In Queer Africa 2: New Stories, the 26 stories by writers from Kenya, Nigeria, Rwanda, Sierra Leone, Somalia, South Africa, Uganda and the USA present exciting and varied narratives on life. There are stories on desire, disruption and dreams; others on longing, lust and love. The stories are representative of the range of human emotions and experiences that abound in the lives of Africans and those of the diaspora, who identify variously along the long and fluid line of the sexuality, gender and sexual orientation spectrum in the African continent. Centred in these stories and in their attendant relationships is humanity. The writers showcase their artistry in storytelling in thought-provoking and delightful ways.

Queer Africa is a collection of unapologetic, tangled, tender, funny, bruising and brilliant stories about the many ways in which we love each other on the continent In these unafraid stories of intimacy, sweat, betrayal and restless confidences, we accompany characters into cafs, tattoo salons, the barest of bedrooms, coldly gleaming spaces into which the rich withdraw, unlit streets, and their own deepest interiors.

An invaluable insight into the narrative politics and theologies of LGBTQ+ life-storytelling, a key text for those in African Humanities, Queer Studies, Religious Studies, and Refugee Studies.Presenting the deeply moving personal life stories of Ugandan LGBTQ+ refugees in Nairobi, Kenya alongside an analysis of the process in which they creatively engaged with two Bible stories - Daniel in the Lions' Den (Old Testament) and Jesus and the Woman Caught in Adultery (New Testament) - Sacred Queer Stories explores how readings of biblical stories can reveal their experiences of struggle, their hopes for the future, and their faith in God and humanity. Arguing that the telling of life-stories of marginalised people, such as of Ugandan LGBTQ+ refugees, affirms embodied existence and agency, is socially and politically empowering, and enables human solidarity, the authors also show how the Bible as an authoritative religious text and popular cultural archive in Africa is often used against LGBTQ+ people but can also be reclaimed as a site of meaning, healing, and empowerment. The result of a collaborative project between UK-based academics and a Nairobi-based organisation of Ugandan LGBTQ+ refugees, the book provides a valuable insight into the narrative politics and theologies of LGBTQ+ life-storytelling. A key text for those in African Humanities, Queer Studies, Religious Studies, and Refugee Studies, among others, the book expresses an innovative methodology of inter-reading queer life-stories and biblical stories.be reclaimed as a site of meaning, healing, and empowerment. The result of a collaborative project between UK-based academics and a Nairobi-based organisation of Ugandan LGBTQ+ refugees, the book provides a valuable insight into the narrative politics and theologies of LGBTQ+ life-storytelling. A key text for those in African Humanities, Queer Studies, Religious Studies, and Refugee Studies, among others, the book expresses an innovative methodology of inter-reading queer life-stories and biblical stories.be reclaimed as a site of meaning, healing, and empowerment. The result of a collaborative project between UK-based academics and a Nairobi-based organisation of Ugandan LGBTQ+ refugees, the book provides a valuable insight into the narrative politics and theologies of LGBTQ+ life-storytelling. A key text for those in African Humanities, Queer Studies, Religious Studies, and Refugee Studies, among others, the book expresses an innovative methodology of inter-reading queer life-stories and biblical stories.be reclaimed as a site of meaning, healing, and empowerment. The result of a collaborative project between UK-based academics and a Nairobi-based organisation of Ugandan LGBTQ+ refugees, the book provides a valuable insight into the narrative politics and theologies of LGBTQ+ life-storytelling. A key text for those in African Humanities, Queer Studies, Religious Studies, and Refugee Studies, among others, the book expresses an innovative methodology of inter-reading queer life-stories and biblical stories.

In Queer African Cinemas, Lindsey B. Green-Simms examines films produced by and about queer Africans in the first two decades of the twenty-first century in an environment of increasing antiqueer violence, efforts to criminalize homosexuality, and other state-sanctioned homophobia. Green-Simms argues that these films not only record the fear, anxiety, and vulnerability many queer Africans experience; they highlight how queer African cinematic practices contribute to imagining new hopes and possibilities. Examining globally circulating international art films as well as popular melodramas made for local audiences, Green-Simms emphasizes that in these films queer resistance—contrary to traditional narratives about resistance that center overt and heroic struggle—is often practiced from a position of vulnerability. By reading queer films alongside discussions about censorship and audiences, Green-Simms renders queer African cinema as a rich visual archive that documents the difficulty of queer existence as well as the potentials for queer life-building and survival.

A photographic celebration of the love and relationships of queer people of color by a former New York Times multimedia journalist “Thank you, Jamal Jordan, for showing the world what true love looks like.”—Billy Porter Queer Love in Color features photographs and stories of couples and families across the United States and around the world. This singular, moving collection offers an intimate look at what it means to live at the intersections of queer and POC identities today, and honors an inclusive vision of love, affection, and family across the spectrum of gender, race, and age.

Popular narratives cite religion as the driving force behind homophobia in Africa, portraying Christianity and LGBT expression as incompatible. Without denying Christianity’s contribution to the stigma, discrimination, and exclusion of same-sex-attracted and gender-variant people on the continent, Adriaan van Klinken presents an alternative narrative, foregrounding the ways in which religion also appears as a critical site of LGBT activism. Taking up the notion of “arts of resistance,” Kenyan, Christian, Queer presents four case studies of grassroots LGBT activism through artistic and creative expressions—including the literary and cultural work of Binyavanga Wainaina, the “Same Love” music video produced by gay gospel musician George Barasa, the Stories of Our Lives anthology project, and the LGBT-affirming Cosmopolitan Affirming Church. Through these case studies, Van Klinken demonstrates how Kenyan traditions, black African identities, and Christian beliefs and practices are being navigated, appropriated, and transformed in order to allow for queer Kenyan Christian imaginations. Transdisciplinary in scope and poignantly intimate in tone, Kenyan, Christian, Queer opens up critical avenues for rethinking the nature and future of the relationship between Christianity and queer activism in Kenya and elsewhere in Africa.

The lived realities of young queer people in African contexts are not well documented. On the one hand, homophobic political discourse tends to portray queer people as ‘deviant’ and ‘unAfrican’, and on the other, public health research and advocacy often portrays them as victims of violence and HIV. Of course, young queer lives are far more diverse, rich and complex. For this reason, the Qintu Collab was formed to allow young queer people from a few African countries to come together, share experiences and create context-specific, queer-positive media that documents relatablestories about and for queer African youth. We see this as a necessary step in developing a complex archive of queer African life, whilst also personalising queer experiences and challenging prejudicial stereotypes. The Collab is made up of eighteen queer youth from Botswana, Kenya and Zimbabwe, two academics, three artists and a journalist. We first worked in small groups in each country through a range of creative participatory methods that focused on personal reflection and story-telling. Young people created personal timelines, and made visual maps of their bodies, relationships, and spaces. We then had group discussions about themes that emerged to help decide what to include in the comic works. At the end of 2018, we all came together in Nairobi, Kenya, for a week to collaborate on this comic book, and a set of podcasts on similar topics. We worked through various ways of telling stories, and developed significant themes, including family, religion and spirituality, social and online queer spaces, sex, and romantic relationships. Each young person created a script and laid out the scenes for a comic that told a short story from their lives. They then worked one-on-one with an artist to finesse those ideas into a workable comic, andthe artists thereafter developed each story through multiple rounds of feedback from the story’s creator and the rest of the group.