So far, she's been in love once (total catastrophe) and on fire twice (also pretty bad). Both love and fire have left their scars.Looking a little more burnt chicken and a little less radiant phoenix, Allison takes up residence in Dylan Hall (a.k.a. Dyke Hall) at St. Joseph's College, where she discovers the true gift of freshman year: the opportunity to reinvent yourself. Miles away from the high school she's happy to leave behind, her all-female dorm is a strange new world, home to new social circles and challenges. Allison still feels like the odd girl out ... until Shar appears. Beautiful and blinding, Shar quickly becomes the sun at the centre of Allison's universe, drawing her in with dangerous allure.Will Allison get burned again? And, if she does, what kind of scars will she earn this time?

    Taking from their own experiences as a gender-nonconforming artist, they show us that gender is a malleable and creative form of expression. The only limit is your imagination.

    I can no longer grab beauty by her wrists and demand articulation or meaning. I can only take account of where things touch.Part lyric essay, part prose poetry, Where Things Touch: A Meditation on Beauty grapples with the manifold meanings and possibilities of beauty. Drawing on her experiences as a physician-in-training, Orang considers clinical encounters and how they relate to the concept and very idea of beauty. Such considerations lead her to questions about intimacy, queerness, home, memory, love, and other aspects of human experience. Throughout, beauty is ultimately imagined as something inextricably tied to care: the care of lovers, of patients, of art and literature, and the various non-human worlds that surround us.Eloquent and meditative in its approach, beauty, here, beyond base expectations of frivolity and superficiality, is conceived of as a thing to recover. Where Things Touch is an exploration of an essential human pleasure, a necessary freedom by which to challenge what we know of ourselves and the world we inhabit.

    Robinson's disarming honesty and wry irony shine through her depictions of her and her mother's trip to Graceland, the potlatch where she and here sister received their Indian names, how her parents first met in Bella Bella (Waglisla, British Columbia), a look at b'gwus, the Sasquatch. Readers of memoir, Canadian literature, Aboriginal history and culture, and fans of Robinson's delightful, poignant, sometimes quirky tales will love The Sasquatch at Home.

    Edith Vane, scholar of English literature, is contentedly ensconced at the University of Inivea. Her dissertation on pioneer housewife memoirist Beulah Crump-Withers is about to be published, and she's on track for tenure, if only she can fill out her AAO properly. She's a little anxious, but a new floral blouse and her therapist's repeated assurance that she is the architect of her own life should fix that. All should be well, really. Except for her broken washing machine, her fickle new girlfriend, her missing friend Coral, her backstabbing fellow professors, a cutthroat new dean—and the fact that the sentient and malevolent Crawley Hall has decided it wants them all out, and the hall and its hellish hares will stop at nothing to get rid of them.Like an unholy collision of Stoner, The Haunting of Hill House, Charlie Brown, and Alice in Wonderland, this audacious new novel by the Giller Prize–longlisted Suzette Mayr is a satire that takes the hallowed halls of the campus novel in fantastical—and unsettling—directions.

    Georgie--a hopeless romantic with a weakness for punk-rock-girls even if they consistently trample her heart. Cruzer--a Mexican-American photographer, the tough kid, who chases love all the way to the East Coast. Soda--a gender queer heartthrob from the Midwest, who dreams of pirate ships, moustaches and femme foxes. Welcome to The Creamsickle, the ultimate bachelor pad, a lopsided Victorian in the Mission District, home to this rascally crew of charming skater bois who hop from one bed to another in pursuit of sex, love or just the next new thrill. This is a San Francisco you have never seen, an eclectic landscape of dyke clubs and dyke havens, along with the exotic Minxy, a wonderland where baby butch Georgie enters the femme-centric world of strippers for the most comical gender-bending education of all. Discover today's world of young queers, a world where personal identity is in constant flux, where gender exploration can be performance--or a life saving transition. Beneath the sex, music, drugs and drama, you'll find something true and timeless: a search for love, for queer family, for meaning, for connection, and affirmation.

    A remarkable peep show of a novel about what binds artists and prostitutes, and the collateral damage of what happens when they try to recover what they have lost.Daniel Allen Cox is a former porn star. This is his first novel.

