This chapter offers an intersectional feminist reading of West Side Story that shows how women of color and the gender non-conforming character Anybodys are central to the (partial) redemptive arc of the musical. The narrative and characterizations—as expressed through songs, dances, and score—suggest a path to a better “Somewhere” that requires us to step outside the confines of normative masculinity and femininity which reinforce the boundaries of race and class. Throughout the musical, Anita and Maria must navigate the tensions within the concepts of assimilation and multiculturalism, as well as a social landscape dominated by an anxious and often violent masculinity. Careful attention to performances of these roles, and the character Anybodys, make clear that the belonging they (and we the audience) seek might be found somewhere beyond the reductive and destructive strictures of the gender binary.

This chapter provides an overview of the longue durée of Russian literature’s engagement with non-heteronormative sexuality and non-normative genders as well as a more extended focus on the Modernist period as a time when queerness operated as a particularly generative cultural mechanism, stimulating new modes of literary production. While queer literary expression can be observed since the beginning of literature in Russia, the chapter argues that the early twentieth century saw the development of specific forms of literary poetics that were at once expressive of queerness and associated with it. The chapter also considers the history and philosophical connections of the most significant of these forms: the existential prosaic fragment.

An examination of a varied set of linguistic phenomena that can be understood as processes of complexification at work in Ur-Aeolic as a variety of Greek that took shape in the context of an isolated speech community –specifically one situated in western Anatolian locales during the Bronze Age.

This chapter explores the interplay between identification and distance that Lucian sets up for his readers in relationship to the speaking characters in the Dialogues of the Courtesans. While readers are, at times, invited to identify with the plights of these ‘others’ as partners in restrictive power structures, at other times, the otherness of the courtesans is emphasised through female verbal markers, female-specific cults, and women-only sexuality. Again and again, the subjectivity of the courtesan is offered to the reader, only to be withdrawn from their grasp. And, in fact, in its current form, the collection begins with a soldier and ends with a virgin – the courtesan managing to slip away. Lucian’s play with the courtesan’s subjectivity leaves his readers full of suspicions about intentional misdirection, both by the characters within the stories and by the author Lucian himself.

A synthetic, concluding discussion addressing the relationship between Ur-Aeolic and Special Mycenean and providing a historical framework for, especially, the introduction of Aeolic language and culture (pre-Thessalian/Boeotian) into European Greece following the Bronze-Age collapses and for the spread of pre-Aeolians (Iron-Age Ahhiyawans) eastward into Cilicia.

A linguistic investigation of the Aeolic dialect group, examining linguistic traits of the Lesbian, Thessalian, and Boeotian dialects and those traits common to all three and thus traits belonging to ancestral Aeolic.

Those identifying as LGBTQ+ experience an excess of mental health problems and suicide in our society, and their mental health needs are poorly catered for. In the recent past, aversion therapy was given to lesbian and transwomen and conversion therapy remains legal. The ‘gender wars’ have also opened up spaces within society and feminism that can be difficult to negotiate. For transwomen, timely access to adequate care remains a major problem causing considerable emotional distress while public anti-trans sentiment has increased. Repeated denial of the lived experience of trans people is causing psychological harm. The rise in gender dysphoria in assigned female at birth (AFAB; or natal female) girls and their treatment has caused major controvery. We must to acknowledge both the distress of trans people, who feel frustrated and angry at having to jump through the hoops of psychiatric assessment and being blamed for male violence from which they are also at risk, and the distress and fear of women who have been conditioned lifelong to fear, and/or have experienced violence, at losing their safe spaces. Seeking ways to ensure that everyone feels welcomed not only in services but also in society.

The fight for gay and lesbian rights has become one of the most conspicuous social justice movements in American history. Although numerous scholars and popular writers have detailed the history of the marriage equality movement, the struggle for marriage equality was only one small part of a more than half century-long movement for queer family rights. Decades before the United States became embroiled in debates over same-sex marriage, advocates were working to support and promote the rights of queer couples and their children. Family Matters uncovers this hidden history of gay and lesbian rights advocacy. Instead of focusing on marriage rights, it highlights the legal reforms that predated the marriage equality movement. The introduction sets out the book’s arguments and methodology. As it explains, the transformation of gay and lesbian rights in America depended on advocacy at the state and local levels, as well as the work of nonlegal actors.

