Michael Field’s notion of ecology includes as fundamental components of their sense of being not only the external elements with which humans interact but also the gestures of curiosity, invitation, and emotional outreach themselves. In conceptualising the act of writing as part of this interspecies mutual realisation, they grappled with the conundrum of existing within their environment while seemingly being forced to render it from an external vantage point. This chapter proposes that they address the issue not simply through formal and other writerly innovations that depict their eco-relationality but also by encouraging a sense of their writing as an actual part of this network of emotional linkages and potentialities. Focusing primarily on their play, William Rufus, and a section of their diaries, this chapter explores that this is an undertaking less invested in reifying an eco-queer identity than in breaching the knowledge structure that scaffolds the concept of identity itself.

This chapter proposes new readings of the poems of Whym Chow: Flame of Love based on ideas of unconventional domesticity, alternative divinity, and queer, chosen families. The chapter explores the ways in which animal characteristics disrupt and subvert conventional poetic form and religious teachings in the volume, specifically elegy and Catholicism. It also focuses on connections between Michael Field’s writing and animal poetry found in the work of other fin-de-siècle and modernist writers. The chapter proposes that these poems can and should be celebrated for their eccentricity, oddity, and queerness rather than overlooked and marginalised within Michael Field’s oeuvre.

This chapter places Michael Field within the House Beautiful movement, discussing their practice in relation to Walter Pater, William Morris, and others. I focus on the aesthetic interiors of their two homes, Durdans and Paragon, showing how they were curated around their lyrics. I propose that Michael Field queered the House Beautiful movement, their practice representing a radical queering of the Doll’s House.

Lesbianism figures into María Irene Fornés’s writing in every decade of her career but bears significantly on only a quarter of her more than forty published plays and manuscripts. Through close readings of four plays (Tango Palace, Fefu and Her Friends, Enter THE NIGHT, The House at 27 Rue de Fleurus), Nicole Stodard evinces the the evocative stylistic ways that Fornés’s embodied queerness becomes visible in her body of work through characters’ gender and sexual embodiment, romantic triangulation, shapeshifting categorization, and queer suffering and joy. Stodard argues that Fornés’s work embodied a sexual philosophy that was more expansive and connected with a larger life quest. From depicting couples, queer and straight, to queering coupling through the representation of triangular affection, her legacy ultimately advances an abundant love that is plural, communal, uninhibited, transcendent, and joyful.

Chapter 7, Be Careful about the Publisher, examines how the diverse sources, distribution networks, and audiences associated with sexology undermined Havelock Ellis’s attempts to frame his book on homosexuality with John Addington Symonds, Sexual Inversion (1897), as a serious medical work, and led to its appearance in the obscenity trial R. v. Bedborough (1898). Authorities charged Bedborough aiming to break up a radical group, but sexologists and their allies framed the trial as an ignorant attack on scientific progress. Elaborating on strategies pioneered by birth-controllers, they argued that the censorship of “naturalistic” sexual expression had mired society in sexual ignorance, fostering “abnormal” sexual behaviour and an appetite for pornography, the rightful target of obscenity laws. In positioning their own work as vital to society and pornography as a product of sexual science’s suppression, they obfuscated ways in which early sexologists relied on pornographers and their products. By examining sexologists’ attempts to navigate these issues, this chapter further demonstrates how arguments about obscenity were used tactically to sanitize sexual knowledge and its producers.

This chapter traces the recent turn to form in Latinx literary studies. While the field has long privileged the historical in shaping debates and organizing Latinx cultural production, there is a growing group of scholars taking the formal as their point of departure by studying components that range from genre to word choice, from page layout to punctuation. Concerned less with the who, what, and where of literary texts, this new approach focuses more on how. That is, how our privileged objects of study – race and racism, community and coalition, gender and sexuality – are represented on and off the page. Linking these recent approaches to a longer tradition of queer Latinx performance studies, a branch of scholarship long attuned to the importance of gesture, corporality, and affect, this chapter models formal analysis by taking works by Carmen María Machado and Justin Torres as representative case studies.

