One strategy toward exposing the artifice of a unified, singular history is the privileging of gossip and rumor as valid forms of evidence. Among the many texts analyzing gossip as a form of truth telling is Lisa L. Moore’s Sister Arts: The Erotics of Lesbian Landscapes. In its preface, “Listening to Gossip in the Queer Archives,” Moore argues that the privileging of gossip is one of the few ways research can develop in response to what she calls the triple bind of issues facing researchers of the history of non-normative sexualities: limited archival resources, restrictive conventional readings of existing sources, and the distaste with which queer readings are often met.[7] She concludes by arguing that gossip, as a methodology, is implicitly queer, stating, “Listening to gossip means believing what you hear, see, touch, and feel; being unapologetic about what you love; and paying attention to what you’re scared of. It means trusting hunches, intuitions, gaydar. It means using the discipline, rigor, and patience of a dedicated scholar, a besotted fan, and an obsessed lover.”[8] As she writes, gossip is associated with “teenage girls, gay men, and dyke drama,” and stands in opposition to the rigidity of Enlightenment-based standards of knowledge. Its use in the creation of queer and lesbian history, therefore, is emphatically appropriate.