Queer Lit

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:
     Is there such a thing as a cohesive Welsh queer identity? What are Emily’s thoughts on this and what is her approach?
     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?
     What is an eisteddfod? Please look it up if you’re not familiar because we forgot to explain the term in the episode.
     Have you ever askes yourself whether you are queer or trans enough? How do we speak about this question in this episode?
     Who was your favourite person to learn about in the episode?

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:
     Why do Black and queer history need to be thought of together? How are they sometimes separated?
     Darius speaks about the book having two parts. What is each about?
     Riley speaks about gender and sexual deviance as forms of survival or escape. What does this mean? Can you name an example?
     What does Darius say about the relationship between civil rights ideology and non-normative gender?
     Why is it important to speak about collectives as well as individuals when engaging with Black queer history?

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:
     What is a rainbow trap? Have you ever been trapped in one?
     Kevin speaks about ‘the dark sides of being included’. What does this mean? Have you experienced this form of categorisation?
     What does Kevin think about in the chapter on health and fitness?
     How are labels multidirectional? What are ‘looping effects’ in this context?
     What is a box breaker? Are you one?

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:
     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?
     Which kinds of love do we speak about in the episode?
     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?
     What does Cat mean when she talks about books as time capsules?
     How can literature help us build community and engage with trans rights?

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:
     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?
     Roxy and I speak about queered timelines. What do we suggest and what do you think about this topic?
     How does Roxy speak about approaching chronology and structure in memoir?