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“... At first glance​ the title of Sarah Schulman’s remarkable history of the Aids pressure group ACT UP in New York has a cool authority at odds with the turbulent energy of the group itself, although justified by the meticulousness of her scholarship. Let the Record Show was also the title of a 1987 agitprop artwork devised by a collective that later called itself Gran Fury, and Schulman’s book is unusual for a self-described political history in treating ACT UP’s cultural production as indivisible from its other activities ...”

“... no sort of solution to disown trauma in the act of recounting it.In her 2009 book Ties That Bind, Sarah Schulman explored the fact, so obvious as to be somehow invisible, that members of sexual minorities are rarely brought up by their own kind. They must construct an identity from sources outside the family, and what they learn at home is unlikely to be ...”

“... novels about relationships and family. In a profile of Peters published in New York magazine, Sarah Schulman wondered if the novel’s accessibility would signal the end, rather than the beginning, of a period in which trans literature has flourished. Those concerned about the death of counterculture and the flattening of difference might be ...”

“... and feeling is happening internally? What does that mean for the possibility – the duty, as Sarah Schulman calls it in her book Conflict Is Not Abuse – of repair?Something else happened in 2000. In a review of Zadie Smith’s White Teeth, James Wood coined the phrase ‘hysterical realism’ to describe a trend. Novels like Smith’s and ...”

“... diverse in talent and sensibility as Rebecca Brown, Dennis Cooper, Kathy Acker, Gary Indiana and Sarah Schulman, writers whose main similarity seemed to be that they all started out at small presses before being ‘discovered’ by big houses.By now – by which I mean, in the most Nixonian sense of the phrase, at this point in time – the formation ...”