At fewer than ninety pages, Rowe’s Liberated merely scratches the surface of Cahun’s life and art. But perhaps that’s appropriate as Cahun’s art often dealt with surfaces: poses, masks, assumed or discarded identities. The book pays tribute to Cahun’s Surrealistic photography and æsthetics, her aggressive anti-fascism, and her enduring, indestructible love for Marcel Moore.

A new biography, Ideal Beauty: The Life and Times of Greta GarboI, by feminist historian Lois Banner—who’s the cofounder of the Berkshire Conference of Women Historians—presents Greta Louisa Gustafson (1905–1990) as Dr. Jekyll and Ms. Hyde. So much has been written about the actress that the Hollywood dream factory exploited as a marketable commodity during the 1920s and ’30s, when Garbo was billed as “the most beautiful woman in the world,” that it’s a challenge to say something new. Banner’s book offers a feminist rehash of Garbo’s childhood and reprises the well-known struggles on her quest for cinematic fame and financial freedom.

IN THE SUMMER OF 1997, I gave birth to two beautiful drag babies on Pier 54 in Manhattan. We were at Wigstock, the raucous drag festival. Like many mothers, I neglected their development, but they have since grown into upstanding, fierce queens. Hundreds of drag mamas, whom Elyssa Maxx Goodman lovingly documents in Glitter and Concrete: A Cultural History of Drag in New York City, were far more committed to their drag careers and to nurturing newcomers to the culture of drag than was I.

Saint was a founding member of the Blackheart Collective, and published numerous collections of his own poetry, editing two anthologies, notably The Road Before Us: 100 Black Gay Poets (1991). Sacred Spells is a collection of exemplary poems, essays, stories, plays, and even some performance pieces.

The moral became that “homoerotic attachments are acceptable, provided they manifest within the boundaries of socially appropriate behaviour,” states Andrew Sutherland in Queer Opera, his survey of homoerotic elements in the history of opera.

Miller’s text engages a fair amount of philosophical rumination, but pertinent to the visual examples under review. Her descriptions are usually quite on the mark, and her analyses, however speculative at times, never seem to emerge from left field. Body Language is an absorbing book for those who take photography and queer representation seriously.