As we’ve seen, bitch has been used against men for almost as long as it’s been used against women. Bitch is still thrown at men and women alike, but it’s used somewhat differently. Bitch can have positive connotations when a woman reclaims it, but when aimed at a man, bitch is rarely a compliment. While a bitch can be a strong woman, it usually means a weak man. But unlike powerful women who are hit with the word, men are targeted with bitch when they are considered to be powerless. Bitch likens a woman to a man, while it likens a man to a woman. It’s an emasculating insult that suggests he’s lacking in courage and strength. Bitch might also accuse him of being effeminate or gay. There are many different versions of the slur for a man – he’s a little bitch, someone’s bitch, a prison bitch, or he’s a son of a bitch.

The term “romantic friendship” was coined in eighteenth-century England to describe relationships between women that were passionate, intense, and exclusive. The sexual potential of such relationships were seldom discussed by those outside the dyad. When two women of the aristocracy, Eleanor Butler and Sarah Ponsonby, ran off together in 1778, their friends were relieved to know that “no serious impropriety had been committed” because, as one of them wrote, “There were no gentlemen concerned, nor does it appear to be anything more than a scheme of Romantic Friendship.” Romantic friendship between women, depicted in several eighteenth- and nineteen-century American literary works, was described by Henry Wadsworth Longfellow in 1849 as “a rehearsal in girlhood of the great drama of woman’s life.” The term “Boston marriage” was coined in the late nineteenth century, when women’s increasing economic independence—enjoyed particularly by the “New Woman”—meant that their same-sex love relationship need no longer be a “rehearsal” for heterosexual marriage. With the popular dissemination in the twentieth century of the ideas of late-nineteenth sexologists such as Richard von Krafft-Ebing and Havelock Ellis, romantic friendships and Boston marriages came under suspicion as being “sexually inverted” or “lesbian” and therefore pathological.

This chapter illuminates how camp conceives reading in affective terms. Camp diminishes the intensity of strong affects, such as shame, anxiety, and rage, to make room for relief, laughter, and even sexual interest. In this way, camp protects queer eroticism from being snuffed out by a wide range of phobic discourses. While scholars often oppose camp to sexual desire, I trace different orientations to eroticism that arise in in lesbian, queer of color, and trans camp. As examples, I turn to three camp touchstones, Djuna Barnes’s Ladies Almanack (1928), Tommy Pico’s Junk (2018), and Torrey Peters’ “CisWorld (2019), which each seduce readers into scenes of pleasure. For these writers, campiness does not deflate queer and trans desires but makes them narratable and available for readers. In doing so, these texts demonstrate how camp dreams of a queerer social order, and it shields these fantasies from the suffocating forces of white supremacy and cis-heteronormativity. Making affective scenes for queer fantasy, I conclude, is a powerful if still under-appreciated force of camp’s poetics and politics.

In and of itself, the category of the bestseller presumes neither literary status nor political consensus. As Ruth Miller Elson remarks, “bestselling books… offer clues to the world view of that mythical creature—the average American.” LGBT bestsellers likewise offer clues about the average queer American—and a perspective on dominant trends and themes in queer culture and consumption since the 1970s. This chapter charts the history of the LGBT bestseller alongside a broader history of LGBT culture in the post-Stonewall era. It traces a shift in popular LGBT literature and publishing from separatism to assimilation, from its roots in the independent gay presses of the 1970s through the peak of the AIDS epidemic to the post-AIDS bestsellers popular with both queer and straight readerships. Texts considered include Rita Mae Brown’s Rubyfruit Jungle (1973), Larry Kramer’s Faggots (1978), Armistead Maupin’s Tales of the City (1978-2014), Michael Cunningham’s The Hours (1999), Alison Bechdel’s Fun Home (2006), and Hanya Yanagihara’s A Little Life (2015).

