This week in the LGBT-themed arts:

Hope is not lost: Giovanni’s Room in Philadelphia–the oldest LGBT bookstore in the U.S., which closed its doors earlier this year amidst a trend of online book retailers outpacing independent local businesses–may reopen

A trailer has been released for The Imitation Game, a biopic starring Benedict Cumberbatch as Alan Turing, the groundbreaking computer scientist who was persecuted by the British government for his homosexuality, and who has only recently received a posthumous royal pardon.

Hustlers, Eve Fowler’s long-awaited, almost wordless (besides an interlude from poet Kevin Killian) compendium of true-to-life photographs of gay male courtesans in New York and Los Angeles in the early 1990s, is getting published by Capricious this month.

Another photographic essay coming to bookstores in Laurel Golio and Diana Scholl’s We Are The Youth, which focuses on the generation of queer Americans and Canadians under the age of twenty-one, with an emphasis on breaking down stereotypes.

Golf Alpha Yankee, Rick Flynn’s documentary about the persecution of Iranians who have been discovered to be LGBT, is the subject of a Kickstarter campaign. The project is especially daring, since homosexuality is punishable by death in Iran. The film’s title spells “gay” with the NATO alphabet.

Singapore is facing intense political criticism for multiple instances in which kids’ books depicting gay couples are being banned from bookstores. In one such instance, an issue of the comic book Archie that depicts a gay marriage was censored.

A new translation, by Julien Evans, of André Gide’s most accessible novel, The Vatican Cellars, is being issued by Gallic Books next month.

A Wider Bridge profiles Naama HaCohen, an Israeli lesbian poet who balances a mildly religious lifestyle with her sexual and aesthetic identity.

A study finds that of the 102 major Hollywood releases last year, only seventeen featured LGBT characters, and most of those seventeen were tertiary.

Michael Carosone of the Huffington Post defends his theoretical practice of queering literature–and queering everything in general, even out of context.

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