The first-ever collection of poetry by trans and genderqueer writers

In blues music, "worrying the line" is the technique of breaking up a phrase by changing pitch, adding a shout, or repeating words in order to emphasize, clarify, or subvert a moment in a song. Cheryl A. Wall applies this term to fiction and nonfiction wr

An anthology of poems by trans writers that explores the relationship between explicitly political desires and the formal inventions possible to enact or imagine those desires.Who is writing formally exciting, explicitly political poetry right now? Editors, Andrea Abi-Karam and Kay Gabriel bring together contributions by an intergenerational constellation of radical trans writers to both answer this question and enable writing in these modes. Writing in dialogue with emancipatory political movements, against capital, racism, empire, borders, prisons, ecological devastation; the writers here imagine an altogether different, overturned world in poems that pursue the particular and multiple trans relationships to desire, embodiment, housing, sex, ecology, history, pop culture and the working day. The editors offer this anthology as an experiment: how far can literature written and/or collected from an identitarian standpoint go as a fellow traveler with social movements and revolutionary demands?

Poetry. In Trace Peterson's first collection of poems, SINCE I MOVED IN, "...desire is the restless remainder of body subtracted from voice, or maybe it's voice from body. Whitmanian in its quick and tender grandeur, its penchant for direct address, and its abstract kinkiness and longing, SINCE I MOVED IN moves exorably from the transgendering (non) performance of 'Trans Figures' to the startled, suspended chiliasm of 'Spontaneous Generation, ' where at last the fetish body, dispersed into landscape, becomes simply an ambient mode of seeing, or saying, in a post-everything ecology where voice broods over the face of the waters, becoming the (prosthetic) body of the world"--Tenney Nathanson

A reprint of trans poet, activist, and teacher TC Tolbert's beloved debut collection of poetry. In Gephyromania (literally, an addiction to or an obsession with bridges), Tolbert's choice isn't between female and male, lover and self, or loss and relief, but rather to live in the places where those binaries meet. Is a bridge simply an attempt to connect one body back to itself? Sensing the parallels between a lover who leaves and his own female body as it chooses to recede, the poems in Gephyromania explore the spaces between, among, across, and even within bodies.

These poems, likened to Elizabeth Bishop's, are about desire, love, seeing, gender, difference, ecology, queerness in the "natural" world, loss, LGBTQ lineage, and its community. They contain a sinuous, shape-shifting quality that makes her explorations of sex and selfhood all the more resonant. Jenny Johnson won a 2015 Whiting Fellowship. She lives in Pittsburgh, Pennsylvania.

One of TIME's 100 Must-Read Books of 2020. Longlisted for the 2021 Rathbones Folio Prize. "[Mark] Gevisser is clear-eyed and wise enough to have a sharp sense of how tough the struggle has been, and how hard it will be now for those who have not succeeded in finding shelter from prejudice." --Colm Tóibín, The Guardian A groundbreaking look at how the issues of sexuality and gender identity divide and unite the world today More than seven years in the making, Mark Gevisser’s The Pink Line: Journeys Across the World’s Queer Frontiers is an exploration of how the conversation around sexual orientation and gender identity has come to divide—and describe—the world in an entirely new way over the first two decades of the twenty-first century. No social movement has brought change so quickly and with such dramatically mixed results. While same-sex marriage and gender transition are celebrated in some parts of the world, laws are being strengthened to criminalize homosexuality and gender nonconformity in others. As new globalized queer identities are adopted by people across the world—thanks to the digital revolution—fresh culture wars have emerged. A new Pink Line, Gevisser argues, has been drawn across the globe, and he takes readers to its frontiers. Between sensitive and sometimes startling profiles of the queer folk he’s encountered along the Pink Line, Gevisser offers sharp analytical chapters exploring identity politics, religion, gender ideology, capitalism, human rights, moral panics, geopolitics, and what he calls “the new transgender culture wars.” His subjects include a Ugandan refugee in flight to Canada, a trans woman fighting for custody of her child in Moscow, a lesbian couple campaigning for marriage equality in Mexico, genderqueer high schoolers coming of age in Michigan, a gay Israeli-Palestinian couple searching for common ground, and a community of kothis—“women’s hearts in men’s bodies”—who run a temple in an Indian fishing village. What results is a moving and multifaceted picture of the world today, and the queer people defining it. Eye-opening, heartfelt, expertly researched, and compellingly narrated, The Pink Line is a monumental—and urgent—journey of unprecedented scope into twenty-first-century identity, seen through the border posts along the world’s new LGBTQ+ frontiers.

Troubling Traditions takes up a 21st century, field-specific conversation between scholars, educators, and artists from varying generational, geographical, and identity positions that speak to the wide array of debates around dramatic canons. Unlike Literature and other fields in the humanities, Theatre and Performance Studies has not yet fully grappled with the problems of its canon. Troubling Traditions stages that conversation in relation to the canon in the United States. It investigates the possibilities for multiplying canons, methodologies for challenging canon formation, and the role of adaptation and practice in rethinking the field’s relation to established texts. The conversations put forward by this book on the canon interrogate the field’s fundamental values, and ask how to expand the voices, forms, and bodies that constitute this discipline. This is a vital text for anyone considering the role, construction, and impact of canons in the US and beyond.

In Confronting the Color Line, Alan Anderson and George Pickering examine the hopes and strategies, the frustrations and internal conflicts, the hard-won successes and bitter disappointments of the civil rights movement in Chicago. The scene of a protracted local struggle to force equality in education and open housing for blacks, the city also became the focus of national attention in the summer of 1966 as Martin Luther King, Jr. and the Southern Christian Leadership Conference challenged the entrenched political machine of Mayor Richard J. Daley. The failure of King's campaign--a failure he would not live to redeem--marked the final unsuccessful attempt to secure significant social change in Chicago, and soon afterward the national civil rights movement itself would unravel amid white backlash and cries of black power. Picking up the threads of our own recent history, Confronting the Color Line examines a political movement that remains unfinished, a dilemma for America's system of democratic social change that remains unsolved.

The first major literary anthology for queer poets of color in the United States In 2014, Christopher Soto and Lambda Literary Foundation founded the online journal Nepantla, with the mission to nurture, celebrate, and preserve diversity within the queer poetry community, including contributions as diverse in style and form, as the experiences of QPOC in the United States. Now, Nepantla will appear for the first time in print as a survey of poetry by queer poets of color throughout U.S. history, including literary legends such as Audre Lorde, James Baldwin, June Jordan, Ai, and Pat Parker alongside contemporaries such as Natalie Diaz, Ocean Vuong, Danez Smith, Joshua Jennifer Espinoza, Robin Coste Lewis, Joy Harjo, Richard Blanco, Erika L. Sánchez, Jericho Brown, Carl Phillips, Tommy Pico, Eduardo C. Corral, Chen Chen, and more!