Routledge Library Editions: Literature and Sexuality – serie

The history of the sex guide for adolescents documents the quite unconscious movement of Western culture’s ideas about sex and youth, revealing the heritage of our own sexual beliefs and codes of behaviour. The first section of this book, first published in 1986, traces the development of the sex guide, examining 400 books from 1892 to the 1980s. The second section comprises a detailed analysis of the patterns, content and usefulness of all the contemporary manifestations of the genre. The history of the teen sex manual is a fascinating revelation of American attitudes towards adolescent sexuality.

The history of the sex guide for adolescents documents the quite unconscious movement of Western culture’s ideas about sex and youth, revealing the heritage of our own sexual beliefs and codes of behaviour. The first section of this book, first published in 1986, traces the development of the sex guide, examining 400 books from 1892 to the 1980s. The second section comprises a detailed analysis of the patterns, content and usefulness of all the contemporary manifestations of the genre. The history of the teen sex manual is a fascinating revelation of American attitudes towards adolescent sexuality.

This work, first published in 1919, is an endeavour to apply some of the methods of psychoanalysis to literature. It traces a writer’s books back to the outward and inner events of their life and to reveal of their unconscious. This unconscious is largely identical with the mental love fantasies in our present and past life. Since the terms ‘unconscious’ and ‘erotic’ are almost synonymous, any serious study of literature which is concerned with the unconscious must deal impartially with eroticism.

This work, first published in 1919, is an endeavour to apply some of the methods of psychoanalysis to literature. It traces a writer’s books back to the outward and inner events of their life and to reveal of their unconscious. This unconscious is largely identical with the mental love fantasies in our present and past life. Since the terms ‘unconscious’ and ‘erotic’ are almost synonymous, any serious study of literature which is concerned with the unconscious must deal impartially with eroticism.

This book, first published in 2000, explores the intersections of race, gender and gay identities in writings by contemporary American lesbians of colour in order to show how this subject is sometimes ignored, sometimes brutalised and is very rarely able to survive on her own terms by constructing her own identity acts of cultural revision. The author places the lesbian of colour in the context of current identity theories showing the ever-present blind spots within current theoretical paradigms, she then reads a variety of writings by lesbians of colour describing the possibilities that exist for these subjects in textual and social realities. The author shows the varied communities that threaten the existence of this subject, as well as the limits that dictate the subject's ability to create her self. By bridging Judith Butler's Gender Trouble and Gloria Anzaldua's New Mestiza she describes how lesbians of colour can survive numerous sites of hostility by constructing a positive identity within her home community through revising cultural traditions and history.After considering the power of these acts of revision, the author calls for the empowered performance of the mestiza state - the state of contradiction wherein the lesbian of colour finds herself. This book is the first to analyse creative and theoretical works by African American, Asian American, Latina and Native American communities and writers through the lens of lesbian studies. Authors include recognised figures such as Audre Lorde, Ana Castillo and Paula Gunn Allen, as well as lesser known authors like Best Brant, Natashia Lopez and Willyce Kim. It provides a corrective to Butler's empowering but essentially white vision of performing identity, so that lesbians of colour can claim their identities and remain tied to their own cultural traditions. Ultimately, the author asks for a reconsideration of the value of identity studies that articulate monolithic identities and whose analyses perpetuate what they seek to disrupt.

This book, first published in 2000, explores the intersections of race, gender and gay identities in writings by contemporary American lesbians of colour in order to show how this subject is sometimes ignored, sometimes brutalised and is very rarely able to survive on her own terms by constructing her own identity acts of cultural revision. The author places the lesbian of colour in the context of current identity theories showing the ever-present blind spots within current theoretical paradigms, she then reads a variety of writings by lesbians of colour describing the possibilities that exist for these subjects in textual and social realities. The author shows the varied communities that threaten the existence of this subject, as well as the limits that dictate the subject's ability to create her self. By bridging Judith Butler's Gender Trouble and Gloria Anzaldua's New Mestiza she describes how lesbians of colour can survive numerous sites of hostility by constructing a positive identity within her home community through revising cultural traditions and history.After considering the power of these acts of revision, the author calls for the empowered performance of the mestiza state - the state of contradiction wherein the lesbian of colour finds herself. This book is the first to analyse creative and theoretical works by African American, Asian American, Latina and Native American communities and writers through the lens of lesbian studies. Authors include recognised figures such as Audre Lorde, Ana Castillo and Paula Gunn Allen, as well as lesser known authors like Best Brant, Natashia Lopez and Willyce Kim. It provides a corrective to Butler's empowering but essentially white vision of performing identity, so that lesbians of colour can claim their identities and remain tied to their own cultural traditions. Ultimately, the author asks for a reconsideration of the value of identity studies that articulate monolithic identities and whose analyses perpetuate what they seek to disrupt.

