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.

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. After Winckelmann, however, sometimes the value (even the possibility) of queer beauty in art was denied. Several theorists after Winckelmann, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure conceived as discrete categories had to be profoundly rethought by later writers. Davis argues that these disjunct domains could be rejoined by such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim, who reclaimed 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 shows that formal philosophies of art since the late-eighteenth century have had to respond to nonstandard sexuality, especially homoeroticism, and that theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many of the most imaginative and penetrating critics wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of new forms 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 still assumed today.

From bestselling, Printz Award-winning author Libba Bray, the story of a plane of beauty pageant contestants that crashes on a desert island.Teen beauty queens. A "Lost"-like island. Mysteries and dangers. No access to emall. And the spirit of fierce, feral competition that lives underground in girls, a savage brutality that can only be revealed by a journey into the heart of non-exfoliated darkness. Oh, the horror, the horror! Only funnier. With evening gowns. And a body count.

NAMED A BEST BOOK OF THE YEAR BY THE WASHINGTON POST, VOGUE, MARIE CLAIRE, READER'S DIGEST, AND GOOD HOUSEKEEPING “A gripping read…Unabashedly queer, probing and unafraid…Exceedingly engaging.” –USA Today “Sublimely weird, fluently paced, brazenly funny and gayer still, and it richly deserves to find readers.” –New York Times From the author of the New York Times–bestselling sensation Mostly Dead Things: a surprising and moving story of two mothers, one difficult son, and the limitations of marriage, parenthood, and love If she’s being honest, Sammie Lucas is scared of her son. Working from home in the close quarters of their Florida house, she lives with one wary eye peeled on Samson, a sullen, unknowable boy who resists her every attempt to bond with him. Uncertain in her own feelings about motherhood, she tries her best—driving, cleaning, cooking, prodding him to finish projects for school—while growing increasingly resentful of Monika, her confident but absent wife. As Samson grows from feral toddler to surly teenager, Sammie’s life begins to deteriorate into a mess of unruly behavior, and her struggle to create a picture-perfect queer family unravels. When her son’s hostility finally spills over into physical aggression, Sammie must confront her role in the mess—and the possibility that it will never be clean again. Blending the warmth and wit of Arnett’s breakout hit, Mostly Dead Things, with a candid take on queer family dynamics, With Teeth is a thought-provoking portrait of the delicate fabric of family—and the many ways it can be torn apart.

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world.

Queer cultures are vibrant components of the constantly transforming societies of the 21st century. This is both socially and anthropologically recognizable, as well as individually readable. Categories such as wealth, success, amusement, but also sexuality and beauty have undergone major changes within queer subcultures and have influenced the reality of life for the general public. The entanglements in heteronormative systems and capitalist orders are increasingly putting a queer point of view under pressure, so that the question seems justified: What makes someone or something queer? Martin Gössl reflects on the possibilities of queer recognition in different social contexts.

'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.