Cameron Awkward-Rich – författare
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6 produkter
6 produkter
168 kr
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185 kr
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1 016 kr
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In The Terrible We Cameron Awkward-Rich thinks with the bad feelings and mad habits of thought that persist in both transphobic discourse and trans cultural production. Observing that trans studies was founded on a split from and disavowal of madness, illness, and disability, Awkward-Rich argues for and models a trans criticism that works against this disavowal. By tracing the coproduction of the categories of disabled and transgender in the United States at the turn of the twentieth century and analyzing transmasculine literature and theory by Eli Clare, Elliott DeLine, Dylan Scholinski, and others, Awkward-Rich suggests that thinking with maladjustment might provide new perspectives on the impasses arising from the conflicted relationships among trans, feminist, and queer. In so doing, he demonstrates that rather than only impeding or confining trans life, thought, and creativity, forms of maladjustment have also been and will continue to be central to their development.Duke University Press Scholars of Color First Book Award recipient
126 kr
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Originating in Craigslist personals to indicate a trans person seeking another trans person, the term “t4t” has come to describe not only circuits of desire and attraction but also practices of trans solidarity and mutual aid. Contributors to this issue investigate the multiple meanings associated with t4t, considering both its potential and its shortcomings. They explore forms of Black trans kinship, consider the possibilities and limits of trans crowdfunding, theorize transmasculine pornography as a site of identity formation, and critique t4t spaces that allow for abuse or exploitation. Because t4t names a type of separatism, it carries risks such as identity policing, the prioritization of one aspect of identity over others, and difficulty engaging in strategic coalition. And yet, in a world that remains hostile to trans forms of life, t4t also circulates as a promising practice of love, repair, and healing.Contributors. Cassius Adair, Aren Aizura, Cameron Awkward-Rich, Chris Barcelos, Cynthia CitlallÍn Delgado HuitrÓn, Lauren Fournier, Vox Jo Hsu, Christopher Joseph Lee, Amira Lundy-Harris, Hil Malatino, Amy Marvin, Isaac Preiss, Amir Rabiyah, Nicholas Reich
259 kr
Skickas inom 5-8 vardagar
In The Terrible We Cameron Awkward-Rich thinks with the bad feelings and mad habits of thought that persist in both transphobic discourse and trans cultural production. Observing that trans studies was founded on a split from and disavowal of madness, illness, and disability, Awkward-Rich argues for and models a trans criticism that works against this disavowal. By tracing the coproduction of the categories of disabled and transgender in the United States at the turn of the twentieth century and analyzing transmasculine literature and theory by Eli Clare, Elliott DeLine, Dylan Scholinski, and others, Awkward-Rich suggests that thinking with maladjustment might provide new perspectives on the impasses arising from the conflicted relationships among trans, feminist, and queer. In so doing, he demonstrates that rather than only impeding or confining trans life, thought, and creativity, forms of maladjustment have also been and will continue to be central to their development.Duke University Press Scholars of Color First Book Award recipient
216 kr
Kommande
The selected journals of trans, mixed-race artist and dyke erotica writer Red Jordan Arobateau.Best known for his erotic lesbian fiction, Red Jordan Arobateau was also a prolific painter who maintained and self-published a journal for roughly twenty years, documenting his life on the “abject bottom” of life in the U.S. Edited and introduced by poet and scholar Cameron Awkward-Rich with a foreword by Michelle Tea, and paintings by Arobateau, Time Also Will Make It Interesting captures Arobateau’s life as a young dyke in the criminalized cultures of 1950s-60s gay bars of Chicago and New York; his transition from dyke to trans man in late 1990s San Francisco; and his return to painting and an unfolding spirituality within that rapidly gentrifying city. Queerly messy, ornery, and stuffed with Arobateau’s wisdom, this volume is what he might have called, “a novel combined with a journal—da novel/journal! Taking all the liberty in the world! A domain where verse can be inserted, dreams recorded, my everyday political rants printed out, combined with my forté—fiction! All under one binding & title!”