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  • “Queer Wales” with Emily Garside

    “Queer Wales” with Emily Garside
    2026/07/07
    From popstars to rugby players, this episode has all the Welsh queer icons you could want. Emily Garside teaches me about H from Steps, Russel T. Davies, the Ladies of Llangollen and so many other fascinating LGBTQIA+ people from Wales. We talk about whether wondering if you’re queer enough is similar to wondering if you’re Welsh enough and how the prejudice against ‘sounding gay’ relates to sounding Welsh.

    Books by Emily Garside:
    Rainbow Wales: Queer Icons Past and Present (Calon, May 2026)
    Out of the Box: Queer TV through the Decades (Manchester University Press, January 2027)
    Gay Aliens and Queer Folks: How Russell T Davies Changed TV (Calon, 2023)
    Seasons of Love: Why Rent Matters (Applause)
    You Are My Happy Ending: Schitt’s Creek and the Legacy of Queer TV (Applause)
    Angels in America at the British National Theatre (McFarland)
    Love that Journey for me: The Queer Revolution of Schitt’s Creek (404 Ink)

    Other References:
    Russel T Davies
    Ladies of Llangollen
    Edward II.
    Piers Gaveston
    Steps
    Ian ‘H’ Watkins
    Elliot Page
    Luke Evans
    Eisteddfod
    Cymru
    Marquess of Anglesey
    Viscount Tredegar
    Norena Shopland
    Jan Morris’ Conundrum
    Ivor Novello
    Colin Jackson
    Connie Orff
    Alun Saunders
    Natha Wyburn
    Queer As Folk
    It’s A Sin
    Lisa Power
    Section 28
    @emigarside (IG)
    https://thenerdynotebook.substack.com/
    https://emilygarside.com/
    Surrey Rainbow Choir
    https://www.rainbowchoir.co.uk/

    Questions you should be able to respond to after listening:
    1. Is there such a thing as a cohesive Welsh queer identity? What are Emily’s thoughts on this and what is her approach?
    2. Emily speaks about parallels between attitudes towards Welsh and queer identities. Which one does she discuss? Is there a facet of your identity that feels similar yet different from your queerness?
    3. What is an eisteddfod? Please look it up if you’re not familiar because we forgot to explain the term in the episode.
    4. Have you ever askes yourself whether you are queer or trans enough? How do we speak about this question in this episode?
    5. Who was your favourite person to learn about in the episode?
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    44 分
  • “A Black Queer History” with C. Riley Snorton and Darius Bost

    “A Black Queer History” with C. Riley Snorton and Darius Bost
    2026/06/22
    If you have not read A Black Queer History of the United States yet, you are so lucky to have this fantastic book in your future! And lucky for me that this is also an excellent opportunity to speak to two dream guests: C. Riley Snorton and Darius Bost speak about gender trouble in the Black queer archives, how Black and queer histories need to be thought together and why grounding oneself in community is part of what it means to survive.

    References:
    C. Riley Snorton and Darius Bost’s A Black Queer History of the United States (2026)
    C. Riley Snorton’s Nobody is Supposed to Know: Black Sexuality on the Down Low (U of Minnesota Press, 2014)
    C. Riley Snorton’s Black on Both Sides: A Racial History of Trans Identity (U of Minnesota Press, 2017)
    Darius Bost’s Evidence of Being: The Black Gay Cultural Renaissance and the Politics of Violence (U of Chicago Press, 2019)
    Cathy J. Cohen “Deviance as Resistance: A New Research Agenda for the Study of Black Politics” (2014)
    William Cathay/Cathay Williams
    Phil Black
    The Funmakers Ball
    Cheryl Dunye’s The Watermelon Woman
    Erica R. Edwards
    Marsha P. Johnson
    Street Transvestite Action Revolutionaries (STAR)
    Combahee River Collective
    National Black Justice Coalition
    “Black Lesbian Thought” with Briona Simone Jones
    @c.rileysnorton
    dbost@uic.edu
    @windycitybq
    Saul Williams and Anisia Uzeyman’s Neptune Frost
    Jellicle Ball
    Essex Hemphill’s Ceremonies: Prose and Poetry

