Praised by the Chicago Tribune as "an impressive study" and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film.

    To this gifted French photographer, who died of AIDS in 1991 at the age of 36, photographs were objects of wonder and mystery, even possessing a touch of the supernatural. "Photographs are not innocent." Guibert writes in one of the most provocative essays in Ghost Image, a collection of critical and autobiographical writings on photography translated for the first time into English by Robert Bononno. "They influence and...betray what is hidden beneath the skin. They weave not only lines and grids, but plots, and they cast spells....They are an impressionable material that welcomes spirits." Guibert, photography critic of La Monde for many years, himself weaves a spell with his many topics and moods, delineated in a continually unpredictable mixture of precise descriptions and poetic musing. Guibert recalls family members through the frozen reality of pictures taken at different times. He offers a compact history of the Polaroid, and informative remarks on noted travel journals resembling photography. He confesses to having betrayed an actress he photographed, and silently ponders whether certain pictures should arouse him, adding his views on the differences between visual erotica and pornography. His own occasional role as model causes ambivalence. A flurry of other incidents and thoughts - some real, others fantasy - crowd Guibert's pages as he struggles to fathom the essence of that which captures life. In an unforgettable conclusion, through his account of an enigmatic portrait and its strange fate, Guibert finally achieves the union of person and picture he sought. Ghost Image is a collection of beautifully and hauntingly written essays on what is and what lies behind any photograph.

    White's The Salt Ecstasies—originally published in 1982, shortly after White's untimely death—has earned a reputation for its artful and explicit expression of love and desire. In this new edition, with an introduction by Mark Doty and previously unpublished works by White, his invaluable poetry is again available—clear, passionate, and hard-earned.The Salt Ecstasies is a new book in the Graywolf Poetry Re/View Series, edited by Doty, dedicated to bringing essential books of contemporary American poetry back into print.

    Surpassing the Love of Men throws a new light on shifting theories of female sexuality and the changing status of women over the centuries.

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    The project landed somewhere between humor, anarchy, science-fiction, utopia and apocalypse. In the few years that it took to put it together, it also evolved from a joyous schizo concept to a darker, neo-Lacanian elaboration on the impossibility of sexuality. The tension between the two, occasionally perceptible, is the theoretical subtext of the issue. Upping the ante on gender distinctions, Polysexuality started by blowing wide open all sexual classifications, inventing unheard-of categories, regrouping singular features into often original configurations, like Corporate Sex, Alimentary Sex, Soft or Violent Sex, Discursive Sex, Self- Sex, Animal Sex, Child Sex, Morbid Sex, or Sex of the Gaze. Mixing documents, interviews, fiction, theory, poetry, psychiatry and anthropology, Polysexuality became the encyclopedia sexualis of a continent that is still emerging. What it displayed in all its forms could be called, broadly speaking, the Sexuality of Capital. (Actually the issue being rather hot, it was decided to cool it off somewhat by only using "capitals" throughout the issue. It was also the first issue for which we used the computer). The Polysexuality issue was attacked in Congress for its alleged advocation of animal sex. Includes work by Alain Robbe-Grillet, F�lix Guattari, Paul Verlaine, William S. Burroughs, Georges Bataille, Pierre Klossowski, Roland Barthes, Paul Virilio, Peter Lamborn Wilson, and more.

    He writes simply and never shows off. Yet he is a subtle as the devil' - Sir John BetjemanPartly through recollection, partly by fictional narrative, Jocelyn Brooke explores, in this autobiographical work, his two worlds-the one bound by his own experience and the other a magical and, as yet, unknown landscape which lies beyond the 'frontier'. A sensitive and intelligent child, Brooke perceived himself as an outcast from society, but introspection proved fruitful and enabled him to recreate this lyrical and witty portrait of his own past and also evoke a tradition of Englishness which is now lost for ever. 'One of the notable writers to have surfaced after the war' - from the Introduction by Anthony Powell. 'Jocelyn Brooke's writing is imaginatively unique...a great writer' - Elizabeth Bowen.

    Shortly after her mother's death, thirteen-year-old Melissa goes to live with her grandmother in a small New Hampshire town which is experiencing an odd unending winter.

    This study of prison reform adds a new chapter to the history of women's struggle for justice in America