
Ocean Vuong

A Resource for Contemporary GQL Writers, Poets, and Community
Citation: Ceri Louise, Davies, and Ceri Louise Davies. The Breakdown of Gender Binaries: Writing Genders in Contemporary Fiction. 2008.
PhD Thesis. Swansea University. Wales.
Accessed 01/09/2021: ttps://cronfa.swan.ac.uk/Record/cronfa42319
“In Gender Trouble, Judith Butler asked, “[i]s the breakdown of gender binaries … so monstrous, so frightening, that it must be held to be definitionally impossible and heuristically precluded from any effort to think gender?” (Butler, p. 1999, p.viii). Using this question as a starting point, I look at the way that gender is understood and challenged in contemporary fiction. Specifically, I examine novels and short stories that focus on finding one’s place in gender, and the way such narratives write gendered experiences outside of the traditional male/female binary. In the first chapter, I look at females that live as males, exploring various ways of ‘doing’ gender, both on-stage and off, and the creation of cohesive gender identities. Chapter two looks at the way that sex and gender are medicalised. I argue that the male/female binary is protected by both the media and the medical establishment. This expands into a discussion of the way doctors attempt to preserve this binary in the face of increasing challenges to its very viability. In chapter three, I consider novels that focus on a male-to-female transition, as well as what is at stake in writing gender. Finally, I look at the emergence of ‘genderless’ characters, both in terms of the viability of the term ‘genderless’, and the difficulties in finding a suitable language with which to understand and quantify gendered experience.”
A Literary Review:
Critical Articles/Books/Links on Androgyny and Literature
On Ambiguity: The Genderless Narrator
Workshop Outline 2/2019
Sex is biological. Gender is cultural. How do we reflect the difference between the two in our writing? Is it possible or are we so trained to classify each other by gender? I present the idea that unless we know how we are using gendered language unconsciously, we can’t write authentically gender non-conforming narratives.
MY OWN WORK challenges gender expectations. The first question that comes up is who is the narrator? What gender are they? Lucky, in Lucky Shot, and Joey in When No-one’s Looking, are both ungendered narrators, searching for answers as they travel across the States and beyond. Each is running from a troubled past and into new relationships as they struggle to claim a place in the world. Find a sense of belonging. Kirkus Reviews assumed that the protagonists were male: The novels don’t say either way. However, the editors, publishers and professional reviewers had a hard time accepting these perspectives as valid. Androgynous, agender, queer, all of the above, I’m simply being myself, and it comes out in my clothes, relationships, in my lifestyle and yes, in my stories. I write from this outsider perspective as do my characters–what was unconscious is now carefully considered and questioned and I play with ambiguity.
Why do we classify by gender roles? In life and literature?
What do we need as readers to connect with the humanity of the protagonist?
What are our own hidden biases?
Is an ungendered narrative more inclusive?
Does it take the reader out of the story or engage them more?
Who has done it successfully? How?
How do we write a gender neutral story?
An Overview of the craft techniques include:
The presentation is built from a MFA critical thesis as well as examples from recently published poetry, short stories, and essays within the West. There will be short writing exercises to put into practice a few concepts.
COOPER LEE BOMBARDIER navigates his journey to a sense of belonging through art, stories, and performance. The essays take us from a working class childhood in South Shore of Boston to San Francisco, Santa Fe, on tour across the States with Sister Spit, and more recently north to Canada where he calls home. His work has been published in the Kenyon Review, Ninth Letter, CutBank, Nailed Magazine, Longreads, BOMB, and The Rumpus. He has also had essays in numerous anthologies, ones that have garnered a Lambda Literary award, 2018 American Library Association Stonewall Book Awards, and Barbara Gittings Literature Award. The Huffington Post named him one of “10 Transgender Artists Who Are Changing the Landscape of Contemporary Art.”
Pass with Care is his first book, one that takes on his journey into his own physical presence, claiming a body and identity on his own terms. He moves from “A Body Trapped in an Idea of a Body” (p.26) to “Accepting my body as trans helped me see how much I am like other people–not special or different–because in accepting my body I had to accept life and that fact that I was living it” (p199).
