Country Queers: A Love Letter
Rae Garringer
Haymarket Books, 2024, 208 pages
$24.95

Reviewed by Allison Quinlan

Country Queers: A Love Letter is, simply put, a celebration of queer stories. Opening the book and seeing so many familiar interviews from Country Queers oral history project brings back vivid memories of the first time I heard these stories—a feeling I suspect many who followed this project will likely share. The work is stunning visually, with each page showcasing beautiful artwork and photography, but the real heart of the work is the platforming of queer stories. Garringer’s work tenderly immortalizes queer rural lives.

This work commits to a holistic view of queer country life, gracefully balancing stories of joy, community, and love with harsher realities of oppression, isolation, and loss. Garringer reflects on how much queer rural narratives center on suffering, but they beautifully emphasize how queerness is also full of life and celebration and persistence. This duality is interspersed well, and you get a full picture of what it can mean to be a country queer.

“In the beginning of this project, my questions skewed heavily toward asking what issues and challenges rural queer people faced, but many narrators, including Sandra [an interviewee], taught me that those weren’t necessarily the right questions to ask and that our struggles aren’t the only interesting or important things to talk about” (54).

Garringer weaves their journey as an interviewer within the histories and perspectives on queer life in rural or country settings and explores intersecting identities excellently. You feel connected to interviewees on the pages through Garrigner’s commentary alongside transcripts, and these connections only grow as you dive deeper into the book. The structure follows the project’s journey from the start (2013) to the pandemic years (2020 to 2023). Even the process of finding interviews was fun to read about; so many stemmed from connection through queer grapevines. Many queer folks may recognize this phenomenon as a tried-and-true method of connecting. The book does well in recognizing and celebrating diversity in rural queer communities. Themes of life, community, land, and home fill the pages. Accompanying each narrative is an inclusion of Indigenous land acknowledgements.

Country Queers touches on several connected topics—activism, disability, climate change, family, loss, and love. Some of the more moving sections explored the loss the AIDS epidemic brought. Throughout are recollections of how queer community was its own source of strength when facing unimaginable loss or harm. Garringer writes, “rural people often depend on each other to survive, taking care of each other” (95). Threads of survival and joy run through the book, but it doesn’t avoid challenging topics. Further, they write about how rural queers’ stories need to be shared, given that so many elders and histories can be inaccessible or hidden.

“Ninety-plus interviews in, and I can count on one hand how many were elders. . . we have been robbed of access to our rural queer elders through decades of outmigration, through the AIDS epidemic, and through the long country queer survival strategy of silence and secrecy” (49).

This treasure trove of stories connecting us to locations, histories, and communities reveals realities many may be unfamiliar with. It often seems that many view rural spaces as inhospitable for queerness, but this book reminds us otherwise. It’s a love letter, like the title says, not only to the individuals whose stories fill the pages but to rural queer folks everywhere. The book is more than transcriptions of stories—it’s a connective celebration visibilizing queerness.

Whether or not you followed the Country Queers project for ages or you’re just now learning about it, it’s a must-read for anyone interested in queer history and rural life. There are events in 2024 and 2025 across the United States with the author, and you can check them out here if you’d like to learn more. The project is so beautiful in multiple ways. I hope you love this book as much as I do.

Allison Quinlan (they/she) is a queer American from the rural south living in Scotland with their partner. They volunteer as a copyeditor for Sinister Wisdom and manage a non-profit in the UK that supports survivors of abuse.

Queer Power Couples: On Love and Possibility
Hannah Murphy Winter, photographed by Billie Winter
Chronicle Books, 2024, 248 pages
$29.95

Reviewed by Bailey Hosfelt

Journalist Hannah Murphy Winter and photographer Billie Winter explore the power of queer love and the politics of visibility in a collection of in-depth interviews and intimate photography in their new book, Queer Power Couples: On Love and Possibility. A collaborative project by the authors who are also wives, this release is both a visually beautiful art book and a thought-provoking read. It offers readers a glimpse into the rich lives of fourteen queer couples, spotlighting their thriving relationships, varied forms of creative expression, and personal and professional achievements.

Divided into three sections, the book interviews queer power couples, which the authors define as couples who are out, coupled, and able to influence mainstream culture across diverse industries and from different embodied perspectives. The book features famous partnerships such as Mike Hadreas and Alan Wyffels of Perfume Genius, Jenna Gribbon (artist) and Mackenzie Scott (musician known as Torres), Roxane Gay (author) and Debbie Millman (designer), and comic artists Molly Knox Ostertag and ND Stevenson, among others. The book also includes partners with successful careers in other fields, such as fine-dining chefs Samantha Beaird and Aisha Ibrahim, academic scholars Marilee Lindemann and Martha Nell Smith, and influential scientists Barbara Belmont and Rochelle “Shelley” Diamond.

Whereas Murphy Winter’s journalistic work often covers queer pain—namely, the laws, legislatures, and political administrations trying to erase queer people—Queer Power Couples intentionally deviates by centering queer joy and affirmation. As the authors write in the introduction, queer people must often locate queerness in small moments or nuances to find proof that they’re not alone, a process that involves “sifting for scraps” (10). In contrast, Queer Power Couples’ presentation of queerness is neither ephemeral nor implied. Instead, it offers an authentic showcase of queer individuals who are out and proud, spanning various ages, demographics, and lived experiences. By highlighting queer lives and amplifying their visibility, this book and its interview subjects make a crucial contribution to broader LGBTQ+ representation, especially for younger queer readers.

