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1 10 20 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "My Pronouns Are Black" Description An account of the resource Zenaida Peterson is a spoken word poet and community organizer based out of Boston. She has represented Simmons College at the College Union Poetry Slam Invitational (CUPSI) both in 2015 as a performer and in 2017 as the team’s coach. She is the founder of the Feminine Empowerment Movement Slam Tournament (FEMS), which is a poetry competition and grassroots organization designed to actively work against the lack of femme-oriented spaces in Boston’s slam poetry scene. Peterson identifies as “queer, multiracial-womanist and an antiracist” – concepts that are all considered in “My Pronouns Are Black,” which on the surface reads as a poem about being nonbinary, but speaks to gender identity in a very specific context. “My Pronouns Are Black” is a powerful spoken word poem that examines the intersection of the poet’s racial identity and gender identity, and how the two are inextricable. The poem explores what it means to grow up socialized as both black and female, when our world posits white femininity as the normative mode of womanhood and constantly attacks black femininity. To unpack this notion, Peterson speaks to the history of slavery in the United States, and ultimately asserts that gender is a principle of white hegemony, so it functions differently on people of color: "My pronouns avoid the police/The black of me wants to survive long enough to have an identity politic/How do you go from a slave to a gendered thing, from a mule to a person, and expect gender to function the same across race?" It is with this historicization in mind that this poem pushes back on the idea that gender exists in a void. “My Pronouns Are Black” seems to claim that for black people, this can never be the case, since black gender norms are so much more vital to livelihood and survival than they are to white people. This poem not only engages race head on, but also complicates a common understanding of nonbinary gender identities and makes clear that for black people, gender identity can never be disentangled from racial identity. Creator An entity primarily responsible for making the resource Peterson, Zenaida (Author/Performer) Source A related resource from which the described resource is derived <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/c0Mv8CYvQAA?rel=0" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen="allowfullscreen"></iframe> Publisher An entity responsible for making the resource available SlamFind Date A point or period of time associated with an event in the lifecycle of the resource 2017 Contributor An entity responsible for making contributions to the resource Hannah Tobin-Bloch Language A language of the resource English Type The nature or genre of the resource Video Format The file format, physical medium, or dimensions of the resource Moving image Black American poc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Humiliating Practice of Sex-Testing Female Athletes" Description An account of the resource "The Humiliating Practice of Sex-Testing Female Athletes," written by Ruth Padawer, was published by the New York Times Magazine on June 28, 2016. Ruth Padawer is, notably, a cis woman. However, the article focuses largely on an interview with Dutee Chand, an Indian runner who challenged her ban from sports in court in 2014. Padawer's writing focuses on gender and social issues. As well as a degree in journalism, she has a BA in history from Tufts University and the University of Wisconsin. The late 1800s and early twentieth century saw an increase in the number of women in sports, a traditionally male domain. The majority of men viewed female athletes as masculine and unattractive. Medical experts claimed exercise would be damaging to women's reproductive health and fragile mental state. Pierre de Coubertin, the founder of the modern Olympics, argued that, because women were not athletic competitors by nature, proving that athletes were female was in their best interests. The Soviet Union joined the Olympics in 1952. Of the Soviet Union's 71 medals, 23 were won by women. In comparison, women accounted for only 8 of the US's 76 medals. Sex testing emerged in the 1960s out of rumors that the Soviet Union and other Eastern Bloc countries were dressing men as women to have them compete with an unfair advantage. In the mid-1940s, international sports administrators began requiring female competitors to bring "femininity certificates" to compete in international events. In 1966, the instigation of mandatory genital checks for all women competing at international games led to what became known as the "nude parade." A couple years later, the nude parade was replaced by the Buccal smear. A lab technician would scrape a few skin cells from the inside of a competitor's cheek, then stain the tissue sample and examine it under a high-powered microscope. They were searching for Barr bodies, cells that have mode than one X chromosome. Sex-testing was particularly harmful to the career of Ewa Klobukowska, a Polish runner who contributed to the Polish world record in the 4 X 100-meter relay in 1964. In 1967, Ewa was found to have XX/XXY chromosomes and was banned from competing. The Polish team's world record was discounted and the world record was given