[1]
A Conversation With Jeffrey Eugenides - Video - NYTimes.com: http://www.nytimes.com/video/books/1194840219862/a-conversation-with-jeffrey-eugenides.html.
[2]
A Conversation with Middlesex Author Jeffrey Eugenides: http://www.oprah.com/oprahsbookclub/A-Conversation-with-Middlesex-Author-Jeffrey-Eugenides.
[3]
Aldrich, R. 2012. Gay life stories. Thames & Hudson.
[4]
Ali Smith - Jeanette Winterson: http://www.jeanettewinterson.com/journalism/ali-smith/.
[5]
Ali Smith: How I Write - The Daily Beast: http://www.thedailybeast.com/articles/2013/01/23/ali-smith-how-i-write.html.
[6]
Andermahr, S. 2009. Jeanette Winterson. Palgrave Macmillan.
[7]
Andermahr, S. 2007. Jeanette Winterson: a contemporary critical guide. Continuum.
[8]
Armitt, L. interview with Sarah Waters (CWWN conference, University of Wales, Bangor, 22nd April 2006).
[9]
Bechdel, A. 2009. The essential dykes to watch out for. Jonathan Cape.
[10]
Beneath the Surface of the Swimming-Pool Library: http://connection.ebscohost.com/c/interviews/9258679/beneath-surface-swimming-pool-library.
[11]
Bettley, J. and Victoria and Albert Museum 2001. The art of the book: from medieval manuscript to graphic novel. V&A Publications.
[12]
Bijon, B. ‘“Voices under Water”: Jeanette Winterson’s Oranges Are Not the Only Fruit’.
[13]
Brookes, L. 2010. Gay male fiction since Stonewall: ideology, conflict, and aesthetics. Routledge.
[14]
Carregal-Romero, J. Colm Tóibín and Post-Nationalist Ireland: Redefining Family Through Alterity.
[15]
Carroll, R. Retrospective Sex: Rewriting Intersexuality in Jeffrey Eugenides’s Middlesex.
[16]
Carter, K. The Consuming Fruit: Oranges, Demons, and Daughters.
[17]
Chaney, M.A. and ebrary, Inc 2011. Graphic subjects: critical essays on autobiography and graphic novels. University of Wisconsin Press.
[18]
Chute, H.L. 2010. Graphic women: life narrative and contemporary comics. Columbia University Press.
[19]
Ciocia, S. Stefania Ciocia - ‘Queer and Verdant’: The Textual Politics of Sarah Waters’s Neo-Victorian Novels’ (Literary London Journal).
[20]
Cohen, S. ‘The novel in a time of terror: Middlesex, history, and contemporary American fiction.’
[21]
Collins, M. 2012. Hate: my life in the British far right. Biteback.
[22]
Cook, M. et al. 2007. A gay history of Britain: love and sex between men since the Middle Ages. Greenwood World Pub.
[23]
Cooper, B. 1999. Snapshots of Postcolonial Masculinities: Alan Hollinghurst’s The Swimming-Pool Library and Ben Okri’s The Famished Road. The Journal of Commonwealth Literature. 34, 1 (Jan. 1999), 135–157. DOI:https://doi.org/10.1177/002198949903400109.
[24]
Corber, R.J. and Valocchi, S.M. 2003. Queer studies: an interdisciplinary reader. Blackwell.
[25]
Costello-Sullivan, K. 2012. Mother/country: politics of the personal in the fiction of Colm Ti̤bn̕. Peter Lang.
[26]
Cronin, M.G. ‘ He’s My Country’: Liberalism, Nationalism, and Sexuality in Contemporary Irish Gay Fiction.
[27]
Cvetkovich, A. Drawing the Archive in Alison Bechdel’s Fun Home.
[28]
Davies, A. and Sinfield, A. 2000. British culture of the postwar: an introduction to literature and society, 1945-1999. Routledge.
[29]
Delaney, P. 2008. Reading Colm Tóibín. Liffey Press.
[30]
Delaney, P. 2008. Reading Colm Tóibín. Liffey Press.
[31]
Dennis, A. "Ladies in Peril”: Sarah Waters on neo-Victorian narrative celebrations and why she stopped writing about the Victorian era.
