The Deviant's War cover

The Deviant's War

by Eric Cervini

The government fired him for being gay. He sued the government.

For you if

you want to understand the systematic persecution of LGBTQ+ people by the US government — documented in declassified files — and the man who decided to fight it alone

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In 1957 the Pentagon fired Frank Kameny, a rising astronomer, on the grounds that it had reason to believe he was a homosexual. Kameny sued. He lost. Then he founded the Mattachine Society of Washington, the first organization to directly protest the systematic persecution of gay federal employees — and spent the next two decades fighting the US government in what became one of the most consequential civil rights battles of the 20th century. Cervini, a Harvard- and Cambridge-trained historian, built this book from forty thousand personal documents and recently declassified FBI files — the research rigor is absolute. What he found is the secret infrastructure of a state terror campaign: the Lavender Scare running parallel to McCarthyism, gay employees surveilled and purged, the American Psychiatric Association classifying homosexuality as a mental disorder, and one man's methodical, decades-long campaign to dismantle every piece of it. Kameny is a complicated figure — his obsession with respectability and his failure to fully acknowledge race and class within the movement are part of the record and Cervini doesn't hide them — but his victories are real: the APA decision, the security clearance changes, the foundation laid for everything that followed. The most important queer history book on the See Through It shelf — and the one that shows most clearly that the systems oppressing LGBTQ+ people were not cultural attitudes but deliberate government policy, documented in writing, and that they can be fought.

Where This Book Lives

Setting
North America
Voice
Written by a North America author

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dir. Herbert J. Biberman

The labor film blacklisted filmmakers made anyway.

A 1950 New Mexico zinc miners' strike, reenacted by the real Mexican-American families who lived it, made by a blacklisted writer, producer, and director during the height of the Red Scare.

Why it’s here: Made by three men the Hollywood blacklist had already ended the careers of, using real miners and their families as the cast — the labor politics on screen and the circumstances of the film's own making are the same argument, not two separate things.

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