to the US. Had Ewa been tested one year later, in 1968, she would have been declared female by the Barr body test. Intersex athletes like Ewa Klobukowska have been put through a lot of pain because of gender tests like the Barr Body test, chromosome tests and physical inspections. Sex-testing female athletes has roots in misogyny, and a fear of a world without gender roles. Both intersex athletes and trans athletes are excluded from competing as the gender they identify with because of these tests. The fear of men dressing as women appears in movies such as Psycho and Silence of the Lambs. Though sex testing was developed for sports, Republicans are now attempting to use it to deny trans people bathroom access. Furthermore, members of the LGBTQIA community too often remember intersex people only when making the argument that sex and gender are not binary. Acknowledging the pain caused to intersex people by sex testing is important to ending their exclusion. Creator An entity primarily responsible for making the resource Padawer, Ruth (author) Source A related resource from which the described resource is derived <a href="https://www.nytimes.com/2016/07/03/magazine/the-humiliating-practice-of-sex-testing-female-athletes.html?ref=sports&amp;_r=0" title="&quot;The Humiliating Practice of Sex-Testing Female Athletes&quot;" target="_blank">The New York Times Magazine</a> Date A point or period of time associated with an event in the lifecycle of the resource June 28, 2016 Contributor An entity responsible for making contributions to the resource Gina Cavagnero Format The file format, physical medium, or dimensions of the resource Text Language A language of the resource English Type The nature or genre of the resource Magazine article cisgender author intersex sports Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Video Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:40 Producer Name (or names) of the person who produced the video Matison, Ingrid Director Name (or names) of the person who produced the video Matison, Ingrid Transcription Any written text transcribed from a sound Soundtrack: live commentary of a baseball game Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Billy's Baseball Hall of Fame Description An account of the resource Ingrid Matison identifies as a white, nonbinary artist who currently resides in Providence. They grew up in a working class family in Grand Rapids, Minnesota. Ingrid is currently a student at Rhode Island School of Design (RISD) where their primary focus is on textiles. For Ingrid, “Billy’s Baseball Hall of Fame” deals with space, reality, gender, and dissociation: “I have a lot of trouble dissociating from my surroundings and something I find comforting in my work is creating a false environment. What’s not real about that?” Ingrid goes on to explain that one of the references for this piece is the red room in the popular TV series “Twin Peaks” which is not a physical space but still real. “What’s not real about fake things?” they ask me, again. The realness of many concepts, including gender, become complicated as we question how and why these structures are in place. Gender is a known social construct, making it in some sense “fake” but still very real in other ways. This nuance, and search for truth and value are explored in “Billy’s Baseball Hall of Fame.” For example, Ingrid’s use of the white gloves symbolizes the fragility and perceived importance of the baseball cards. The idea that white masculinity is fragile and must be protected (by card sleeves, white gloves etc) is a “real” idea but with “fake” or unsound logic. For Ingrid, making work as a femme nonbinary person in the art world is inherently political. They explain to me that they aren’t creating work about being trans, or even directly related to trans experiences but the representation of a trans artist making work about their everyday life is just as important and just as political. Ingrid and I agree that it’s equally important to represent work by trans artists that is not directly related to being trans, because it’s going to represent trans culture just because it’s made by someone in the trans community. This is also part of the reason that we chose “Billy’s Baseball Hall of Fame” to put in the archive. A viewer could see the film without any indication of trans identity or gender play, but if you are looking they are of course there because they are part of the artist’s identity. Ingrid Matison created the set and props while also acting as director, producer, and actor. The materials used on set in this film include hand dyed and printed muslin, hand printed Tyvek, and vinyl flooring. Creator An entity primarily responsible for making the resource Matison, Ingrid Date A point or period of time associated with an event in the lifecycle of the resource November, 2017 Contributor An entity responsible for making contributions to the resource Burger, Nia Format The file format, physical medium, or dimensions of the resource 1,920 x 1,080‬ 12 GB The physical materials include hand dyed and printed muslin, hand printed Tyvek, and vinyl flooring. Language A language of the resource English Type The nature or genre of the resource Video Source A related resource from which the described resource is derived <iframe width="560" height="315" src="https://www.youtube.com/embed/fg7cD8E7r-o" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen=""></iframe> femme