Usually, when one thinks about country music, rural living comes to mind: cowboys, Christianity, conservatism, heartbreak, and honky-tonks. Stereotypically, few of those things have seemed LGBT-inclusive, so Queer listeners might feel unwelcome — were it not for today's boundary-breakers and "Queer country," which, says author Shana Goldin-Perschbacher, is becoming more of a music category with fans.

Goldin-Perschbacher is quick to say that "Queer country" is not a genre on its own. Some out musicians might more closely identify themselves with Americana or folk music; k.d. lang's music is more "countrypolitan," but with humor; and you can attend Queer bluegrass festivals if you want. None of this defines the various artists: in many ways, Gay, Lesbian, and Trans artists have really had no other options than to embrace all labels.

Then there's the issue of how to do Queer country. Goldin-Perschbacher refers often to Patrick Haggerty, who recorded the album Lavender Country in Seattle shortly after Stonewall; at that time, he was especially determined that his album be honest and sincere in its reflection of Gay life — things that continue to concern Queer artists who use irony, drag, and camp in their work.

And there's also that struggle to go mainstream. Goldin-Perschbacher writes about how k.d. lang's career progressed. You'll read about Chely Wright and Lil Nas X and how they used nontraditional ways to rise to stardom, as well as the many artists who do what seems best for them, and count LGBTQ listeners and cis audience members alike among their fans.

There really is no way Queer Country could ever be considered a "beach read." This isn't the relaxed, rangy kind of book you want to sunbathe with. Instead, Goldin-Perschbacher speaks to the academic, rather than the casual listener, with language that seems to fit better in school than in sand. The analyses border on the high-brow just a bit, with some repetition to underscore various points.

Even so, this is an important work. In writing about this almost-hidden branch of country music, Goldin-Perschbacher also tells of the efforts she's made to help some artists gain a wider audience. This lends more of an insider feel; the extensive interviews with artists and excerpts from other works let readers know that they should keep their eyes (and ears!) open.

If you tackle this book, give yourself some time to absorb it. It's not for everyone, but C&W listeners and "Queer country" fans may find it necessary.