[32]
Duberman, M.B. et al. 1991. Hidden from history: reclaiming the gay and lesbian past. Penguin.
[33]
Dukes, T. 1996. ‘“Mappings of Secrecy and Disclosure”’: Journal of Homosexuality. 31, 3 (Sep. 1996), 95–107.
[34]
Eibhear Walshe A Different Story: The Writings of Colm Toibin. Irish Academic Press Ltd; 1 edition (6 May 2013).
[35]
Freedman, A. ‘Drawing on Modernism in Alison Bechdel’s Fun Home.’
[36]
Friberg-Harnesk, H. et al. 2007. Recovering memory: Irish representations of past and present. Cambridge Scholars Pub.
[37]
Gamble, S. 2009. "You cannot impersonate what you are”: Questions of Authenticity in the Neo-Victorian Novel. Lit: Literature Interpretation Theory. 20, 1–2 (Mar. 2009), 126–140.
[38]
Germanà, M. and Horton, E. 2013. Ali Smith. Bloomsbury.
[39]
Germanáa, M. and ebrary, Inc 2010. Scottish women’s gothic and fantastic writing: fiction since 1978. Edinburgh University Press.
[40]
Giffney, N. and O’Rourke, M. 2009. The Ashgate research companion to queer theory. Ashgate.
[41]
Gilmore, L. 2001. The Limits of autobiography: trauma and testimony. Cornell University Press.
[42]
Griffin, G. Lines on lesbian sex: the politics of representing lesbian sex in the age of AIDS.
[43]
Grimshaw, T. ‘Hollinghurst’s The Swimming-Pool Library.’
[44]
Haggerty, G.E. and McGarry, M. 2007. A companion to lesbian, gay, bisexual, transgender, and queer studies. Blackwell.
[45]
Haggerty, G.E. and McGarry, M. 2007. A companion to lesbian, gay, bisexual, transgender, and queer studies. Blackwell.
[46]
Halberstam, J. 2005. In a queer time and place: transgender bodies, subcultural lives. New York University Press.
[47]
Halberstam, J. 2011. The queer art of failure. Duke University Press.
[48]
Hall, D.E. 2003. Queer theories. Palgrave Macmillan.
[49]
Hall, D.E. and ebrary, Inc 2003. Queer theories. Palgrave Macmillan.
[50]
Hall, J. 2012. No straight lines: four decades of queer comics. Fantagraphics.
[51]
Hansen, J.L. Written on the Body, Written by the Senses.
[52]
Harris, A.L. 2000. Other sexes: rewriting difference from Woolf to Winterson. State University of New York Press.
[53]
Harte, L. ‘The endless mutation of the shore’: Colm Tóibín’s marine imaginary.
[54]
Healy, M. 1996. Gay skins: class, masculinity and queer appropriation. Cassell.
[55]
Heilmann, A. and Llewellyn, M. 2007. Metafiction and metahistory in contemporary women’s writing. Palgrave.
[56]
Henstra, S. 2009. The counter-memorial impulse in twentieth-century English fiction. Palgrave Macmillan.
[57]
Hill, R. and Bell, A. 1988. The other face of terror: inside Europe’s neo-Nazi network. Grafton.
[58]
Hoff, M. Winterson’s Written On The Body.
[59]
Hsu, S. ‘Ethnicity and the Biopolitics of Intersex in Jeffrey Eugenides’s Middlesex’.
[60]
Jagose, A. 1996. Queer theory: an introduction. New York University Press.
[61]
Jeanette Winterson, stone gods, oranges are not the only fruit, Jeanette Winterson latest news, Jeanette Winterson journalism, Jeanette Winterson monthly column: http://www.jeanettewinterson.com/.
[62]
Jennings, R. 2007. A lesbian history of Britain: love and sex between women since 1500. Greenwood World Pub.
[63]
Jennings, R. 2007. Tomboys and bachelor girls: a lesbian history of post-war Britain 1945-71. Manchester University Press.
[64]
Jeremiah, E. 2007. ‘The "I” inside "her”’: Queer Narration in Sarah Waters’s and Wesley Stace’s. Women: A Cultural Review. 18, 2 (Aug. 2007), 131–144.