nonbinary nonbinary creator transfeminine transgender creator Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boy with Flowers Creator An entity primarily responsible for making the resource Shipley, Ely (author) Publisher An entity responsible for making the resource available Barrow Street Press Description An account of the resource Ely Shipley is a trans author and activist. He worked at CUNY in NYC and taught as an assistant professor of English at Baruch College, where he taught courses on gay and lesbian literature, poetry, and identity writing. He is currently a professor at Western Washington University. Shipley has won the Western Humanities Review Award in Poetry and the Virginia Faulkner Award. Boy With Flowers is Shipley's first book. Boy with Flowers won the 2007 Barrow Street Press book prize and the Thom Gunn Award, and was a finalist for a Lambda Literary Award. Boy With Flowers consists of thirty-six poems. The poems are spread across three sections. Poems in section one, such as Roll of Dimes, Balloons, Army Tattoos, fever & halo, Magnolia, and the title poem Boy with Flowers focus on memories from his childhood. We meet his mother and aunt in passing, learn about his childhood friend Marissa, and catch glimpses of romantic moments between him and his former partners. Section two moves from childhood to young adulthood, focusing on missed opportunities and things left unsaid. Poems like Fountain recreate the beauty of things in his memories. Part three contains more poems explicitly about transness. He recalls working with trans teens in DC. The last poem of the book, Etymology, is a letter to his testosterone shots. Though some of the poems deal explicitly with his identity as a trans man (for example, wanting to wear a suit instead of a dress and stand with the men at his aunt's wedding), the book as a whole is not about transness. It is about a whole person, and being trans is just one part of the character's identity. Date A point or period of time associated with an event in the lifecycle of the resource 2008 Contributor An entity responsible for making contributions to the resource Gina Cavagnero Format The file format, physical medium, or dimensions of the resource text Language A language of the resource English Type The nature or genre of the resource book https://transcultural.oberlincollegelibrary.org/files/original/4c1ec43f8bd65e36f4e29a403e0ebe1f.jpg b35731bf721521199758dfb882e7cc00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Captive Genders: Trans Embodiment and the Prison Industrial Complex Description An account of the resource Originally published in 2011, Captive Genders: Trans Embodiment and the Prison Industrial Complex is an anthology of interviews, stories, essays, and manuals compiled and edited by Eric A. Stanley and Nat Smith. The second and expanded edition was published in 2015 and includes a forward by CeCe McDonald along with work by Chelsea Manning, who writes about trans identity, the military, and prison industrial complex, outlining the ways in which they intersect with, complicate, and exacerbate one another. Eric A. Stanley works as an assistant professor in the Gender and Sexuality Studies department at University of California, Riverside, and has co directed two films. They also co edited Trap Door: Trans Cultural Production and the Politics of Visibility, which is being published by MIT Press later this year. More specifically, their research and work revolves around abolitionist studies and critical theory. As stated on the book’s back cover, Nat Smith is a “light-skinned Black, queer, gender-variant nerd,” (Captive Genders). Smith works in similar fields as Stanley and has ties with Critical Resistance and the Trans/Gender Variant and Intersex Justice Project. This anthology was created as a response to the inextricable ties between the prison industrial complex and transgender people, specifically transgender people of color, and serves as an intervention in the ways in which police surveillance regulates trans bodies through coercive and often invisible ways. As noted by prominent scholars and theorists such as Michel Foucault and Angela Davis, prisons are often taken as self evident, meaning that they are kept out of sight and out of mind, rendering them both incontestable and somewhat natural, where the general populus internalizes punishment as something distant, necessary, and natural. This work takes these critiques of the prison industrial complex one step further by zeroing in on violence inflicted upon trans people, and the ways in which the state regulates trans bodies both inside and outside of carceral institutions. What makes this work so remarkable though is the form it takes. Not only does it include works by over thirty individuals ranging from artists to activists to academics, but centers people of color in the movement towards reform and abolition. Rather than working from the perspective of those who have never been incarcerated and whose only relationship to the prison industrial complex is strictly theoretical, this anthology utilizes standpoint epistemology, concentrating on the knowledge of those who have experienced incarceration and surveillance first hand, regardless of their roots in academia. As a cultural object, this anthology’s role in the archive is two fold. First and foremost, as noted