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Flesh Wounds and Purple Flowers
An extravagant, tragicomic novel that takes the reader into the world of Latino machos and cha-cha divas of Santiago's gay underground, full of dreamers and screamers looking for salvation abroad. It's the story of a Chilean drag queen, who makes it out of Santiago but maintains connections to his starry network of machos and maricones in Chile, Cuba and the US. Here is a life full of sequins and disco, and a plague both debilitating and liberating. Full of colour and verve, Flesh Wounds reads like a gay Latino version of Valley of the Dolls.
Public Acts
As this book documents local, specific, and contextualized acts of resistance and offers a detailed analysis of varied forms of public literacies, it functions as a template to inform and inspire resistant practices in diverse communities.
Killing Me Softly
A collection of brilliant short fiction from the author of Flesh Wounds and Purple Flowers. Having seen a coarse landscape of human condition, Ibanez-Carrasco resurfaced (like Cher) but never lost his avid interests for gruff men with impolite private habits who are repositories of gay heritage; the unsung heroes of desire.
Book Review Digest
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Fuse Magazine
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Giving It Raw
30 years ago, the world was a very different place. That's when Francisco Ibáñez-Carrasco, a native of Santiago, Chile, moved to Vancouver, discovered he was HIV-positive and was faced with the question of how to seize his life. In 1985 terms, he had an unsurvivable illness. In his own terms, he had new license to face his mortality with grit and dark humor. A no-holds-barred account of the irreverent, dirty, and illuminating escapades in Carrasco's three decades of living, working in HIV clinics, and being involved in the BDSM and fetish community. Giving It Raw, is the first memoir from the celebrated novelist and beloved enfant terrible of Canadian literature.
Public+private
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Damn Fine Art by New Lesbian Artists
Engaging with a wide range of international artists from Mexico to Ireland, Cherry Smyth traces the increasing visibility and confidence of lesbian artists in mainstream art and draws on extensive research and interviews with many of the artists themselves. The work is not only situated within art historical and feminist traditions, but the author also shows how recent dyke artists have subverted and appropriated those conventions with the grand irony of burgeoning 'dyke camp'.
