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HE STARES dreamily at someone over your shoulder, his mouth open and poised to sing. In his hands he strums the lute that gives him his name. Flowers decorate the desk before him. The flowing white blouse he wears is open, displaying an unusually broad rib cage and rounded shoulders. His too-boyish face and luscious curls give him a feminine appearance, making his gender and age ambiguous. He’s beautiful and mesmerizing yet somehow haunting or, perhaps, haunted.

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            In 1871, prominent Boston surgeon Henry Bigelow built a summer home on the west end of Tuckernuck Island, a home he called “Tuckanuck” (spelling the name of the cottage the way the locals pronounced the name of the island itself). The building was rustic and isolated, without indoor plumbing or gaslight, but sea breezes provided a welcome break from Boston’s stifling summer heat. The home was eventually inherited by Henry’s only child, William Sturgis Bigelow, who set about turning it into a summer retreat for a very different sort of family.

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            In keeping with this mission, The Pagoda is just such a work. The book is a well-researched account of a women’s land community that flourished near St. Augustine, Florida, for 22 years. Surprisingly, information about The Pagoda rarely appears in academic literature about women’s communities, and many contemporary lesbian scholars haven’t heard of it. This circumstance is due in part to the intentional secrecy of the community itself.

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In 1973, a major change took place in the lives of LGBT+ San Antonians with the opening of SA Country. … The bar was raided almost immediately.

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COCKTAILS with George and Martha is a cultural history that captures the moment when Broadway drama received a jolt from the Theater of the Absurd. Edward Albee’s Who’s Afraid of Virginia Woolf, which opened on Broadway in October 1962, jumps off from the Bohemian precincts of New York City—especially Greenwich Village and Off-Broadway, where Albee’s first one-act play, The Zoo Story, had its American premiere at the Provincetown Playhouse after an unlikely world premiere in Berlin.

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Guy Trebay captures the essential things about the sexual playground that was Manhattan during the transition from Doom to Glitter.

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            Wojnarowicz’ importance to my thinking about art, life, and death in the age of AIDS has only deepened over the years. But when I went to see “Dear Jean Pierre,” an exhibition of letters and postcards sent mostly between 1979 and ’82 to his on-again, off-again French lover Jean Pierre Delage, I confess I was looking for a different, more intimate connection. The exhibition, curated by Anneliis Beadnell and Cynthia Carr for New York’s PPOW Gallery in spring 2022, didn’t entirely dash that hope. Most of the exhibited material is now available in Dear Jean Pierre, which reproduces the correspondence in full color and scale.

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            The accounts in Queer Newark were made possible in large part by the creation of the Queer Newark Oral History Project in 2011. Scores of interviews have been collected, some recounting events going back to the World War II era and the 1950s. They make the essays come alive with deeply personal accounts of individual lives across three-quarters of a century.

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            Another Word for Love unfolds in 35 loosely chronological episodes, but the title prompts an immediate question: What is that other word?

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A NEW COLLECTION titled The Selected Shepherd is a very welcome arrival that may encourage readers to rediscover an award-winning, fiercely intelligent poet, anthologist, and critic. Gone much too soon at the age of 45, Reginald Shepherd showed in his increasingly stronger collections that he was well on his way to becoming a major force in American poetry.

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