[65]
Johnson, A. 2014. Alan Hollinghurst and the vitality of influence. Palgrave Macmillan.
[66]
Kohlke, M.-L. The Neo-Victorian Sexsation: Literary Excursions into the Nineteenth Century Erotic.
[67]
Kostkowska, J. 2013. Ecocriticism and women writers: environmentalist poetics of Virginia Woolf, Jeanette Winterson, and Ali Smith. Palgrave Macmillan.
[68]
La Bloga: INTERVIEW WITH MYRIAM GURBA: http://labloga.blogspot.co.uk/2007/06/interview-with-myriam-gurba.html.
[69]
Lea, D. and Schoene-Harwood, B. 2003. Posting the male: masculinities in post-war and contemporary British literature. Rodopi.
[70]
Lee, M. Why Jeffrey Eugenides’ Middlesex Is So Inoffensive.
[71]
Lemberg, J. Closing the Gap in Alison Bechdel’s Fun Home.
[72]
[LIT] My Monomania: A Second Interview with Myriam Gurba, Who Got Gay Married Today -: http://lunalunamag.com/2013/12/13/lit-my-monomania-a-second-interview-with-myriam-gurba-who-got-gay-married-today/.
[73]
MARIACONCETTA COSTANTINI 2006. ‘Faux-Victorian Melodrama’ in the New Millennium: The Case of Sarah Waters. Critical Survey. 18, 1 (2006), 17–39.
[74]
Mitchell, K. 2010. History and cultural memory in neo-Victorian fiction: Victorian afterimages. Palgrave Macmillan.
[75]
Mitchell, K. ed. 2013. Sarah Waters: contemporary critical perspectives. Bloomsbury Academic.
[76]
Murphy, J.S. Past Irony: Trauma and the Historical Turn in Fragments and The Swimming-Pool Library.
[77]
Murphy, R. The politics of rebirth in Colm Tóibín’s ‘Three Friends’ and ‘A Long Winter’.
[78]
Nestle, J. et al. 2002. GenderQueer: voices from beyond the sexual binary. Alyson Books.
[79]
Nicky Crane: The secret double life of a gay neo-Nazi - Searchlight Magazine: http://www.searchlightmagazine.com/news/domestic-news/nicky-crane-the-secret-double-life-of-a-gay-neo-nazi.
[80]
Noakes, J. and Reynolds, M. 2003. Jeanette Winterson: Oranges are not the only fruit ; The Passion ; Sexing the cherry ; The powerbook. Vintage.
[81]
Olivia Banner 2010. "Sing now, O Muse, of the recessive mutation”: Interrogating the Genetic Discourse of Sex Variation with Jeffrey Eugenides’ Middlesex. Signs. 35, 4 (2010), 843–867.
[82]
Onega Jaâen, S. and ebrary, Inc 2006. Jeanette Winterson. Manchester University Press.
[83]
Palmer, P. 2008. ‘She began to show me the words she had written, one by one’: 1 Lesbian Reading and Writing Practices in the Fiction of Sarah Waters. Women: A Cultural Review. 19, 1 (Apr. 2008), 69–86.
[84]
Paris Review - The Art of Fiction No. 214, Alan Hollinghurst: http://www.theparisreview.org/interviews/6116/the-art-of-fiction-no-214-alan-hollinghurst.
[85]
Phelan, S. 1997. Playing with fire: queer politics, queer theories. Routledge.
[86]
Powells.com From the Author - Myriam Gurba - Powell’s Books: http://www.powells.com/essays/gurba.html.
[87]
Ranger, H.A. AN INTERTEXTUAL ANALYSIS OF THE NOVEL GIRL MEETS BOY AND THE USE OF FEMINIST AND QUEER THEORY BY ALI SMITH IN HER RECEPTION OF THE TALE OF IPHIS FROM OVID’S METAMORPHOSES (9.666-797).
[88]
Rubinson, G.J. ‘Body languages: scientific and aesthetic discourses in Jeanette Winterson’s Written on the Body.’
[89]
Sabin, R. 1996. Comics, comix & graphic novels. Phaidon.
[90]
Saxey, E. 2008. Homoplot: the coming-out story and gay, lesbian and bisexual identity. Peter Lang.
