Beebo Brinker

Ann Bannon was designated the “Queen of Lesbian Pulp” for authoring several landmark novels in the ’50s. Unlike many writers of the period, however, Bannon broke through the shame and isolation typically portrayed in lesbian pulps, offering instead characters who embraced their sexuality. With Beebo Brinker, Bannon introduces a butch 17-year-old farm girl newly arrived in Beat-era Greenwich Village.

The classic 1950s love story from the Queen of Lesbian Pulp Fiction, and author of Odd Girl Out, I Am a Woman, Women in the Shadows, Journey to a Woman and Beebo Brinker She was the brain, the sparkle, the gay rebel of the sorority, and wonders of wonders, she chose Laura as her roommate. That was how it began... Suddenly they were alone on an island of forbidden bliss Taking a pseudonym in the interest of privacy, Bannon wrote her first book, Odd Girl Out, as a coming-of-age novel that involved love between college sorority sisters. When an editor singled-out the school-girl romance as her story's most compelling feature, the book was re-written for a lesbian pulp fiction audience. Unlike most pulps, however, Bannon broke with tradition by avoiding sensationalistic plots in favour of emotionally engaged character development. Odd Girl Out enjoyed tremendous success, inspiring other ground-breaking works, most notably Beebo Brinker. “Odd Girl Out begins the saga of Laura, off on her own at college, appallingly shy and terminally polite...Laura meets Beth, whose brash straightforwardness and friendly attitude take the younger woman by storm, leading into an equally stormy affair” Metro Times

THE STORY: Set in pre-Stonewall Greenwich Village, THE BEEBO BRINKER CHRONICLES follows the lives and loves of Laura, Beth and Beebo as they navigate uncharted territories of desire. Beth and Laura, secret lovers in college, went separate ways afte

The classic 1950s love story from the Queen of Lesbian Pulp Fiction, and author of Odd Girl Out, I Am a Woman, Women in the Shadows, Journey to a Woman and Beebo Brinker Would she throw away her entire life on the one wild chance that she might find the lost woman out of her past? Following on from classic novels Odd Girl Out, I am a Woman and Women in the Shadows, Journey to a Woman finds Laura in love among the lesbian bohemia of Greenwich Village. Praise for Ann Bannon “Bannon's books grab you and don't let go” Village Voice “When I was young, Bannon's books let me imagine myself into her New York City neighborhoods of short-haired, dark-eyed butch women and stubborn, tight-lipped secretaries with hearts ready to be broken. Her books come close to the kind of books that had made me feel fatalistic and damned in my youth, but somehow she just managed to sustain a sense of hope. And of course, there was her romantic portrait of the kind of butch woman I idealized. I would have dated Beebo, no question” Dorothy Allison “Called trash by the literary world and pornography by the commercial world, Ann Bannon's books were hidden away on drugstore pulp racks. To pick out the book, carry it to the counter and face the other shoppers and the cashier was tantamount to coming out. But all across the country, lesbians were doing it” Joan Nestle “Little did Bannon know that her stories would become legends, inspiring countless fledgling dykes to flock to the Village, dog-eared copies of her books in hand, to find their own Beebos and Lauras and others who shared the love they dared not name” San Francisco Bay Guardian “Ann Bannon is a pioneer of dyke drama” On Our Backs “Shameless tales of wanton dyke lust are finally unveiled!” Out magazine

Designated the ?Queen of Lesbian Pulp” for her series of landmark novels beginning in 1957, Ann Bannon defined lesbian fiction for the pre-Stonewall generation. Following the release of Cleis Press's new editions of Beebo Brinker and Odd Girl Out, Women in the Shadows finds Laura in love among the lesbian bohemia of Greenwich Village. This edition features a new introduction by the author. ?Sex. Sleaze. Depravity. Oh, the twisted passions of the twilight world of lesbian pulp fiction.” ? Chicago Free Press ?Shameless tales of wanton dyke lust are finally unveiled!” ? Out magazine

Designated the "queen of lesbian pulp fiction" for authoring five landmark novels, Ann Bannon's work defined lesbian fiction for the pre-Stonewall generation. Unlike many writers of the period, however, Bannon broke through the shame and isolation typically portrayed in lesbian pulps, offering instead women characters who embrace their sexuality against great odds. With Beebo Brinker, Bannon introduces the title character, a butch 17-year-old farm girl newly arrived in New York after she is driven from her Wisconsin home town for wearing drag to the State Fair. Befriended by the gay Jack Mann, a father figure with a weakness for runaways, Beebo sets out to find love. She never knew what she wanted — until she came to Greenwich Village and found the love that smolders in the shadows of the twilight world. The 880-page Beebo Brinker Omnibus includes the novels Beebo Brinker, I Am a Woman, Journey to a Woman, Odd Girl Out, and Women in the Shadows. Sexy, dangerous, and often touching, the paperbacks sold millions. Chronicling the reality of 1950s lesbian life, Beebo Brinker is an astounding and engaging read.

