Judith Butler's GENDER TROUBLE: Feminism and the Subversion of Identity radically claimed that the sexed body is a fallacy, discursively constructed by the performance of gender. A.W. Strouse has undertaken to rewrite Butler's classic tome into an octosyllabic poem. Inspired by the rhyming encyclopedias of the Middle Ages, Strouse transforms each of Butler's sentences into punchy medieval couplets. This performative repetition of Chapter 1 of Butler's now classic treatise on gender, identity, and sexuality, "Subjects of Sex/Gender/Desire," deconstructs Butler's deconstruction. Relishing in the campiness of rhyme and meter-in the bodily pleasures of form-Strouse's GENDER TROUBLE COUPLETS, Volume 1 is an imitation for which there is no original. Butler's GENDER TROUBLE, perhaps, was poetry all along. "In the tradition of the Revolutionary Cookbook ("Eggs Benedict Arnold"), teaching Structuralism through Hipster vs. Amish beards ("Is that beard ironic?"), and literary hostess gifts ("Lady Macbeth's Soap"), comes this brilliant rhymed couplet version of Judith Butler's Gender Trouble. Rarely has a poet applied his gifts to a more deserving subject. Strouse is the the Jeff Koons of queer theory, the Kim Kardashian of différance, the Lisa Frank of same-sex. In the grand tradition of rhymed pedagogical commentary - think Chaucer teaching Litel Louis how to use the Astrolabe - this funny and useful book will be an instant bestseller, a perfect gift for the nerd and hipster in your life, and the best Valentine cadeau for your secret queer crush whom you want but cannot quite name." Anna M. Klosowska, author of QUEER LOVE IN THE MIDDLE AGES (Palgrave, 2005) A.W. STROUSE teaches medieval literature at The New School, and has published a wide variety of creative works, including MY GAY MIDDLE AGES (punctum, 2015) and with Patty Barth, TRANSFER QUEEN (punctum, 2018).

The distinct subjects of eschatology and gender equality have seen an explosion of interest in recent decades, particularly within Pentecostal scholarship. Pentecostalism is regarded ideally as both an eschatological and egalitarian movement. However, many Pentecostals have lamented the inconsistency between the early egalitarian impulse of the movement and its current restrictive practices. This situation has been described as the so-called Pentecostal “gender paradox,” referring to the conflicting freedoms and limitations experienced by Pentecostal women. Pentecostals have also recognized the waning eschatological fervor within the movement and its shifting eschatological convictions, leading to calls to rediscover the eschatological heart of the movement. Despite the renewed interest in both eschatology and women's equality, little research has been done to put these two areas into conversation with each other: eschatological convictions are often absent in the debate on gender roles in the church. For Pentecostals, eschatology has often been about urgency in “saving souls” rather than attending to social issues, but could Pentecostal eschatology be the key to (re)discovering greater equality for women in the church? Is the waning of both eschatology and women's equality within Pentecostalism potentially interrelated? For over one hundred years the role of women in Pentecostalism has been debated without a firm consensus. By examining gender solely through an eschatological lens in history, Scripture, and praxis, this work provides a valuable and creative contribution to one of the most important theological and global issues of our time, women's (in)equality. This book is also one of the first comprehensive studies to approach a single social issue solely through an eschatological lens and to provide attention to developing a thorough and methodologically connected eschatological praxis. By uncovering the unified eschatological-egalitarian narrative thread within both the Pentecostal and biblical story, this work suggests that the present end of women's inequality begins with fidelity to the future eschaton of gender equality.

In this innovative study, Benjamin Kahan traces the elusive history of modern celibacy. Arguing that celibacy is a distinct sexuality with its own practices and pleasures, Kahan shows it to be much more than the renunciation of sex or a cover for homosexuality. Celibacies focuses on a diverse group of authors, social activists, and artists, spanning from the suffragettes to Henry James, and from the Harlem Renaissance's Father Divine to Andy Warhol. This array of figures reveals the many varieties of celibacy that have until now escaped scholars of literary modernism and sexuality. Ultimately, this book wrests the discussion of celibacy and sexual restraint away from social and religious conservatism, resituating celibacy within a history of political protest and artistic experimentation. Celibacies offers an entirely new perspective on this little-understood sexual identity and initiates a profound reconsideration of the nature and constitution of sexuality.

The Cambridge Companion to British Fiction since 1945 provides insight into the critical traditions shaping the literary landscape of modern Britain.

The aim of this book is to introduce the modern student to readings of French Renaissance literature, drawing on the perspectives of contemporary literary theories. The volume is organized by paired readings of five major sixteenth-century French writers, with interpretations covering, among others, structuralism, semiotics, feminism and psychoanalysis. Linking these interpretations is a constant interest in problems such as the role of the reader, the nature of the text and the question of gender. The Introduction contextualizes the encounter between literary theory and Renaissance texts by using the contributions as pivotal points in the development of critical thinking about this period in early modern literature. All foreign language quotations are translated into English, and the book is intended to be of practical interest to a wide range of readers, from modern linguists to those studying critical theory, comparative literature or cultural history.

In a lively exploration of Jacques Offenbach's final masterpiece, Heather Hadlock shows how Les Contes d'Hoffmann summed up not only the composer's career but also a century of Romantic culture. A strange fusion of irony and profundity, frivolity and nightmare, the opera unfolds as a series of dreamlike episodes, peopled by such archetypes as the Poet, the Beautiful Dying Girl, the Automaton, the Courtesan, and the Mesmerist. Hadlock shows how these episodes comprise a collective unconscious. Her analyses touch on topics ranging from the self-reflexive style of the protagonist and the music, to parallels between nineteenth-century discourses of theater and medical science, to fascination with the hysterical female subject. Les Contes d'Hoffmann is also examined as both a continuation and a retraction of tendencies in Offenbach's earlier operettas and opéra-comiques. Hadlock investigates the political climate of the 1870s that influenced the composer's vision and the reception of his last work. Drawing upon insights from feminist, literary, and cultural theory, she considers how the opera's music and libretto took shape within a complex literary and theatrical tradition. Finally, Hadlock ponders the enigmas posed by the score of this unfinished opera, which has been completed many times and by many different hands since its composer's death shortly before the premiere in 1881. In this book, the "mad loves" that drive Les Contes d'Hoffmann--a poet's love, a daughter's love, erotic love, and fatal attraction to music--become figures for the fascination exercised by opera itself.

"A.W. Strouse's entrancing epigrams combine tough-minded bawdiness and neoclassical beauty. In his deft hands, acute sociological analysis arrives via subway voyeurism. Take this fearless book on your next ride. Notice how Strouse's lines and Patty Barth's lucid drawings sharpen your yearnings and make them newly available for blame-free inspection." Wayne Koestenbaum "Literarily incorrect." John Waters, on why he didn't want to review this book. Cruising the New York City subway, the Transfer Queen is on the prowl! These voyeuristic figure drawings-both poetic and visual-sketch the men of Gotham's transportation system. A.W. Strouse and Patty Barth spy on strangers with a special kind of anonymous intimacy. Transfer Queen is ideal reading material for kinky commuters. But remember: "A crowded subway car is no excuse for unlawful sexual conduct!"