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

Reading Queerly

Introduction to Queer Literary Studies

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

An Introduction to Queer Literary Studies: Reading Queerly is the first introduction to queer theory written especially for students of literature. Tracking the emergence of queer theory out of gay and lesbian studies, this book pays unique attention to how queer scholars have read some of the most well-known works in the English language. Organized thematically, this book explores queer theoretical treatments of sexual identity, gender and sexual norms and normativity, negativity and utopianism, economics and neoliberalism, and AIDS activism and disability. Each chapter expounds upon foundational works in queer theory by scholars including Michel Foucault, Eve Kosofsky Sedgwick, and Lee Edelman. Each chapter also offers readings of primary texts –ranging from the highly canonical, like John Milton’s Paradise Lost, to more contemporary works of popular fiction, like Stephen King’s ’Salem’s Lot. Along the way, An Introduction to Queer Literary Studies: Reading Queerly demonstrates how queer reading methods work alongside other methods like feminism, historicism, deconstruction, and psychoanalysis. By modelling queer readings, this book invites literature students to develop queer readings of their own. It also suggests that reading queerly is not simply a matter of reading work written by queer people. Queer reading attunes us to the queerness of even the most straightforward text.

An Introduction to Queer Literary Studies

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

James M. Bromley

What is sex exactly? Does everyone agree on a definition? And does that definition hold when considering literary production in other times and places? Sex before Sex makes clear that we cannot simply transfer our contemporary notions of what constitutes a sex act into the past and expect them to be true for the people who were then reading literature and watching plays. The contributors confront how our current critical assumptions about definitions of sex restrict our understanding of representations of sexuality in early modern England. Drawing attention to overlooked forms of sexual activity in early modern culture, from anilingus and interspecies sex to “chin-chucking” and convivial drinking, Sex before Sex offers a multifaceted view of what sex looked like before the term entered history. Through incisive interpretations of a wide range of literary texts, including Romeo and Juliet, The Comedy of Errors, Paradise Lost, the figure of Lucretia, and pornographic poetry, this collection queries what might constitute sex in the absence of a widely accepted definition and how a historicized concept of sex affects the kinds of arguments that can be made about early modern sexualities. Contributors: Holly Dugan, George Washington U; Will Fisher, CUNY–Lehman College; Stephen Guy-Bray, U of British Columbia; Melissa J. Jones, Eastern Michigan U; Thomas H. Luxon, Dartmouth College; Nicholas F. Radel, Furman U; Kathryn Schwarz, Vanderbilt U; Christine Varnado, U of Buffalo–SUNY.

Figuring the Act in Early Modern England

Sex before Sex

Building on scholarship regarding both biblical and early modern sexualities, Members of His Body protests the Christian defense of marital monogamy. According to the Paul who authors 1 Corinthians, believers would do well to remain single and focus instead on the messiah’s return. According to the Paul who authors Ephesians, plural marriage is the telos of Christian community. Turning to Shakespeare, Will Stockton shows how marriage functions in The Comedy of Errors, The Merchant of Venice, Othello, and The Winter’s Tale as a contested vehicle of Christian embodiment. Juxtaposing the marital theologies of the different Pauls and their later interpreters, Stockton reveals how these plays explore the racial, religious, and gender criteria for marital membership in the body of Christ. These plays further suggest that marital jealousy and paranoia about adultery result in part from a Christian theology of shared embodiment: the communion of believers in Christ. In the wake of recent arguments that expanding marriage rights to gay people will open the door to the cultural acceptance and legalization of plural marriage, Members of His Body reminds us that much Christian theology already looks forward to this end.

Shakespeare, Paul, and a Theology of Nonmonogamy

Members of His Body

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

Will Stockton

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