In her seventh volume Marilyn Hacker confronts life and death at the end of our genocidal century, making another extraordinary contribution to the feminist and lesbian canon.

    Due to some extenuating circumstances, he is now being tutored by one of the many school idiots, Hikaru “Beyan” Kusakabe. For two students who had never before had a real conversation, what does the future hold now that they are constantly together? Follow these boys as they experience excitement, betrayal, depression, and love; that unyielding, crazy, poignant, and fantastical kind of love.

    Uniting fact and fiction into an original romantic vision, The Danish Girl eloquently portrays the unique intimacy that defines every marriage and the remarkable story of Lili Elbe, a pioneer in transgender history, and the woman torn between loyalty to her marriage and her own ambitions and desires.The Danish Girl is an evocative and deeply moving novel about one of the most passionate and unusual love stories of the 20th century.

    In a book which uniquely captures 1950's America, Brainard constructs the story of his life through a series of brief entries, each beginning with the words "I remember", and continues with observations about family, film stars, lust, and the astonishing New York culture into which he moved to from Tulsa at the age of 18.

    The title refers to the idea that those who are deviant propel the world forward at top speed. Delving into the center of the endless webs of repression against our bodies, desires, politics, and imaginations, are those whose actions and motion cut away at the systemic limitations of society. This collection of poems was written with the inspiration and work of these people in mind.As a working class queer poet, Conrad has had to fight through different stratifications of oppression his entire life. His poems vibrate with the flamboyant desire that manifests itself in queer culture, where the right to act on basic desires can become a battleground, and everyday acts of love and devotion must be enacted as a political form of defiance. The poems that emerge from this life long struggle illustrate the sharp edge of that defiance and desire, where joy is closely linked to death. In a world ruled by those who govern with fear, and in a landscape barbed with those who are terrified of desire, moving at speed of deviants is the only way to transform potential into action, and desire into positive change.

    Sooner or later, you’ll find your scene.Emi Ashiana is 24, unemployed, and not really sure what she wants do with her life. When a friend invites her to a dance club, Emi doesn’t expect much. But what she finds will change her world! The club is hopping and Emi isn’t…so she ends up hiding in a corner after her friend ditches her to flirt with a guy! Emi figures the night is a bust, but then someone amazing comes to her rescue. Kei is a DJ, and her effortless self-confidence captivates Emi. Is this just a wonderful night out or the start of the rest of her life?

    With influences from pop culture, the Bible, tech, and Hong-Kongese history, these pieces reflect and reveal how the stories of immigrants in Canada hold both universal truths and singular distinctions. From boybands that show the way to become “the kind of girl a girl could love” to “rich flavours that are just a few generations of poverty away,” they invite the reader to meditate on spirituality, food, and the shapes love takes.

    Chikara Doumeki comes to work as a bodyguard for him and, although Yashiro had decided that he would never lay a hand on his own men, he finds there's something about Doumeki that he can't resist. Yashiro makes advances toward Doumeki, but Doumeki has mysterious reasons for denying.Yashiro, who abuses his power just to abuse himself, and Doumeki, who faithfully obeys his every command, begin the tumultuous affair of two men with songs in their hearts and no wings to fly.

    Nakamura has fallen in love-at-first-sight with one of his classmates, Hirose -- but there's a problem: they haven't actually met yet...and Nakamura is a total klutz who might bungle things before they even begin!

    The poems speak intimately of their authors' sexual longing, fulfillment and disillusionment.

    (The artists he championed include Jackson Pollock, Joseph Cornell, Grace Hartigan, Jane Freilicher, Joan Mitchell, and Robert Rauschenberg.) The flowering of O'Hara's talent, cut short by a fatal car accident in 1966, produced some of the most exuberant, truly celebratory lyrics of the twentieth century. And it produced America's greatest poet of city life since Whitman.Alternating between O'Hara's poems and LeSueur's memory of the circumstances that inspired them, Digressions on Some Poems by Frank O'Hara is a literary commentary like no other--an affectionate, no-holds-barred memoir of O'Hara and the New York that animated his work: friends, lovers, movies, paintings, streets, apartments, music, parties, and pickups. This volume, which includes many of O'Hara's best-loved poems, is the most intimate, true-to-life portrait we will ever have of this quintessential American figure and his now legendary times.

    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.

