From The Mary Tyler Moore Show to Arrested Development to BoJack Horseman, the American sitcom revolves around crises that must be resolved by episode’s end, with a new crisis to come next week. In Closures, Grace Lavery reconsiders the genre’s seven-decade history as an endless cycle of crisis and closure that formally and representationally frames heterosexuality as constantly on the verge of both collapse and reconstitution. She shows that even the normiest family-based sitcoms rely on queer characters like Alice (The Brady Bunch) and Steve Urkel (Family Matters) who highlight how the family is perpetually incomplete and unstable. Analyzing the genre’s techniques and devices such as the laugh track and the cringe pan, Lavery also charts the shift to friend-group and workplace sitcoms like Friends and The Office, which she contends reflect a weakening of social ties in ways that place characters in an unending state of becoming. With this capacious yet svelte queer and trans theorization of the sitcom, Lavery demonstrates that the family ties that bind the genre’s normative heterosexuality are far more tenuous than we have been led to believe.

It’s difficult to pinpoint the origins of cruising. While the term was used by men seeking casual encounters with other men in the parks and streets of New York City as early as the 1920s, historical records show the practice is much older. Cruising has existed for as long as anyone outside the dominant sex and gender systems has sought sexual encounters outside of sanctioned norms. This book offers a serious exploration of queer sex and sex cultures, exploring cruising as a mode of thinking with the body and communicating through sexuality. 
 
A creative dialogue between a queer artist and a queer academic reminiscing about and thinking with their cruising experiences, Crossings takes queer sex practices and cultures seriously as ways of knowing and world-making. The result is an erotic hybrid form hovering between scholarship and avant-garde experimentation, between critical manifesto and sex memoir. Here, the voices of each author, merged together in one, invite the reader to inhabit the erotic spacetime between self and other, the familiar and the strange, desire and pleasure, climax and release. That is, the spaces and temporalities of cruising itself.