It’s beautifully written.
The essays in Pass with Care describe a tomboy childhood, (“I was a tall, awkward pork chop of a girl in boys’ clothes with a thicket of dark hair that hugged my round face like an over-padded helmet” p.17), to becoming a butch dyke in San Francisco of the early 1990s (“dressed up as I tend to get, in my favourite embroidered Western shirt and unwashed 501s, rough as sandpaper, and big black boots worn down in the heels,” p.183) and starting to transition while in Santa Fe during the mid-late 1990s. I remember Cooper hosting spoken word events in town, he was a charmer, a presence, and well-known in our small queer community. Through him, I discovered Sister Spit, Michelle Tea, and Sini Anderson who were on and off tour during those years. In Pass with Care, I learned about a darker side to his sense of community here, I’d had no idea. It’s humbling to be reminded how easily people draw lines in the desert sand and to claim one identity that pushes out others. I’m sorry to say that Cooper was kicked out as he transitioned from butch to trans. As he writes, “Embarking upon this transition meant that I was shoving off from the shore of lovability, that I was in fact worthless.” (p.52). He writes about these and other struggles with such compassion for his younger self that it took my breath, softened my heart, and I had to pause.
The essays shift around in time and style. Some chapters are a blend of childhood and home, others on the role of Buddhism, acceptance, and transitioning. Lists. Interviews. Flashbacks. Poems. Memories. We read of how people reacted to his appearance in anger, in confusion, in binary concepts. In Lips Like Elvis, one shopkeeper’s irritation at not being able to box Cooper in one gender or another, leads Cooper to reply, “I’m not trying to make people think anything. I’m just trying to feel as much like myself as I can.” (p.36) The Identity Poem builds upon labels within labels to the point of the ridiculous and back out. The Conversation records some of what people have asked when trying to figure out why would he want or need to transition and then coming to support him with “I’m excited to see you be more comfortable.” (p.29). In My Life in Ink, Cooper tells of his attitude to tattoos, the first at age 12, in the 1990s having strangers show up at his door asking for some, squandering an apprenticeship at Black and Blue, and then giving stick and poke tatts on tour; “It is about connection, a reminder, a friendship, an adventure.” (p.169)
