Gay USA, a weekly news-hour, offers comprehensive news and analysis by and about the LGBTQ community. Linda Chapman and Kate Moira Ryan will tell us why and how they brought her novels to the stage for the first time since they were written 50 years ago.
Ann Bannon will talk about how she went from a Philadelphia housewife to the voice of a generation of women who loved women.
4th St., through October 20 (with the potential for an extension and productions across the country). In the last 20 minutes of this week's show, we bring you Ann Bannon, author of the best-selling lesbian pulp fiction novels of the 1950s and '60s, together with playwrights Linda Chapman and Kate Moira Ryan who adapted her work into a hilarious and compelling new play called "The Beebo Brinker Chronicles" at the Fourth Street Theatre, 83 E. Barney Frank's removal of transgender protections from the federal Employment Non-Discrimination Act, why the US Episcopal bishops have pleased neither gays nor conservatives by standing pat on gay issues in their church, General Peter Pace's condemnation of homosexuality and most heterosexuality, and Jenna Bush's efforts at teaching "tolerance" meet resistance in Jamaica. If we broaden the context for studying Beebo to include other contemporary trans literary genealogies, Bannon’s work becomes integral to understanding the pulp genre’s treatment of transgender themes and the reach of transgender plots and possibilities at midcentury.The US Senate passes the federal hate crimes bill, the uproar over Rep. Further, the essay suggests that Bannon’s series provides a vital intervention in the “case study” framing that dominated both transgender pulp novels and The Well by offering a vision of trans experience that, presented in the romance genre, exists outside medical authority. Revisioning Beebo as a transmasculine character transforms our understanding of an unfolding trans-gender literary tradition, offering a bridge between Hall’s Stephen Gordon and later twentieth-century articulations of transmasculine identity and embodiment. Despite the prominence of Beebo’s masculine identification, and the fact that Bannon draws heavily from Radclyffe Hall’s The Well of Loneliness-now widely read as a transgender text-Beebo has yet to be read as a character that resonates within both the trans and the lesbian literary canons. This essay explores Ann Bannon’s lesbian pulp series “The Beebo Brinker Chronicles” through the lens of trans studies, placing her eponymous hero in conversation with the inversion rhetoric of sexological discourse and the transgender pulp novels that circulated alongside Bannon’s texts in the 1950s and 1960s.
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