Perry, F. (2019). How to Have Feminist Sex: A Fairly Graphic Guide. London: Particular Books. 144 pp.
Flo Perry’s How to Have Feminist Sex (2019) is a graphic novel cum sex-ed book which explores the ins and outs of sexual health, intimacy and desire for an increasingly feminist sexual society. Funny and in your face, Perry navigates issues of consent, monogamy, relationships, period sex, body image(s) and biological traits, to name a few, in a succinct and timely narrative about how to have safe, fun and sexy fun. Perry’s book is a great companion text to other sex-ed books like Dossie Easton and Janet Hardy’s The Ethical Slut (1997), Cacilda Jethá and Christopher Ryan’s Sex at Dawn (2010), and Eric Anderson’s The Monogamy Gap (2011). It is recommended for teens and adults, and is a good illustrative tool for parents, teachers or researchers exploring sexual health education, pleasure and intimacy, and human reproduction.
Following academic tradition, I’m posting a list of some of my favourite queer books read in 2019. Not all books were written in 2019. These books have – in some fashion – characters or themes across the LGBTQ+ spectrum(s).
- Sara Ahmed, The Promise of Happiness (2010)
- Meg John-Barker, Queer: A Graphic History (2016)
- Christopher Coe, Such Times (1994)
- Douglas Crimp & Adam Rolston, AIDS Demo Graphics (1991)
- Ann Cvetkovich, An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures (2003)
- Dion Kagan, Positive Images: Gay Men and HIV/AIDS in the Culture of ‘Post-Crisis’ (2018)
- Pajtim Statovci, My Cat Yugoslavia (2018)
- Ocean Vuong, On Earth We’re Briefly Gorgeous (2019)
- M.J. Wallace, Bi the Way (2017)
- David Wojnarowicz, Close to the Knives: A Memoir of Disintegration (1991)
- Gregory Woods, Homintern: How Gay Culture Liberated the Modern World (2016)
For other books in my 2019 in-review, please visit my Goodreads reading challenge page.
Matzer, E., and Hughes, V. (2019). Nurses on the Inside: Stories of the HIV/AIDS Epidemic in NYC. Cincinnati: Tree District Books. 242 pp.
Nurses on the Inside (2019) is a multi-testimonial account of the AIDS crisis in New York City, USA. Haunting and prosaic, the book provides anecdotes of nurse-patient interactions, with a penchant for clear, technical language that helps to make sense of 1980s and 90s medical discourse(s). Matzer and Hughes, two seasoned nurses in some of NYC’s most trafficked AIDS clinics, demonstrate an unusual sense of emotional clarity and empathy. They impart a nostalgic, but commemorative, focus on the lives of their patients, attending to the most characteristic and rich elements of their interactions with those who died from AIDS-related complications. More than a graphic narrative about the immense loss of AIDS crisis, the authors illuminate the importance and impact of individuals (including patients, doctors, and other nurses) as they careen in and out of their professional and social lifeworlds. Perhaps most interesting about this collection is the ways in which the authors recall their involvement in patient lives. For example, in the final chapters, the authors return to the empty spaces of hospital wards, calling upon the dead to remember the at-times excruciating, but generally provoking, experiences of human resilience and determination.
Nurses on the Inside is an excellent portal into the histories of HIV/AIDS in the United States, particularly because it remains attentive to the time(s) and place(s) of affective, medical, scientific, social and cultural advances, which we now understand as seminal moments during the AIDS crisis. Nurses, doctors, and students of history, sociology, and medicine, will find this book appealing. Additionally, scholars interested in the discursive layers of HIV/AIDS histories will find this book useful for understanding how AIDS crisis is narrated using memory, testimonies, and technical expertise.
Weil, B., & Ledin, C. (2019). PrEP at the After/Party: The “Post-AIDS” Politics of Frank Ocean’s “PrEP+”. Somatosphere. 4 Nov. [Online].
The medical anthropology journal Somatosphere has published a co-authored article about Frank Ocean’s recent “PrEP+ Party”. In this essay, Ben Weil and I examine Ocean’s attempt to revivify the HIV prevention-access circuit party using HIV prevention history. This piece considers how the biomedical technology HIV pre-exposure prophylaxis (PrEP) is employed, first, to recall dance cultures from the 1980s and, second, to construct an “inclusive” social space through the prism of HIV/AIDS history. We suggest that the co-optation of PrEP to create a version of the prevention-access circuit party in the late 2010s evokes a particular image culture that is “not-about-AIDS”.
