Queer Ancient Ways advocates a profound unlearning of colonial/modern categories as a pathway to the discovery of new forms and theories of queerness in the most ancient of sources. In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves. An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang's work uncovers a rich queer imaginary that had been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity. At the heart of Xiang's argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences. By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination.

Religion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this volume: the authors included here hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to examine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this issue, is among those who have used the queer eye to interrogate authority within Christian theological traditions. At the same time, there have been many queer interrogations of "nature," perhaps most notably in the works of Joan Roughgarden and Ann Fausto-Sterling, and more recently in the works of Catriona Sandilands and Timothy Morton (an author in this volume). However, the intersections of religion, nature, and queer theory have been largely left untouched. With the exception of Dan Spencer, who writes the introduction for this volume and is one of the early pioneers in this realm of thought with his book Gay and Gaia (Pilgrim Press, 1996), and the work of Greta Gaard in developing a queer ecofeminist thought, religion and nature, or religion and ecology, have largely ignored the realm of queer theory. In part, the blinders to queer theory on the part of eco-thinkers (religious or otherwise) are similar to the blinders eco-thinkers have when it comes to postmodern thought in general: namely, if there are no absolute foundations, how does one create an environmental ethic and a "nature" to save? For this reason and many others, this volume on religion, nature, and queer theory is groundbreaking. Though these essays span many different disciplines and themes, they are all held together by the triple focus on religion, nature, and queer theory. Each of these essays offers a unique contribution to the intersection of religion, nature, and queer theory, and all of them challenge strict boundaries proposed in religious rhetoric and many discourses surrounding "nature." Carol Wayne White's essay draws from a queer reading of James Baldwin to develop an African American religious naturalism, which highlights humans as polyamorous bastards. Jacob Erickson's essay examines Isabella Rossellini's "Green Porno" and Martin Luther's work to develop an irreverent theology. Jay Johnston draws from personal relationships with his late dog, and Master/Pup fetish-play to blur the boundaries between humans and other animals, specifically within ethical and theological discourse. Whitney Bauman reflects on how the very processes of globalization and climate change queer our identities and call for a queer and versatile planetary ethic. Finally, Timothy Morton leads us through a reflection on queer green sex toys to challenge the ontology of agrologistics. Each of these essays in their own way is concerned with fleshing out more meaningful encounters with the planetary community. Without being too ambitious, we hope that these sets of essays will help to open up a new trajectory of conversations at the intersection of religion, nature, and queer theory.

LGBTQ writing from ancient times to yesterday, selected by award-winning translator Frank Wynne.

This is the second of two volumes of essays from the Ecclesiological Investigations International Research Network's 14th International Conference focused on decolonizing churches and theology, addressing oppressions based on gender, racial, and ethnic identities; economic inequality; social vulnerabilities; climate change and global challenges such as pandemics, neoliberalism, and the role of information technology in modern society, all connected with the topic of decolonization. The essays in this volume focus on decoloniality in empire, family, and mission, written from historical, dogmatic, social scientific, and liturgical perspectives.

"History" sounds really official. Like it's all fact. Like it's definitely what happened. But that's not necessarily true. History was crafted by the people who recorded it. And sometimes, those historians were biased against, didn't see, or couldn't even imagine anyone different from themselves. That means that history has often left out the stories of LGBTQIA+ people: men who loved men, women who loved women, people who loved without regard to gender, and people who lived outside gender boundaries. Historians have even censored the lives and loves of some of the world's most famous people, from William Shakespeare and Pharaoh Hatshepsut to Cary Grant and Eleanor Roosevelt. Join author Lee Wind for this fascinating journey through primary sources—poetry, memoir, news clippings, and images of ancient artwork—to explore the hidden (and often surprising) Queer lives and loves of two dozen historical figures.

The pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks. Yet after Winckelmann, the value (even the possibility) of art's queer beauty was often denied. Several theorists, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure had to be profoundly rethought by later writers. Whitney Davis follows how such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim rejoined these two domains, reclaiming earlier insights about the mutual implication of sexuality and aesthetics. Addressing texts by Arthur Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund Freud, among many others, Davis criticizes modern approaches, such as Kantian idealism, Darwinism, psychoanalysis, and analytic aesthetics, for either reducing aesthetics to a question of sexuality or for removing sexuality from the aesthetic field altogether. Despite these schematic reductions, sexuality always returns to aesthetics, and aesthetic considerations always recur in sexuality. Davis particularly emphasizes the way in which philosophies of art since the late eighteenth century have responded to nonstandard sexuality, especially homoeroticism, and how theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many imaginative and penetrating critics have wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of sexual life and new forms of art made from reconstituted sexualities. Through a critique that confronts history, philosophy, science, psychology, and dominant theories of art and sexuality, Davis challenges privileged types of sexual and aesthetic creation imagined in modern culture-and assumed today.