To me that sums up this collection: Cooper’s essays are intimate memories, unique and beautiful if hard stories, ones full of connection, pain, and as Bombardier wrote, “an indelible souvenir of a time and of a place” (p.169). They stay with me.
Pass with Care: Memoirs
By Cooper Lee Bombardier
Nonfiction | 240 pages
Paperback and hardcover editions
ISBN 9781948340489 (Hardcover): US $24.95
ISBN 9781948340212 (Softcover): US $18.95
Publication date: May 12, 2020
DOTTIR PRESS
Abimbola
Abiodun
Addison
Ade
Adebola
Adebowale
Adedayo
Adi
Aeron
Ahn
Ainsley
Akachi
Akira
Ale
Alex
Alexis
Alix
Aleksandr and Aleksandra both go to Sasha
Aleyamyehu
Amal
Amandeep
Amani
Amardeep
Amari
Amarjeet
Amit
Amor/Amore
Anan
Ananta
Andile
Andy
Anh
Ankhayar
Anukta
Aoi
Apurva
Aran
Arden
Ari
Ariel
Arista
Aruna
Asa
Ash
Ashanti
Ashley
Asti
Atiya
Avery
Awotwi
Ayanda
Ayo
Ayodele
Azar
Baako
Badr
Bai
Bailey
Bala
Balwinder
Bandile
Bao
Baran
Beau
Beren
Bernie
Bilge
Billie
Blair
Bo
Bobbie/y
Boipelo
Borna
Brett
Briar
Brogan
Brook(lyn)
Bryn
Buhle
Burcin
Businge
Cahaya/Cahya/Cahyo
Cam/Cameron
Cande
Carey/Cary
Carmo
Caron
Carrol/Carol
Casey
Cass
Chan
Chanda
Chandler
Chandra
Chang
Chao
Charlie/y
Chau
Chea
Chen/g
Chese
Chi
Chibuike
Chifundo
Chihiro
Chike/lu
Chin
Chinwe
Chris
Chun
Chus
Citalli
Claude
Coby
Codie/y
Cruz
Da
Dale
Dallas
Dana
Dar
Dara
Darby/Derby
Darcy
Dawa
Daya
Dechen
Dell
Dene
Deniz
Devin/Devon/Devyn
Dian
Diede
Diklah
Diyar
Dolgoon
Dor
Dorji
Dabaku
Duda
Durga
Duri
Duru
Dusty
Duygu
Dwi
Ebrar
Eddie
Eden
Eef
Efe/Efemena
Ehsan
Eike
Eirian
Ejiro/Ejiroghene
Eka
Ekene
Ekin
Eko
Ekundayo
Elian
Ellery
Ellis
Emery/Emory
Emlyn
Enfys
Eniola
Enitan
Enu
Esen
Eun
Evren
Ezhil
Ezra
Fang
Farah
Farai
Fatsani
Fen
Ferdous/Firdous
Fergie
Finn/Finley
Flann/Flannan
Flick
Folami
Fran
Frances/Francis/Frankie/Franny
Freddie
Fu
Fumnanya
Fungai
Gabi/Gabby
Ganizani
Garnet/Garnett
Gefen
Georgie
Gerry
Giang
Gili
Gio
Glaw
Gohar
Goksu
Golbahar
Golshan
Golzar/Gulzar
Gray/Grey
Greer
Guadalupe
Guanting
Guanyu
Guiying
Gul
Gulbahar
Gunay
Guo
Gurdeep
Gurmeet
Gurpreet
Hadar
Hadley
Hadyn/Hayden
Hai
Haneul
Hanne
Harinder
Harley
Harlow
Harper
Hari
Harpreet
Haru
Haruka
Haven
He
Hed
Heng
Hennie/Henny
Hibiki
Hifumi
Hikari/u
Hikmat
Hilal
Hinata
Hira
Hla
Hollis
Hong
Hosni/Husni
Hozan
Hua/Huan/Huang
Hui
Hunter
Husni
Hwan
Hyun
Idowu
Ifiok
Ihab
Ihsan
Ikram/Ikraam
Ilham
Ilkay
Iman
