Connect with us

Books

Queer Visitors: How drag and Oz are inspiring a new adult LGBTQ book club

The new adult LGBTQIA+ book club uses “The Wonderful Wizard of Oz” to explore themes of self-acceptance, found family, and community with special drag performances.

Published

on

Nana Tuckit is the first Drag Queen to partner with Drag Queen Story Hour’s adult LGBTQ book club. (Photo courtesy of Drag Queen Story Hour)

When looking at media, few works of literature have achieved the critical success and enduring resonance with the LGBTQ community that “The Wonderful Wizard of Oz” has.

From its messages of radical acceptance, home, and belonging, to its subversions of gender norms and its memorable, fluidly gendered characters, “The Wizard of Oz” has remained a queer cultural touchstone more than 125 years after its first publication.

The book itself offered many LGBTQ readers one of their first glimpses of a world that celebrated differences that might otherwise be considered “queer.” The 1939 MGM film adaptation, starring gay icon Judy Garland, further cemented Dorothy—and Oz—into LGBTQ culture, contributing (somewhat debatedly) to the origin of the term “Friend of Dorothy” as a euphemism for LGBTQ individuals and helping to establish rainbows as a queer symbol.

The story also inspired the wildly popular musical “Wicked,” which reimagines the witches of Oz and is rich with LGBTQ subtext.

Given all this, it makes perfect sense that an adult LGBTQ book club would choose to start its journey in the fantastical world L. Frank Baum created with Oz.

Queer Visitors, a book club made for LGBTQIA+ adults and named after a comic strip L. Frank Baum published in 1904 called “Queer Visitors from the Marvelous Land of Oz,” created by Drag Story Hour—a national non-profit whose goals include “celebrating storytelling through the dynamic art of drag performance”—chose to kick off this new venture with “The Wonderful Wizard of Oz.”

The Washington Blade had the chance to speak with Jonathan Hamilt, co-founder of Drag Queen Story Hour, about what the LGBTQ adult book club will entail, why now, and why Oz.

When asked what spurred the choice to start an adult LGBTQ book club, Hamilt explained that the club has been a long time in the making.

“‘Drag Story Hour’ is celebrating 10 years of stories this year. We’ve always served families and children reading public books… but we really wanted to expand our programming for an adult-focused book club that was basically a drag story hour for adults only,” Hamilt said.

For years, the organization has worked to inspire children and promote diversity across the U.S.—and the globe. Now, they are venturing over the rainbow into adult territory.

“It’s like Oprah’s book club, but gay, where we will have a monthly book club… with a virtual experience with the drag artist and a subject matter expert of the book.”

For their first month, Queer Visitors went with drag queen (and face of Queer Visitors) Nana Tuckit from Portland, Ore., and Tori Calamito—a self-described “Oz historian” and LGBTQ ally known as “The Oz Vlog” on social media—to stand alongside the club online.

“Nana Tuckit brings a really fun energy to the space… and Tori is an Oz historian and can tell us all the things about that world,” Hamilt said when explaining their choice to go with Tuckit and Calamito. “I think the two of them will be a really amazing powerhouse chatting about this book.”

Calamito and Tuckit both sat down with the Blade to discuss why they chose to partner with Drag Queen Story Hour and Queer Visitors—both going into detail about why “The Wizard of Oz” is a perfect pick for the first meeting of the book club, explaining that LGBTQ people can see themselves in the story.

“‘The Wizard of Oz’ at its core, is a story about self-actualization and achieving self-actualization alongside your found family,” Tori Calamito told the Blade. “And I think those are themes that the LGBTQIA+ community can really relate to.”

She sees “The Wizard of Oz” as a story that resonates universally: “I think it’s a story everyone knows. So no matter where you’re coming from, in society, where you live in the country, where you hail from, everybody can hear Oz and go, ‘Aha, there’s some sort of association in your memory.’”

“Queer people are just naturally drawn to those stories where the interesting oddball characters are accepted and welcomed and present and they’re celebrated,” Nana Tuckit said. “I feel like it’s important right now to tell people’s stories to understand perspectives that are different… there is such a huge range of lives people are living.”

“’The Wizard of Oz’ is such an interesting cultural capstone… all generations know ‘The Wizard of Oz’ in some capacity… there are so many original books and I think they’re so innately queer if you read between the lines,” Hamilt said. “One way to look at it: it’s just so campy and so colorful and so fun… and this idea of queer diaspora… Dorothy being displaced or in a new land, kind of finding her chosen family… it’s kind of like an allegory for the whole queer experience.”

Calamito echoed Hamilt’s points and said her LGBTQ followers—more than 375,000 combined on Instagram and TikTok—helped show her that.

“You know, when I first read the L. Frank Baum original series of Oz books, I didn’t pick up on the very queer, coded themes and the gender fluid themes because reading it through the lens of a straight cis woman—just those things didn’t hit me,” she said. “But interacting with other folks in the broader [Oz] fandom opened my eyes to how obvious those themes are.”

