Exponential growth can be a head-scratcher. Accounts and taxonomies that seem inviting near the start of a growth curve can seem like fool’s errands afterwards. And the story of queer—or gay and lesbian, or queer and trans, or LGBTQ+, or LGBTQIA+– poetics since the late 1960s is a story of exponents, of proliferation from stigmatized rarity to celebrated (but still endangered) ubiquity. Does Randall Mann share linguistic goals with Pat Parker? Chen Chen with Samuel Ace? Reginald Shepherd with Carmen Giménez Smith? A sampling offered by me (a white, prosperous, midcareer, polyamorous, Northeastern trans woman with kids) may be more likely to include poets who share my identities, as well as my tastes, and to overlook those who do not. But there is—at least in the arts—no view from nowhere: one informed view is better than none.