and intellectuals working between 1750 and 1910 who formulated their own plots for the history of sexuality. This book examines the significance of ancient Greek pederasty for the formation of scholarly historicism by German and English thinkers from the middle of the eighteenth century into the beginning of the twentieth. Rather than “Greek love” being simply a euphemistic signifier for the secret signified “homosexuality,” this book examines how the pederastic—pedagogic relationship as exemplified in Plato's texts became a site for conceptualising the nature of the relationship between antiquity and modernity itself: precisely what did the Socratic teacher teach his pupil? What was the relationship between elder man and male youth? And how did this relationship inform modern discussions about the relationship between one generation and the next—between ancient and modern worlds? With the development of modern scholarly historicism in philhellenic Germany and Britain, Greek love provided the limit case for such scholarly endeavours invested in understanding how we moderns might be descended from a classical past. What sort of man did reading ancient Greek generate? From the work of Johann Matthias Gesner, the very first professor of philology at Göttingen, arguably the first modern European university, to Benjamin Jowett's Oxford, to the Oscar Wilde trials in London, to Sigmund Freud's psychoanalytic studies in Vienna, the question about the relevance of ancient Greek desires for modern masculinity has been posed and explored.

Rocking the Closet: How Little Richard, Johnnie Ray, Liberace, and Johnny Mathias Queered Pop Music examines the way four popular male musicians who emerged in the 1950s, Johnnie Ray, Little Richard, Johnny Mathis, and Liberace challenged post-World War II masculine conventions. Rocking is a critical close reading that fuses queer literary theory, musicology, and popular music studies frameworks to develop its argument. Recent scholarship in queer theory and literary history constitutes a key strand of the book’s discussion of queer ambivalence regarding identity. Notably, the book explores how the four artists challenged male gender and sexual conventions without overtly identifying their respective sexual orientations or necessarily affiliating with gay activism, identity politics, or community tropes. The book outlines the emergence of postwar social expectations of male figures and employs these expectations to define a unique a set of five “queering” tools the four musicians employed in various combinations, to develop their public personae and build audiences. These tools include self-neutering, self-domesticating, spectacularizing, playing the “freak,” and playing the race card. Despite the prevalence of postwar gender norms, their deft use of these tools enabled each artist to develop sexually ambiguous personae and capitalize on the postwar audiences’ attraction to novelty and difference. These “queering” tools endure among contemporary musicians who challenge masculine conventions in popular music.

Examining the deployments of gender and sexuality over the past five decades in Taiwan, this book chronicles a queer historiography that illuminates the production of sexual identities and the formation of sexual modernity. Through primary research and historical investigation, this book offers a contextualised study of Pai Hsien-yung's Crystal Boys, one of Taiwan's first recognized gay novels, as it critically engages disparate discursive fields of dominant legal and medical discourses of sex, lesbian and gay activism, as well as mainstream feminist politics. The book shows that the construction of male homosexuality as a term of social exclusion is historically linked to the state's banning of prostitution, further delineating a moral-sexual order that has come to be buttressed by the hegemonic rise of anti-prostitution state feminism since the 1990s. In exploring the imbrications of male homosexuality, prostitution and feminism in Taiwanese national culture, this book boldly ventures a politics of sexual dissidence that contests state-inspired heteronormativity.

Archiving an Epidemic is the first book to examine the devastating effect of the AIDS crisis on a generation of Chicanx artists who influenced transgressive genders and sexualities operating in the Chicana and Chicano art movement in Southern California. From mariconógraphy to renegade street graffiti, from the Barrio Baroque to Frozen Art, these visual provocateurs introduced a radical queer languageemboldened by opportunities in LA’s art and retail culturein the 1980s. AIDS not only ravaged their lives, but also devastated their archives. A queer archival methodology is demanded to ascertain how AIDS and its losses and traumas have rearticulated recordkeeping practices beyond systemic forms of preservation. The resulting “archival bodies/archival spaces” of queer Chicanx avant-gardists Mundo Meza (1955–1985), Teddy Sandoval (1949–1995), and Joey Terrill (1955–present) refutes dismissive arguments that these provocateurs have had little consequence for the definition of the aesthetics of Chicano art and performance. With appearances by Laura Aguilar, Cyclona, Simon Doonan, David Hockney, Christopher Isherwood, Robert Mapplethorpe, and even Eddie Murphy, this book stands in defense of the alternative archivesthat emerged from this plague. Thinking outside traditional terms of institutional mediation, Archiving an Epidemic speculates not what Chicana/o art is but what it could have been.

This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied with gender, sexuality, race, and time. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography’s alleged sexual authenticity and transgressive nature. Through an analysis of porn set during the nineteenth century and porn adaptations of Lewis Carroll’s Alice books, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde’s The Picture of Dorian Gray, and Bram Stoker’s Dracula, this book shows how these adaptations expose the implicit pornographic aspects of “legitimate” culture while also revealing the extent to which “high” and “low” genres rely on each other for self-definition. In the process, neo-Victorian pornographies draw on Gothic spaces and icons in order to situate itself as this Gothic other, utilizing the Gothic and the monstrous to craft a transformative, pornographic space. These neo-Victorian Gothic pornographies expose the way the genre as a whole emphasizes, navigates, transgresses, and renegotiates gender, sexuality, and race through the lens of history and legacy.