“When we hear stories about those kinds of people [queer], and they aren’t the villains of the story—they aren’t the people who are being scrutinized and condemned or picked apart for those aspects of themselves—I think that’s what gets people so excited,” Tuckit told the Blade. “We need to create some worlds that are super fun for queer people to experience, because we need to know that we can be the main character, the hero, the savior. We can be all of the good things, the magical things.”

Hamilt also noted that the childlike wonder the Oz books and story have been able to provide to people for over a century reflects the need to heal their internal child selves.

“Queer adults have to do a lot of inner child healing… getting back to the magic of books where the excitement maybe first happened for you… it brings a lot of joy at face value with this book club that makes you feel like a kid at heart,” Hamilt said.

Tuckit went on to emphasize how the feeling of community—which has been life-saving for LGBTQ people when families have, and continue to, shun them for coming out—is present throughout the book.

“Even at the end of the book, The Lion, the Scarecrow, and the Tin Woodman all become the king of their own… the people have chosen you to be this figure for them, because they know you’re going to be supportive of them and looking out for them,” Tuckit said.

That community, she explained, can help the reader find what Dorothy was searching for when her house landed in Oz.

“If I think about what feels like home for me, it’s definitely not necessarily the physical place, but it is about who I’m with and the people that I’ve created my community with.”

Hamilt also saw the opportunity for book club members to create real-world connections using the club as a goal.

“It’s really easy as an adult to get sucked into your phone or social media… my hope is that this book club gets a physical book in your hands… gets you to meet other people that are excited about a really dorky topic… bring back this idea of real community.”

The act of drag has long been a community- and family-maker in the LGBTQ world. From ballroom families to the unique feeling of love one can get when watching a truly moving piece of drag, the art form has community woven into its history that adds an additional layer to the complexities of LGBTQ relationships.

“Drag is starting to represent just more of a wide range of people and experiences, just reflecting what we are as people… it’s all the same,” Tuckit said. “Drag artists are just expressing that something inside them that they want to get out and show the rest of the world.”

“I love Drag Story Hour. I take my own daughter, we go to drag brunch. We love drag queens in this household. And it harkens back to classic theater and pantomime in the days of Shakespeare,” the Oz historian said, highlighting that drag has been around for centuries, despite what anti-LGBTQ conservatives say.

“The opposition to Drag Story Hour isn’t new. We’ve been around for 10 years, and there’s always been an ebb and flow,” Hamilt explained. “One common comment we hear from people who are homophobic or transphobic is, ‘Why do you only read to kids? Why don’t you read to adults?’ And the truth is, we do! We read to elderly people, we go into hospitals—we read to a wide variety of audiences. So, if the issue really is age, we’ve even started side projects just for adults. Will there be protests? Opposition? Pushback when it’s only adult-focused programming? Absolutely. Because it’s never really been about children. It’s about control, hatred, and trying to erase the queer experience altogether.”

When asked what she hopes Queer Visitors brings to all fans of Oz, LGBTQ members, or allies, Calamito said she hopes it helps create good feelings during difficult times for members of the LGBTQ community.

“I hope this fosters a safe space for people to have good community outreach,” she said. “I hope this becomes a place where we can dispel fear.”

For Hamilt, the goal is both playful and proud: “Stories are for everybody… the goal is to celebrate self-expression and imagination through glamorous, playful, proud, queer role models… the more we love and accept the diversity of the world, it makes us more empathetic.”

For more information on joining the book club, where to pick up a copy, and how to get involved, visit www.dragstoryhour.org/queer-visitors.

Advertisement
FUND LGBTQ JOURNALISM
SIGN UP FOR E-BLAST

Books

New book examines Trump cuts to LGBTQ healthcare

‘Aftershocks’ details impact of policy shifts on HIV response, broader public health

Published

on

(Book cover via Amazon)

As LGBTQ and HIV advocates continue to grapple with the Trump administration’s attacks on healthcare, a new book offers a timely look at what happens when public health systems — and the democratic institutions that sustain them — are pushed to their limits.

The book, “Aftershocks: Trump 2.0, Public Health, and Our Better Angels,” was written by Dr. José M. Zuniga, president/CEO of Fast-Track Health. Zuniga is a globally recognized public health leader with more than three decades of experience advancing responses to HIV, communicable and non-communicable diseases, and the health impacts of climate change. He is also editor-in-chief of the Journal of Fast-Track Health.

The book covers the first year of the second Trump administration. It chronicles the impact of federal policy shifts and budget cuts on the HIV response and public health more broadly, including for LGBTQ communities. Drawing from policy analysis, frontline insight, and lived experience, the author reveal how decades of hard-won progress became vulnerable through Project 2025 and DOGE, but also a paralysis in the HIV and public health communities following the outcome of the 2024 elections. 

