Woman or man? That’s the question that rages like a storm around Jess Goldberg, clouding her life and her identity. Growing up differently gendered in a blue--collar town in the 1950’s, coming out as a butch in the bars and factories of the prefeminist ’60s, deciding to pass as a man in order to survive when she is left without work or a community in the early ’70s. This powerful, provocative and deeply moving novel sees Jess coming full circle, she learns to accept the complexities of being a transgendered person in a world demanding simple explanations: a he-she emerging whole, weathering the turbulence.
Sixteen-year-old trans boy Benji is on the run from the cult that raised him—the fundamentalist sect that unleashed Armageddon and decimated the world’s population. Desperately, he searches for a place where the cult can’t get their hands on him, or more importantly, on the bioweapon they infected him with. But when cornered by monsters born from the destruction, Benji is rescued by a group of teens from the local Acheson LGBTQ+ Center, affectionately known as the ALC. The ALC’s leader, Nick, is gorgeous, autistic, and a deadly shot, and he knows Benji’s darkest secret: the cult’s bioweapon is mutating him into a monster deadly enough to wipe humanity from the earth once and for all.
Three years ago, Alice spent one night in an abandoned house with her friends, Ila and Hannah. Since then, Alice’s life has spiraled. Memories of that night torment Alice, but when Ila asks her to return to the House, to go past the KEEP OUT sign and over the sick earth where teenagers dare each other to venture, Alice knows she must go. Together, Alice and Ila must face the horrors that happened there, must pull themselves apart from the inside out, put their differences aside, and try to rescue Hannah, whom the House has chosen to make its own. A vital work of trans fiction that examines the devastating effects of trauma and how fascism makes us destroy ourselves and each other.
A love letter to Brown, Queer, and Trans futures, Kay Ulanday Barrett's More Than Organs questions "whatever wholeness means" for bodies always in transit, for the safeties and dangers they silo. These poems remix people of color as earthbenders, replay "the choreography of loss" after the 2015 Pulse shooting, and till joy from the cosmic sweetness of a family's culinary history. Barrett works "to build / a shelter // of / everyone / [they] meet," from aunties to the legendary Princess Urduja to their favorite air sign.
Logan Witherspoon befriends Sage Hendricks at a time when he no longer trusts or believes in people. He's drawn to Sage, with her constant smile and sexy voice, and his feelings for her grow so strong that he can’t resist kissing her. Sage finally discloses a big secret: she was born a boy. Enraged, frightened, and feeling betrayed, Logan lashes out at her–a reaction he soon desperately wishes he could take back. Once his anger cools, Logan is filled with incredible regret, and all he wants is to repair his friendship with Sage. But it’s hard to replace something that’s been broken—and it’s even harder to find your way back to friendship when you began with love.
This is how a family keeps a secret...and how that secret ends up keeping them. This is how a family lives happily ever after...until happily ever after becomes complicated. This is how children change...and then change the world. This is Claude. He’s five years old, the youngest of five brothers, and loves peanut butter sandwiches. He also loves wearing a dress, and dreams of being a princess. When he grows up, Claude says, he wants to be a girl. Rosie and Penn want Claude to be whoever Claude wants to be. They’re just not sure they’re ready to share that with the world. Soon the entire family is keeping Claude’s secret. Until one day it explodes.
There's a long-running joke that, after "coming out," a lesbian, gay guy, bisexual, or trans person should receive a membership card and instruction manual. THIS IS THAT INSTRUCTION MANUAL. You're welcome. This candid, funny, and uncensored exploration of sexuality and what it's like to grow up LGBTQ also includes real stories from people across the gender and sexual spectrums, not to mention hilarious illustrations. You will be entertained. You will be informed. But most importantly, you will know that however you identify (or don't) and whomever you love, you are exceptional. You matter. And so does this book.
In README.txt, Manning recounts how her pleas for increased institutional transparency and government accountability took place alongside a fight to defend her rights as a trans woman. Manning details the challenges of her childhood and adolescence as a naive, computer-savvy kid, what drew her to the military, and the fierce pride she has about the work she does. This powerful, observant memoir will stand as one of the definitive testaments of our digital, information-driven age.
