In compensating for her father's brusqueness, Noelle idolized her nurturing tomboy mother and her conservative grandma who tried to turn her into "a little lady." At age fourteen, Noelle's mom told her the family secret: "Dad likes to wear women's clothes." As Noelle copes with a turbulent adolescence, her father begins to metamorphose into the loving parent she had always longed for—only now outfitted in pedal pushers and pink lipstick.

    In Cures; A Gay Man's Odyssey, he tells of the anguish of his divided life: a distinguished college professor, a prize-winning historian; and a playwright; by night a lonely and tormented man cruising gay bars for the companionship he truly desired.

    In this graphic memoir, Fitzgerald paints a lively childhood full of sleepovers, amateur fortune-telling and watching scary movies. Yet, Fitzgerald suspects that she is unlike her friends. She intimately takes us from her first kiss to a life sworn off romance.Long Red Hair alluringly delves into the mystique of sorcery and sisterhood.

    She witnesses nurses drawing straws to see who would tend to the patient inside, all of them reluctant to enter the room. Out of impulse, Ruth herself enters the quarantined space and immediately begins to care for the young man who cries for his mother in the last moments of his life. Before she can even process what she's done, word spreads in the community that Ruth is the only person willing to help these young men afflicted by AIDS, and is called upon to nurse them. As she forges deep friendships with the men she helps, she works tirelessly to find them housing and jobs, even searching for funeral homes willing to take their bodies - often in the middle of the night. She cooks meals for tens of people out of discarded food found in the dumpsters behind supermarkets, stores rare medications for her most urgent patients, teaches sex-ed to drag queens after hours at secret bars, and becomes a beacon of hope to an otherwise spurned group of ailing gay men on the fringes of a deeply conservative state.Throughout the years, Ruth defies local pastors and nurses to help the men she cares for: Paul and Billy, Angel, Chip, Todd and Luke. Emboldened by the weight of their collective pain, she fervently advocates for their safety and visibility, ultimately advising Governor Bill Clinton on the national HIV-AIDS crisis.This deeply moving and elegiac memoir honors the extraordinary life of Ruth Coker Burks and the beloved men who fought valiantly for their lives with AIDS during a most hostile and misinformed time in America.

    Revolving around three interlocking lives, it offers, among other things, a detailed inside look at the work of paramedics, and entertaining celebrity gossip.

    His story begins here—before the homemade goat milk soaps and hand-gathered honeys, before his memoir of the city mouse’s move to the country, The Bucolic Plague—in I Am Not Myself These Days,  with “plenty of dishy anecdotes and moments of tragi-camp delight” (WashingtonPost).

    From her early, often harrowing memories of life and abuse in a remote Ojibwa community riven by poverty and alcoholism, Chacaby’s story is one of enduring and ultimately overcoming the social, economic, and health legacies of colonialism.As a child, Chacaby learned spiritual and cultural traditions from her Cree grandmother and trapping, hunting, and bush survival skills from her Ojibwa stepfather. She also suffered physical and sexual abuse by different adults, and by her teen years she was alcoholic herself. At twenty, Chacaby moved to Thunder Bay with her children to escape an abusive marriage. Abuse, compounded by racism, continued, but Chacaby found supports to help herself and others. Over the following decades, she achieved sobriety; trained and worked as an alcoholism counselor; raised her children and fostered many others; learned to live with visual impairment; and came out as a lesbian. In 2013, Chacaby led the first gay pride parade in her adopted city, Thunder Bay, Ontario.Ma-Nee Chacaby has emerged from hardship grounded in faith, compassion, humor, and resilience. Her memoir provides unprecedented insights into the challenges still faced by many Indigenous people.

    But as Rachel Hope Cleves demonstrates in this eye-opening book, same-sex marriage is hardly new.Born in 1777, Charity Bryant was raised in Massachusetts. A brilliant and strong-willed woman with a clear attraction for her own sex, Charity found herself banished from her family home at age twenty. She spent the next decade of her life traveling throughout Massachusetts, working as a teacher, making intimate female friends, and becoming the subject of gossip wherever she lived. At age twenty-nine, still defiantly single, Charity visited friends in Weybridge, Vermont. There she met a pious and studious young woman named Sylvia Drake. The two soon became so inseparable that Charity decided to rent rooms in Weybridge. In 1809, they moved into their own home together, and over the years, came to be recognized, essentially, as a married couple. Revered by their community, Charity and Sylvia operated a tailor shop employing many local women, served as guiding lights within their church, and participated in raising their many nieces and nephews.Charity and Sylvia is the intimate history of their extraordinary forty-four year union. Drawing on an array of original documents including diaries, letters, and poetry, Cleves traces their lives in sharp detail. Providing an illuminating glimpse into a relationship that turns conventional notions of same-sex marriage on their head, and reveals early America to be a place both more diverse and more accommodating than modern society might imagine, Charity and Sylvia is a significant contribution to our limited knowledge of LGBT history in early America.