    Questions you should be able to respond to after listening:
    1. Why do Black and queer history need to be thought of together? How are they sometimes separated?
    2. Darius speaks about the book having two parts. What is each about?
    3. Riley speaks about gender and sexual deviance as forms of survival or escape. What does this mean? Can you name an example?
    4. What does Darius say about the relationship between civil rights ideology and non-normative gender?
    5. Why is it important to speak about collectives as well as individuals when engaging with Black queer history?
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    43 分
  • “Rainbow Trap” with Kevin Guyan

    “Rainbow Trap” with Kevin Guyan
    2026/06/09
    Who designs the rules of inclusion? Kevin Guyan has given a lot of thought to this question in his excellent book Rainbow Trap, which thinks through the many categories that fall under the rainbow umbrella and how they might include, exclude, limit, and even harm the people they are supposed to benefit. Listen now to learn more about why our future might hold fewer boxes to tick and how we can break boundaries to get there.

    References:
    Kevin Guyan’s Rainbow Trap: Queer Lives, Classifications and the Dangers of Inclusion (2025)
    Kevin Guyan’s Queer Data: Using Gender, Sex and Sexuality Data for Action (2022)
    https://kevinguyan.com/
    @kevin.guyan on Instagram (https://www.instagram.com/kevin.guyan/)
    kguyan on LinkedIn (https://www.linkedin.com/in/kguyan/)
    Gender Recognition Reform Bill
    Gender Recognition Act
    Kit Heyam
    Geoffrey Bowker and Susan Leigh Star – in particular, Sorting Things Out: Classification and Its Consequences (1999)
    Ian Hacking
    Looping effect
    Sara Ahmed – in particular, On Being Included: Racism and Diversity in Institutional Life (2012)
    A Black Queer History of the United States (2026, C. Riley Snorton and Darius Bost)
    Gender and Sexuality Data Lab (https://gensexdatalab.com/)
    Queer Data Showcase
    Mystika Glamoor
    Dean Spade’s Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law (2011)

    Questions you should be able to respond to after listening:
    1. What is a rainbow trap? Have you ever been trapped in one?
    2. Kevin speaks about ‘the dark sides of being included’. What does this mean? Have you experienced this form of categorisation?
    3. What does Kevin think about in the chapter on health and fitness?
    4. How are labels multidirectional? What are ‘looping effects’ in this context?
    5. What is a box breaker? Are you one?
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    47 分
  • “The Dinner Party” with Cat Fitzpatrick

    “The Dinner Party” with Cat Fitzpatrick
    2026/05/25
    We’re all still here, still ready to love, and to build community with trans books! In this extremely fun conversation, Cat Fitzpatrick talks about her poetry, her work with Little Puss Press, and a person called Crabstick. If you are wondering how all these things can go together and if you want to hear a fantastic poet speak about her favourite lyric forms as well as her favourite forms of activism, this episode is for you.

    References:
    Cat Fitzpatrick’s The Dinner Party (Seven Stories Press, 2026)
    Little Puss Press
    Cat Fitzpatrick’s The Call-Out
    Cat Fitzpatrick’s Glamourpuss
    Meanwhile, Elsewhere (edited by Cat Fitzpatrick and Casey Plett)
    https://www.catfitzpatrick.net/
    @intermittentcat
    Chiara Pellegrini
    The Earl of Rochester
    “A Letter from Artemesia in the Town to Chloe in the Country”
    Richard Barnfield
    Uxorious
    Virgil
    Aphra Behn
    Gwen Aube’s Missed Connections with Tall Girls
    Violet Allen’s Plastic, Prism, Void
    Sybil Lamb’s I’ve Got a Time Bomb
    Jeanne Thornton’s A/S/L
    Shola von Reinhold’s Lote
    Imogen Binnie’s Nevada
    Sophia Dahlin’s Glove Money
    Futurepoems
    Joss Barton's Goodbye to a Dream Believed

    Questions you should be able to respond to after listening:
    1. Cat and I speak about several poetic forms in this episode. What is Cat’s take on poetic form and the patriarchy? What is yours?
    2. Which kinds of love do we speak about in the episode?
    3. Cat describes part of her writing process as “I hold on to my feelings until I can make use of them.” Can you relate to this?
    4. What does Cat mean when she talks about books as time capsules?
    5. How can literature help us build community and engage with trans rights?
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    46 分
  • “What A Girl Wants” with Roxy Bourdillon

    “What A Girl Wants” with Roxy Bourdillon
    2026/05/12
    If you want to know what Roxy wants, this episode is a great place to start. Diva’s fabulous editor in chief joins us for a chat about her lovely memoir What A Girl Wants, which is just as heartwarming, insightful and fun as the author herself. Roxy and I speak about femme invisibility, queer timelines, body image and lesbian breakups. Not one to be missed.