Imani
Ime
Inderjeet/Inderjit
Inderpal
Indiana
Iniobong
Innes
Iseul
Isha
Isi
Islay
Ismat
Itoro
Itumeleng
Ivory
Jaci
Jackie/Jax
Jade/Jaden
Jae
Jaffe
Jamey/Jamie/Jaime
Jamyang
Jasvinder/Jaswinder
Jawdit
Jaya
Jay
Jeong
Jerry/Gerry
Jess/Jesse
Jia
Jian
Jiang
Jie
Ji-Hu
Ji-Min
Jin
Jinan
Jindra
Jing
Jingyi
Jip
Ji-Soo
Ji-Su
Ji-Hu
Ji-Won
Joey
JoJo
Jong
Jools
Joo-Won
Jordan
Jothi
Ju
Jun
Jung (Jeung)
Juul
Jyothi/Jyoti
Kadek
Kaede
Kagiso
Kahurangi
Kai/Kaimana
Kaipo
Kalani
Kalei
Kali
Kam/Kameron
Kamala
Kamalani
Kamon
Kanta
Kanti
Kaoru
Kapua
Karam
Karma
Kasey (Casey)
Katlego
Kau’i
Kaulana
Kawehi
Kayden
Kayin
Keahi
Keala
Kealoha
Keanu
Keelan
Kefilwe
Kei
Kelcey/Kelsey
Kelley/Kelly
Kendal/Kendall
Kennedy
Kenzie/McKenzie
Keone
Kerry
Keshet
Ketut
Khayrat
Khorshid
Khurshid
Kim
Kirabo
Kiran
Kirby
Kisembo
Kit
Kohaky
Komang
Konani
Kondwani
Kris
Kulap
Kumbukani
Kun
Kunzang
Kusuma
Kyo/Kyou
Kyrie
Kyung
Lacy/Lacey
Lake
Lakshmi
Lan
Lan
Lanh
Lashawn
Lauren
Laurie
Laxmi
Lee
Lehua
Lei
Leigh
Leighton
Leilani
Leith
Lennie
Lennon
Lennox
Les/Leslie/Lesley
Li
Lian
Lim
Limbani
Limbikani
Lin
Lindsay/Lindsey
Ling
Linh
Lior
Liraz
Liron
Lishan
Logan
London
Loren
Loreto
Lou
Lucky
Lungile
Lupe
Lux
Maacah
Maayan
Mackenzie
Madalitso
Made
Madhu
Madhur
Madison
Mahinder
Makana
Makara
Makena
Makoto
Malak
Manaia
Mandeep
Maninder
Manjeet
Manpreet
Many
Maram
Marjin
Marley
Martie
Masami
Masozi
Matija
Mattie
Maui
Mavuto
Mawunyo
Max
Mayamiko
Mayeso
Mckinley
Mega
Mehr
Mel
Merle
Merlin/Merlyn
Maciaih
Micha
Michi
Mickie/Mickey
Mies
Min
Minenhle
Ming
Min-Jun
Minoru
Misa
Mitra
Mo
Moana
Moerani
Mohana
Mohinder
Monet
Monroe
Montana
Mor
Moran
Morgan
Motya
Mphatso
Mpho
Mtendere
Mu
Mudiwa
Mumtaz
Munashe
Murphy
Myeong
Myung
Nao
Narinder
Naseem
Nasim/Nassim/Nesim
Navdeep
Navneet
Nazaret
Ndidi
Neelam
Neo
Nergui
Nermin
Neta
Nevada
Ngawang
Ngoc
Ngozi
Hhung
Nicky
Nika
Nikora
Nilam
Nima/Nimat
Ning
Nishat
Nitya
Nitzan
Njinga
Nkemdilim
Nkruma
Noam
Noel
Nogah
Nollaig
Noor
Nor
Nour
Noy
Nsia
Nsonowa
Nthanda
Nuka
Nur
Nurul
Nyoman
Nzinga
Oakely
Ocean
Odell
Ofra/Ophra
Oghenekaro
Oghenekevwe
Oghenero
Olamide
Olayinka
Ollie
Oluchi
Olufunke
Oluwasyi
Oluwayemisi
Omega
Omer
Omid
Omobolanle
Onyekachi
Or
Ora
Ori
Osher
Otgonbayar
Otobong
Ouibo
Ozgur
Paderau
Padma
Page/Paige
Parker
Parminder
Parveen/Parvin
Passang
Pat
Payton/Peyton
Paz
Pema
Pemphero
Penjani
Peta
Petia/Petya
Pheonix
Phuc
Phuntso
Phuntsok
Pich
Pilirani
Ping
Pip
Presley
Puck
Purnama
Putu
Qamar
Qing
Qiu
Quinn
Quy
