Abstract
This article considers how the insights of gay and lesbian Christians can be situated in relation to a sex-negative religious tradition. Are they to be seen as anomalous appendages or as integral to the tradition itself? Thinking of the Bible as a 'faith family photo album' offers a useful analogy for explor ing this methodological issue. The image of a photo album provokes questions as to which characters and primal scenes achieve archival status within religious communities and which are removed from public view. In this frame we can discern that what is received from the past is produced out of messy familial disputes often provoked by radical and subversive practice. The work of disputing which images can be displayed in the family album must continue as it is in the interplay between traditional teachings and transgressive performance that transformative adaptations occur without which Christianity cannot thrive as a living tradition.
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