John Andrews

Dorothy Allison

Jericho Brown

Kevin Sessums

Will Stockton

D. Gilson

Mary Meriam

Derrick Austin

Sassafras Lowrey

Perry Brass

Dan Stone

Ed Madden

Cameron Mitchell

Miriam Bird Greenberg

Jeff Mann

Shane Allison

Richard Blanco

Randall Mann

Scott Wiggerman

Valerie Wetlaufer

Jason K. Friedman

TC Tolbert

Dan Vera

Del Shores

Darrel Alejandro Holnes

Evan J. Peterson

Joseph Osmundson

Christine Stroud

Jeffery Berg

Dustin Brookshire

Joey Connelly

William Cordeiro

C. Cleo Creech

James Croteau

J.K. Daniels

Nick Dephtereos

David Eye

Ellen Goldstein

Elizabeth Gross

Johnathan Harper

Scott Hightower

Matthew Hittinger

Rex Leonowicz

Tyler Lynn

Bo McGuire

Rangi McNeil

Kelly McQuain

M. Mack

Stephen S. Mills

Foster Noone

Eddie Outlaw

Seth Pennington

Kenneth Pobo

Brad Richard

Hannah Riddle

Laurence Ross

Liana Roux

Erin Elizabeth Smith

Billie Tadros

Annie Virginia

C.T. Whitley

Cristan Williams

L. Lamar Wilson

In The Queer South, Douglas Ray has assembled over 60 queer-identified voices exploring their experiences of the American South in nonfiction and poetry. From hilarious to heartbreaking, anxious to angry, religious to reluctant, contemplative to celebratory, this anthology expands our ideas of what it means to be queer and what it means to represent the land south of the Mason-Dixon. Included are Dorothy Allison, Shane Allison, John Andrews, Derrick Austin, Jeffery Berg, Richard Blanco, Perry Brass, Dustin Brookshire, Jericho Brown, Joey Connelly, William Cordeiro, C. Cleo Creech, James Croteau, J.K. Daniels, Nick Dephtereos, David Eye, Jason K. Friedman, D. Gilson, Ellen Goldstein, Miriam Bird Greenberg, Elizabeth Gross, Johnathan Harper, Scott Hightower, Matthew Hittinger, Darrel Alejandro Holnes, Rex Leonowicz, Sassafras Lowrey, Tyler Lynn, Bo McGuire, Rangi McNeil, Kelly McQuain, M. Mack, Ed Madden, Jeff Mann, Randall Mann, Mary Meriam, Stephen S. Mills, Cameron Mitchell, Foster Noone, Joseph Osmundson, Eddie Outlaw, Seth Pennington, Evan J. Peterson, Kenneth Pobo, Brad Richard, Hannah Riddle, Laurence Ross, Liana Roux, Kevin Sessums, Del Shores, Erin Elizabeth Smith, Will Stockton, Dan Stone, Christine Stroud, Billie Tadros, TC Tolbert, Dan Vera, Annie Virginia, Valerie Wetlaufer, C.T. Whitley, Scott Wiggerman, Cristan Williams, and L. Lamar Wilson.

LGBTQ Writers on the American South

The Queer South

"She is larger than life, she contains multitudes," W. Whitman says of Britney Spears, a claim D. Gilson has taken up in this chapbook of poetry from Sibling Rivalry Press. Brit Lit is the story of a man whose fall into adoration of the pop songstress parallels a nation's coming of age in a modern world. These poems are like Britney herself: America at her finest and most flexible, serving to buffer new definitions of spirituality, how wars affect us, and the complexities of sexuality.