Quynh
Radha
Rahat
Rain/Raine
Rajani
Rajinder
Raleigh
Randy
Rashmi
Ratna/Rathna/Ratnam
Raven
Ravid
Ravinder/Ravindra
Rayan/Rayyan
Reagan/Regan
Reese
Refilwe
Reilly
Remington
Ren/Rin
Reyes
Ricki
Riley/Rylee/Ryley
Rini/Riny
Rio
Ripley
River
Robbie
Robin
Rong
Ronnie
Rorie/Rory
Roop/Rupinder
Roshan
Rotem
Rowan
Ru
Rupinder
Rusen
Rutendo
Sabah
Sacha/Sasha/Sascha
Safa/Safaa
Sage
Sal
Salama
Sam/Sammie/Sammy
Samnang
San
Sandy
Sang
Sanya
Sasa
Sashi
Schuyler
Selby
Senna
Senol
Seong
Sequioia
Seung
Sevan
Shachar
Shae
Shafaqat
Shahar
Shahnaz
Shai
Shaked
Shakti
Shalev
Shandiin
Shani
Shannon
Shashi
Shay
Shea
Shelby
Shelley/Shelly
Shi
Shikoba
Shiloh
Shinobu
Shion
Shiori
Shui
Shun
Shura
Shyama
Sibonakaliso
Sidney/Syd/Sydney
Sigi
Silver
Simcha
Simran
Sinclair
Sithembile
Sky/Skylar/Skyler
Slaine
Slava
Sloan/Sloane
Sonam
Soo-Jin/Su-Jin
Sophea
Sopheap
Sora
Sothy
Sree
Sri
Stace/Stacey/Stacy
Stav
Steph/Stef
Stevie
Storm
Su
Suad
Su-Bin
Sukhdeep
Sukhjinder
Sukhwinder
Sultan
Suman
Sunan
Sung
Sung-Hyun
Sung-Min
Sunny
Surinder/Surendra
Sushila
Swaran/Swarna
Tabassum
Tadala
Taegan/Teagan
Tafadzwa
Tai
Takara
Takondwa
Tal
Tam
Tamandani
Taonga
Tashi
Tasi
Tatenda
Tayler/Taylor
Teddie
Temitope
Temple
Temuulen
Tendai
Tenzin/Tenzing
Terry
Thando
Thanh
Thoko/Thokozani
Tierney
tinashe
Tionge
Tirta
Tivoli
Tiyamike
Toby
Tom
Tommie
Tomomi
Tovia
Tracey/Tracy
Tri
Trinidad
Tristen/Tristan
Truc
Tsering
Tshering
Tsubasa
Tu
Tumelo
Tuktu
Udo
Uduak
Uduakobong
Ufuoma
U’ilani
Ulli
Umut
Unathi
Uttara
Uzoma
Val
Van
Vanja
Vanna
Vaska
Veasna
Vic
Vieno
Vijaya
Vinh
Vinnie
Vivian/Vivien
Vosgi/Voski
Wallis
Wanangwa
Wangchuk
Wattana
Wayan
Wei
Wen
Wil/Willie
Wobbe
Wu
Wyn/Wynne
Xia
Xiang
Xinyi
Xquenda
Xuan
Xue
Xun
Yachin
Yafe/Yaffe
Yagmur
Yahui
Yamikani
Yan
Yancy
Yang
Yannic/Yannick
Yarden
Yaroslava
Yasu
Yating
Yazhu
Yeong
Yi
Yijun
Yin
Yolotl/Yolotli
Yona/Yonah
Yoshi
Yoshie
Young
Yu
Yuki
Yun
Yun-Seo
Yuneuan
Yuu
Yuuki
Yuval
Zan
Sedong
Zhen
Zheng
Zhenya
Zhi
Zhihao
Zhong
Zhou
Ziv
Zohar
Zola
Zorion
Arsenal Pulp Press, May 12, 2020
Corinne Manning’s debut collection of short stories takes us into the messy world on contemporary queer life, navigating assimilition versus rebellion and fitting in versus belonging. Written in the first person, the narrators tell of gay divorces, break ups, hilarious at times, sexy as hell at others, surprising yet familiar. No one is a single identity and within these pages, I can experience and witness our queer world from within.
