Titres dans Biographies et mémoires

As a transnational and transracial adoptee, Jenny Heijun Wills has spent her life navigating the fraught spaces of ethnicity and belonging. As a pan-polyam individual, she lives between types of family—adopted, biological, chosen—and "community"; heternormativity and queerness; commitment and a constellation of love. Everything and Nothing At All weaves together a lifetime of literary criticism, cultural study, and a personal history into a staggering tapestry of knowledge.

Growing up in the tiny village of Smith, Alberta, Darrel J. McLeod was surrounded by his Cree family's history. In shifting and unpredictable stories, his mother, Bertha, shared narratives of their culture, their family, and the cruelty that she and her sisters endured in residential school. Bertha taught him to be fiercely proud of his heritage and to listen to the birds that would return to watch over and guide him at key junctures of his life. However, in a spiral of events, Darrel's mother turned wild and unstable, and their home life became chaotic.

Told over the first ten years, And Don't F&%k It Up tells a cultural history through the stories of the people who lived it: the creators of the show, the contestants, the crew, the judges, and even some key (famous) fans. It begins with RuPaul's decades-long friendship and business relationship with World of Wonder Productions, the entertainment company that helped launch him into superstardom, and later talked him into giving a drag reality show a chance.

In sixteen wholly original essays that blend memoir, cultural criticism, investigative journalism, and a dash of fanfiction, Walker places her own experiences within the larger context of the pressing and underdiscussed aspects of contemporary American womanhood that make up daily life. She explores the allure and violence of assimilating into white womanhood in all its hegemonic glory, exposes the ways in which the truth of trans women's reproductive healthcare is erased in favor of reactionary narratives, and considers how our agency is stripped from us—purely on account of our bodies.

Before Alex Marzano-Lesnevich begins a summer job at a law firm in Louisiana, working to help defend men accused of murder, they think their position is clear. The child of two lawyers, Alex is staunchly anti-death penalty. But the moment convicted murderer Ricky Langley’s face flashes on the screen as Alex reviews old tapes—the moment they hear him speak of his crimes—they are overcome with the feeling of wanting him to die. Shocked by their reaction, Alex digs deeper and deeper into the case.

Hey, I'm Jamie, a 29-year-old trans guy from the UK. I've been transitioning for 12 years now after realising I was trans (by accident!) at sixteen years old. I knew I was a boy since the age of four, but realised whilst growing up that I was different. It was only in my teens that I found the words to express who I was and what I needed to do. Since then, I've been on testosterone for more than a decade - I know, I can't believe it either - I've also had top and bottom surgery and legally changed my sex, so I know a few things about the transitioning process and being trans!

Cody Rigsby has a lot of opinions: Kevin is the hottest Backstreet Boy; grape jelly is a crime against nature; if you wear flip-flops in New York City, you do not love yourself. But if there is one opinion—one truth—that he holds above all others, it’s that we shouldn’t let the fear of looking stupid or being judged hold us back from living our best lives.

Jill Gutowitz’s life—for better and worse—has always been on a collision course with pop culture. There’s the time the FBI showed up at her door because of something she tweeted about Game of Thrones. The pop songs that have been the soundtrack to the worst moments of her life.

Part manifesto, part memoir, This Wound Is a World is an invitation to “cut a hole in the sky / to world inside”. Belcourt issues a call to turn to love and sex to understand how Indigenous peoples shoulder their sadness and pain without giving up on the future. His poems upset genre and play with form, scavenging for a decolonial kind of heaven where “everyone is at least a little gay”.

In the summer of 1974, a 14-year-old girl in Dolton, Illinois, had a dream - a dream to become an actress. But it was a long way from the South Side of Chicago to Hollywood, and it didn’t help that she’d recently dropped out of the school play, The Ugly Duckling, or that the Hollywood casting directors she wrote to replied that "professional training was a requirement". But the funny thing is, it all came true....

In 1987, somebody shoved a flyer into the hand of Peter Staley: Massive AIDS demonstration, it announced. After four years on Wall Street as a closeted gay man, Staley was familiar with the homophobia common on trading floors. He also knew that he was not beyond the reach of HIV, having recently been diagnosed with AIDS-related complex. A week after the protest, Staley found his way to a packed meeting of the AIDS Coalition To Unleash Power - ACT UP - in the West Village. It would prove to be the best decision he ever made.

Born to indigenous working-class Mexican immigrants in San Diego in the 1970s, Jesse Leon’s childhood was violently ruptured. A dangerous and harrowing encounter at a local gift shop when he was eleven years old left Jesse with a deadly secret. Hurt, alone, and scared for his life, Jesse numbed his pain by losing himself in the hyper-masculine culture of the streets and wherever else he could find it—in alcohol, drugs, and prostitution.

As a young child in North Carolina, Jacob Tobia wasn't the wrong gender, they just had too much of the stuff. Barbies? Yes. Playing with bugs? Absolutely. Getting muddy? Please. Princess dresses? You betcha. Jacob wanted it all, but because they were "a boy", they were told they could only have the masculine half. Acting feminine labelled them "a sissy" and brought social isolation. It took Jacob years to discover that being "a sissy" isn't something to be ashamed of. It's a source of pride.

A sex and relationship columnist bares it all in a series of essays—part memoir, part manifesto—that explore the author’s coming of age and coming out as a bisexual man and move toward embracing and celebrating sex unencumbered by shame.

Creep is “sharp, conversational cultural criticism” (Bustle), a blistering and slyly informal sociology of creeps (the individuals who deceive, exploit, and oppress) and creep culture (the systems, tacit rules, and institutions that feed them and allow them to grow and thrive). In eleven bold, electrifying pieces, Gurba mines her own life and the lives of others—some famous, some infamous, some you’ve never heard of but will likely never forget—to unearth the toxic traditions that have long plagued our culture and enabled the abusers who haunt our books, schools, and homes.

Born in 1962, Alexandra Billings grew up in a decade in which being herself was illegal. When she started transitioning in 1980, the word “Transgender” didn’t exist. With no Trans role models and no path to follow, Alexandra did what her family, teachers, and even friends said was impossible: Alexandra forged ahead. Spanning five decades, from profound lows to exhilarating highs, This Time for Me captures the events of a pioneering life.

The extraordinary life of history's first modern lesbian who inspired the television series Gentleman Jack. Anne Lister's journals were so shocking that the first person to crack their secret code hid them behind a fake panel in his ancestral home. Anne Lister was a Regency landowner, an intrepid world traveller...and an unabashed lover of other women. In this bold new biography, prizewinning author Angela Steidele uses the diaries to create a portrait of Anne Lister as we've never seen her before: a woman in some ways very much of her time and in others far ahead of it.

Patrick Hinds has failed. A lot. In fact, he’s kind of an expert at it—which is why he’s uniquely qualified to say that failure is a good thing.

Entwined explores the fuzzy lines between friendship, romance, and family with various essay forms, including a play, an advice column, and a love letter. Rather than wallowing in the throes of jealousy, this collection celebrates the hard work, humor, and wisdom needed to create a love life that resists conventional narratives.

With unflinching honesty and moving prose, Janet Mock relays her experiences of growing up young, multiracial, poor, and trans in America, offering listeners accessible language while imparting vital insight about the unique challenges and vulnerabilities of a marginalized and misunderstood population.