This chapter focuses on the question of resistance in D. A. Miller’s The Novel and the Police (1988). Love argues that, although Miller’s approach anticipated many aspects of queer modernist reading practice, it is ideologically distinct in evincing skepticism about the liberatory potential of expressions of sexuality, including non-normative sexuality. Miller’s understanding of sexuality as present and licit rather than taboo and unspeakable thoroughly absorbs Michel Foucault’s critique of what he called the “repressive hypothesis.” In this sense, Love argues, Miller offers not only a queer reading of realist fiction but also realist queer criticism, which emphasizes existing realities over political potential.

This chapter argues that scholars of sex, sexuality, and gender have begun to engage with global histories, but in a selective manner and often characterised by ideas of one-way dissemination from Europe to locations beyond its borders. It suggests some entry points for a richer, multidirectional historiography, including the movements of indigenous and colonised peoples, economies of trading sex, the regulation of reproduction, and new histories of feminisms. Non-binary forms of gender and queer sexualities are prominent within such literatures and help to complicate established narratives. The chapter also highlights historiographical contributions that diversify our histories away from ‘great power’ geopolitics and draw out the specificity of regions such as eastern and central Europe and the experiences of ‘non-aligned’ states and of non-state actors such as religious organizations and racialized historical actors.

This chapter offers an intersectional feminist reading of West Side Story that shows how women of color and the gender non-conforming character Anybodys are central to the (partial) redemptive arc of the musical. The narrative and characterizations—as expressed through songs, dances, and score—suggest a path to a better “Somewhere” that requires us to step outside the confines of normative masculinity and femininity which reinforce the boundaries of race and class. Throughout the musical, Anita and Maria must navigate the tensions within the concepts of assimilation and multiculturalism, as well as a social landscape dominated by an anxious and often violent masculinity. Careful attention to performances of these roles, and the character Anybodys, make clear that the belonging they (and we the audience) seek might be found somewhere beyond the reductive and destructive strictures of the gender binary.

This chapter provides an overview of the longue durée of Russian literature’s engagement with non-heteronormative sexuality and non-normative genders as well as a more extended focus on the Modernist period as a time when queerness operated as a particularly generative cultural mechanism, stimulating new modes of literary production. While queer literary expression can be observed since the beginning of literature in Russia, the chapter argues that the early twentieth century saw the development of specific forms of literary poetics that were at once expressive of queerness and associated with it. The chapter also considers the history and philosophical connections of the most significant of these forms: the existential prosaic fragment.

Ideas of gender, sexuality, and subjectivity were in flux throughout the eighteenth century. This chapter places Goldsmith’s comedies She Stoops to Conquer and The Good Natur’d Man at the heart of contemporary gender debates. The theatre was a significant site for the negotiation of gender where women’s sensitivity, modesty, and gentility were touted as positive social forces capable of reforming men and improving manners by conditioning women to please others. Goldsmith’s plays can be seen as part of the ‘feminization debate’ – British discourse which trumpeted the progressive effects of women on modern society while seeking to condemn perceived transgressions of an increasingly binary gender order.

Across sub-Saharan Africa, South Asia, and the Caribbean, the English-language essay engages with colonialism and postcolonial reality to embody forms of life writing that grapple with the provocative confluences of English education, local context, and migrant desire. While conflicts between colonial legacy, postcolonial liberation, and creative imagination assume urgency with pioneers such as V.S. Naipaul and Chinua Achebe, linguistic limits on ethical and political values emerge as defining concerns for apartheid-riven writers such as Nadine Gordimer and Zoë Wicomb, while the scope and constraints of postcolonial representation energise the essays of Shashi Deshpande and Amit Chaudhuri. The fluid and constantly changeable identity of the postcolonial subject that drives the aspirations of the postcolonial essay finds language in its promiscuous texture and heterogeneous structure, its dalliance with analysis, narrative, and image, and its perpetually wandering and unfinished form.