Duke University Press - No Tea, No Shade

"No Tea, No Shade’s largest strength is its intimate relationship with its historical and theoretical origins: the text conjures up legends long ignored by white-dominated queer studies, including the Harlem Renaissance performer Gladys Bentley, the drag king MilDred, and Black Lace, a 90s-era erotic magazine by and for African-American lesbians." — Sarah Fonseca, Lambda Literary Review

"The contributors invalidate naysayers who believed black queer studies to be a passing trend and respond to critiques of the field’s early U.S. bias. They look to the past as they point toward the future and move black gay studies forward in new and exciting directions.?" — Amos Lassen, Reviews by Amos Lassen

"Aggressively interdisciplinary. . . . The highlights are many." — Mason Stokes, African American Review

"This anthology captures a sense of daring potential. . . . Cogent and compelling." — Jonathan Ward, European Journal of American Culture

"As the companionate text to Black Queer Studies, No Tea, No Shade demonstrates the vital nature of the concerns that we associate with this new field—the limits of respectability politics, the critical and ecstatic possibilities of sex, the racial, gender, and sexual regulations of the law, the diasporic range of black queer identities and communities, and so on. The sheer breadth of its inquiries signals a field that is alive and evolving." — Roderick A. Ferguson, author of Aberrations in Black: Toward a Queer of Color Critique

"No Tea, No Shade collects writings from some of the most dynamic scholars and activists in black queer studies today. Visionary, and often irreverent, the scholarly essays collected here pose and respond to pressing questions for our times, forging new paths while connecting and diverging with trails previously blazed. It will be of interest to those wishing to chart black queer studies as a knowledge project as well as to those participating in the creation of a queer trans* feminist world." — Kara Keeling, author of The Witch’s Flight: The Cinematic, the Black Femme, and the Image of Common Sense