“In other words, we were caught flat-footed when our opposition had a detailed plan to create chaos and disruption,” Zuniga says. “Thus, the book also offers Horizons 2028 as an antidote to Project 2025 as a starting point for a wide-ranging conversation about how we will build back better given the baseline pre-Trump 2.0 was already imperfect.”

Below is an excerpt from the book.

What Could Not Be Left Unsaid

Let me begin with a simple truth: I did not set out to write this book. Like many in the public health community, I set out daily to do the work of scaling prevention, expanding access to care, strengthening health systems, and ensuring that dignity, equity, and justice are operational realities. Writing, for me, has always been in service of action: policy briefs to shape decisions, editorials to provoke accountability, reports to document progress or failure, and books to synthesize experience into insight that can guide public health action. But Aftershocks is something different; it is not merely an analysis. Instead, it is a record of rupture, of response, and of what it means to continue when the ground beneath your work begins to shift.

This book was written because something changed, and that change came into sharp relief during the beginning days of the second Trump administration, including the erosion of norms, the weaponization of rhetoric, and the recalibration of governance itself. The change was not limited to policy reversals or budget cuts, though there were many. Moreover, it was not confined to rhetoric, though language played a central role. The change was structural and moral: a redefinition of how power understood its obligations to people, to evidence, and to truth itself. And for those of us working in public health, the effects were immediate and personal. We experienced a purposeful disruption of the public health ecosystem and a direct repudiation of the “health for all” principle that guides our work….

Writing this book was, unexpectedly, an act of catharsis. Not because it resolved anything, but because it created space to process what would otherwise have been overwhelming… Amid what many in the public health community experienced as both individual and collective trauma, documenting itself was stabilizing, allowing reflection without detachment and critique without disengagement. But catharsis alone is insufficient. This book is not an exercise in lament; it is also a response. If the period it chronicles is defined by disruption, then its purpose is to offer direction. Where Project 2025 represented a blueprint for ideological capture of institutions, language, and governance, this book offers a counterpoint: Horizons 2028… 

Horizons 2028 is grounded in a simple premise: that the future of public health – and of democratic governance more broadly – depends on rebuilding systems that are resilient to political volatility. That means strengthening not only federal capacity, but subnational leadership. It means embedding community-led accountability into data systems. It means aligning health outcomes with social determinants and recognizing that equity is not an endpoint but a continuous process of adjustment and correction. It means treating global engagement not as optional, but as essential to national well-being. In other words, it is a roadmap not for returning to what was, but for building what is required…

I write as an Independent. Not in the sense of detachment, but in the sense of accountability to evidence, to outcomes, and to the people whose lives depend on both… Independence does not mean neutrality in the face of harm; it means refusing to filter reality through partisan allegiance. Importantly, it also means being guided by a consistent commitment to equity, dignity, and justice. These are not abstract values… They are tested in moments of crisis, when the gap between principle and practice becomes most apparent. They demand accountability not only for what is said, but for what is done – and for what is allowed to persist unchallenged. And they require the courage to name harm clearly, even when doing so is inconvenient or politically unwelcome.

That commitment shapes the analysis that follows, but it is also what makes the writing difficult. Because to document harm is to confront it. To trace its origins is to name decisions and their consequences. And to do so honestly is to risk being read as partisan in a landscape where truth itself has become politicized. But the alternative – silence, or false equivalence – is not acceptable. Not when the stakes are as high as they are. There is, however, a thread that runs through this book that resists cynicism, is not optimism, at least not in the conventional sense, but is something quieter and more durable: a belief that even in moments of rupture, there remains a capacity – within institutions, within communities, within individuals – to reorient toward something better. 

The Blade may receive commissions from qualifying purchases made via this post.

Continue Reading

Books

Exploring Renée Richards’s life through lens of a trans author

Surprises await in new book about pioneering tennis star

Published

on

(Book cover image courtesy of HarperOne)

‘Finding Renée Richards’
By Julie Kliegman
c.2026, HarperOne
$28.99/272 pages

Come on in, the water’s fine.

Wade into it up to your ankles, your calves, your waist, you’ll be OK. You’ll adjust to the waves that swirl around you so come on, dive in, it’s all good. As in the new book “Finding Renée Richards” by Julie Kliegman, that goes for swimming, and for controversy.

Assigned to do a story on books written by trans tennis great Renée Richards, Julie Kleigman read the books and became “transfixed by a woman who had fought so hard to simply live as who she had long known she was….”. Their editor had figured that, as a nonbinary and trans individual, Kleigman would have “something incisive to say…” in an article. Instead, once they met and began interviewing Richards, Kliegman was left frustrated.