    When she lands in San Francisco’s Castro neighborhood, her roommates introduce her to a whole new world, full of people who identify as queer, who modify their bodies and blur the line between woman and man, who defy everything Nina thought she knew about gender and identity. Despite herself, Nina is drawn to the people she once considered freaks, and before long, she is forging a path that is neither man nor woman, here nor there. This candid and humorous memoir of gender awakening brings readers into the world of the next generation of transgender warriors and tells a classic tale of first love and self-discovery.

    This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.Cherríe Moraga is the co-editor of the classic feminist anthology This Bridge Called My Back and the author of The Last Generation. She is Artist-in-Residence at Stanford University.

    This passionate and riveting memoir is a mixtape of dreams and nightmares, of immigration court lineups and queer South Asian dance nights; it reveals how a disabled queer woman of color and abuse survivor navigates the dirty river of the past and, as the subtitle suggests, "dreams her way home."Leah Lakshmi Piepzna-Samarasinha's poetry book Love Cake won a Lambda Literary Award.

    Teek wonders, “Can butches even get pregnant?”Of course, as she and her pragmatic femme girlfriend Vee discover, they can. But what happens when they do? Written and illustrated by A.K. Summers, and based on her own pregnancy, Pregnant Butch strives to depict this increasingly common, but still underrepresented experience of queer pregnancy with humor and complexity—from the question of whether suspenders count as legitimate maternity wear to the strains created by different views of pregnancy within a couple and finally to a culturally critical and compassionate interrogation of gender in pregnancy. Offering smart, ambitious art, this graphic memoir is a must-read for would-be pregnant butches and anyone interested in the intersection of birth and gender, as well as a perfect queer baby shower gift and conversation starter for those who always assumed they “got” being pregnant.

    Now on the cusp of turning 30, I'm ready to expose some parts of my life that I haven't shared before. Before, it was all about privacy, process and time. And now the time has come! I’m ready to put myself out there, for you.  I'm a little nervous about all these vulnerable words going into the world, these tales about my love life, the wrestling I’ve done with faith, how I feel about sex and my family and myself. I’ve had a lot of trials, a lot of errors, but also a lot of passion. Here’s the thing--I've always found comfort in the stories shared by others, so I hope my stories, now that I feel ready to tell them, will bring you some comfort too.And when you read this book please remember: Buffering is just the time it takes to process.Enjoy!Love,Hannah

    Kate Bornstein provides an introduction. Boys Like Her is a road movie of young queer life. Four distinct voices come together in a tag-team dialogue, interwoven with disturbingly beautiful photographs that echo their transformative energy.Reading this book is like watching a circus troupe juggle a chainsaw, a grapefruit, a beach ball and a pocket watch without dropping a beat, With identities ranging from boy-girl to power-femme to borderline testosterone-enhanced, these talented upstarts explore and explode gender, sex and family. Gentleness is mixed with harsh honesty, as grandmother's good advice jostles with hormone therapy, surviving the psych ward, rough play and lost love. Each piece stands alone, together they are a conversation, a road movie of young queer life, rolling with the punches and taking the reader along for a ride to remember!

    She has written some of the most admired books of the past few decades, including her internationally bestselling first novel, Oranges Are Not the Only Fruit, the story of a young girl adopted by Pentecostal parents that is now often required reading in contemporary fiction. Why Be Happy When You Could Be Normal? is a memoir about a life's work to find happiness. It's a book full of stories: about a girl locked out of her home, sitting on the doorstep all night; about a religious zealot disguised as a mother who has two sets of false teeth and a revolver in the dresser, waiting for Armageddon; about growing up in an north England industrial town now changed beyond recognition; about the Universe as Cosmic Dustbin. It is the story of how a painful past that Jeanette thought she'd written over and repainted rose to haunt her, sending her on a journey into madness and out again, in search of her biological mother.