What is it like to “feel historical”? In Foundlings Christopher Nealon analyzes texts produced by American gay men and lesbians in the first half of the twentieth century—poems by Hart Crane, novels by Willa Cather, gay male physique magazines, and lesbian pulp fiction. Nealon brings these diverse works together by highlighting a coming-of-age narrative he calls “foundling”—a term for queer disaffiliation from and desire for family, nation, and history. The young runaways in Cather’s novels, the way critics conflated Crane’s homosexual body with his verse, the suggestive poses and utopian captions of muscle magazines, and Beebo Brinker, the aging butch heroine from Ann Bannon’s pulp novels—all embody for Nealon the uncertain space between two models of lesbian and gay sexuality. The “inversion” model dominant in the first half of the century held that homosexuals are souls of one gender trapped in the body of another, while the more contemporary “ethnic” model refers to the existence of a distinct and collective culture among gay men and lesbians. Nealon’s unique readings, however, reveal a constant movement between these two discursive poles, and not, as is widely theorized, a linear progress from one to the other. This startlingly original study will interest those working on gay and lesbian studies, American literature and culture, and twentieth-century history.

The classic 1950s novel from the Queen of Lesbian Pulp. "For contemporary readers the books offer a valuable record of gay and lesbian life in the 1950s. Most are set in Greenwich Village, and Ms. Bannon's descriptions of bars, clubs and apartment parties vividly evoke a vanished community. Her characters also have historical value. Whereas most lesbians in pulp are stereotypes who get punished for their desires, Beebo and her friends are accessibly human. Their struggles with love and relationships are engrossing today, and half a century ago they were revolutionary." —New York Times "Sex. Sleeze. Depravity. Oh, the twisted passions of the twilight world of lesbian pulp fiction." —Chicago Free Press "Little did Bannon know that her stories would become legends, inspiring countless fledgling dykes to flock to the Village, dog-eared copies of her books in hand, to find their own Beebos and Lauras and others who shared the love they dared not name." —San Francisco Bay Guardian "Ann Bannon is a pioneer of dyke drama." —On Our Backs "When I was young, Bannon's books let me imagine myself into her New York City neighborhoods of short-haired, dark-eyed butch women and stubborn, tight-lipped secretaries with hearts ready to be broken. I would have dated Beebo, no question." —Dorothy Allison "Bannon's books grab you and don't let go." —Village Voice

A Queer Film Classic on the 1992 feature documentary on lesbian experience from the 1940s to the 1960s as seen through the lens of lesbian pulp fiction. This award-winning movie became the most popular ever produced by the National Film Board of Canada, and became emblematic of the bold new queer cinema of the early 1990s. In 2014, the NFB re-released the film in a digitally remastered version. Jean Bruce and Gerda Cammaer are both associate professors in the School of Image Arts at Ryerson University in Toronto.

Noir Affect proposes a new understanding of noir as defined by negative affect. This new understanding emphasizes that noir is, first and foremost, an affective disposition rather than a specific cycle of films or novels associated with a given time period or national tradition. Instead, the essays in Noir Affect trace noir’s negativity as it manifests in different national contexts from the United States to Mexico, France, and Japan and in a range of different media, including films, novels, video games, and manga. The forms of affect associated with noir are resolutely negative: These are narratives centered on loss, sadness, rage, shame, guilt, regret, anxiety, humiliation, resentment, resistance, and refusal. Moreover, noir often asks us to identify with those on the losing end of cultural narratives, especially the criminal, the lost, the compromised, the haunted, the unlucky, the cast-aside, and the erotically “perverse,” including those whose greatest erotic attachment is to death. Drawing on contemporary work in affect theory, while also re-orienting some of its core assumptions to address the resolutely negative affects narrated by noir, Noir Affect is invested in thinking through the material, bodily, social, and political–economic impact of the various forms noir affect takes. If much affect theory asks us to consider affect as a space of possibility and becoming, Noir Affect asks us to consider affect as also a site of repetition, dissolution, redundancy, unmaking, and decay. It also asks us to consider the way in which the affective dimensions of noir enable the staging of various forms of social antagonism, including those associated with racial, gendered, sexual, and economic inequality. Featuring an Afterword by the celebrated noir scholar Paula Rabinowitz and essays by an array of leading scholars, Noir Affect aims to fundamentally re-orient our understanding of noir. Contributors: Alexander Dunst, Sean Grattan, Peter Hitchcock, Justus Nieland, Andrew Pepper, Ignacio Sánchez Prado, Brian Rejack, Pamela Thoma, Kirin Wachter-Grene