In an effort to signify cultural inclusivity, Ocean’s circuit party over-simplifies the medicalised histories of the circuit party and thus re-constructs technological determinism through anachronism. Different than creating positive (+) social networks for people living with HIV, and those communities deeply impacted by HIV transmission, Ocean’s circuit party reifies and absolves the “post-AIDS” pharmaceutical and medical realities that continue to bar access to HIV prevention both locally and globally. Thus, we draw attention to the ways in which PrEP shapes or ought to shape life beyond the clinical experience. We counter Ocean’s mis/context by turning to video artist Leo Herrera’s (2018) “post-AIDS” project, which constructs a differently politicised queer-led healthcare reform using the prevention-access circuit party. We argue that Herrera’s project provides a more compelling revisioning of the prevention-access party and employs a critically-applied approach which scholars might use to better understand sociocultural context/s in medical anthropology. In our view, the contexts of PrEP far exceed the walls and gaze of the clinic, where PrEP is often framed as residing, and must be understood to include (queer) social, sexual and cultural spaces, like the circuit party, which are implicated in and can help to shape the politics of PrEP and prevention access.
Stoner, A. (2019). The Journalist of Castro Street: The Life of Randy Shilts. Urbana: University of Illinois Press. 266 pp.*
Andrew Stoner’s (2019) biography follows the life of American journalist Randy Shilts. Notorious for his critically-acclaimed, and also critically-lambasted, book And the Band Played On (1987), Shilts was also known for being one of the first openly gay journalists in the United States. Stoner’s text provides a wide-ranging history of Shilts’s life, including testimonies from his siblings, professional journalists, gay activists, scholars and historians. The first half of the book reads beautifully, with a narrative that recounts his childhood and early career.
When Stoner recounts Shilts’s journalism coverage of the AIDS crisis, things get messy. Stoner provides extensive reflections on Shilts’s AIDS-related writing and seeks to defend his journalistic integrity over the questionable image of the mainstream (hetero-centric) “AIDS scribe”. Alas Chapter 10 (“Strike Up the Band“) reads as if it’s been lifted directly from a PhD thesis in its attempt/s to follow previous academic scholarship. As such, it sometimes seems unreadable. Elsewhere, his descriptions of academics, activists and medical professionals (e.g. Dr. Richard McKay) vary so widely as to be introduced to the same thinker/s fifty different ways throughout a single chapter. The book could use some polishing in a second edition. Overall, the text provides some helpful insights into the life of the “AIDS scribe” and details important – often conflicting – responses to Shilts’s mythology of “Patient Zero”. Readers interested in journalism history, gay and lesbian history, and HIV/AIDS history will enjoy this book. It is a good companion text with Richard McKay’s (2017) recent book Patient Zero and the Making of the AIDS Epidemic.
*I was commissioned to review The Journalist of Castro Street for Media History in October 2019. Full review available here.
Winterson, J. (2011). Why Be Happy When You Could Be Normal? New York: Knopf. 230 pp.
Jeanette Winterson’s autobiography explores her chaotic upbringing as an adopted child raised by Pentecostal parents in northwest England. She follows a linear trajectory, smattered with historical context, disturbing memories of neglect and abuse, humorous anecdotes to cope and tie together the narrative under the banner of “I am not a lost cause,” indeed, that she is and always has been loved. There are mundane moments when the text flexes between psychoanalytic and philosophical musing, and others when Winterson’s anger toward her upbringing blows the box off respectability politics and writing family histories. The text is not queerly, per se, but provides a nice approach to integrating – that is, making intelligible – her desires for women through the retelling of her personal history/ies. Especially surprising is her excellent grasp of working class conditions and how this class consciousness, in the end, drives her understanding of self even when she is faced with her origins. Why Be Normal is a light, easy read, compelling for its attention to historical detail and natural-sounding prose.
Ledin, C. (2019). The Mundane Virus. The Polyphony. 11 Oct. [Online].
The online medical humanities journal, The Polyphony, has kindly published some of my research on viral bodies and sexual health education. The short blog post examines the embodiment of a sexually-transmitted virus, called “the bug,” in Charles Burns’s (2005) comic series Black Hole. I argue that Burns’s construction of the viral body is a seminal graphic representation of chronic HIV and thus a quintessential post-AIDS narrative. Hence, I begin to think about what lessons post-viral representations might provide for sexual health education today. I end with a reflection on the relationship between the viral body and, drawing upon Sara Ahmed, the affective body. In short, I suggest that Burns’s “mundane virus” provides scholars with an opportunity to examine the centrality of the affective body to the viral body. This work derives from the critical work which is central to my doctoral research at the University of Edinburgh. Further research on this topic will be explored in a forthcoming creative workshop as part of the Being Human Festival 2019.
Rigby, H., and Leibtag, S. (1994). HardWear: The Art of Prevention. Edmonton: Quon Editions. 176 pp.