Queer Power Couples certainly spotlights its interviewees’ big wins, such as publishing a book, going on tour, and producing a television series. However, the book’s strengths ultimately lie in its emphasis on the joys in the smaller, everyday moments couples experience together: reading on the couch, walking a dog, or preparing a meal. Through these depictions, the authors celebrate the experiences of building and maintaining a life together, including its mundanities—something queer people often fear will forever remain out of reach.

In each interview, the authors asked couples the same question: Who was the first person you recognized as queer? Despite the same query posed to every couple, each conversation was unique. Insightful reflections emerged on how queerness intersects with other identities—such as female, trans, immigrant, Black, Muslim, Christian, Southerner, and parent—and how interview subjects navigated these aspects of themselves, both in times of conflict and harmony.

Murphy Winter’s journalistic chops draw out stimulating meditations from the interview subjects on what it means to step outside the confines of heteronormativity. Winter’s photography (in both black and white and color) provides tender insight into the couples’ lives and loves. With full-page spreads dedicated to both words and photography, and pages that intersperse or alternate between the two, Queer Power Couples gives equal weight to the visual and written, allowing each medium to shine and interlace with the other.

In addition to Winter’s photography, the work includes self-portraits taken by couples and photos partners took of each other. These provide the work with greater intimacy and highlight the relationship between seeing and being seen. Much like lesbian photographers Joan E. Biren (JEB) and Donna Gottschalk, Winter captures couples’ intimacy and connection by photographing them in physical locations that are part of the world they have built together, establishing increased authenticity in her images.

As a quote from Dr. Ilan Meyer, a researcher at UCLA’s Williams Institute, emphasizes early in the book, “A happy gay couple is, in the context of history, a very revolutionary idea” (21). Queer Power Couples celebrates queer life and love, introducing readers to “a catalog of trails that have already been carved out by queer people who are changing the world in their own way, not in spite of their queerness, but at least, in part, because of it” (246). Queer Power Couples is a resonant read, offering queer readers “more maps, torches, and possible selves” (246), just as its authors hoped it would.

Bailey Hosfelt is a lesbian writer. She recently graduated with a master’s degree in gender and women’s studies from UW–Madison, where she wrote a thesis on Dyke TV and queer activist infrastructure. Previously, Bailey lived in Brooklyn, New York and worked as a journalist for local newspapers. Bailey lives in Chicago with her partner and their two cats, Hilma and Lieutenant Governor.

Difficult Beauty: Rambles, Rants and Intimate Conversations
Lauren Crux
Many Names Press, 2023, 166 pages
$25.00

Reviewed by Marilyn DuHamel

Lauren Crux, a Santa Cruz, California writer and photographer, has recently published a stunning, singular book titled Difficult Beauty: Rambles, Rants and Intimate Conversations. Through the years, I’ve been in awe of her many talents: writer, poet, photographer, and performer.

Lauren’s book came out during a very busy time in my life, but once I had it in my hands, I had to take a peek. Soon, I was reading page after page after page and found myself—sometimes in the course of a single page—chortling, tearing up, raising my eyebrows, putting my hand on my heart, or pausing as I gazed upwards, savoring an unexpected insight. Finally, I had to wrench myself away because I wanted to sink into each ramble. The book is that compelling.

Yet, describing this collection is a challenge because it defies categorization, which is part of what I love about it. I turn to the words of another wonderful writer, Camille T. Dungy, who manages to capture the book’s essence:

“The language here is sheer poetry, but these are not meant to be read as poems. They are tiny letters, photographs, journal entries, “rants and intimate conversations,” all of these together and more. On each candid page, Crux reveals what she sees, how she feels, how she hurts, how she celebrates” (Dungy, October 2021).

The work also has an equally important visual element: each short writing is paired with one of Lauren’s original abstract photographs. She stresses that the images are meant to be in conversation with the writing, not to illustrate it. In the words of the poet Gary Young, “[these are] photographs that neither illustrate, nor make any suggestion as to how the poems should be read—are simply companions on the journey of this moving collection” (Young, October 2021).

Lauren’s style is pithy, provocative, and poignant. It’s funny, irreverent, and heartbreaking. Exploring moments and intervals on either side of the rush, rush, rush of daily life, she claims her ordinariness without fuss. “You know, sometimes it feels good to get out and be a lesbian. And sometimes, it feels equally good to stay at home and be a lesbian” (Ramble #34).

She takes on many topics, ranging from the commonplace (and sometimes goofy) moments of daily life to the times that stun us into silence or fury. For example, when the cancer doctor says to her lover, “If you are done with your breasts have a mastectomy,” (Ramble #47), we not only register horror, but we laugh and cry in these moments. She describes her own sense of momentary helplessness and despair in the face of contemporary geopolitical trauma—“I feel scraped raw” (Ramble #22).

With a humorous and witty gentle touch, Lauren asks us to hold fire and ice simultaneously; she insists on complexity of existence, because, “The heart will understand” (“Life Review,” following Ramble #64).

Lastly, when I have traveled in the past, I never can manage to avoid checking a bag, in part because I take too many books. On this last trip, I was determined to just take a carry-on. I winnowed down my clothing, tossed out the third pair of shoes, and took only one book. Difficult Beauty is what made the cut. Like a well-chosen shirt or pair of pants that work for any occasion, I knew this book would take care of me, whatever my mood, whatever my needs.

Marilyn DuHamel is drawn to wilderness—internal and external—and has worked in forestry and fire look-out towers, then as a psychotherapist for the last three decades. Moved by her experiences of call and response with the more-than-human world, her current book project and her blog, Earth Dialogues, explore connections with the natural world and archetypal realms of dreams and synchronicities. Her writing has appeared in Kosmos Journal, Dark Matter: Women Witnessing, the anthology Second Wind, and blog postings for Native Animal Rescue. She lives outside of Santa Cruz, California, surrounded by old-growth chaparral.