It is widely supposed that the most suitable partner will be someone very much like oneself; gay fiction and cinema are often organized around this assumption. Nonetheless, power differentials are remarkably persistent—as well as sexy. What are the personal and political implications of this insight?

Sinfield argues that hierarchies in interpersonal relations are continuous with the main power differentials of our social and political life (gender, class, age, and race); therefore it is not surprising that they govern our psychic lives. Recent writing enables an exploration of their positive potential, especially in fantasy, as well as their danger.

On Sexuality and Power focuses on the writing of the last thirty years, revisiting also Whitman, Wilde, Mann, Forster, and Genet, and reassessing the very idea of a gay canon.

The members of the literary circle known as the Violet Quill—Andrew Holleran, Felice Picano, Edmund White, Christopher Cox, Michael Grumley, Robert Ferro, and George Whitmore—collectively represent the aspirations and the achievement of gay writing during and after the gay liberation movement. David Bergman's social history shows how the works of these authors reflected, advanced, and criticized the values, principles, and prejudices of the culture of gay liberation. In spinning many of the most important stories gay men told of themselves in the short period between the 1969 Stonewall Riots and the devastation of the AIDS epidemic during the 1980s, the Violet Quill exerted an enormous influence on gay culture. The death toll of the AIDS epidemic, including four of the Violet Quill's seven members, has made putting such recent events into a historical context all the more important and difficult. The work of the Violet Quill expresses the joy, suffering, grief, hope, activism, and caregiving of their generation. The Violet Hour meets the urgent need for a history of the men who bore witness not only to the birth but also to the decimation of a culture.

The author of the acclaimed Gay Fiction Speaks brings us new interviews with twelve prominent gay writers who have emerged in the last decade. Hear Us Out demonstrates how in recent decades the canon of gay fiction has developed, diversified, and expanded its audience into the mainstream. Readers will recognize names like Michael Cunningham, whose Pulitzer Prize–winning novel The Hours inspired the hit movie; and others like Christopher Bram, Bernard Cooper, Stephen McCauley, and Matthew Stadler. These accounts explore the vicissitudes of writing on gay male themes in fiction over the last thirty years—prejudices of the literary marketplace; social and political questions; the impact of AIDS; commonalities between gay male and lesbian fiction... and even some delectable bits of gossip.

"Queer theory," asserts Linda Garber, "alternately buries and vilifies lesbian feminism, missing its valuable insights and ignoring its rich contributions." Rejecting the either/or choice between lesbianism and queer theory, she favors an inclusive approach that defies current factionalism. In an eloquent challenge to the privileging of queer theory in the academy, Garber calls for recognition of the historical—and intellectually significant—role of lesbian poets as theorists of lesbian identity and activism.

The connections, Garber shows, are most clearly seen when looking at the pivotal work of working-class lesbians/lesbians of color whose articulations of multiple, simultaneous identity positions and activist politics both belong to lesbian feminism and presage queer theory. Identity Poetics includes a critical overview of recent historical writing about the women's and lesbian-feminist movements of the 1970s; discussions of the works of Judy Grahn, Pat Parker, Audre Lorde, Adrienne Rich, and Gloria Anzaldúa; and, finally, a chapter on the rise and hegemony of queer theory within lesbigay studies.

Today's most celebrated, prominent, and promising authors of gay fiction in English explore the literary influences and themes of their work in these revealing interviews with Richard Canning. Though the interviews touch upon a wide range of issues—including gay culture, AIDS, politics, art, and activism—what truly distinguishes them is the extent to which Canning encourages the authors to reflect on their writing practices, published work, literary forebears, and their writing peers—gay and straight.

• Edmund White talks about narrative style and the story behind the cover of A Boy's Own Story.

• Armistead Maupin discusses his method of writing and how his work has adapted to television.

• Dennis Cooper thinks about L.A., AIDS, Try, and pop music.

• Alan Hollinghurst considers structure and point of view in The Folding Star, and why The Swimming-Pool Library is exactly 366 pages long.

• David Leavitt muses on the identity of the gay reader—and the extent to which that readership defined a tradition.

• Andrew Holleran wonders how he might have made The Beauty of Men "more forlorn, romantic, lost" by writing in the first person.

Although it has been proven posthumously by scholars that Willa Cather had lesbian relationships, she did not openly celebrate lesbian desire, and even today is sometimes described as homophobic and misogynistic. What, then, can a reassessment of this contentious first lady of American letters add to an understanding of the gay identities that have emerged in America over the past century? As Marilee Lindemann shows in this study of the novelist's life and work, Cather's sexual coming-of-age occurred at a time when a cultural transition was recasting love between women as sexual deviance rather than romantic friendship. At the same time, the very identity of "America" was characterized by great instability as the United States emerged as a modern industrial nation and imperial power. Indeed, both terms, "queer" and "America," achieved fresh ideological potency at the turn of the century. Willa Cather: Queering America is an enlightening unpacking of Cather's writings, from her controversial love letters of the 1890s--in which "queer" is employed to denote sexual deviance--to her epic novels, short stories, and critical writings. Lindemann points to the "queer" qualities of Cather's fiction--rebellion against traditional fictional form, with sometimes unlikable characters, lack of emphasis on heroic action, and lack of engagement in the drama of heterosexual desire.