Showing 111 - 120 of 167 annotations tagged with the keyword "Lesbian/Gay/Bisexual/Transgender Issues"
Katherine, heading for her senior year in high school, finds herself strongly attracted to Michael, a friend's friend, after a party. As their relationship unfolds, the issue of sex comes up early on, more as an emotional and health issue than as a moral one. Both of them are aware that physical intimacy is both common and complicating. Michael has been sexually active, Katherine hasn't. Their relationship progresses slowly; they are accompanied on various meetings by her friend, Erica, a grounded, practical, wit who has known Katherine all her life, and Michael's friend, Artie, who, with Erica's help, explores and acknowledges some uncertainty about his own sexual orientation.
When they do, by mutual consent, have sex on a ski weekend with Michael's sister, they are sure it seals a love that will be "forever." However, separated for the summer by work that takes them to two different states, Katherine finds herself aware of the limitations of the relationship and ultimately attracted to a tennis instructor, older, more experienced, and interesting in new ways. She takes responsibility for breaking the news to Michael when he comes on a surprise visit and, the summer over, recognizes the loss as a stage in movement toward more complex, probably more satisfying relationships in the future.
The events in Dry follow those in Burroughs's memoir of his bizarre childhood, Running with Scissors (see this database). Burroughs, at 24 years old and with no formal education beyond grade school, works in the high pressure advertising world of Manhattan. He's also an alcoholic, and his addiction definitely interferes with his work. Fortunately for Burroughs, he is not fired, but rather, his boss and co-workers set up an intervention. Burroughs--after telling his best friend, Pighead, who is HIV positive; his drinking buddy, the undertaker Jim; and his abusive, alcoholic father, of the plan--leaves for an inpatient rehabilitation program in Minnesota designed for gay people.
Thus begins Burroughs journey to sobriety. A journey that is replete with temptation, relapse (not only with alcohol, but also crack cocaine), love, success, loss, and grief. Burroughs experiences hallucinations, coma and life-threatening withdrawal. But ultimately, Burroughs achieves the title of his memoir. What he reveals is that, for an addict, remaining clean and dry is hard work. This daily, moment-by-moment work forces the addict to examine what is truly precious in life.
As James Morris, the author was the dashing journalist who covered the first successful ascent of Everest in 1953 for The Times of London; a member of the elite and quintessentially male 9th Queen's Royal Lancers ("famous for their glitter and clublike exclusivity"--p. 27); the husband who married Elizabeth, fathering several sons. But, as the writer says in the first sentence of the book, "I was three or perhaps four years old when I realized that I had been born into the wrong body, and should really be a girl. I remember the moment well [James was sitting beneath his mother's piano], and it is the earliest memory of my life."
Realizing he was a member of a tangled (a favorite word of the author) group of transsexuals, James felt himself trapped in a conundrum of gender (he felt and considered himself female) versus sex (he was genotypically and phenotypically male). "To me gender is not physical at all, but is altogether insubstantial; it is soul, perhaps, it is talent it is the essentialness of oneself" (25). (Morris goes on to quote C. S. Lewis's Perelandra.)
After some fruitless interactions with the medical profession, Morris travels to Casablanca in the summer of 1972 to undergo sex-changing surgery and becomes Jan Morris. Unlike many if not most transsexuals, post-operatively Morris fared quite well emotionally and has, to date, been quite happy with the change (see below). Jan Morris's writing is as humorous and eloquent as James Morris's was. She describes (magazines like Rolling Stone and publishers like Random House and thousands of readers have never cared what gender or sex was holding the pen) how life changed in clubs, restaurants, and in taxi-cabs, where Jan met the first man to kiss her, post-surgery, "in a carnal way" (151). (Morris records that "all I did was blush.")
Just as the new plague that will eventually become known as AIDS begins to exact its toll on the gay community, William and Terry slide somewhat unintentionally into a committed relationship, complete with a dog. Terry has issues with the modest size of his penis; being "married" absolves him from performance anxiety.
Almost equally furtive, William has inherited polycystic kidney disease from his mother and is on dialysis, with the severe dietary restrictions and merciless thirst that it entails. William professes to Terry that size doesn't matter, but he indulges in elaborate fantasies about Peter Hunter, a well-endowed star of porn magazines; he becomes an obsessive collector of Hunter's work.
Terry and William are insulated by their singular bond from the havoc of AIDS, but William finds himself compelled to hunt the stigmata of that disease in photos of the exposed and hidden portions of Hunter's anatomy. When he realizes that motorbike riders are prone to becoming organ donors, he cultivates a fascination with their behavior and their machines, following them in his car and tracking statistics. Finally, a matched biker kidney is found for William, but the immunosuppressive drugs, which are given to help him tolerate the transplant, make him very ill. He is admitted with opportunistic pneumonia, ironically, to an AIDS ward.
More than once William says, "I went to sleep next to someone I knew and I woke side by side with a stranger," The book closes with a surreal dream-like sequence, as William takes leave of his lover. It could be continued life, readjusted by this brush with mortality toward a bold new freedom. On the other hand, it could be death itself, and the story suddenly becomes the memoir of a ghost.
This tightly researched documentary opens with the tragic auto accident in which Ms. Kowalski is rendered comatose. During the early period of her prolonged hospitalization, tensions arise between Kowalski's domestic partner and the patient's parents, leading to a highly contentious battle for the rights not only to visit, but also to assume long term care responsibilities. As the patient regains consciousness and limited physical and cognitive skills, the drama moves from the hospital and nursing care facility to the courtroom.
