Argues that significant barriers to family-making exist for lesbian mothers of color in the United States One might be tempted, in the afterglow of Obergefell v. Hodges, to believe that the battle has been won, that gays and lesbians fought a tough fight and finally achieved equality in the United States through access to legal marriage. But that narrative tells only one version of a very complex story about family and citizenship. Queering Family Trees explores the lived experience of queer mothers in the United States, drawing on over one hundred interviews with African American, Latina, Native American, white, and Asian American lesbian mothers living in a range of socioeconomic circumstances to show how they have navigated family-making. While the legalization of same-sex marriage and adoption in 2015 has provided avenues toward equality for some couples, structural and economic barriers have meant that others—especially queer women of color who often have fewer financial resources—have not been able to access seemingly available “choices” such as second-parent adoptions, powers of attorney, and wills. Sandra Patton-Imani here argues that the virtual exclusion of lesbians of color from public narratives about LGBTQ families is crucial to maintaining the narrative that legal marriage for same-sex couples provides access to full equality as citizens. Through the lens of reproductive justice, Patton-Imani argues that the federal legalization of same-sex marriage reinforces existing structures of inequality grounded in race, gender, sexuality, and class. Queering Family Trees explores the lives of a critically erased segment of the queer population, demonstrating that the seemingly “color blind” solutions offered by marriage equality do not rectify such inequalities.

Argues that significant barriers to family-making exist for lesbian mothers of color in the United States One might be tempted, in the afterglow of Obergefell v. Hodges, to believe that the battle has been won, that gays and lesbians fought a tough fight and finally achieved equality in the United States through access to legal marriage. But that narrative tells only one version of a very complex story about family and citizenship. Queering Family Trees explores the lived experience of queer mothers in the United States, drawing on over one hundred interviews with African American, Latina, Native American, white, and Asian American lesbian mothers living in a range of socioeconomic circumstances to show how they have navigated family-making. While the legalization of same-sex marriage and adoption in 2015 has provided avenues toward equality for some couples, structural and economic barriers have meant that others—especially queer women of color who often have fewer financial resources—have not been able to access seemingly available “choices” such as second-parent adoptions, powers of attorney, and wills. Sandra Patton-Imani here argues that the virtual exclusion of lesbians of color from public narratives about LGBTQ families is crucial to maintaining the narrative that legal marriage for same-sex couples provides access to full equality as citizens. Through the lens of reproductive justice, Patton-Imani argues that the federal legalization of same-sex marriage reinforces existing structures of inequality grounded in race, gender, sexuality, and class. Queering Family Trees explores the lives of a critically erased segment of the queer population, demonstrating that the seemingly “color blind” solutions offered by marriage equality do not rectify such inequalities.

Employing rootedness as a way of understanding identity has increasingly been subjected to acerbic political and theoretical critiques. Politically, roots narratives have been criticized for attempting to police identity through a politics of purity—excluding anyone who doesn’t share the same narrative. Theoretically, a critique of essentialism has led to a suspicion against essence and origins regardless of their political implications. The central argument of Queer Roots for the Diaspora is that, in spite of these debates, ultimately the desire for roots contains the “roots” of its own deconstruction. The book considers alternative root narratives that acknowledge the impossibility of returning to origins with any certainty; welcome sexual diversity; acknowledge their own fictionality; reveal that even a single collective identity can be rooted in multiple ways; and create family trees haunted by the queer others patrilineal genealogy seems to marginalize. The roots narratives explored in this book simultaneously assert and question rooted identities within a number of diasporas—African, Jewish, and Armenian. By looking at these together, one can discern between the local specificities of any single diaspora and the commonalities inherent in diaspora as a global phenomenon. This comparatist, interdisciplinary study will interest scholars in a diversity of fields, including diaspora studies, postcolonial studies, LGBTQ studies, French and Francophone studies, American studies, comparative literature, and literary theory.