    In addition to generous samples of poetry by each trans writer, the book also includes “poetics statements”—reflections by each poet that provide context for their work covering a range of issues from identification and embodiment to language and activism.Poets in Troubling the Line: Ahimsa Timoteo Bodhrán, Aimee Herman, Amir Rabiyah, Ari Banias, Ariel Goldberg, Bo Luengsuraswat, CAConrad, Ching-In Chen, Cole Krawitz, D’Lo, David Wolach, Dawn Lundy Martin, Drew Krewer, Duriel E. Harris, EC Crandall, Eileen Myles, Eli Clare, Ely Shipley, Emerson Whitney, Eric Karin, Fabian Romero, Gr Keer, HR Hegnauer, J. Rice, j/j hastain, Jaime Shearn Coan, Jake Pam Dick, Jen (Jay) Besemer, Jenny Johnson, John Wieners, Joy Ladin, Julian Talamantez Brolaski, kari edwards, Kit Yan, Laura Neuman, Lilith Latini, Lizz Bronson, Lori Selke, Max Wolf Valerio, Meg Day, Micha Cárdenas, Monica / Nico Peck, Natro, Oliver Bendorf, Reba Overkill, Samuel Ace, Stacey Waite, Stephen Burt, TC Tolbert, Tim Trace Peterson, Trish Salah, TT Jax, Y. Madrone, Yosmay del Mazo & Zoe Tuck. TC Tolbert, a genderqueer, feminist poet and teacher committed to social justice, is the author of territories of folding, spirare, and the forthcoming Gephyromania. Tolbert lives in Tucson.Tim Trace Peterson is a poet, critic, and editor. The author of Since I Moved In and Violet Speech, Peterson is co-editor of the forthcoming Gil Ott: Collected Writings and lives in Brooklyn.

    Owen, Kentucky, just isn't big enough for Tony Blair. Bored with small-town life, already a problem drinker at 17, Tony is restless--ideal prey for Carlos Reichart, a Warhol-esque filmmaker.

    By turns serious and fantastical, hilarious and confrontational, We Were Always Here addresses the fears, mysteries, wonders and variety of experience that binds our community together. We Were Always Here is a snapshot of current LGBTI+ writing and a showcase of queer talent.Contributors: Alice Tarbuck, Andrés Ordorica, April Hill, AR Crow, Bibi June, BD Owens, Callum Harper, Christina Neuwirth, Ciara Maguire, Elaine Gallagher, Elva Hills, Eris Young, Etzali Hernández, Felicity Anderson-Nathan, Freddie Alexander, Garry Mac, Gray Crosbie, Harry Josephine Giles, Heather Parry, Heather Valentine, Jack Bigglestone, Jane Flett, Jay G Ying, Jay Whittaker, Jonathan Bay, Jo Clifford, Kirsty Logan, Laura Waddell, Lori England, MJ Brocklebank, Rachel Plummer, Ross Jamieson, Sandra Alland, Shane Strachan, Zoe Storrie.

    Stephansson Award for PoetryWith a title derived from John A. Macdonald’s moniker for the Métis, The Pemmican Eaters explores Marilyn Dumont’s sense of history as the dynamic present. Combining free verse and metered poems, her latest collection aims to recreate a palpable sense of the Riel Resistance period and evoke the geographical, linguistic/cultural, and political situation of Batoche during this time through the eyes of those who experienced the battles, as well as through the eyes of Gabriel and Madeleine Dumont and Louis Riel.Included in this collection are poems about the bison, seed beadwork, and the Red River Cart, and some poems employ elements of the Michif language, which, along with French and Cree, was spoken by Dumont’s ancestors. In Dumont’s The Pemmican Eaters, a multiplicity of identities is a strengthening rather than a weakening or diluting force in culture.

    Their language is forbidden, their names are changed to Jeremiah and Gabriel, and both boys are abused by priests.As young men, estranged from their own people and alienated from the culture imposed upon them, the Okimasis brothers fight to survive. Wherever they go, the Fur Queen--a wily, shape-shifting trickster--watches over them with a protective eye. For Jeremiah and Gabriel are destined to be artists. Through music and dance they soar.

    There are no beautiful rainbows here, no whispers, but raw cries from somewhere primal. "Silas' words dart in and out like a scalpel revealing layers of flesh that have been given-or-taken-by lovers, parents, cruelty, and fate." - Sean Felix

    Voth throws himself into his work, obsessively researching the life of Jack Sheppard, a legendary eighteenth century thief. No one knows Jack’s true story—his confessions have never been found. That is, until Dr. Voth discovers a mysterious stack of papers titled Confessions of the Fox. Dated 1724, the manuscript tells the story of an orphan named P. Sold into servitude at twelve, P struggles for years with her desire to live as “Jack.” When P falls dizzyingly in love with Bess, a sex worker looking for freedom of her own, P begins to imagine a different life. Bess brings P into the London underworld where scamps and rogues clash with London’s newly established police force, queer subcultures thrive, and ominous threats of an oncoming plague abound. At last, P becomes Jack Sheppard, one of the most notorious—and most wanted—thieves in history. Back in the present, Dr. Voth works feverishly day and night to authenticate the manuscript. But he’s not the only one who wants Jack’s story—and some people will do whatever it takes to get it. As both Jack and Voth are drawn into corruption and conspiracy, it becomes clear that their fates are intertwined—and only a miracle will save them both. An imaginative retelling of Brecht’s Threepenny Opera, Confessions of the Fox blends high-spirited adventure, subversive history, and provocative wit to animate forgotten histories and the extraordinary characters hidden within.

    As a way to move from the linear timeline of healing and coming to terms with how trauma does not exist in subsequent happenings, it was never going to be okay tries to break down years of silence in simpson’s debut collection of poetry:i am fivemy sisters are saying boyi do not know what the word means but—i am bruised into knowing it: the blunt b,the hollowness of the o, the blade of y