The book provides a critical examination of discrimination based on sexuality, gender, and body size in Canadian physical education. It illustrates how students with queer bodies--whether lesbian, gay, trans-gendered, or overweight or fat--cope with homophobia, transphobia, and fat phobia in physical education. Drawing from qualitative interviews, the book reveals how students are marginalized because they do not conform to taken-for-granted ideas about healthy or athletic bodies.

AASECT Book Award for General Audience 'A joy to read' ESSIE DENNIS 'A beautifully written collection' JUNO ROCHE We're here. We're queer. We're fat. This one-of-a-kind collection of prose and poetry radically explores the intersection of fat and queer identities, showcasing new, emerging and established queer and trans writers from around the world. Celebrating fat and queer bodies and lives, this book challenges negative and damaging representations of queer and fat bodies and offers readers ways to reclaim their bodies, providing stories of support, inspiration and empowerment. In writing that is intimate, luminous and emotionally raw, this anthology is a testament to the diversity and power of fat queer voices and experiences, and they deserve to be heard.

'A must read' JAMIE WINDUST 'A beautifully honest book' JUNO ROCHE 'A superb and necessary book' BEN PECHEY As a young, queer, plus-size person, Essie Dennis has spent a lot of time feeling like they weren't enough - not queer enough, not feminine enough, not perfect enough. When they took to social media to share how they felt, they were overwhelmed by how many others felt the same. I look too masculine to be non-binary I look too feminine to be a lesbian Am I too fat for drag? Inviting you to challenge accepted beauty standards and the concept of 'the perfect body', Essie takes everything they have learned on their journey to self-acceptance and body satisfaction to help guide you towards loving your queer body. From gender, sexuality and reclaiming your body, through to food, politics, social media and fatphobia, this radical book starts a conversation about body image and mental health that queer people are so often left out of. Fiercely and unapologetically written, and with honest advice and powerful stories from a diverse range of queer people throughout, this is an inspiring and necessary book that will show you that you are enough.

Fluid Bodies traces the intersections of global movement with transgender and queer identities from authors and artists of the Hispanic Caribbean. Utilizing the theme of fluidity and travel, Fluid Bodies analyzes novels, graphic novels, theatre, and performance art. These works demonstrate how transgender and queer bodies redefine belonging, particularly national belonging, through global movement and community making practices. Through these genres, the text follows the movement of transgender and queer identities from textual spaces to spaces of the body. The gradual movement from text to body—as it occurs in these genres—demonstrates the variety of representational strategies that dismantle binary readings of gender, sexuality, and nationality. Transgender visibility is a pressing social issue, and today’s transgender moment will be a social and political necessity for years to come. Of particular importance are representations of transgender and/or queer people of color. The field of transgender representation is growing, and Fluid Bodies adds to the visibility of transgender and queer identity from the Hispanic Caribbean. By investigating the relationship between novels, graphic novels, theatre, and performance art, Fluid Bodies emphasizes how each work plays on and against the separation of language and the body, and how Hispanic Caribbean authors and artists represent transgender and queer identity in order to redefine cultural and national belonging in various geographic spaces.

Winner, LGBT Studies Lammy Award presented by Lambda Literary Neither queer theory nor queer activism has fully reckoned with the role of race in the emergence of the modern gay subject. In A Taste for Brown Bodies, Hiram Pérez traces the development of gay modernity and its continued romanticization of the brown body. Focusing in particular on three figures with elusive queer histories—the sailor, the soldier, and the cowboy— Pérez unpacks how each has been memorialized and desired for their heroic masculinity while at the same time functioning as agents for the expansion of the US borders and neocolonial zones of influence. Describing an enduring homonationalism dating to the “birth” of the homosexual in the late 19th century, Pérez considers not only how US imperialist expansion was realized, but also how it was visualized for and through gay men. By means of an analysis of literature, film, and photographs from the 19th to the 21st centuries—including Herman Melville’s Billy Budd, Anne Proulx’s “Brokeback Mountain,” and photos of abuse at the Abu Ghraib prison—Pérez proposes that modern gay male identity, often traced to late Victorian constructions of “invert” and “homosexual,” occupies not the periphery of the nation but rather a cosmopolitan position, instrumental to projects of war, colonialism, and neoliberalism. A Taste for Brown Bodies argues that practices and subjectivities that we understand historically as forms of homosexuality have been regulated and normalized as an extension of the US nation-state, laying bare the tacit, if complex, participation of gay modernity within US imperialism.

The first full-length study of transgender representations in art, fiction, film, video, and music In her first book since the critically acclaimed Female Masculinity, Judith Halberstam examines the significance of the transgender body in a provocative collection of essays on queer time and space. She presents a series of case studies focused on the meanings of masculinity in its dominant and alternative forms’ especially female and trans-masculinities as they exist within subcultures, and are appropriated within mainstream culture. In a Queer Time and Place opens with a probing analysis of the life and death of Brandon Teena, a young transgender man who was brutally murdered in small-town Nebraska. After looking at mainstream representations of the transgender body as exhibited in the media frenzy surrounding this highly visible case and the Oscar-winning film based on Brandon's story, Boys Don’t Cry, Halberstam turns her attention to the cultural and artistic production of queers themselves. She examines the “transgender gaze,” as rendered in small art-house films like By Hook or By Crook, as well as figurations of ambiguous embodiment in the art of Del LaGrace Volcano, Jenny Saville, Eva Hesse, Shirin Neshat, and others. She then exposes the influence of lesbian drag king cultures upon hetero-male comic films, such as Austin Powers and The Full Monty, and, finally, points to dyke subcultures as one site for the development of queer counterpublics and queer temporalities. Considering the sudden visibility of the transgender body in the early twenty-first century against the backdrop of changing conceptions of space and time, In a Queer Time and Place is the first full-length study of transgender representations in art, fiction, film, video, and music. This pioneering book offers both a jumping off point for future analysis of transgenderism and an important new way to understand cultural constructions of time and place.

Bodies of Evidence: The Practice of Queer Oral History is the first book to provide serious scholarly insight into the methodological practices that shape lesbian, gay, bisexual, transgender, and queer oral histories. Each chapter pairs an oral history excerpt with an essay in which the oral historian addresses his or her methods and practices. With an afterword by John D'Emilio, this collection enables readers to examine the role memory, desire, sexuality, and gender play in documenting LGBTQ communities and cultures. The historical themes addressed include 1950s and '60s lesbian bar culture; social life after the Cuban revolution; the organization of transvestite social clubs in the U.S. midwest in the 1960s; Australian gay liberation activism in the 1970s; San Francisco electoral politics and the career of Harvey Milk; Asian American community organizing in pre-AIDS Los Angeles; lesbian feminist "sex war" cultural politics; 1980s and '90s Latina/o transgender community memory and activism in San Francisco; and the war in Iraq and Afghanistan. The methodological themes include questions of silence, sexual self-disclosure and voyeurism, the intimacy between researcher and narrator, and the social and political commitments negotiated through multiple oral history interviews. The book also examines the production of comparative racial and sexual identities and the relative strengths of same-sexuality, cross-sexuality, and cross-ideology interviewing.