This book is a study of solo performance in the UK and western Europe since the turn of millennium that explores the contentious relationship between identity, individuality and the demands of neoliberalism. With case studies drawn from across theatre, cabaret, comedy and live art – and featuring artists, playwrights and performers as varied as La Ribot, David Hoyle, Neil Bartlett, Bridget Christie and Tanja Ostojić – it provides an essential account of the diverse practices which characterize contemporary solo performance, and their significance to contemporary debates concerning subjectivity, equality and social participation. Beginning in a study of the arts festivals which characterize the economies in which solo performance is made, each chapter animates a different cultural trope – including the martyr, the killjoy, the misfit and the stranger – to explore the significance of ‘exceptional’ subjects whose uncertain social status challenges assumed notions of communal sociability. These figures invite us to re-examine theatre’s attachment to singular lives and experiences, as well as the evolving role of autobiographical performance and the explicit body in negotiating the relationship between the personal and the political. Informed by the work of scholars including Sara Ahmed, Zygmunt Bauman and Giorgio Agamben, this interdisciplinary text offers an incisive analysis of the cultural significance of solo performance for students and scholars across the fields of theatre and performance studies, sociology, gender studies and political philosophy.

Writing about marginalized lives has the power to shift norms. In telling their own stories, John Rechy, Aurora Levins Morales, Gloria Anzaldúa, and other Latinx writers make visible experiences and bodies that are rarely at the center of the stories we read, and they dramatize the complexity of human agencies and responsibilities. Yet the memoirs this book analyzes move beyond focus on the human as their subjects’ personal histories intertwine with communities, animals, spirits, and the surrounding environment. This interconnectedness resonates with critical developments in posthumanist theory as well as recalling indigenous worldviews that are “other-than-Humanist,” outside of Western intellectual genealogies. Bringing these two frameworks into dialogue with feminist theory, queer theory, disability studies, and ecocriticism enables an expansive way of viewing life itself. Rejecting the structures of Humanism, Shared Selves decenters the individualism of memoir and highlights the webs of relation that mediate experience, agency, and identity.

Global migration is more pronounced than it has ever been while issues concerning immigration are constantly in the news. Yet answers as to why remain few and far between. Conscripts of Migration: Neoliberal Globalization, Nationalism, and theLiterature of New African Diasporas intersects black Atlantic, postcolonial, and queer diaspora studies to answer these increasingly crucial questions regarding crises of immigration by rethinking migration historically and globally. From histories of racial capitalism, the trans-Atlantic slave trade, and imperialism to contemporary neoliberal globalization and the resurgence of xenophobic nationalism, countries in the Global North continue to devastate and destabilize the global South. Britain, France, Italy, and the United States, in different ways, police the effects of their own global policies at their borders. This book uses the term conscription as a way to understand the political and economic systems that undergird contemporary immigration and its colonial histories while providing the first substantial study of a new body of contemporary African diasporic literature: migritude. Authors like FatouDiome, Shailja Patel, Nadifa Mohamed, Diriye Osman and others, address vital issues of migrancy, diaspora, global refugee crises, racism against immigrants, identity, gender, sexuality, resurgent nationalisms, and neoliberal globalization.

This book argues that we can't understand contemporary queer cultures without looking through the lens of social class. Resisting old divisions between culture and economy, identity and privilege, left and queer, recognition and redistribution, the book offers supple approaches to capturing class experience and class form in and around queerness. Contrary to familiar dismissals, not every queer television or movie character is like Will Truman on Will and Grace—rich, white, healthy, professional, detached from politics, community, and sex. Through ethnographic encounters with readers and cultural producers and such texts as Boys Don't Cry, Brokeback Mountain, By Hook or By Crook, and wedding announcements in the New York Times, this book sees both queerness and class across a range of idioms and practices in everyday life. How, it asks, do readers of Dorothy Allison's novels use her work to find a queer class voice? How do gender and race broker queer class fantasy? How do independent filmmakers cross back and forth between industry and queer sectors, changing both places as they go and challenging queer ideas about bad commerce and bad taste? With an eye to the nuances and harms of class difference in queerness and a wish to use culture to forge queer and class affinities, the book returns class and its politics to the study of queer life.

Queer Bloomsbury consists of queer studies essays by sixteen renowned experts on the Bloomsbury Group. The book explores cultural, ideological and aesthetic facets of the Bloomsbury Group's development as a queer subculture and provides substantive information on the queer philosophical and ethical underpinnings of the group. The book elaborates the ways the Bloomsbury Group queered their living arrangements, loves and sexual relationships, daily routines, friendships and companions, enabling them to think and work in ways we now term ‘modernist’. Reimagining their lives queerly, even the heterosexual members were able to think outside the heteronormative structures and strictures of their parents' Victorianism and Britain's Georgian era. Their modernist ideology and aesthetics were enabled by their queer ones. In addition to new essays by widely recognized Bloomsbury scholars, five important ground-breaking essays are republished here, including Carolyn Heilbrun's germinal 1968 essay on the sexual dissidence of the Bloomsbury Group and Christopher Reed's influential 1991 essay exposing homophobia among academic scholars writing about the group. Also included are rarely seen reproductions of Duncan Grant's and Carrington's work from archives and a private collection. The book is edited and introduced by Brenda Helt and Madelyn Detloff. Essays are authored by Carolyn Heilbrun, Brenda Silver, Christopher Reed, George Piggford, Bill Maurer, Brenda Helt, Regina Marler, Darren Clarke, Todd Avery, Gretchen Holbrook Gerzina, Gaile Pohlhaus, Jr., Madelyn Detloff, Elyse Blankley, Mark Hussey, Jodie Medd and Kimberly Engdahl Coates.