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WHILE COCTEAU IS perhaps best known to Americans for two of the movies he wrote and directed- La belle et la bête (1946) and Orpheus (1949), which figure on most short lists of great French films-he started as a poet and always saw himself as such.

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In this book, Richard Canning, who teaches courses about AIDS literature to college students, has assembled eighteen short stories, written at what he calls “the epidemic’s darkest time of unknowing,” the early 1980’s through 1998. What is startling about these stories, especially for readers who lived through that era, is not how distant but instead how familiar they seem.

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I MUST CONFESS that I had never heard of Agustín Gómez-Arcos’ The Carnivorous Lamb before learning of this new translation of the book, which was originally published in 1975, but now I want to read all of his works. …

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Feeling Backward is a scholarly treatment of queer theory that assumes some knowledge of conventional literary theory. In it, Heather Love makes the argument that we have feelings in common with those who came before us, but early practitioners of queer theory have ignored the effects of oppression on our literature.

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THIS SPRIGHTLY, informative book does a rare thing: it covers entirely new territory in gay literary studies. Queering the Underworld concentrates on the intersection of the fin de siècle phenomenon of “slumming”-that is, taking the bourgeois reader into the urban demimonde-and the emerging expression of gay and lesbian sexual identities.

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… Alistair McCartney spent his youth obsessed with his favorite encyclopedia set, and he has returned to it, as if he’s been haunted by it all these years. It’s a strange, intriguing narrative, mixing fact and fiction, the banal with the apocalyptic, and the nostalgic with the bizarre.

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Bennett’s omniscient narrator shows us the internal changes that give rise to the Queen’s newly broadened perspective. … And so we witness from an omniscient perspective the Queen’s transformation …

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WHEN CHRIS KNIGHT was thirteen years old, his beloved father died. It appears there was no love lost between his parents: as soon as the funeral was safely over, his mother flew through the house, gathering all of her husband’s belongings. She put them in trash bags, hoping to wipe Bill Knight from her own memory and from that of her children.

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“THERE IS no such thing,” Robert Leleux’s boisterous Texas mother, Jessica Wilson, once told him, “as a happy medium.” With a funny, hyper-campy yet rarely sentimental prose style, Leleux has written a tale about coming out in small-town America and his family’s made-for-TV foibles.

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