The Queer Tree of Life maps the landscape of queer LGBTQ publishing between 1880 and 2019 in an international context. Over 400 examples document the wealth of ideas in print of a culture that was clandestine until the 1970s. The selected examples focus on identity and image constructions of queer lifestyles. Fanzines, self-publishing, academic discourse, research, porn, and artist books are presented as pioneers of a non-heteronormative self-understanding.

The Victorians elevated the home and heteronormative family life to an almost secular religion. Yet alongside the middle-class domestic ideal were other families, many of which existed in the literature of the time. Queer Victorian Families: Curious Relations in Literature is chiefly concerned with these atypical or "queer" families. This collection serves as a corrective against limited definitions of family and is a timely addition to Victorian studies. Interdisciplinary in nature, the collection opens up new possibilities for uncovering submerged, marginalized, and alternative stories in Victorian literature. Broad in scope, subjects range from Count Fosco and his animal "children" in Wilkie Collins’s The Woman in White, to male kinship within and across Alfred Tennyson’s In Memoriam and Herman Melville’s Moby-Dick, and the nexus between disability and loving relationships in the fiction of Dinah Mulock Craik and Charlotte M. Yonge. Queer Victorian Families is a wide-ranging and theoretically adventurous exposé of the curious relations in the literary family tree.

A photographic celebration of the love and relationships of queer people of color by a former New York Times multimedia journalist “Thank you, Jamal Jordan, for showing the world what true love looks like.”—Billy Porter Queer Love in Color features photographs and stories of couples and families across the United States and around the world. This singular, moving collection offers an intimate look at what it means to live at the intersections of queer and POC identities today, and honors an inclusive vision of love, affection, and family across the spectrum of gender, race, and age.

In defiance of the brutal military government that took power in Uruguay in the 1970s, and under which homosexuality is a dangerous transgression, five women miraculously find one another—and, together, an isolated cape that they claim as their own. Over the next thirty-five years, they travel back and forth from this secret sanctuary, sometimes together, sometimes in pairs, with lovers in tow or alone. Throughout it all, they will be tested repeatedly—by their families, lovers, society, and one another—as they fight to live authentic lives. A groundbreaking, genre-defining work, Cantoras is a breathtaking portrait of queer love, community, forgotten history, and the strength of the human spirit.

"This is Claude. He's five years old, the youngest of five brothers. He also loves peanut butter sandwiches. He also loves wearing a dress, and dreams of being a princess.When he grows up, Claude says, he wants to be a girl. Rosie and Penn want Claude to be whoever Claude wants to be. They're just not sure they're ready to share that with the world. Soon the entire family is keeping Claude's secret. Until one day it explodes."--

"[An] empathetic study of the meanings of cross-racial adoption to adoptees."—Law and Politics Book Review Can White parents teach their Black children African American culture and history? Can they impart to them the survival skills necessary to survive in the racially stratified United States? Concerns over racial identity have been at the center of controversies over transracial adoption since the 1970s, as questions continually arise about whether White parents are capable of instilling a positive sense of African American identity in their Black children. Through in-depth interviews with adult transracial adoptees, as well as with social workers in adoption agencies, Sandra Patton, herself an adoptee, explores the social construction of race, identity, gender, and family and the ways in which these interact with public policy about adoption. Patton offers a compelling overview of the issues at stake in transracial adoption. She discusses recent changes in adoption and social welfare policy which prohibit consideration of race in the placement of children, as well as public policy definitions of "bad mothers" which can foster coerced aspects of adoption, to show how the lives of transracial adoptees have been shaped by the policies of the U.S. child welfare system. Neither an argument for nor against the practice of transracial adoption, BirthMarks seeks to counter the dominant public view of this practice as a panacea to the so-called "epidemic" of illegitimacy and the misfortune of infertility among the middle class with a more nuanced view that gives voice to those directly involved, shedding light on the ways in which Black and multiracial adoptees articulate their own identity experiences.

If These Ovaries Could Talk: The Things We've Learned About Making An LGBTQ Family by JAIMIE KELTON and ROBIN HOPKINS is equal parts funny, serious, happy, sad, celebratory, cautionary, and powerful. You'll learn a lot and laugh even more along the way! Who knew making a baby could be this much fun?