Brit Lit

If given another chance to write for the series, which albums would 33 1/3 authors focus on the second time around? This anthology features compact essays from past 33 1/3 authors on albums that consume them, but about which they did not write. It explores often overlooked and underrated albums that may not have inspired their 33 1/3 books, but have played a large part in their own musical cultivation. Questions central to the essays include: How has this album influenced your worldview? How does this album intersect with your other creative and critical pursuits? How does this album index a particular moment in cultural history? In your own personal history? Why is the album perhaps under-the-radar, or a buried treasure? Why can't you stop listening to it? Bringing together 33 1/3's rich array of writers, critics, and scholars, this collection probes our taste in albums, our longing for certain tunes, and our desire to hit repeat--all while creating an expansive "must-listen" list for readers in search of unexplored musical territories.

New Essays by 33 1/3 Authors on Beloved and Underrated Albums

The 33 1/3 B-sides

"The experience of D. Gilson's I Will Say This Exactly One Time isn't like reading as you've known it, but like taking a long walk with a real person, simultaneously playful, brainy, questioning, sexy, rebellious, heartbroken, kind, and never boring. It's rare to meet a writer this open, this fully himself on the page. He's made a beautiful thing." - Paul Lisicky

I Will Say This Exactly One Time

Out of Sequence: The Sonnets Remixed brings together 154 remixes of William Shakespeare’s 1609 sonnet sequence. If Shakespeare the auteur and his sonnets have influenced so much of how we think (and act) as humans, this collection asks how might we be un- (and redone) by the conscious act of responding to (or through) these seventeenth-century verses? Here you will find a wide variety of remixes: entries various by their form — poems, short essays, comics, songs, and art; and various by their remixer — poets, essayists, artists, musicians, and scholars. Here you will walk into a queer utopia, a place where things and people touch, though they are too often taught not to.

The Sonnets Remixed

Out of Sequence

Late in the Reagan years, three young men at Jerry Falwell's Liberty University formed the Christian rap group dc Talk. The trio put out a series of records that quickly secured their place at the forefront of contemporary Christian music. But, with their fourth studio album Jesus Freak (1995), dc Talk staked a powerful claim on the worldly market of alternative music, becoming an evangelical group with secular selling power. This book sets out to study this mid-90s crossover phenomenon-a moment of cultural convergence between Christian and secular music and an era of particular political importance for American evangelicalism. Written by two queer scholars with evangelical pasts, Jesus Freak explores the importance of a multifarious album with complex ideas about race, sexuality, gender, and politics-an album where dc Talk wonders, “What will people do when they hear that I'm a Jesus freak?” and evangelical fans stake a claim for Christ-like coolness in a secular musical world.

dc Talk’s Jesus Freak

The devotional, unrelenting, deviant Crush is a linguistic feast: the word is everything in Stockton's and Gilson's world, except when it isn't, except when it's time we "shoved // our jeans down and stepped / into the world." This is a sensual - perhaps a better word is bodily - collection, the scent of shit and frowsy hats and bleach and the boy who "always smelled / like cat litter" adding some much-needed filth to poetic longing - for what is longing, frankly, without the cleanup after? There are texts and subtexts and Facebook-stalks; there are at times startlingly tender moments, as in the poems about a brother's suicide and an uncle's AIDS-related decline. "I'm thinking of what any of us / can tolerate," the poets write in "Fall, Then Falling." I feel as if I need a shower after reading Crush; I can think of no higher praise. ~Randall Mann, author of Breakfast With Thom Gunn and Straight Razor The louche candor of Crush, like Calamus before it, makes a ravishing case for poetry as queer theory. Smitingly smart, smartingly sexy, frank as nerve endings, and swoony as the first warm nights of Spring: these poems are as vividly compelling an account of erotic multiplicity as any I know. ~Michael Snediker, author of The Apartment of Tragic Appliances In Crush, a stunning collection of erotic poems and queer meditations delineating Stockton' and Gilson's mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write, In Aranye Fradenburg's words, Shakespeare's sonnets describe "the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you." Let's start here, for much of this description applies to Petrarchan conventions as well. Let's start here, with this affective entrance into the poems and the impossibility of dispossessing the other's voice in the manufacture of one's own machine. Let's start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self. Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O'Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, José Esteban Muñoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections -- other, more improbable modes of being, as Foucault might have said.

Crush

D. Gilson

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