London, 1883. The Veil between the living and dead has thinned. Violet-eyed mediums commune with spirits under the watchful eye of the Royal Speaker Society, and sixteen-year-old Silas Bell would rather rip out his violet eyes than become an obedient Speaker wife. According to Mother, he’ll be married by the end of the year. It doesn’t matter that he’s needed a decade of tutors to hide his autism; that he practices surgery on slaughtered pigs; that he is a boy, not the girl the world insists on seeing. After a failed attempt to escape an arranged marriage, Silas is diagnosed with Veil sickness—a mysterious disease sending violet-eyed women into madness—and shipped away to Braxton’s Sanitorium and Finishing School.
We have read the stories of those who have "crossed" lines of race and class and culture. But few have written of crossing—completely and entirely—the gender line. Crossing is the story of Deirdre McCloskey (formerly Donald), once a golden boy of conservative economics and a child of 1950s and 1960s privilege, and her dramatic and poignant journey to becoming a woman. McCloskey's account of her painstaking efforts to learn to "be a woman" unearth fundamental questions about gender and identity, and hatreds and anxieties, revealing surprising answers.
Within queer, transgender, and Latinx and Chicanx cultural politics, brown transgender narratives are frequently silenced and erased. Brown trans subjects are treated as deceptive, unnatural, nonexistent, or impossible, their bodies, lives, and material circumstances represented through tropes and used as metaphors. Restoring personhood and agency to these subjects, Francisco J. Galarte advances “brown trans figuration” as a theoretical framework to describe how transness and brownness coexist within the larger queer, trans, and Latinx historical experiences.
Beyond Trans pushes the conversation on gender identity to its limits: questioning the need for gender categories in the first place. Whether on birth certificates or college admissions applications or on bathroom doors, why do we need to mark people and places with sex categories? Do they serve a real purpose or are these places and forms just mechanisms of exclusion? Heath Fogg Davis offers an impassioned call to rethink the usefulness of dividing the world into not just Male and Female categories but even additional categories of Transgender and gender fluid.
Transgender people face some of the highest rates of violence in the US and around the world, particularly within romantic relationships. In Transgressed, Xavier L. Guadalupe-Diaz offers a ground-breaking examination of intimate partner violence in the lives of transgender people. Drawing on interviews and written accounts from transgender survivors of intimate partner violence, he sheds much-needed light on the dynamics of abuse that entrap trans partners in violent relationships. Transgressed shows how rigidly gendered discussions of violence have served to marginalize and silence stories of abuse.
Transgender narratives have made their way from the margins to the mainstream and back again, and today’s trans and nonbinary people, genderqueers, and other sex/gender radicals are writing a drastically new world into being. Edited by the original gender outlaw, Kate Bornstein, Gender Outlaws collects and contextualizes the work of this generation's trans and genderqueer forward thinkers—new voices from the stage, on the streets, in the workplace, in the bedroom, and on the pages and websites of the world's most respected publications.
Headcase is a groundbreaking collection of personal reflections and artistic representations illustrating the intersection of mental wellness, mental illness, and LGBTQ identity, as well as the lasting impact of historical views equating queer and trans identity with mental illness. The featured pieces offer personal views from both providers and clients, often one and the same, about their experiences. Traversing boundaries of race and ethnic identity, age, gender identity, and socioeconomic status, Headcase appeals to LGBTQ communities and, specifically, LGBTQ mental health consumers and their friends, families, and comrades.
A groundbreaking global history of gender nonconformity . Today’s narratives about trans people tend to feature individuals with stable gender identities that fit neatly into the categories of male or female. Those stories, while important, fail to account for the complex realities of many trans people’s lives. Illuminates the stories of people across the globe, from antiquity to the present, whose experiences of gender have defied binary categories. Blending historical analysis with sharp cultural criticism, it offers a new, radically inclusive trans history, chronicling expressions of trans experience that are often overlooked, like gender-nonconforming fashion and wartime stage performance.
Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible.
Within a trans-embodied framework, this anthology identifies transmovimientos as the creative force or social mechanism through which queer, trans, and gender nonconforming Latinx communities navigate their location and calibrate their consciousness. This anthology unveils a critical perspective with the emphasis on queer, trans, and gender nonconforming communities of immigrants and social dissidents who reflect on and write about diaspora and migratory movements while navigating geographical and embodied spaces across gendered and racialized contexts, all crucial elements of the trans-movements taking place in the United States.
