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In a New York Times review of James Baldwin’s 1968 novel Tell Me How Long the Train’s Been Gone, Mario Puzo writes that “A propaganda novel may be socially valuable… but it is not art.” Puzo’s claim is a function of what creative writing pedagogy scholar Janelle Adsit calls “the particular privilege that comes with a denial of marginalization.” Assumptions of rigid binaries that categorise people as either hetero- or homosexual, a phenomenon that scholar Kenji Yoshino calls “the epistemic contract of bisexual erasure,” create and reinforce harmful ideas about bisexuality. Bisexual representation in literature can operate as a creative resistance to the status quo, undermining the alleged necessity for a rigid binary system of sexuality. From James Baldwin’s 1968 Tell Me How Long the Train’s Been Gone to Jen Wilde’s 2017 Queens of Geek, this article traces representations of bisexuality in literature, with special attention to the ways in which bisexuality is demonstrated, described, and labelled in literature. However, while acknowledging the problematic representations of bisexuality in older fiction, such as Radclyffe Hall’s 1928 The Well of Loneliness, this paper resists a narrative of pure progress of bisexual representation, examining both problematic and nuanced representations in contemporary literature.

Lake Andromeda has healing properties. The Home Owner's Association is charged with keeping the lake safe by preventing its secret from getting out. For HOA member Diana Bortree, this duty is personal: Her stepson cannot live with any normalcy if the water runs out. As she's proved in the past, Diana is willing to go to any length to keep her stepson safe. When the local New Age shop owner's daughter comes back to town looking to write her dissertation about healing springs, Diana sees a threat that she must keep in check.

[...]bell hooks argues that students want us to see them as whole human beings with complex lives and experiences rather than simply as seekers after compartmentalized bits of knowledge (15). In light of the changes that I was making in the composition classroom, I inevitably began to wonder what creative writing habits are fostered by workshops. In \"Embodied Ways of Knowing, Pedagogies, and Social Justice\" Wilcox writes that \"By conveniently decoupling students' minds and bodies in a Descartian [sic] manner even in a lively discussion-it is the thoughts that count; the bodies that think and utter these thoughts are irrelevant-we reproduce the very system of power that we claim to critique\" (107). Rest is too often unacknowledged in the design of a semester, and, even when acknowledged in theory, the practical application can fall short due to explicit or implicit constraints imposed at systemic and institutional levels. hooks was a proponent of acknowledging how, in the classroom, we can be \"striving not just for knowledge in books, but knowledge about how to live in the world\" (15). [...]schedules can be rigid and work against individual intuition.