Hugh Rigby and Susan Leibtag’s (1994) collection HardWear: The Art of Prevention presents a range of condom adverts, copy campaigns, and product packaging from the 1980s and 90s. It demonstrates rigorous tactical approaches for exposing sexual cultures to the necessity and usefulness of condoms. In addition to an excellent, short history of the condom in the introduction, the authors reflect on the purpose and centrality of condom use to sexual health histories. They then leave the various adverts and images to present their messages. Moving from issues of gay male substance use to the severity of AIDS illness among heterosexual couples, the collection compiles a variety of compelling materials for scholars and readers interested in the development prophylactic history and media representation. In short, HardWear is a simple and powerful collection of sexual history imagery. It is a very good companion for research and studies about HIV/AIDS and STIs.
Abraham, A. (2019). Queer Intentions: A (Personal) Journey through LGBTQ+ Culture. London: Picador. 327 pp.
Amelia Abraham’s (2019) Queer Intentions sets out to explore contemporary, global experiences of gay, lesbian, trans, gender-queer, intersex and queer communities. Speaking to a diverse cast of famous and lesser-known queer folk, Abraham dances through Berlin pride festivals, visits DragCon in Los Angeles, learns about trans activism and ball culture(s) in New York, and immerses herself in local queer life in Istanbul. Her narrative ranges from gloomy personal anecdotes to nuanced reflections on the intersections of theory and every-day life, providing a complex and compelling image of queer life. As many of her interviewees suggest, queerness might not be as different across societies as mainstream media leads us to believe.
Queer Intentions tackles difficult issues like gay pride and pink capitalism; the foreclosure of queer nightlife spaces; the gentrification of gaybourhoods; racism, misogyny and transphobia; monogamy, polyamory and queer family-building. Illuminating these issues across cultural, identitarian, political, economic and a/gender/ed boundaries, Abraham presents a strong analysis of how queer life might already operate within neoliberal, heteronormative society – even as it is at risk of becoming hegemonic under late capitalism (particularly, though not exclusively, in the West). Abraham does a nice job of paralleling her own life experiences through the process of writing the book. At times, it feels like she wants to say more, reserving herself in the name of journalistic professionalism. The book is very accessible, requires no special knowledge of queer theory (though that may help to recognise some of the nuances), and ends with a lovely – albeit brief – reflection on the distribution of queer/utopias in the present. Different than José Esteban Muñoz’s (2009) Cruising Utopia, Abraham’s Queer Intentions suggests that queer experiences today already live through and into the window/s that lead/s us to a better future/s. For some, a better time/s and a better place/s already exist in the queer(ish) present.
Morgan, N. (2016). Love Notes to Men Who Don’t Read. London: Limehouse Books. 248 pp.
North Morgan’s (2016) novel Love Notes to Men Who Don’t Read provides a not-so-elaborate, but entirely parodic, examination of affluent, white gay-male life in the metropoles of the Western world. Seeking a tongue-in-cheek response, Morgan begs the reader(s) to open their eyes to the contemptuous nature of those part-time employed, luxury-leaning, circuit-party bound gym bunnies who seem to occupy the spotlight of the gay imaginary. He goes as far as to suggest that the narrator – a laughable and unlikeable hedonist with a penchant for racist, misogynist and xenophobic remarks that debase more than 95% of Western society/ies and, indeed, glorify the Neo-Nazis vision of the ascending Aryan races – might embody the celebrity aspirations of white gay men in the 2010s.
As one reviewer writes, “This book is pessimism branded as brave honesty, but I wonder to what end.” Indeed, to what end does this pacification of gay life serve? To characterise gay life as such – to reprimand the vulgarities of consumerist image(s), which are not specific to gay life, but rather endemic to consumers who choose to participate in image cultures that enable the largely uncritical (and thus unconfronted) discourses about what qualifies as “petty,” “superficial” or “vain” – is to solve nothing and provide no values for growth, emotional and mental support or ideations of healthy futures. In other words, by blowing open the box on the gay elite (which has elsewhere been undertaken with fewer spelling and grammatical errors and greater nuance), Morgan attempts to deepen a conversation about the central ideologies, objects and values of “gay life,” not unlike Alan Downs’s (2005) seductive The Velvet Rage or Matthew Todd’s (2012) “revolutionary clarion” Straight Jacket. We are left with a stark portrait, without hope, a wasteland of the gay male body; to ascertain from the broken pieces with which the narrator ends the limited capacities to imagine that gay life, far from a perpetual cycle of drugs, sex, boredom and social media obsession, might also make room for critical awareness of non-consumer life. In short, the novel ends before it begins. It leaves no room for a future, and because of this, the book loses its critique and its impulse to grow sideways into other ways of living.