Esther Newton

During her difficult childhood, Esther Newton recalls that she "became an anti-girl, a girl refusenik, caught between genders," and that her "child body was a strong and capable instrument stuffed into the word 'girl.'" Later, in early adulthood, as she was on her way to becoming a trail-blazing figure in gay and lesbian studies, she "had already chosen higher education over the strongest passion in my life, my love for women, because the two seemed incompatible." In this book, Newton tells the compelling, disarming, and at times sexy story of her struggle to write, teach, and find love, all while coming to terms with her identity during a particularly intense time of homophobic persecution in the twentieth century. Newton recounts a series of traumas and conflicts, from being molested as a child to her failed attempts to live a "normal," straight life in high school and college. She discusses being denied tenure at Queens College - despite having written the foundational "Mother Camp" - and nearly again so at SUNY Purchase. With humor and grace, she describes the influence her father Saul's strong masculinity had on her, her introduction to middle-class gay life, and her love affairs - including one with a well-known abstract painter and another with a French academic she met on a spur-of-the-moment trip to Mexico and with whom she traveled throughout France and Switzerland. By age forty, where Newton's narrative ends, she began to achieve personal and scholarly stability in the company of the first politicized generation of out lesbian and gay scholars with whom she helped create gender and sexuality studies.

For two years (1965-1966) anthropologist Newton did field research in the world of drag queens--homosexual men who make a living impersonating women. Newton spent time in the noisy bars, the chaotic dressing rooms, and the cheap apartments and hotels that make up the lives of drag queens, interviewing informants whose trust she had earned and compiling a lively, first-hand ethnographic account of the culture of female impersonators. Mother Camp explores the distinctions that drag queens make among themselves as performers, the various kinds of night clubs and acts they depend on for a living, and the social organization of their work. A major part of the book deals with the symbolic geography of male and female styles, as enacted in the homosexual concept of "drag" (sex role transformation) and "camp," an important humor system cultivated by the drag queens themselves.--From publisher description.

For thousands of gay men and lesbians in America, Cherry Grove -- the oldest continuously inhabited resort on Fire Island -- has meant freedom. Not simply the leisure-time freedoms from work and noise and pollution, but the far rarer freedom to socialize in public without risking a beating, to stroll arm in arm without hesitation, to leave the curtains open without fear -- in short, to live the American dream that was denied to gay men and lesbians on the U.S. mainland. In her rich and detailed cultural history of Cherry Grove, Esther Newton tells for the first time the full story of this unique community, the oldest gay and lesbian town in America.

Margaret Mead Made Me Gay is the intellectual autobiography of cultural anthropologist Esther Newton, a pioneer in gay and lesbian studies. Chronicling the development of her ideas from the excitement of early feminism in the 1960s to friendly critiques of queer theory in the 1990s, this collection covers a range of topics such as why we need more precise sexual vocabularies, why there have been fewer women doing drag than men, and how academia can make itself more hospitable to queers. It brings together such classics as “The Mythic Mannish Lesbian” and “Dick(less) Tracy and the Homecoming Queen” with entirely new work such as “Theater: Gay Anti-Church.” Newton’s provocative essays detail a queer academic career while offering a behind-the-scenes view of academic homophobia. In four sections that correspond to major periods and interests in her life—”Drag and Camp,” “Lesbian-Feminism,” “Butch,” and “Queer Anthropology”—the volume reflects her successful struggle to create a body of work that uses cultural anthropology to better understand gender oppression, early feminism, theatricality and performance, and the sexual and erotic dimensions of fieldwork. Combining personal, theoretical, and ethnographic perspectives, Margaret Mead Made Me Gay also includes photographs from Newton’s personal and professional life. With wise and revealing discussions of the complex relations between experience and philosophy, the personal and the political, and identities and practices, Margaret Mead Made Me Gay is important for anyone interested in the birth and growth of gay and lesbian studies.

Esther Newton's PhD dissertation examined the experiences, social interactions, and culture of drag queens, or (mostly gay-identified) men who dressed and performed as women in various kinds of theatrical settings or as an expression/performance of their sexual identity. Later published in several articles and in 1972 as Mother Camp: Female Impersonators in America, Newton's work represented the first major anthropological study of a homosexual community in the United States, and laid some of the groundwork for theorists such as Judith Butler, who would later explore the performative dimensions of sex and gender roles.

From 1970 through 1972, at the height of the Women's Liberation Movement and the explosive beginning of what would be Lesbian Separatism, Shirley Walton and Esther Newton kept a joint journal, writing separately but in constant conversation with each other. Best friends since college, the two struggled, not always successfully, to keep their different sexual orientations and life choices within the frame of their friendship and feminist sisterhood. Self published, this book is now an intimate historical document of one of the most exciting periods in the twentieth century.