The opening of Gay Tale comes close to sounding autobiographical even while knowing this is a short story: “Oh fuck it. I’m writing lesbian fiction…How many people, I wonder, have stopped reading already? A lot of lesbians are scary, and weird. I don’t even like the word.” (p.27) I know the feeling. The tone is light, playful, and still addresses the fear of strangers yelling insults, defining one’s own desires, and playing knowingly with the reader, “I knew I would end this story before the sex scene. My arms were exhausted.” (p.37)
Professor M is a story we’ve heard before, the almost affair, the layers, the partner at home, a dog, seven years together, and yet it’s also fresh. The first person narrator is ungendered and open to your own interpretation, the ending hopeful. Looking at how she played with not specifying the gender of the narrator, the use of the initial M as the name, the girlfriend won’t comment on gender as they’d been together so long, it’s irrelevent. The student’s reaction to M is flirtatious. M wonders, “If I held her in that office, would I feel it on the sides of her thights, around her ribs? What is it like for someone with a sprit to avaliable to hold someone like me?” (p.47.). To me, an example of how many (straight) readers would read that as the male gaze. Manning is comfortble with gender ambiguity, playing with stereotypes and expectations. Almost without noticing. Information is dropped without blinking, no explanation, just matter of fact. “She stood and stripped down to her underwear and T-shirt. Small breasts. No testicles. She dove into the water” (p.36). And “I didn’t like that she called me a man, but I didn’t have the language then don’t quite still” (p.82). “The world would bend away from me even if I wanted to bend towards the world” (p.104).
BIO: Corinne Manning is a prose writer and literary organizer. Their stories and essays have been published widely, including in Toward an Ethics of Activism and Shadow Map: An Anthology of Survivors of Sexual Assault. Corinne founded The James Franco Review, a project that sought to address implicit bias in the publishing industry.
Agender: Relating to, or being a person who has an internal sense of being neither male nor female nor some combination of male and female : of, relating to, or being a person whose gender identity is genderless or neutral.[1] In the print version of the OED of 1997, the word doesn’t exist. However, the online OED of 2020 defines it as Designating a person who does not identify as belonging to a particular gender; of or relating to such people.[2]
Androgynous: 1: having the characteristics or nature of both male and female 2a : neither specifically feminine nor masculine 2b : suitable to or for either sex 3: having traditional male and female roles obscured or reversed[3]
Asegi: Cherokee. Translates to ‘strange’, similar use to ‘queer’. Used for “people who fall outside of men’s and women’s roles or who mix men’s and women’s roles.”[4]
Assigned female at birth (AFAB): A term that refers to people who were assigned the sex of female at birth; replaces the earlier terms of “natal female” and “genetic female”.
Assigned male at birth (AMAB): A term that refers to people who were assigned the sex of male at birth; replaces the earlier terms of “natal male” and “genetic male”.[5]
Butch: A gender expression that fits societal definitions of masculinity. Usually used by queer women and trans people, particularly by lesbians. Some consider “butch” to be its own gender identity.[6]
Cisgender: Designating a person whose sense of personal identity and gender corresponds to his or her sex at birth; of or relating to such persons. Contrasted with transgender.”[7]
Femme: Historically used in the lesbian community, it is being increasingly used by other LGBTQIA people to describe gender expressions that reclaim and disrupt traditional constructs of femininity.[8]
The following ‘Gender’ prefix definitions are all from the same source: See footnote #7.
Gender binary: The concept that there are only two genders, man and woman, and that everyone must be one or the other. Also implies the assumption that gender is biologically determined.
Gender-fluid: According to the Oxford English Dictionary, a person who does not identify with a single fixed gender; of or relating to a person having or expressing a fluid or unfixed gender identity.
Gender identity: One’s innermost concept of self as male, female, a blend of both or neither – how individuals perceive themselves and what they call themselves. One’s gender identity can be the same or different from their sex assigned at birth.
Gender non-conforming: A broad term referring to people who do not behave in a way that conforms to the traditional expectations of their gender, or whose gender expression does not fit neatly into a category.
Gender Outlaw: A person who refuses to be defined by conventional definitions of male and female.
