This chapter considers American gay life writing with an emphasis on drag-performers and/as genderqueer subjects. It aims to lay out historical trends in the understanding of drag as a career and its connection to genderqueer subjectivity, arguing that much of drag and genderqueer life writing eschews rigid ontologies for more unfixed inhabitations of gendered and sexual subjectivities. Autobiographies published between the 1970s and the 1990s tend to treat drag performance as a vocational calling for gay and/or genderqueer individuals. By the 2000s, we see a trend toward memoirs that treat drag as an unserious diversion from normal life. Starting in the 2010s, there is increased emphasis on identity over vocation, reflecting new public interest in understanding genderqueer subjectivity but also increased pressure to define oneself through legible categories. Coeval with such accounts is the emergence of drag superstars propelled to prominence by RuPaul, yielding drag autobiographies for a mainstream market. As this new trend suggests, we may in the mid-2020s be situated at the cusp of a renaissance in drag and genderqueer autobiography.

This chapter discusses how writing emerging out of Gay Liberation in the 1970s offered an alternative to the masculine heteronormativity that dominated the Australian literary tradition. Emphasised that the personal was political, it foregrounded private sensuality, an exploration of the everyday, and a critique of gay discrimination. The chapter traces the development of a diversifying community in the 1980s through writing collectives, anthologies, and journals. A broadening of the spectrum of LGBTQ+ poetry in the 1990s and 2000s was informed by queer understandings of sexuality. It saw lesbian writers test the limits of lyrical poetry and an era of mainstream popularity, as exemplified in Dorothy Porter’s The Monkey’s Mask. The chapter considers how LGBTQ+ poets of colour have critiqued ideas of national belonging and white subjecthood. It then discusses the exploration of embodiment, including the turn to autotheory by contemporary trans and genderqueer writers, resistance of ableist discourses, and the navigation of illness, such as AIDS, mental illness, and chronic pain.

In Plato’s Symposium, the central insights are gleaned from a wise woman from whom Socrates learnt the single thing to which he laid claim to expertise: ta erotika. Since there is a widespread view that Plato stands at the head of a tradition of philosophical thinking in which women are eclipsed, or marginalised, this fact has been seen as significant. This chapter explores whether Diotima’s gender is significant for the philosophy of the Symposium. Gender categories are an explicit feature of this text, but Plato’s playful and provocative use of them is not just a dialectical ploy to provoke reflection on the social norms around sexuality and gender that held sway in his day; toying with them exposes the contingency of gendered categories and, ultimately, their irrelevance to the philosophical life. The wisdom of Diotima is that philosophy is beyond gender; it is, in that respect at least, inclusive.

Trish Salah contextualizes the broad post-2010 emergence of transgender fiction in a longer history of earlier trans and queer fiction and theory while arguing that “trans genre writing” has found recent prominence as a new minor literature. Particular challenges have led trans writers to innovate at the levels of language and aesthetics, perspective (collective, but not homogeneous), and genre, among others. Moreover, these works thematize and challenge norms and imperatives of empire, race, history, visibility, and geography.

This chapter explores how twentieth-century feminist and LGBTQ+ literature deconstructs and reimagines gender in formal experimentation and genre-bending. It proposes that this literary tradition contributes to a larger cultural conversation that tends to think in binaries: trans vs. queer, gay vs. straight, male vs. female. The work of a diverse group of writers-- Djuna Barnes, June Arnold, Bertha Harris, Armistead Maupin, and Leslie Feinberg—reinvents conventional understandings of gender in forms that range from avant garde experimentation to popular and autobiographical novels. Genderqueer American writers remind us that the complexities of gender and sexuality always exceed our attempts to describe them. When we incorporate genderqueer texts by queer American writers into the larger conversationwe can access another theoretical language, one written within contingency and resistance.Only radical reimagination and continual (re)creation can ever hope to approximate the complex play and multiplicity of genders.