    References:
    DIVA
    Out and Wild
    Zoe Berryman
    Caitlin Moran
    Dolly Alderton
    Ann Bannon’s I Am A Woman (1959)
    The Beebo Brinker Chronicles
    Carol
    Cate Blanchett
    Patricia Highsmith’s The Price of Salt

    Questions you should be able to respond to after listening:
    1. Roxy’s book regularly employs direct address of the reader. What does Roxy say about this? Why was this formal feature important for writing this book?
    2. Roxy and I speak about queered timelines. What do we suggest and what do you think about this topic?
    3. How does Roxy speak about approaching chronology and structure in memoir?
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    48 分
  • “Neopronouns and It Pronouns” with Teagan Bradway (Queer Forms and Pronouns Series)

    “Neopronouns and It Pronouns” with Teagan Bradway (Queer Forms and Pronouns Series)
    2026/04/28
    The final episode of the Queer Forms and Pronouns series got a bit more personal than I expected. The incredible Teagan Bradway and I speak about misgendering ourselves, giving the gift of language to our loved ones and why not just the function but also the beauty of gender-nonconformity pronouns is politically and personally significant. We speak about my anxieties about it pronouns and how this plays out in different genres from speculative fiction to memoir. Teagan’s insights into narrative agency and pronominal shifts are incredibly helpful in taking one last deep dive into the world of pronouns.

    This conversation is part of a miniseries that accompanies my book Queer Forms and Pronouns: Gender Nonconformity in Anglophone Literature (Oxford University Press, 2026). I hope you like hearing more from your host, but not to worry: we will be back to our usual format after this one.

    References:
    Bradway, Teagan. "Queer Narrative Theory and the Relationality of Form." PMLA 136.5 (2021): 711-727.
    Bradway, Teagan, and Elizabeth Freeman, eds. Queer Kinship: Race, Sex, Belonging, Form. Duke University Press, 2022.
    Bradway, Teagan. "Introduction: Queer Metarelationality." differences 35.3 (2024): 1-13.
    Bradway, Teagan. "Queer Formalism." The Palgrave Handbook of Feminist, Queer and Trans* Narrative Studies. Palgrave, 2025. 95-109.
    https://teaganbradway.com/
    Les Feinberg
    Torrey Peters’ Stag Dance
    Becky Chambers’ Monk and Robot
    Octavia Butler’s Lilith’s Brood
    Maia Kobabe’s Gender Queer
    Diane Watt
    Jack Halberstam
    Dana Luciano
    Mel Y. Chen
    Spivak pronouns (E/em/eir)
    Isaac Fellman
    Andrea Gibson
    Hekanaho, Laura. "A thematic analysis of attitudes towards English nonbinary pronouns." Journal of Language and Sexuality 11.2 (2022): 190-216.
    Mattheis, Lena. "Nonbinary Narration." The Palgrave Handbook of Feminist, Queer and Trans* Narrative Studies. Palgrave, 2025. 25-39.
    Vera Nuenning
    Corinna Assmann

    Questions you should be able to respond to after listening:
    1. What does narrative agency have to do with pronouns? How might narrative point of view affect pronouns?
    2. Why do we discuss genre? What could the implications of discussing pronouns in speculative fiction be?
    3. How can ‘it’ pronouns allow us to think about gender, personhood and humanness?
    4. What are Spivak pronouns? You may want to look this up as we only mention them very briefly.
    5. What do Lena and Teagan think about mispronouning?
    6. Why do we speak about pronouns as a gift that is not always easy to give? How do you feel about sharing your pronouns or learning someone else’s?
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    54 分
  • “Pronouns in Two-Spirit Literature” with Jas Morgan (Queer Forms and Pronouns Series)

    “Pronouns in Two-Spirit Literature” with Jas Morgan (Queer Forms and Pronouns Series)
    2026/04/14
    The fantastic Jas Morgan is back for a conversation about pronouns in Two-Spirit literature! We think about how kinship is reflected in language, what role pronouns take on in translation and how they can easily be misunderstood, especially when working across cultures and languages. Our conversation is based on a dialogic chapter of Queer Forms and Pronouns, which I co-wrote with Kai Minosh Pyle.