For ten years, the battle for custody and the ultimate care of Ms. Kowalski rages. Drawing on trial transcripts, medical records, newspaper archives, and personal interviews, Casey Charles's work brings to life emotions and personalities that dominated the courtroom dramas and illuminates the highly contested judgments emerging from supposedly objective authorities in journalism, medicine, and the law.
The first part of this novel presents a detailed picture of the Jewish Californian Cooper family, centering on the sixty-year-old Louise, who is dying of breast cancer. Her husband, Nat, is unfaithful, and, she suspects, only loves her when she is at her weakest and most sick. Her daughter, April, is a lesbian folk singer who becomes pregnant with the help of a gay male friend and a turkey baster. Danny, the son, is also gay, living in New York with Walter, his lover, who is becoming increasingly detached and obsessed with internet sex groups.
Louise considers herself lucky, though, compared with her younger sister Eleanor, partially disabled by childhood polio, disorganized and ill-groomed and married to Sid, whom Louise finds deeply unattractive. Eleanor's son is a sociopathic drug addict, and her daughter has ovarian cancer caused by Eleanor's taking DES (diethylstilbesterol) in pregnancy. She sends Louise newspaper cuttings about the causes of homosexuality and the dangers of AIDS.
The first part having established the complex dynamics and histories of the family's relationships, the second brings the entire family together in the crisis of Louise's final illness and death (a reaction to chemotherapy drugs causes severe chemical burns and she dies in a burn unit in a San Francisco hospital). After her death, the new dynamics of the family are established, and Louise's son and daughter conclude that their mother had "a terrible life" (p. 261).
The short third part shows that no such conclusion is possible, that even those closest to us remain terribly but fascinatingly unknowable. A flashback to a point just before Louise's final illness describes her attempt to convert to Catholicism and a brief moment in which she experiences a marvelous sense of complete harmony.
The narrator of this fictional autobiography is Cal Stephanides, an American of Greek descent with a hereditary 5-alpha-reductase deficiency that gives her the prepubertal anatomy (and thus the social upbringing) of a girl, but at puberty begins her transformation into ambiguity, then maleness, and then, gradually, masculinity.
The novel is a kind of biography, not just of Cal, but also of the mutant gene that causes her/his condition. It is transmitted from a small village in Smyrna, through his grandparents, who were also brother and sister and who married on the ship to America, apparently leaving behind family as well as national identity. Their Greekness and the gene come with them, and the consequences of their incest haunts Cal's grandmother, Desdemona, until the very end of the novel.
The family settles in Detroit, and a third biographical strand is the story of the Greek immigrant community in 20th century America, from Ford's assembly lines to bootlegging during the prohibition, through Detroit race riots and then to affluent suburbia.
Cal's family settles in the suburb of Middlesex, and the focus narrows to the individual. Calliope is raised as a girl, but in adolescence, Callie learns about hermaphroditism, narrowly escapes sex-assignment surgery, becomes a performer in a seventies sex show in San Francisco, and finally returns home to Middlesex, Grosse Point, Michigan, as a male. The story is framed by Cal's much later adult life as a man in Berlin, and his successful romance with a woman he meets there.
In this memoir, subtitled "One Woman's Search for the Perfect Sperm Donor," lesbian author and academic Harlyn Aizley confronts her approaching fortieth birthday by deciding to have a child. She and her partner, Faith, begin the process of choosing its biological father. The first major decision: a known or unknown sperm donor? Eventually they choose an unknown one, from a sperm bank with an identity-release program that will allow their child the option of meeting her biological father after she turns eighteen.
Aizley narrates, in absorbing and often very funny detail, the eight months it takes her to conceive, and then the nine months of pregnancy culminating in the birth of a daughter. Sad but telling counterpoints to this narrative are the terrorist attacks in September 2001, which occur during Aizley's pregnancy, and the experience of her mother, who dies three months after the baby's birth, of ovarian cancer.
A child of a beautiful, talented woman and ambiguous paternity craves learning. Adopted by a Spanish officer and an "uncle" who is a painter, s/he is sent off to Edinburgh as a pedagogic experiment to become James Barry, a male medical student. Barry adores the vivacious Alice, an illiterate but intelligent servant, whom he teaches to read.
Later as a doctor and medical officer, he travels the world to the Crimea, to the Caribbean, to South Africa and America, a scion of society and a good scientist. By happy fortune, he lives in retirement with Alice, who has become a famous actress. The book ends with the scandalous revelation of Barry's femininity when his body is laid to rest.
Thirteen years into the epidemic, Hollywood's first mainstream response to AIDS premiered: Jonathan Demme's Philadelphia. In an attempt to neutralize the inherent difficulties posed by the subject matter (a sexually transmitted and deadly disease) and the characters (male homosexuals), the director consistently described the film as an analysis of prejudice, while Tristar Pictures, which released it, confusedly promoted it as a film that was not really about AIDS or about somebody who had AIDS.
What the film appears to be about is Andrew Beckett (Tom Hanks), the rising star of Philadelphia's most prestigious law firm. Unbeknownst to his co-workers, Andrew is gay and has AIDS. When the truth is suspected, he is fired on trumped up charges of incompetence and decides to sue his former bosses for AIDS-based discrimination.
Nine lawyers refuse the case as does Joe Miller (Denzel Washington), an avowed homophobic and AIDS-phobic ambulance chaser. He later changes his stance and takes the case as a matter of simple justice although he remains steadfast in his prejudice against gays. With the support of his partner, Miguel (Antonio Banderas), Andrew takes on the system. He wins the case and dies the following day.