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Eve Kosofsky Sedgwick (May 2, 1950 – April 12, 2009) was an American academic scholar in the fields of gender studies, queer theory (queer studies), and critical theory. Her critical writings helped create the field of queer studies. Her works reflect an interest in a range of issues, including queer performativity; experimental critical writing; the works of Marcel Proust; non-Lacanian psychoanalysis; artists' books; Buddhism and pedagogy; the affective theories of Silvan Tomkins and Melanie Klein; and material culture, especially textiles and texture.Drawing on feminist scholarship and the work of Michel Foucault, Sedgwick uncovered what she claimed were concealed homoerotic subplots in writers like Charles Dickens and Henry James. Sedgwick argued that an understanding of virtually any aspect of modern Western culture would be incomplete or damaged if it failed to incorporate a critical analysis of modern homo/heterosexual definition. She coined the terms "homosocial" and "antihomophobic."
Noted works include "How to Bring Your Kids Up Gay," "Queer Performativity: Henry James's The Art of the Novel," and "Jane Austen and the Masturbating Girl," which was heavily criticised for the "scandalous" interpretation it took.
Eve Kosofsky was raised in a Jewish family in Dayton, Ohio. She received her undergraduate degree from Cornell University and her Ph.D from Yale University. She taught writing and literature at Hamilton College, Boston University, and Amherst College. She held a visiting lectureship at University of California, Berkeley and taught at the School of Criticism and Theory when it was located at Dartmouth College. She was also the Newman Ivey White Professor of English at Duke University, and then a Distinguished Professor at the Graduate Center of the City University of New York.
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Source: http://en.wikipedia.org/wiki/Eve_Kosofsky_Sedgwick
Between Men: English Literature and Male Homosocial Desire by Eve Kosofsky Sedgwick was my first introduction to the world of queer theory and literary criticism and was the foundation of my senior thesis. The section on Charles Dickens "Our Mutual Friend" confirmed my thought that there was something lovely going on between Eugene Wrayburn and Mortimer Lightwood and blew my mind with what was written on the rival relationship between Eugene and Bradley Headstone. --Stephan Schmetterling( Further Readings )
Amy Elizabeth Ray (born April 12, 1964) is an American singer-songwriter and member of the contemporary folk duo Indigo Girls. She also pursues a solo career and has released six albums under her own name, and founded a record company, Daemon Records. Though both Ray and Emily Saliers came out in 1993, they have never been a couple. Ray has had long-term relationship with musician Cooper Seay and feminist author Jennifer Baumgardner, and is in a relationship with documentary filmmaker Carrie Schrader since 2003. They have a daughter, Ozilline Graydon.
Born in Decatur, Georgia, Amy Ray met Emily Saliers when they both attended the same high school. They began performing together and recorded a demo in 1981. After graduation, Ray and Saliers went to different colleges with Ray attending Vanderbilt University. By 1985, both women had transferred to Emory University in Atlanta and formed the Indigo Girls. In 1986, Ray graduated from Emory with majors in English and Religion.
I asked to all the authors joining the GayRomLit convention in Atlanta in October (
The Other Man: 21 Writers Speak Candidly About Sex, Love, Infidelity, & Moving On by Paul Alan Fahey
From an atheist point of view, I’m always surprised to see how much more atheist people seem to follow the original concept of the Christian teachings than many of the current churches. I still remember the priest who was teaching in my midterm school, how he was glad someone was listening to his lessons (religion was still a mandatory matter in school till 10/15 years ago); the ordinary kids were so bored because they had to hear the same story also afterschool, while for me everything was new and moreover I was listening it from an external point of view and so more critical.