by Grace Dunham in their 2016 New Yorker piece, people on the inside are consistently denied contemporary resources. They have little or no access to the internet, and often say that they are stuck in the past, distant from political goings on and unable to engage with current events, both pertaining to their rights and beyond. One of Stanley and Smith’s motives for this book was to have it distributed to trans identifying people on the inside. Because internet access is so limited and regulated, printed text has become one way for those who are incarcerated to engage with material and discourse related to politics and power. This anthology has been cited both as a piece that has helped people understand their identities but also to make sense of and break down the cruelty and violence they have suffered at the hands of the state and its actors. Culture can be art, it can be fashion, performance, and music, but it can also be practices, texts, and resources that bring people together and help people make sense of their history, where they come from, and how they relate to other people. This text is something that can be inherited, passed on, and discussed. It can be utilized to form bonds, both of affection and resistance. While written partially for people on the inside, it is also directed at those on the outside, and at those who have the privilege and power to intervene in such barbaric practices. It almost exists as a manual, instructing people in methods of abolition and reform. Lastly, this anthology provides the opportunity for cultural recognition, where individuals whose work is often relegated to the margins can be both celebrated and utilized in political discourse. Creator An entity primarily responsible for making the resource Stanley, Eric A. (co editor) Smith, Nat (co editor) McDonald, CeCe (foreward) Bassichis, Morgan Lee, Alexander Spade, Dean Worley, Jennifer Avicolli Mecca, Tommi Guidotto, Nadia Young, Kalaniopua Ware, Wesley Ampu, Ralowe T. Velasquez-Potts, Michelle C. Meiners, Erica R. Nair, Yasmin Dillon, Stephen Goring, Clifton / Raine Sweet, Candi Witherspoon, Paula Rae Cholo nemec, blake Johnson, Janette Louise Meronek, Toshio Lambel, S. Donahue, Jayden Huang, Vanessa Oparah, Julia Chinyere Gossett, Che Saffin, Lori Manning, Chelsea E. Shelley, Kristopher "Krystal" Girshick, Lori Publisher An entity responsible for making the resource available AK Press Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Anya Katz Format The file format, physical medium, or dimensions of the resource Anthology Language A language of the resource English Type The nature or genre of the resource Book incarceration PIC prison reform Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource First Testosterone Shot !! Description An account of the resource Chella Man is a nineteen-year-old artist and YouTuber who has risen to popularity on Instagram, where he has over twenty thousand followers. He describes his gender as being “genderqueer mentally, and FTM physically”, and he is currently taking undergoing hormone replacement therapy and pursuing top surgery. His art ranges from fashion pieces to paintings, and has been likened to the work of Jean-Michel Basquiat. His series of photographs, entitled “Lines of Dysphoria” was recently featured on them.us, a new LGBT pop culture website. In the video “First Shot of Testosterone !!,” published on his YouTube channel in June, viewers witness Chella Man starting hormone therapy by self-injecting testosterone into his stomach. The video has thousands of views. In the video, Chella is accompanied by his girlfriend, MaryV Benoit, a photographer and artist, who takes pictures of him during the shot, and his mother, who teaches him how to self-inject. While this video follows a common trend among trans YouTube communities, sharing testosterone shots and testosterone updates, the video strays from the norm of these videos in many ways. While many popular transmasculine YouTubers are white and trans men, Chella instead represents a genderqueer and POC transition. Since media lacks representation of genderqueer or non-binary people following a medical transition path, this depiction of transition is particularly valuable. Chella is also deaf, with Cochlear implants, and throughout the video, you can see him using American Sign Language. In his other videos, he talks about the ways that being deaf has impacted his trans identity and his transition. In one video, he talks about how when he puts on his Cochlear implants, he hears his voice dropping. While Chella does still hold relative amounts of privilege in comparison to many other trans people, his videos and photographs have diversified the normative Instagram and YouTube transmasculine community. Creator An entity primarily responsible for making the resource Man, Chella Source A related resource from which the described resource is derived <iframe width="560" height="315" src="https://www.youtube.com/embed/8Qv8oiX-4p4" frameborder="0" allowfullscreen=""></iframe> Publisher An entity responsible for making the resource available Chella Man, YouTube Date A point or period of time associated with an event in the lifecycle of the resource June 30th, 2017 Contributor An entity responsible for making contributions to the resource Olivia Millar Format The file format, physical medium, or dimensions of the resource Moving Image Language A