    This conversation is part of a miniseries that accompanies my book Queer Forms and Pronouns: Gender Nonconformity in Anglophone Literature (Oxford University Press, 2026). I hope you like hearing more from your host, but not to worry: we will be back to our usual format in just a few weeks.

    References:
    Kai Minosh Pyle
    Jas Morgan’s “My Pronouns are Kiy/Kin”
    https://web.archive.org/web/20210416065231/https://aabitagiizhig.com/2016/05/13/red-rising-my-pronouns-are-kiy-kin/
    Jas Morgan’s nîtisânak
    Riot Grrrl
    Robin Wall Kimmerer
    Wahkohtowin
    Joshua Whitehead’s “A Queer Geography of Woundings”
    Billy-Ray Belcourt
    Lambda Literary Awards
    Kin (web series)
    Justin Ducharme
    Aalayna
    Ta’Kaiya Blaney
    https://jasmorgan.com/2020/10/25/sewing-circle-kin-web-series/
    @notvanishing (IG)

    Questions you should be able to respond to after listening:
    1. Why might pronouns work differently in Two-Spirit literature?
    2. What do pronouns have to do with kinship?
    3. How are pronouns connected to animacy?
    4. We speak about pronouns in translation between languages that attach gendered notions to them or not. How might this affect communication? Are pronouns gendered in your favourite language?
    5. What does Jas mean by ‘I am not a metaphor’?
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    41 分
  • “Mixing Pronouns” with Sue Lanser (Queer Forms and Pronouns Series)

    “Mixing Pronouns” with Sue Lanser (Queer Forms and Pronouns Series)
    2026/03/31
    Come along for a deep dive into mixed pronouns in queer, trans and nonbinary narratives with none other than Sue Lanser, your favourite narratologist’s favourite narratologist. Sue and I talk about why we might need to rethink the concept of gender disguise narratives, where we find mixed pronouns in literary histories and why mixed pronouns often become sensual in literature. My favourite bit: Sue asks me about my personal hero, the Grinch.

    This conversation is part of a miniseries that accompanies my book Queer Forms and Pronouns: Gender Nonconformity in Anglophone Literature (Oxford University Press, 2026). I hope you like hearing more from your host, but not to worry: we will be back to our usual format in just a few weeks.

    References
    Sue Lanser’s The Sexuality of History
    Sue Lanser’s Narrative Theory Unbound
    Sue Lanser’s “Trans-forming Narratology” Narrative 32.2 (2024)
    Jeanette Winterson’s Written on the Body
    Le Roman de Silence
    Michel de Montaigne’s Journal de Voyage
    Margaret Cavendish’s Assaulted and Pursued Chastity
    Lyly’s Galatea
    Chevalièr(e) d’Éon
    Alex Myers’ Revolutionary
    Deborah Samson
    Jenny Fran Davis’ Dykette
    Isaac Fellman’s Dead Collections
    Spiel, Katta, Os Keyes, and Pınar Barlas. 2019. ‘Patching Gender: Non-Binary Utopias in HCI’. Extended Abstracts of the 2019 CHI Conference on Human Factors in Computing Systems, May 2, 1–11. https://doi.org/10.1145/3290607.3310425.
    The Grinch
    Dr Seuss
    Jim Carrey
    Benedict Cumberbatch
    Les Feinberg
    Maggie Nelson
    Harry Dodge
    Jen Manion
    Dean Spade

    Questions you should be able to respond to after listening:
    1. What role does narrative agency play in the difference between external and intrinsic pronoun ascription?
    2. Why does Susan suggest that we need to revisit Shakespeare’s and other’s gender disguise narratives?
    3. Susan mentions how characters that are perceived as masculine but use she/her are much more frequently ridiculed than characters viewed as feminine who use he/him. Why do you think that is?
    4. How has feminism expanded what ‘she/her’ can mean?
    5. How does mixing pronouns do similar or different work from singular they?
    6. Why does the Grinch, according to Lena, have big they energy?
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    46 分