This visionary book on gender and sexuality weaves together high theory and intimate memoir, with "spectacular" results—"and the gendered body will never be the same again" (Jack Halberstam). What constitutes a "real" man or woman in the twenty-first century? Since birth control pills, erectile dysfunction remedies, and factory-made testosterone and estrogen were developed, biology is definitely no longer destiny. In this penetrating analysis of gender, Paul B. Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity are formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Michel Foucault's The History of Sexuality also includes Preciado's diaristic account of his own use of testosterone every day for one year, and its mesmerizing impact on his body as well as his imagination.

The most visionary book on gender and sexuality today.

Countersexual Manifesto is an outrageous yet rigorous work of trans theory, a performative literary text, and an insistent call to action. Seeking to overthrow all constraints on what can be done with and to the body, Paul B. Preciado offers a provocative challenge to even the most radical claims about gender, sexuality, and desire. Preciado lays out mock constitutional principles for a countersexual revolution that will recognize genitalia as technological objects and offers step-by-step illustrated instructions for dismantling the heterocentric social contract. He calls theorists such as Derrida, Foucault, Butler, and Haraway to task for not going nearly far enough in their attempts to deconstruct the naturalization of normative identities and behaviors. Preciado’s claim that the dildo precedes the penis—that artifice, not nature, comes first in the history of sexuality—forms the basis of his demand for new practices of sexual emancipation. He calls for a world of sexual plasticity and fabrication, of bio-printers and “dildonics,” and he invokes countersexuality’s roots in the history of sex toys, pornography, and drag in order to rupture the supposedly biological foundations of the heterocentric regime. His claims are extreme, but supported through meticulous readings of philosophy and theory, as well as popular culture. The Manifesto is now available in English translation for its twentieth anniversary, with a new introduction by Preciado. Countersexual Manifesto will disrupt feminism and queer theory and scandalize us all with its hyperbolic but deadly serious defiance of everything we’ve been told about sex.

A “dissident of the gender-sex binary system” reflects on gender transitioning and political and cultural transitions in technoscientific capitalism. Uranus, the frozen giant, is the coldest planet in the solar system as well as a deity in Greek mythology. It is also the inspiration for uranism, a concept coined by the writer Karl Heinrich Ulrich in 1864 to define the “third sex” and the rights of those who “love differently.” Following Ulrich, Paul B. Preciado dreams of an apartment on Uranus where he might live beyond existing power, gender and racial strictures invented by modernity. “My trans condition is a new form of uranism,” he writes. “I am not a man. I am not a woman. I am not heterosexual. I am not homosexual. I am not bisexual. I am a dissident of the gender-sex binary system. I am the multiplicity of the cosmos trapped in a binary political and epistemological system, shouting in front of you. I am a uranist confined inside the limits of technoscientific capitalism.” This book recounts Preciado's transformation from Beatriz into Paul B., but it is not only an account of gender transitioning. Preciado also considers political, cultural, and sexual transition, reflecting on issues that range from the rise of neo-fascism in Europe to the technological appropriation of the uterus, from the harassment of trans children to the role museums might play in the cultural revolution to come. An Apartment on Uranus is a bold, transgressive, and necessary book.

Published for the first time in 1953, Playboy was not only the first pornographic popular magazine in America; it also came to embody an entirely new lifestyle through the construction of a series of utopian multimedia spaces — from the Playboy Mansion and fictional Playboy’s Penthouse of 1959 to the Playboy Clubs and hotels appearing around the world in the 1960s. Simultaneously, the invention of the contraceptive pill provided access to a biochemical technique that separated (hetero) sexuality and reproduction. Addressing these concurrent cultural shifts, Paul Preciado investigates the strategic relationships between space, gender, and sexuality in popular sites related to the production and consumption of pornography that have tended to reside at the margins of traditional histories of architecture: bachelor pads, multimedia rotating beds, and design objects, among others. Combining historical perspectives with contemporary critical theory, gender and queer theory, porn studies, the history of technology, and a range of primary transdisciplinary sources — treatises on sexuality, medical and pharmaceutical handbooks, architecture journals, erotic magazines, building manuals, and novels — Pornotopia explores the use of architecture as a biopolitical technique for governing sexual relations and the production of gender in the postwar United States.

Paul Preciado's controversial 2019 lecture at the École de la Cause Freudienne annual conference, published in a definitive translation for the first time. In November 2019, Paul Preciado was invited to speak in front of 3,500 psychoanalysts at the École de la Cause Freudienne's annual conference in Paris. Standing in front of the profession for whom he is a "mentally ill person" suffering from "gender dysphoria," Preciado draws inspiration in his lecture from Kafka's "Report to an Academy," in which a monkey tells an assembly of scientists that human subjectivity is a cage comparable to one made of metal bars. Speaking from his own "mutant" cage, Preciado does not so much criticize the homophobia and transphobia of the founders of psychoanalysis as demonstrate the discipline's complicity with the ideology of sexual difference dating back to the colonial era--an ideology which is today rendered obsolete by technological advances allowing us to alter our bodies and procreate differently. Preciado calls for a radical transformation of psychological and psychoanalytic discourse and practices, arguing for a new epistemology capable of allowing for a multiplicity of living bodies without reducing the body to its sole heterosexual reproductive capability, and without legitimizing hetero-patriarchal and colonial violence. Causing a veritable outcry among the assembly, Preciado was heckled and booed and unable to finish. The lecture, filmed on smartphones, was published online, where fragments were transcribed, translated, and published with no regard for exactitude. With this volume, Can the Monster Speak? is published in a definitive translation for the first time.

Autotheory--the commingling of theory and philosophy with autobiography--as a mode of critical artistic practice indebted to feminist writing and activism. In the 2010s, the term "autotheory" began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.

"Gustave Flaubert's Madame Bovary takes up the problems of drugs and addiction in numerous ways, which Ronell unpacks and presents as exemplary of the contemporary fascination with extreme danger. For Ronnell, Emma Bovary represents the first addict, embodying a yearning that calls from the bottom of her depleted soul, and which places her in a chronic state of dissatisfaction."--BOOK JACKET.

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DIVProminent queer theorist offers a "low theory" of culture knowledge drawn from popular texts and films./div