language of the resource English, American Sign Language Type The nature or genre of the resource Video Asian American deaf ftm genderqueer HRT medical transition mixed race nonbinary poc testosterone transgender creator transmasculine https://transcultural.oberlincollegelibrary.org/files/original/f5844041ecb47ab017b81fb1ee5fedae.jpg afdce7871b4ff9d041c7386f7b388cd9 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Freakboy Subject The topic of the resource A YA novel written in verse telling the story of three young people who explore gender identity and sexuality in different ways. Creator An entity primarily responsible for making the resource Clark, Kristen Publisher An entity responsible for making the resource available Farrar Straus Giroux Books for Young Readers Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Burger, Nia Rights Information about rights held in and over the resource Copyright 2013 by Kristen Elizabeth Clark. All rights reserved. Format The file format, physical medium, or dimensions of the resource Book Language A language of the resource English Description An account of the resource Freakboy is a novel written in verse meant to engage with young adult readers. The format works to highlight the differences between the three characters as well as to convey tone and inner thought processes. For example, at times when Brendan’s thoughts are very active and he is anxious about his gender identity, the word “transsexual” is printed haphazardly throughout several pages of the book in large, bold font. This use of formatting helps the reader to “get inside” the character's head. Each character in the book has their own font and they trade off narrating the story of Freakboy. At times, these passages read almost as journal entries from each character, detailing their days. The author of Freakboy is a white cisgender woman who has a genderqueer child. Clark talks about her positionality in a FAQ style piece published on tumlr.com where she asks “who am I to be telling this story?” I think Clark’s reflexivity is crucial to the placement of this book in a transgender cultural archive. She goes on to explain that she asked questions along the way and wrote it with her child looking over her shoulder. Doing your research, so to speak, is is crucial to writing about people who are different than you, especially when those differences are marginalized. Equally important is the author’s note that acknowledges the diversity and number of “trans stories” making it clear that she is not trying to tell the trans story or to have this book speak for all trans identities. Clark doesn’t do such a good job at “doing the research” when it comes to race and racial descriptions of the characters. One character Angel, is coded as Latinx/Black with the language used in her sections of the book. One example is the use of the word “Girl” during Angel’s section when it feels like Clark is trying to index Blackness through casual language rather than examining how racial identity affects Angel’s life and experiences. Some of this could be read as Clark trying to code Angel as “mature” or older than Brendan and Vanessa, but Clark’s intentions still remain questionable. Further, the racial coding of Brendan and Vanessa seems non existent (read: white) leading me to believe that Angel was intentionally coded as non-white. Clark would have benefitted from researching the language surrounding characters of color and paying closer attention to the ways she is consciously and/or subconsciously coding her characters. cisgender author young adult https://transcultural.oberlincollegelibrary.org/files/original/7aff31efece47f0838c3143122b39681.jpg 572b5681093dfb3712cb7b1bbe49c3b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kumu Hina Description An account of the resource “Kumu Hina” is a documentary film that tells the story of Hina Wong-Kalu, a native Hawaiian mahu, or third gender person. This documentary came out in 2014 and was co-directed by Dean Hamer and Joe Wilson, two cis white Americans. While the directors shared no identity with the topic of the film, they brought on both Connie M Florez as a co-producer and Leonelle Akana as an advisor to the film, two women of color with cultural connections to Hawaii. Throughout the documentary, Hina is shown as an honored kumu, or teacher, cultural practitioner, and community leader. She is especially depicted as a mentor to Hoʻonani Kamai, a young mahu, who becomes the leader of an all male hula troupe, despite being assigned female at birth. Both Hina and Ho’onani talk extensively about their life “in the middle,” and Hina teaches her students about the cultural significance of mahu identity, almost wiped out with colonization. Throughout the documentary, Hina also longs for a loving, committed relationship, despite her status as mahu. This documentary explores themes of colonialization, love and relationships, and transgender/mahu/”in the middle” gender identities. Creator An entity primarily responsible for making the resource Hamer, Dean Wilson, Joe Publisher An entity responsible for making the resource available Qwaves and Independent Television Service in association with Pacific Islanders in Communications Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Olivia Millar Format The file format, physical medium, or dimensions of the resource Moving Image Language A language of the