The relationship between feminism and sexuality in the long twentieth century is both complex and multifaceted. Whether sexuality is understood as congenital or acquired, defined by object choice or aim, central to the character of an individual or the health of a population, it is a highly contested and contradictory set of discourses and institutional practices. Feminism is similarly impossible to define as a coherent ideology or political praxis. At once a historically specific political and cultural phenomenon emerging in the first decades of the twentieth century, feminism is also a highly differentiated transnational event that belies a single origin, set of beliefs, or constituency. Organized around two key historical figures–the modern girl and the feminist-as-lesbian–this essay draws on feminist, queer, and historical studies of the world-wide feminist movements of the 1910s-1930s, and of the women’s liberation era of the late 1960s and early 1970s, to trace the connections between the commodification and politicization of women’s sexuality as two axes around which the unsettled and generative relationship between modern sexuality and feminism revolves.

This chapter examines how lexicographers symbolically policed the borders of English not only by distancing same-sex practices from English society but by disbarring words for those practices from the English language. Though terms for women who had sex with women existed in other Early Modern English text types (and in the bilingual dictionaries that influenced early monolingual lexicographers), they were barely acknowledged in hard-word and general dictionaries. Sexuality between men, though initially well-represented, was also excised by many general lexicographers in the wake of Samuel Johnson, reflecting a growing concern that dictionaries should record only ‘proper’ English. Acts that were inadmissible in polite lexicography would partially re-emerge in dictionaries of criminal cant, which encoded an earthy alternative vocabulary for the men associated with London’s molly houses during the eighteenth century. However, even cant dictionaries would edge carefully around the existence of intimacy between women. And as dictionaries of the underworld gave way to those of fashionable slang in the nineteenth century, unnatural sex of any sort was once again thrust beyond the pale.

Chapter 4 moves from eating to feeding, returning to Nightwood and juxtaposing it with Olive Moore’s novel Spleen in order to reveal the ethics of care and control that are developed in each book. Feeding, in both novels, is a way of nurturing that is also a mode of control. In Spleen, a woman rejects the normative pleasures of marriage and motherhood, refusing to feed her child. While this might seem like a valorization of queer negativity in the form of the literal rejection of the child, the chapter reads the novel instead as one that values queer potentiality by refusing the coercive pleasures of nurture. Turning back to Nightwood, it discusses a metaphorical hunger, arguing that Barnes draws on the figure of the mother feeding her child to demonstrate how care may be coercive even in a relationship between adults.

LGBTQIA+ patients are an important patient population to highlight when discussing urban emergency medicine. There are a multitude of terms regarding gender expression and identity that emergency medicine providers should familiarize themselves with if they plan on taking care of this patient population. Within the LGBTQIA+ population, there are specific medical and psychological issues that are relevant to each subgroup. Providers are not expected to know everything about their patients, but they must remember to remain open-minded and non-judgmental as they take care of everyone with precision and dedication. If a provider feels that the patient needs help in ways they cannot be of service, then the provider should be able to point the patient in the right direction via resources and referrals.

What can a model of continence based in male physiology have to offer female writers? This chapter argues that the strong opinions that Vernon Lee expressed about sex and its relation to art in her early writing should not be dismissed as the result of repression or parental indoctrination, as they have been by previous critics. Lee, like Johnson, combined Paterian sensuous continence with other nineteenth-century discourses, particularly discussions of sexual health by New Women writers, and the result is central to her theorizing about life, social ethics, and art. She insisted on the harmfulness of sex to both individuals and society, and that those who felt otherwise were suffering from ‘logical misconception’. But Lee was also an aesthete, for whom sensuous experience was extremely important. She worried that continent aestheticism would limit an aesthete’s experience and lead to solipsism and waste. Her answer was a Paterian disciplined love, a reaching out to what is unhealthy and corrupt, whether people, places, or artworks, and learning to filter the good from the bad, to ‘cleanse and recreate it in the fire of intellectual and almost abstract passion’.