[91]
Sedgwick, E.K. 2008. Epistemology of the closet. University of California Press.
[92]
Shiffer, C. ‘“You see, I am no stranger to love”: Jeanette Winterson and the extasy of the word.’
[93]
Shostak, D. "Theory Uncompromised by Practicality”: Hybridity in Jeffrey Eugenides’ Middlesex.
[94]
Shute, H. An Interview with Alison Bechdel.
[95]
Sinfield, A. 1994. Cultural politics - queer reading. Routledge.
[96]
Sinfield, A. 1997. Stephen Spender’s bit of rough: Some arguments about art, AIDS, and subculture. European Journal of English Studies. 1, 1 (Apr. 1997), 56–72.
[97]
SMITH, A. 2010. All there is: an interview about the short story. Critical Quarterly. 52, 2 (Aug. 2010), 66–82. DOI:https://doi.org/10.1111/j.1467-8705.2010.01942.x.
[98]
Smith, C. Ali Smith interviewed by Caroline Smith.
[99]
Stevens, H. 2011. The Cambridge companion to gay and lesbian writing. Cambridge University Press.
[100]
Still, J. and Worton, M. 1993. Textuality and sexuality: reading theories and practices. Manchester University Press.
[101]
Sycamore, M.B. 2008. That’s revolting!: queer strategies for resisting assimilation. Soft Skull Press.
[102]
The Quietus | Features | Tome On The Range | The Art Of Conversation: Ali Smith Interviewed: http://thequietus.com/articles/10705-ali-smith-artful-interview.
[103]
Turner, W.B. 2000. A Genealogy of queer theory. Temple University Press.
[104]
uncarved.org blog » Blog Archive » The Strange Case of Nicola Vincenzio Crane: http://www.uncarved.org/blog/2004/12/the-strange-case-of-nicola-vincenzio-crane/.
[105]
Wallace, D. 2008. The woman’s historical novel: British women writers, 1900-2000. Palgrave Macmillan.
[106]
Walshe, E. QUEERING HISTORY; CONTEMPORARY IRISH LESBIAN AND GAY WRITING.
[107]
Walshe, E. The Vanishing Homoerotic: Colm Tóibín’s Gay Fictions.
[108]
Warhol, R. ‘The space between: a narrative approach to Alison Bechdel’s Fun Home.’
[109]
Wiesenfarth, J. An Interview with Colm Toibin.
[110]
WILSON, C.A. 2006. From the Drawing Room to the Stage: Performing Sexuality in Sarah Waters’s. Women’s Studies. 35, 3 (May 2006), 285–305.
[111]
Winterson, J. 1996. Art objects: essays on ecstasy and effrontery. Vintage.
[112]
Wolk, D. 2007. Reading comics: how graphic novels work and what they mean. Da Capo Press.
[113]
Womack, K. and Mallory-Kani, A. "Why don’t you just leave it up to nature?”: An Adaptationist Reading of the Novels of Jeffrey Eugenides.
[114]
Wood, R. "Walking and Watching” in Queer London: Sarah Waters’ Tipping the Velvet and The Night Watch.
[115]
Woods, T. et al. 1998. ‘I’m Telling You Stories’: Jeanette Winterson and the Politics of Reading. Rodopi B.V.Editions.
[116]
Yates, L. "But it’s only a novel, Dorian”: Neo-Victorian Fiction and the Process of Re-Vision.
[117]
Yebra, J.Y. The Interstitial Status of Irish Gayness in Colm Tóibín’s The Blackwater Lightship and The Master.
[118]
Zunshine, L. What to expect when you pick up a graphic novel.
[119]
16AD. Alison Bechdel - Creating ‘Fun Home: A Family Tragicomic’.
[120]
Queering genre: Alison Bechdel’s Fun Home: a Family Tragicomic and The Essential Dykes to Watch Out for. DOI:https://doi.org/10.1093/cww/vpr015.
[121]
2009. Skinhead OUT! Part 1.
[122]
Something inside: conversations with gay fiction writers. University of Wisconsin Press.
[123]
Something inside: conversations with gay fiction writers. University of Wisconsin Press.