resource English, Hawaiian, Tongan Type The nature or genre of the resource Video colonization mahu nonbinary poc third gender https://transcultural.oberlincollegelibrary.org/files/original/e0acb34a001974261029bc72b008452f.jpg 255158c39b22e8fabba76467cbc85dca Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nancy Subject The topic of the resource LGBTQ+ community conversations Description An account of the resource Nancy is a seasonal, weekly podcast that started in April 2017 and is ongoing. It is co-hosted and co-managed/edited by Kathy Tu and Tobin Low, and is produced by Matt Collette. All three of these main production team members identify as queer, making this a podcast by and for the LGBTQ+ community. The podcast is currently in its second season of production, with its first season being a mixed bag of frank conversations about LGBTQ+ topics with people in the community. Its second season is focused upon the concept of “being out,” specifically in a work environment, but also in the context of family, friends, and the public. This podcast is mostly funded by donor support from listener membership. Nancy is produced by WNYC Studios, which boasts on its website the headline, “Reinventing audio for a new generation of listeners around the world.” Podcasts have revolutionized the way individuals engage with a variety of identities and experiences. Nancy is important to the LGBTQ+ community in that it broadcasts such a variety of personal narratives to inform and connect individuals in their daily struggles. With over a third of its episodes featuring interviews with trans individuals (several of whom are non-binary), Nancy is important specifically to the trans community. So often trans people are portrayed as deviants in terms of tropes that are set up by Westernized cisgender ideals of a binary gender construct, but this podcast serves to deconstruct these derogatory representations and add nuance to the interviewees’ experiences and lives. Other issues and frank conversations additionally tackled by this podcast include LGBTQ+ representation in the media; asexuality; race; disability; HIV/AIDS; coming out; LGBTQ+ history; policies, rights, and discrimination; butch identities; Harry Potter (and the “gay Dumbledore” debate); gay republicans; sex education; racism in queer communities; trauma; relationships; trans healthcare; performance; and more. Creator An entity primarily responsible for making the resource Low, Tobin (Co-Host, Co-Managing Editor) Tu, Kathy (Co-Host, Co-Managing Editor) Collette, Matt (Producer) Lawton, Jenny (Senior Editor) Bloom, Jeremy (Sound Designer) Publisher An entity responsible for making the resource available WNYC Studios Date A point or period of time associated with an event in the lifecycle of the resource 2017 - Contributor An entity responsible for making contributions to the resource Boughton, Peyton Format The file format, physical medium, or dimensions of the resource Audio Language A language of the resource English Type The nature or genre of the resource Podcast Source A related resource from which the described resource is derived <a href="http://www.wnyc.org/shows/nancy" target="_blank">Nancy Website</a> https://transcultural.oberlincollegelibrary.org/files/original/abdf56300a1dd076666c864346adbeb2.jpg ddded32582daaf1efa99cde0f8fb0e72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nevada Description An account of the resource Imogen Binnie’s 2013 novel, Nevada, is a dark comedy that follows Maria Griffiths, a 29 year old transwoman living in New York who begrudgingly navigates the impending doom of her relationship, unemployment, identity politics and queerness. Binnie utilizes an inner monologue form, where the text is mostly comprised of Maria’s internal thought processes and reflections, dotted with the perspectives of those Maria interacts with, such as an ex lover and new acquaintance. While Binnie’s protagonist, or antagonist as some readers have noted, is trans, the novel does not follow the tropes so often seen in books, movies, and other forms of pop culture centered around trans characters. It doesn’t focus solely on transition or a singular transition, but rather paints Maria as a three dimensional human whose transness extends far beyond that timeline. Through this fictional approach, Binnie demonstrates the complexity of Maria’s identity, and shows that transness is not truncated and dictated solely by medical transition. She shows that transness is more complicated and dynamic than that, and that characters can be trans but also full fledged human beings. Binnie captures the intricacies of pain and how engaging with one’s issues intellectually is often a coping mechanism used by those who need to distance themselves from internal agony. Maria is a self-sabotaging trainwreck who screws everything up, but simultaneously manages to draw empathy from readers. She is equal parts exasperating and endearing, where so many of her actions and comments are relatable. Creator An entity primarily responsible for making the resource Binnie, Imogen Publisher An entity responsible for making the resource available Topside Press Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Anya Katz Format The file format, physical medium, or dimensions of the resource Text Language A language of the resource English Type The nature or genre of the resource Book addiction transfeminine