Sigmund Freud and Josef Breuer on hysteria, J.A. Symonds and Havelock Ellis on sexuality, a novel by Ford Madox Ford and Joseph Conrad, The Waste Land of T.S. Eliot (and Ezra Pound), even the Lyrical Ballads of Wordsworth and Coleridge: men making books together. Wayne Koestenbaum's startling interpretation of literary collaboration focuses on homosexual desire: men write together, he argues, in order either to express or to evade homosexual feelings. Their writing becomes a textual intercourse, the book at once a female body they can share and the child of their partnership. These man-made texts steal a generative power that women's bodies seem to represent.Seen as the site of a struggle between homosexual and homophobic energies, the texts Koestenbaum explores – works of psychoanalysis, sexology, fiction, and poetry – emerge as more complex, more revealing. They crystallize and refract the anxiety of male sexuality at the end of the last century, and open up a deeper understanding of connections today between the erotic and the literary. Drawing upon the work of feminist critics, Koestenbaum connects male collaboration and the exchange of women within patriarchy: he peers into both medical texts and imaginative literature, disturbing our ready acceptance of the co-authored work. This strong and unsettling book transforms our understanding of the creative process, providing a new sense of what both collaborative and solitary artistry mean.

Sigmund Freud and Josef Breuer on hysteria, J.A. Symonds and Havelock Ellis on sexuality, a novel by Ford Madox Ford and Joseph Conrad, The Waste Land of T.S. Eliot (and Ezra Pound), even the Lyrical Ballads of Wordsworth and Coleridge: men making books together. Wayne Koestenbaum's startling interpretation of literary collaboration focuses on homosexual desire: men write together, he argues, in order either to express or to evade homosexual feelings. Their writing becomes a textual intercourse, the book at once a female body they can share and the child of their partnership. These man-made texts steal a generative power that women's bodies seem to represent.Seen as the site of a struggle between homosexual and homophobic energies, the texts Koestenbaum explores – works of psychoanalysis, sexology, fiction, and poetry – emerge as more complex, more revealing. They crystallize and refract the anxiety of male sexuality at the end of the last century, and open up a deeper understanding of connections today between the erotic and the literary. Drawing upon the work of feminist critics, Koestenbaum connects male collaboration and the exchange of women within patriarchy: he peers into both medical texts and imaginative literature, disturbing our ready acceptance of the co-authored work. This strong and unsettling book transforms our understanding of the creative process, providing a new sense of what both collaborative and solitary artistry mean.

Drawn from years of archive material, this collection, first published in 1993, portrays the voices and experience of over sixty gay men from all walks of life. Here are presented the difficulties of coming out, but also the diverse nature of gay relationships and the impact of HIV and AIDS. Sometimes raw, often humorous, frequently angry, the book gives an honest impression of what it was like to live as a homosexual man in the twentieth century.

Drawn from years of archive material, this collection, first published in 1993, portrays the voices and experience of over sixty gay men from all walks of life. Here are presented the difficulties of coming out, but also the diverse nature of gay relationships and the impact of HIV and AIDS. Sometimes raw, often humorous, frequently angry, the book gives an honest impression of what it was like to live as a homosexual man in the twentieth century.

In spite of the attention that Latin American women writers have attracted in recent years, a book dedicated exclusively to those writers whose work primarily articulates a lesbian perspective was until now missing. The purpose of this book, first published in 1996, is to bring attention to and examine the articulation of lesbian themes, motifs and issues in the works of these writers. It aims to study the problems pertaining to the specific literary representations of lesbianism and to examine the dimensions of a lesbian view in the works. By undertaking the study of the works of these women writers, this book contributes to the recognition and legitimization of a lesbian literary discourse.

In spite of the attention that Latin American women writers have attracted in recent years, a book dedicated exclusively to those writers whose work primarily articulates a lesbian perspective was until now missing. The purpose of this book, first published in 1996, is to bring attention to and examine the articulation of lesbian themes, motifs and issues in the works of these writers. It aims to study the problems pertaining to the specific literary representations of lesbianism and to examine the dimensions of a lesbian view in the works. By undertaking the study of the works of these women writers, this book contributes to the recognition and legitimization of a lesbian literary discourse.

The years between 1850 and 1900 were the vintage years of a discreet homosexual culture in England. In this period, educational, personal and foreign influences all contributed to the establishment of a trend expressed in the works of authors such as John Addington Symonds, Walter Pater, and A.E. Housman, and in those of lesser writers, now largely forgotten. This book, first published in 1970, is an anthology of English prose and verse, either homosexual in tone or providing a vehicle for homosexual emotions, and in several examples even overtly and experimentally frank. The book includes an introduction by Brian Reade explaining the network of friendships and associations which underlay this development and tracing some of its origins.