I've been with Benjamin for two incredible years, and our love has grown deeper with each passing day. We've faced challenges, and celebrated triumphs, and now, we're contemplating taking the next step in our relationship. But there's something I've kept hidden from Benjamin, something I can no longer conceal. I'm a transgender man, and the time has come to share my truth with the person I cherish the most. Will our love prove resilient in the face of this revelation, or will it crumble under the weight of my secret? Warning: This is an FTM M/M high romance, transphobia, homophobia, angst, sexual exploration, misgendering, and heavy bullying. Please be advised. It is a 50k novel with a HEA ending.

Edited by Leah Dickerman. Essays by Brigid Doherty, Sabine T. Kriebel, Dorothea Dietrich, Michael R. Taylor, Janine Mileaf and Matthew S. Witkovsky. Foreword by Earl A. Powell III.

An architectural monthly.

Looks at the reconstructed exhibit of degenerate art censored by the Nazis in 1937

The invention of collage by Picasso and Braque in 1912 proved to be a dramatic turning point in the development of Cubism and Futurism and ultimately one of the most significant innovations in twentieth-century art. Collage has traditionally been viewed as a new expression of modernism, one allied with modernism's search for purity of means, anti-illusionism, unity, and autonomy of form. This book - the first comprehensive study of collage and its relation to modernism - challenges this view. Christine Poggi argues that collage did not become a new language of modernism but a new language with which to critique modernism. She focuses on the ways Cubist collage - and the Futurist multimedia work that was inspired by it - undermined prevailing notions of material and stylistic unity, subverted the role of the frame and pictorial ground, and brought the languages of high and low culture into a new relationship of exchange.

The first full-length study of transgender representations in art, fiction, film, video, and music In her first book since the critically acclaimed Female Masculinity, Judith Halberstam examines the significance of the transgender body in a provocative collection of essays on queer time and space. She presents a series of case studies focused on the meanings of masculinity in its dominant and alternative forms’ especially female and trans-masculinities as they exist within subcultures, and are appropriated within mainstream culture. In a Queer Time and Place opens with a probing analysis of the life and death of Brandon Teena, a young transgender man who was brutally murdered in small-town Nebraska. After looking at mainstream representations of the transgender body as exhibited in the media frenzy surrounding this highly visible case and the Oscar-winning film based on Brandon's story, Boys Don’t Cry, Halberstam turns her attention to the cultural and artistic production of queers themselves. She examines the “transgender gaze,” as rendered in small art-house films like By Hook or By Crook, as well as figurations of ambiguous embodiment in the art of Del LaGrace Volcano, Jenny Saville, Eva Hesse, Shirin Neshat, and others. She then exposes the influence of lesbian drag king cultures upon hetero-male comic films, such as Austin Powers and The Full Monty, and, finally, points to dyke subcultures as one site for the development of queer counterpublics and queer temporalities. Considering the sudden visibility of the transgender body in the early twenty-first century against the backdrop of changing conceptions of space and time, In a Queer Time and Place is the first full-length study of transgender representations in art, fiction, film, video, and music. This pioneering book offers both a jumping off point for future analysis of transgenderism and an important new way to understand cultural constructions of time and place.

This book introduces the reader to a clear and consistent method for in-depth exploration of subjective psychopathological experiences with the aim of helping to restore the ability within psychiatry and clinical psychology to draw qualitative distinctions between mental symptoms that are only apparently similar, thereby promoting a more precise characterization of experiential phenotypes. A wide range of mental disorders are considered in the book, each portrayed by a distinguished clinician. Each chapter begins with the description of a paradigmatic case study in order to introduce the reader directly to the patient’s lived world. The first-person perspective of the patient is the principal focus of attention. The essential, defining features of each psychopathological phenomenon and the meaning that the patient attaches to it are carefully analyzed in order to “make sense” of the patient’s apparently nonsensical experiences. In the second part of each chapter, the case study is discussed within the context of relevant literature and a detailed picture of the state of the art concerning the psychopathological understanding of the phenomenon at issue is provided. An Experiential Approach to Psychopathology, and the method it proposes, may be considered the result of convergence of classic phenomenological psychopathological concepts and updated clinical insights into patients’ lived experiences. It endorses three key principles: subjective phenomena are the quintessential feature of mental disorders; their qualitative study is mandatory; phenomenology has developed a rigorous method to grasp “what it is like” to be a person experiencing psychopathological phenomena. While the book is highly relevant for expert clinical phenomenologists, it is written in a way that will be readily understandable for trainees and young clinicians.