To date, there are no comprehensive Pre-K-12 texts for literacy teacher educators and theorists to use to show successful models of how practicing classroom teachers affirm differential (a)gender bodied realities across curriculum and schooling practices. This book aims to highlight how these enactments can be made readily conscious to teachers as a reminder that gender normativity has established violent and unstable social and educational climates for the millennial generation of lesbian, gay, bisexual, transgender, intersex, (a)gender/(a)sexual, gender creative, and questioning youth.
Translocas focuses on drag and transgender performance and activism in Puerto Rico and its diaspora. Arguing for its political potential, Lawrence La Fountain-Stokes explores the social and cultural disruptions caused by Latin American and Latinx “locas” (effeminate men, drag queens, transgender performers, and unruly women) and the various forms of violence to which queer individuals in Puerto Rico and the U.S. are subjected. This interdisciplinary, auto-ethnographic, queer-of-color performance studies book explores the lives and work of contemporary performers and activists, media portrayals, and literature.
For decades, our cultural discourse around trans and gender-diverse people has been viewed through a medical lens, through diagnoses and symptoms set down in books by cisgender doctors, or through a political lens, through dangerous caricatures invented by politicians clinging to power. But those who claim non-binary gender identity deserve their own discourse, born out of the work of the transsexual movement, absorbed into the idea of transgender, and now, finally, emerging as its own category. In tracing the history and theory of non-binary identity, and telling of their own coming out, non-binary writer Dianna E. Anderson answers questions about what being non-binary might mean, but also where non-binary people fit in the trans and queer communities.
Kiss My Genders celebrates more than 30 international artists whose work explores and challenges traditional gender categories. The book features works from the late 1960s through to the present, and focuses on artists who draw on their own experiences to create works that challenge accepted or stable definitions of gender. Working across painting, installations, sculpture, text, photography and film, many of these artists treat the body as a sculpture, and in doing so open up new possibilities for gender, beauty and representations of the human form.
Covering American transgender history from the mid-twentieth century to today, Transgender History takes a chronological approach to the subject of transgender history, with each chapter covering major movements, writings, and events. Chapters cover the transsexual and transvestite communities in the years following World War II; trans radicalism and social change, which spanned from 1966 with the publication of The Transsexual Phenomenon, and lasted through the early 1970s; the mid-'70s to 1990, the era of identity politics and the changes witnessed in trans circles through these years; and the gender issues witnessed through the '90s and '00s.
Surfacing in the mid-twentieth century, yet shrouded in social stigma, transgender medicine is now a rapidly growing medical field. In Trans Medicine, Stef Shuster makes an important intervention in how we understand the development of this field and how it is being used to “treat” gender identity today. Drawing on interviews with medical providers as well as ethnographic and archival research, Shuster examines how health professionals approach patients who seek gender-affirming care. From genital reconstructions to hormone injections, the practice of trans medicine charts new medical ground, compelling medical professionals to plan treatments without widescale clinical trials to back them up.
Over the past twenty-five years, the transgender movement has gained statutory nondiscrimination protections at the state and local levels, hate crimes protections in a number of states, inclusion in a federal law against hate crimes, legal victories in the courts, and increasingly favorable policies in bureaucracies at all levels. It has achieved these victories despite the relatively small number of trans people and despite the widespread discrimination, poverty, and violence experienced by many in the transgender community. This is a remarkable achievement in a political system where public policy often favors those with important resources that the transgender community lacks: access, money, and voters.
In an exuberant picture book, a glimpse of costumed mermaids leaves one boy flooded with wonder and ready to dazzle the world. While riding the subway home from the pool with his abuela one day, Julián notices three women spectacularly dressed up. Their hair billows in brilliant hues, their dresses end in fishtails, and their joy fills the train car. When Julián gets home, daydreaming of the magic he’s seen, all he can think about is dressing up just like the ladies in his own fabulous mermaid costume: a butter-yellow curtain for his tail, the fronds of a potted fern for his headdress. But what will Abuela think about the mess he makes — and even more importantly, what will she think about how Julián sees himself?