Genderqueer: Genderqueer people typically reject notions of static categories of gender and embrace a fluidity of gender identity and often, though not always, sexual orientation. People who identify as “genderqueer” may see themselves as being both male and female, neither male nor female or as falling completely outside these categories. [9]
Non-binary: Designating a person who does not acknowledge or fit the conventional notions of male and female gender, and instead identifies as being of another or no gender, or a combination of genders; (also) of or relating to such a person.[10] (It seems this is now more common than genderqueer but to me the term is more clinical than is genderqueer, more like saying someone is hetersexual rather than straight.)
Queer: Historically, queer has been used as an epithet/slur against people whose gender, gender expression and/or sexuality do not conform to dominant expectations. Some people have reclaimed the word queer and self identify in opposition to assimilation (adapted from “Queering the Field”). For some, this reclamation is a celebration of not fitting into social norms. Not all people who identify as LGBTQIA use “queer” to describe themselves. The term is often considered hateful when used by those who do not identify as LGBTQIA.[11]
Queer is a colloquial term used more by my peers within our community as it is less clinical and is an act of claiming the word back from the insult it has been in the past.
Sex: a medically constructed categorization. Sex is often assigned based on the appearance of the genitalia, either in ultrasound or at birth.[12]
See the above terms of AFAB and AMAB for the specifics of that usage. No longer do forms ask Sex: Male or Female. It’s worth looking at when Sex no longer referred to Gender within mainstream western bureaucracy.
Tomboy: A girl or young woman who acts or dresses in what is considered to be a boyish way, esp. one who likes rough or energetic activities conventionally more associated with boys.[13]
Transition: A term sometimes used to refer to the process—social, legal, and/or medical—one goes through to discover and/or affirm one’s gender identity. This may, but does not always, include taking hormones; having surgeries; and changing names, pronouns, identification documents, and more. Many individuals choose not to or are unable to transition for a wide range of reasons both within and beyond their control. The validity of an individual’s gender identity does not depend on any social, legal, and/or medical transition; the self-identification itself is what validates the gender identity.[14]
Transgender: Often shortened to “trans”. Designating a person whose sense of personal identity and gender does not correspond to that person’s sex at birth, or which does not otherwise conform to conventional notions of sex and gender. Although now typically used as an umbrella term which includes any or all non-conventional gender identities.[15]
From a UK site: https://www.stonewallscotland.org.uk/about-us/news/qtipoc-organisations-you-should-know-about
[1] “Agender.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/agender. Accessed 30 Sep. 2020.
[2] “agender, adj.” OED Online, Oxford University Press, September 2020, oed.com/view/Entry/47450702. Accessed 30 September 2020.
[3] “Androgynous.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/androgynous. Accessed 30 September 2020.
[4] Asegi Stories: Cherokee Queer and Two-Spirit Memory. Driskill, Qwo-Li. p.6
[5] Life on the Gender Border: Caitlyn Drinkwater. Both terms come from this thesis https://researchspace.auckland.ac.nz/bitstream/handle/2292/53065/Drinkwater-2020-thesis.pdf
[6] https://lgbtqia.ucdavis.edu/educated/glossary Accessed 30 September 2020.
[7] cisgender, adj. and n.” OED Online, Oxford University Press, September 2020, oed.com/view/Entry/35015487. Accessed 30 September 2020.
[8] https://lgbtqia.ucdavis.edu/educated/glossary. Accessed 30 September 2020.
[9] https://www.portlandoregon.gov/index.cfm?c=78738&a=730061 Accessed 30 September 2020.
[10] “non-binary, adj.” OED Online, Oxford University Press, September 2020, oed.com/view/Entry/74216458. Accessed 30 September 2020.
[11] https://lgbtqia.ucdavis.edu/educated/glossary
[12] https://lgbtqia.ucdavis.edu/educated/glossary
[13] “tomboy, n. and adj.” OED Online, Oxford University Press, September 2020, oed.com/view/Entry/203097. Accessed 30 September 2020.
[14] https://www.portlandoregon.gov/index.cfm?c=78738&a=730061 Accessed 30 September 2020.
[15] “transgender, adj. and n.” OED Online, Oxford University Press, September 2020, oed.com/view/Entry/247649. Accessed 30 September 2020.