Born in the late summer of 1934, Richard Henry Raskind seemed to have arrived with a tennis racket in his hand. His mother was a psychiatrist; his father was an orthopedic surgeon who hoped “Dick” would follow his footsteps but Raskind was drawn instead to ophthalmology and tennis. He was also irresistibly drawn to wearing women’s clothing.

His sister knew of this pull and Raskind eventually came out to both parents, but few others on the tennis circuit were aware. When Raskind visited his hometown of New York City, however, he enjoyed furtively going out in women’s clothing but he also tried to squash the desire; in the meantime, he fell in love, married, fathered a son, and eventually learned that it was possible to become the woman he knew he really was.

To continue playing tennis professionally was a bonus.

And right there were the disagreements Kleigman had with Richards.

Richards, “To this day… [makes] a point of describing herself as a woman, period,” says Kleigman, but she firmly acknowledged Richard, almost as a separate individual, insisting that Kleigman use “him/his” pronouns when describing her earlier life.

And as for tennis and trans women’s participation in the sport, Richards had something even more frustrating to say.

Take that as a fair warning: you might be equally surprised at what author Julie Kliegman uncovered in “Finding Renée Richards,” and you may be truly gobsmacked by reading opinions from other women about the topic of trans women in sports.

That’s the main, huge point of interest in this fascinating book; the other is Richards’s life as seen through the lens of a trans individual. Kleigman’s wrestling with the 90-year-old Richards’ firmly dug-in heels is, in itself, worth your time as a study of highly varying viewpoints. That Kleigman and Richards have both lived at least a part of trans history is somewhat of a key to understanding how this book unfolds, as Kleigman offers up Richards’s tale. Readers who are able to read between the lines will be riveted.

If you’re a sports fan and you have opinions, you must read this book – and that goes double if it’s tennis you love. Also check out “Finding Renée Richards” if you just want a raucously good and very fine read.

The Blade may receive commissions from qualifying purchases made via this post.

Continue Reading

Books

Bros + romance + fantasy = ‘Bromantasy.’

New book a romp full of humor, dragons, kings, and adventure

Published

on

(Book cover image courtesy of G.P. Putnam's Sons)

‘Bromantasy’
By Maire Roche
c.2026, G.P. Putnam’s Sons
$20/339 pages

“Danger” just happens to be your middle name.

Any fray, any tussle, anytime anybody needs help, they count on you to step in and save the day. You’re brave, smart and strategic, kind to old people, children, and small animals and, as in the new book “Bromantasy” by Maire Roche, dragons.

Of all the things there were to do – preserving food, keeping house for himself and his best friend Morningthall “Mo” Elmthorn, advanced skincare, and drinking at the local tavern down the road – the one thing Juniper O’Reilly couldn’t resist was a good brawl. It happened so often that Juniper honestly looked forward to it, though Mo wasn’t a fan.

Mo was more grown-up, calm, thoughtful, able, and Juniper loved him for it. He loved Mo, in fact, since they were little boys. He loved Mo in ways that they didn’t talk about, so they kept a wall between their bedrooms in their cottage.

Except for that one time.

They didn’t talk about that, either.

Instead, as they did often, on a warm fall night, Juniper and Mo went to the tavern, where mead was served and they could learn about the king’s weekly quests. There, Juniper could also find a good brawl, which is how he and Mo accidentally got into trouble: Juniper trounced one of the king’s men and was forced into a quest.

He didn’t want to fight dragons and he felt bad that Mo had been dragged along. He felt even worse leaving their farm, sleeping on the ground, wearing the same clothes every day, and not having enough skincare product along. A campfire added to the problem. A roving, lying prince, also in search of dragons, didn’t help. And though a quest was no place for a child, Juniper and Mo found a frightened little girl they had no choice but to protect.

A child with strange eyes, sharp teeth, and fire on her breath.

“And just like that, Juniper and Mo had a dragon.”

Bros + romance + fantasy = “Bromantasy.” It also could equal one of two other things: a romp full of humor, dragons, kings, princes, and adventure.

Or it could equal a whole lot of eye-rolling.

It’s a fact that this book is funny, in the way that a 1980s high school comedy movie is funny – meaning that it’s dippy, giddy, and very caricaturish but you’ll laugh quite often. The story contains everything you want in a fantasy romance (a “romantasy”), including human-like alternate species, a life-changing journey, and plenty of nudge-nudge-wink skirting around the attraction the two main characters have for one another. It’s a decent story, convoluted in just the right way. Purely, it’s an escape.

So why wouldn’t you want to read it? See above, and depending on your favorite reading genre. High-brow literature, this ain’t.

For the right reader, “Bromantasy” is a decent-enough vacation read, something not too taxing or hard on the brain. It’s for novel lovers, dragon hunters, king’s questers, princes, and romantics. For everyone else, this tale is just middling.

The Blade may receive commissions from qualifying purchases made via this post.

Continue Reading

Popular