When people look at Melissa, they think they see a boy named George. But she knows she's not a boy. She knows she's a girl. Melissa thinks she’ll have to keep this a secret forever. Then her teacher announces that their class play is going to be Charlotte's Web. Melissa really, really, REALLY wants to play Charlotte. But the teacher says she can't even try out for the part... because she's a boy. With the help of her best friend, Kelly, Melissa comes up with a plan. Not just so she can be Charlotte -- but so everyone can know who she is, once and for all.
In this heartwarming picture book, a big sister realizes that her little sister, Jackie, doesn't like dresses or fairies-she likes ties and bugs! Will she and her family be able to accept that Jackie identifies more as "Jack"? Susan thinks her little sister Jackie has the best giggle! She can't wait for Jackie to get older so they can do all sorts of things like play forest fairies and be explorers together. But as Jackie grows, she doesn't want to play those games. She wants to play with mud and be a super bug! Jackie also doesn't like dresses or her long hair, and she would rather be called Jack.
It's the summer before middle school and eleven-year-old Bug's best friend Moira has decided the two of them need to use the next few months to prepare. For Moira, this means figuring out the right clothes to wear, learning how to put on makeup, and deciding which boys are cuter in their yearbook photos than in real life. But none of this is all that appealing to Bug, who doesn't particularly want to spend more time trying to understand how to be a girl. Besides, there's something more important to worry about: A ghost is haunting Bug's eerie old house in rural Vermont...and maybe haunting Bug in particular. As Bug begins to untangle the mystery of who this ghost is and what they're trying to say, an altogether different truth comes to light--Bug is transgender.
Every night, Bailey dreams about magical dresses: dresses made of crystals and rainbows, dresses made of flowers, dresses made of windows. . . . Unfortunately, when Bailey's awake, no one wants to hear about these beautiful dreams. Quite the contrary. "You're a BOY!" Mother and Father tell Bailey. "You shouldn't be thinking about dresses at all." Then Bailey meets Laurel, an older girl who is touched and inspired by Bailey's imagination and courage. In friendship, the two of them begin making dresses together. And Bailey's dreams come true! This gorgeous picture book—a modern fairy tale about becoming the person you feel you are inside—will delight people of all ages.
An accessible guide for learning about gender identity for those questioning their own genders, generally curious about gender, or interested in better understanding someone else's identity If you've ever questioned the logic of basing an entire identity around what you have between your legs, it's time to embark on a daring escape outside of the binary box. Written in a choose-your-own path style, you'll explore over one hundred different scenarios that embrace nearly every definition of gender around the globe and throughout history in a refreshingly creative exploration of the ways gender colors and shapes our world.
A vibrant and informative debut with “great documentary power,” Fine is an elegantly illustrated celebration of the transgender community. Amidst beautifully rendered scenes emerges Ewing’s own story of growing up in rural Kentucky, grappling with their identity as a teenager, and ultimately finding themself through art―and by creating something this very fine. Tender and wise, inclusive and inviting, Fine is an indispensable account for anyone eager to define gender in their own terms. Two color throughout
My birth name is Elizabeth, but I'm a guy. Gabe. My parents think I've gone crazy and the rest of the world is happy to agree with them, but I know I'm right. I've been a boy my whole life. When you think about it, I'm like a record. Elizabeth is my A side, the song everybody knows, and Gabe is my B side--not heard as often, but just as good. It's time to let my B side play. Gabe has a local community radio program and is worried his listeners will discover he is transgender. Turning to music and an unlikely friend for support, he must reconcile himself and the world around him.
Riley Cavanaugh is many things: Punk rock. Snarky. Rebellious. And gender fluid. Some days Riley identifies as a boy, and others as a girl. The thing is…Riley isn’t exactly out yet. And between starting a new school and having a congressman father running for reelection in uber-conservative Orange County, the pressure—media and otherwise—is building up in Riley’s so-called “normal” life. On the advice of a therapist, Riley starts an anonymous blog to vent those pent-up feelings and tell the truth of what it’s REALLY like to be a gender fluid teenager. The blog goes viral, and an unnamed commenter discovers Riley’s real identity, threatening exposure.
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