By bringing queer theory to bear on ideas of diaspora, Gayatri Gopinath produces both a more compelling queer theory and a more nuanced understanding of diaspora. Focusing on queer female diasporic subjectivity, Gopinath develops a theory of diaspora apart from the logic of blood, authenticity, and patrilineal descent that she argues invariably forms the core of conventional formulations. She examines South Asian diasporic literature, film, and music in order to suggest alternative ways of conceptualizing community and collectivity across disparate geographic locations. Her agile readings challenge nationalist ideologies by bringing to light that which has been rendered illegible or impossible within diaspora: the impure, inauthentic, and nonreproductive. Gopinath juxtaposes diverse texts to indicate the range of oppositional practices, subjectivities, and visions of collectivity that fall outside not only mainstream narratives of diaspora, colonialism, and nationalism but also most projects of liberal feminism and gay and lesbian politics and theory. She considers British Asian music of the 1990s alongside alternative media and cultural practices. Among the fictional works she discusses are V. S. Naipaul’s classic novel A House for Mr. Biswas, Ismat Chughtai’s short story “The Quilt,” Monica Ali’s Brick Lane, Shyam Selvadurai’s Funny Boy, and Shani Mootoo’s Cereus Blooms at Night. Analyzing films including Deepa Mehta’s controversial Fire and Mira Nair’s Monsoon Wedding, she pays particular attention to how South Asian diasporic feminist filmmakers have reworked Bollywood’s strategies of queer representation and to what is lost or gained in this process of translation. Gopinath’s readings are dazzling, and her theoretical framework transformative and far-reaching.

A widow who likes to control. An earl with no time for innocence. A relationship bound by dark needs and subversive desires set in the glittering world of Regency England. Lord Gareth Osborne is a wealthy earl in need of a wife, but the insipid debutantes he encounters do not fulfil the darkest fantasies of his soul. He fears that it will be impossible to find a woman who will satisfy his needs and make a suitable companion, until he meets the sensual, self-assured Eleanor. Lady Eleanor Rossette is newly widowed, though not unhappily so. Her marriage put her into the hands of an abusive, controlling man, and Eleanor knows she will never surrender her control again. She yearns for a strong, passionate man who will yield to her in the bedroom, and she wants that man to be Lord Osborne…

Laurie and Matt Krieg are in a mixed-orientation marriage: Laurie is primarily attracted to women—and so is Matt. With vulnerability and wisdom, they tell the story of how they met and got married, the challenges and breakthroughs of their journey, and what they've learned about how marriage is meant to point us to the love and grace of Jesus.

In Unruly Visions Gayatri Gopinath brings queer studies to bear on investigations of diaspora and visuality, tracing the interrelation of affect, archive, region, and aesthetics through an examination of a wide range of contemporary queer visual culture. Spanning film, fine art, poetry, and photography, these cultural forms—which Gopinath conceptualizes as aesthetic practices of queer diaspora—reveal the intimacies of seemingly disparate histories of (post)colonial dwelling and displacement and are a product of diasporic trajectories. Countering standard formulations of diaspora that inevitably foreground the nation-state, as well as familiar formulations of queerness that ignore regional gender and sexual formations, she stages unexpected encounters between works by South Asian, Middle Eastern, African, Australian, and Latinx artists such as Tracey Moffatt, Akram Zaatari, and Allan deSouza. Gopinath shows how their art functions as regional queer archives that express alternative understandings of time, space, and relationality. The queer optics produced by these visual practices creates South-to-South, region-to-region, and diaspora-to-region cartographies that profoundly challenge disciplinary and area studies rubrics. Gopinath thereby provides new critical perspectives on settler colonialism, empire, military occupation, racialization, and diasporic dislocation as they indelibly mark both bodies and landscapes.

Through an examination of post-1997 Thai cinema and video art Arnika Fuhrmann shows how vernacular Buddhist tenets, stories, and images combine with sexual politics in figuring current struggles over notions of personhood, sexuality, and collective life. The drama, horror, heritage, and experimental art films she analyzes draw on Buddhist-informed conceptions of impermanence and prominently feature the motif of the female ghost. In these films the characters' eroticization in the spheres of loss and death represents an improvisation on the Buddhist disavowal of attachment and highlights under-recognized female and queer desire and persistence. Her feminist and queer readings reveal the entangled relationships between film, sexuality, Buddhist ideas, and the Thai state's regulation of heteronormative sexuality. Fuhrmann thereby provides insights into the configuration of contemporary Thailand while opening up new possibilities for thinking about queer personhood and femininity.

Nothing will stop Cadeon of the Rage Demons from finding the means to atone for the one wrong that haunts him. But once he captures the key to his redemption, the halfling Holly Ashwin, he finds that the woman he thought he could use for his own ends and then forget haunts him as much as his past. Raised as a human, Holly Ashwin never knew that some legends are real until she encounters a brutal demon, who inexplicably guards her like a treasure. Thrust into a sensual new world of myth and power, with him as her protector, she begins to crave the Cade's wicked touch. Yet just when he earns Holly's trust, will Cade be forced to betray the only woman who can sate his wildest needs - and claim his heart?

A Read With Jenna Today Show Book Club Pick! Three best friends navigate love, sex, faith—and the one night that changes it all—in this novel that reveals “searing and poignant truths about the female experience” (Ashley Audrain, NYT bestselling author of The Push) Whatever happened to the way we were? It’s always been Malak, Kees, and Jenna against the world. Since childhood, under the watchful eyes of their family and community, these three best friends have had to navigate love, sex, faith, and womanhood alongside the expectations of being good Muslim women. But they’ve always done it together. Malak wants the dream: for her partner, community, and faith to coexist happily, and she’ll even break her own heart to get it. Kees is in love with Harry, a white Catholic man who her parents can never know about. Jenna is always the life of the party, even though she’s plagued by an unshakable loneliness. But when their college years come to a close, one night changes everything. As their lives take different paths, in the wake of heartbreaks, marriages, new careers and new beginnings, Malak, Kees, and Jenna need each other more than ever. Can they forgive and find a way back to each other in time? These Impossible Things is a moving paean to youth and female friendship—and to all the joy and messiness love holds.