Blog
Queen Tut: A Review
By Steve Warren
The title, Queen Tut, is essentially a spoiler. Our young hero, Nabil (Ryan Ali), doesn’t choose it as his drag name until near the end of the film.
Back to Love: The Poetry of Sjohnna McCray
By Leslie Absher
McCray’s writing focuses on his complex identities in an expansive and non-reductive way. Each a worthy subject, McCray unpacks all facets of his identity, as they are also portals into further exploration.
A New Open Access Edition of Acclaimed AIDS History
By John Manuel-Andriote
Aging without the friends and lovers we expected to know all our lives, deep sorrow lurks, always, just beyond our laughter. How has it impacted our lives in the twenty-first century?
Reconstructing the Queer History of the Women’s Suffrage Movement
By Wendy Rouse
When I began researching the book Public Faces, Secret Lives: A Queer History of the Women’s Suffrage Movement, people warned me that I wouldn’t find much. They weren’t wrong.
The Porousness of Queerness
Julian Carter in conversation with Jonathan David Katz about Carter’s new book, Dances of Time and Tenderness, published June 2024.
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Trey’s Fifteen Minutes
Meet Trey Samuel Fetzer, a twenty-year-old Ohio State University student who’s seen here urinating on a rainbow flag that apparently he spotted on someone’s front porch one night last…More
In Our Mailbox
There could be any number of reasons for us to display this cover of The New York Review of Books from May 9, 2024, one of which is slightly…More
Queering the Ballet: A Review
By Irene Javors
The exhibit specifically focuses on five of Robert Owen Lehman’s musical manuscripts that are at the very heart of the story of the Ballets Russes.
Indies in P’town
Movie Review By Richard Schneider
Merchant Ivory turned it into a film starring Hugh Grant and James Wilby in 1987. Soucy stresses the boldness of this release at the height of the AIDS epidemic.
Indies in P’town
Movie Review By Richard Schneider
As the presence of Alan Cumming might suggest, Mad About the Boy doesn’t hold back on Coward’s gayness and treats his double life as a leitmotif.