    Trained in classical Greek and Latin, Phillips seems to excavate as he forms words into lines, breaking images into tiny parts of thought as he digs for meaning and accuracy. As part of this excavation, Pastoral explores what flesh, wanting, and belief are made of. A finalist for both the National Book Award and the National Book Critics Circle Award, Phillips has produced four collections of accomplished verse in the past few years. In each book, the influence of classical syntax and rhythm can be heard. And with each book, Phillips refines his poetic voice, combining the prayerlike and the erotic, and often elegantly swooping from a whisper to a scream in the space of a few stanzas.This time, the poems fall along a wide range of tones, from italicized commands like "Let me" and "Now" in the poem "Lay Me Down" to a hesitant question, or a deepening well of self-doubt. Phillips is always original, and he's always remembering, even when a poem is firmly written in present tense. He is hyperaware not only of the ancient poets, but also of history, especially the great destructions.In the ominously titled "The Kill," he remembers a familiar daily scene. The speaker analyzes his own love for another in clinical detail that suddenly veers into longing. The way these lines break adds to the sense of tragic fragment, of an ache:      The last time I gave my body up,      to you, I was minded       briefly what it is made of,       what yours is, that      I'd forgotten, the flesh      which always       I hold in plenty no       little sorrow for because -- oh, do      but think on its predicament,      and weep.In just four stanzas, Phillips moves from an image of both love and surrender to a consideration of temporality -- the bald fact that his lover is mortal. This thought of "its predicament" makes him weep, even though death is not a stated issue here.In "The Kill," the last poem in the volume, the speaker anticipates the need to remember. The second poem in the book referred to Pompeii, and the shadow of Pompeii is still resonant as the speaker describes his lover's body, still current and alive despite the title's warning.He remembers a body he has felt before, and probably will feel again -- judging by the present tense of "what yours is." And yet, the speaker here feels the need to freeze that body in time, to memorialize it. The next stanza explains this strong urge to hold on:      We cleave most entirely      to what most we fear      losing. We fear loss      because we understand       the fact of it, its largeness, its      utter indifference to whether      we do, or don't,       ignore it. The "largeness" of loss is what these poems are loath to accept, even as they seek to understand. Each poem tries to break loss down into questions, confessions, prayers, or simple expressions of doubt. While the poems fight against death and inevitable loss, they also seem to seek moral guidance to help with these losses.Nowhere is the search for answers and guidance more apparent than at the endings of these poems, which are frequently questions. Phillips is fond of abrupt, mysterious dashes as conclusions. In his quest for a moral compass, he also quotes from "Lamentations" and draws on familiar Biblical stories. The wanderings of Cain, for example, seem to appear in the backgrounds of poems where man seeks. What's more, the epigraph is from George Herbert, the great poet of faith and the war between faith and flesh. The sense of struggle between opposing ideas is something Phillips incorporates and modernizes into a contemporary parable of carnal love and constant questioning of that love. There's a frequent seesawing in the book, a back-and-forth on the big questions that permeates even the simplest narrative. For example, in "Favor," the second section of a five-part poem called "And Fitful Memories of Pan," Phillips sees a man in the distance:      Even from a distance, I can tell:       a man, clearly.       Gods cast no shadow. The struggle between man and God, between flesh and faith, is hinted at in the first stanza. Man, for Phillips, is an instrument of struggle, a tortured wanderer. The poem continues:      Also, that he tires,       stops to rest, looks like      sleeping, or could use some.       How long he has been,       coming, how long it takes, just      to cross it, the lush      measure that -- all summer -- has      been these well-groomed,       well-fed grounds, the lake      unswum and gleaming, the light      catching, losing      the useless extravagancePhillips basically forms the scene of a man walking into a discussion of man's temporality, the fact that man tires. While what God makes -- "the lake unswum and gleaming" -- needs to make no effort to be beautiful, man exhausts himself just surviving. By the last two stanzas, the speaker concludes that the body must make bets with itself:      Always, the body      wagering --      up, through itself --       Give. What he wants, he shall have.In Phillips's work, man -- though mortal -- still has great power. Man can demand, man can inspire love, and man can pray. In the struggle between man and God, in that constant "wagering," man sometimes wins.&3151;Aviya Kushner

    I composed a beautiful letter to you in the sleepless nightmare hours of the night, and it has all gone. I just miss you...' At a dinner party in 1922, Virginia Woolf met the renowned author, aristocrat - and sapphist - Vita Sackville-West. Virginia wrote in her diary that she didn't think much of Vita's conversation, but she did think very highly of her legs. It was to be the start of almost twenty years of flirtation, friendship, and literary collaboration. Their correspondence ended only with Virginia's tragic death in 1941.Intimate and playful, these selected letters and diary entries allow us to hear these women's constantly changing feelings for each other in their own words. Eavesdrop on the affair that inspired Virginia to write her most fantastical novel, Orlando, and glimpse into their extraordinary lives: from Vita's travels across the globe, to Virginia's parties with the Bloomsbury set; from their shared love of dogs and nature, to their grief at the beginning of the Second World War. Discover a relationship that - even a hundred years later - feels radical and relatable.WITH AN ORIGINAL INTRODUCTION FROM ALISON BECHDEL, AUTHOR OF FUN HOME AND CREATOR OF THE BECHDEL TEST.

    The limitless scope of human emotion and experience are depicted in stories that give aching and eloquent voice to the terrible wounds we inflict on those closest to us. These are tales of loss and redemption; of shame and forgiveness; of love and abuse and the healing power of storytelling. A book that resonates with uncompromising candor and incandescence, Trash is sure to captivate Allison's legion of readers and win her a devoted new following.