Braiding together sexuality and divinity, conflict and redemption, The Lost Arabs is a fierce, urgent collection from a distinct new voice.

    Drawing from the New York Public Library's archives, The Stonewall Reader is a collection of first accounts, diaries, periodic literature, and articles from LGBTQ magazines and newspapers that documented both the years leading up to and the years following the riots. Most importantly the anthology spotlights both iconic activists who were pivotal in the movement, such as Sylvia Rivera, co-founder of Street Transvestites Action Revolutionaries (STAR), as well as forgotten figures like Ernestine Eckstein, one of the few out, African American, lesbian activists in the 1960s. The anthology focuses on the events of 1969, the five years before, and the five years after. Jason Baumann, the NYPL coordinator of humanities and LGBTQ collections, has edited and introduced the volume to coincide with the NYPL exhibition he has curated on the Stonewall uprising and gay liberation movement of 1969.

    As the children of refugees carve out radical new paths for themselves in California, they shoulder the inherited weight of the Khmer Rouge genocide and grapple with the complexities of race, sexuality, friendship, and family.A high school badminton coach and failing grocery store owner tries to relive his glory days by beating a rising star teenage player. Two drunken brothers attend a wedding afterparty and hatch a plan to expose their shady uncle’s snubbing of the bride and groom. A queer love affair sparks between an older tech entrepreneur trying to launch a “safe space” app and a disillusioned young teacher obsessed with Moby-Dick. And in the sweeping final story, a nine-year-old child learns that his mother survived a racist school shooter.With nuanced emotional precision, gritty humor, and compassionate insight into the intimacy of queer and immigrant communities, the stories in Afterparties deliver an explosive introduction to the work of Anthony Veasna So.

    Maurice Beebe calls it "a distinguished contribution to modern literary history." Jane Marcus hails it as "the first serious literary history of the period and its women writers, making along the way no small contribution to our understanding of the relationships between women artists and their male counterparts, from Henry James to Hemingway, Joyce, Picasso, and Pound."

    some planet is what it’s like to be a human. existing in one’s mind, in one’s body, in one’s world, in one’s galaxy, all tiny universes inside tiny universes all locked in fevered conversation. some planet is the coin in your pocket when you don't know how to choose. some planet is when everything is both itself and simultaneously else. jamie mortara is leading you through the woods by the hand, trying to get you home safe before sun goes down.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    Disgusted by an overabundance of phallocratic narratives and Freytag’s pyramid, she turns to a subcultural canon of resistance and failure. Wryly riffing on feminist literary tropes, it documents the survival of a demonized single mother figuring things out.

    In BREAKING POEMS Suheir Hammad departs from her previous poetry books with a bold and explosive style to do what the best poets have always done: create a new language. Using "break" as a trigger for every poem, Hammad destructs, constructs, and reconstructs the English language for us to hear the sound of a breath, a woman's body, a land, a culture, falling apart, broken, and put back together again. "Suheir Hammad's BREAKING POEMS introduces English to an Arabic vernacular that startles into being an altogether new language, bridging the archipelago of a Palestine under siege to the diaspora and beyond, breaking through convention, breaking open locks on mind and heart, breaking into a music inspired by the Coltranes, Sun Ra and free jazz, Lee Scratch Perry and Ravi Shankar, a music that is at once a joyous celebration of survival and a poignant cri de Coeur that cannot be ignored and that Mahmoud Darwish should have lived to see. This is a poetry written for people who have endured the winds of hurricanes and invasions. What wisdom, energy, joy and poignancy Hammad brings to the page for all of this, and for teaching me a new speaking, I give her my thanks" Carolyn Forche."

    These 15 original pieces delve into everything from ghost stories and superheroes, to memories in the kitchen and travels around the world, to addiction and grief, to identity and anti-Blackness, to finding love and speaking your truth.Wild Tongues Can’t Be Tamed features bestselling and award-winning authors as well as new, up-and-coming voices, including:Elizabeth AcevedoCristina ArreolaIngrid Rojas ContrerasNaima CosterNatasha DiazKahlil HaywoodZakiya JamalJanel MartinezJasminne MendezMeg MedinaMark OshiroJulian RandallLilliam RiveraIbi ZoboiFull of both sorrow and joy, Wild Tongues Can’t Be Tamed is an essential celebration of this rich and diverse community.

    One cannot categorize these poems simply as confessional, narrative, or lyrical. They are all these things at once. They move beyond usual explorations of childhood or family to blend themes and influences that range from Neruda to Coltrane, Fat Albert to Orpheus, John Shaft to Gershwin. This book gives us an almost Whitmanesque account of an America, and an African American, replete with grace and imperfection. Moreover, it gives us a voice that does not sacrifice truth for music or music for accessibility. At the end of a poem that includes Bill Strayhorn, Andrew Carnegie, and Dante, Hayes says, "I know one of the rings of hell is reserved for men who refuse to weep. So I let it come. And it does not move from me." These lines reflect what is always at the core of Hayes's poetry: a faithfulness, not to traditional forms or themes, but to heart and honesty. It is a core bounded by and cradled by a passion for the music in all things.

    Cultural critic and bestselling author Roxane Gay has edited a collection of essays that explore what it means to live in a world where women are frequently belittled and harassed due to their gender, and offers a call to arms insisting that "not that bad" must no longer be good enough.

    A Syrian mother, a Lebanese father, and three American children: all have lived a life of migration. Still, they’ve always had their ancestral home in Beirut—a constant touchstone—and the complicated, messy family love that binds them. But following his father's recent death, Idris, the family's new patriarch, has decided to sell. The decision brings the family to Beirut, where everyone unites against Idris in a fight to save the house. They all have secrets—lost loves, bitter jealousies, abandoned passions, deep-set shame—that distance has helped smother. But in a city smoldering with the legacy of war, an ongoing flow of refugees, religious tension, and political protest, those secrets ignite, imperiling the fragile ties that hold this family together.   In a novel teeming with wisdom, warmth, and characters born of remarkable human insight, award-winning author Hala Alyan shows us again that “fiction is often the best filter for the real world around us” (NPR).

    Shame for liking men. Shame for wanting to be a songwriter. Shame for not being like his perfect brother. Shame for his alcoholism. And most of all, shame for what happened with the first boy he ever loved. When his mother tells him she is selling the family home, Akash must return to Illinois to confront his demons and the painful memory of a sexual awakening that became a nightmare. Akash's mum, Renu, is also plagued by guilt. She had it all: doting husband, beautiful house, healthy sons. But as the one-year anniversary of her husband's death approaches Renu can't stop wondering if she chose the wrong life thirty-five years ago and should have stayed in London with her first love. Together, Renu and Akash pack up the house, retreating further into the secrets that stand between them. When their pasts catch up to them, Renu and Akash must decide between the lives they left behind and the ones they've since created. By turns irreverent and tender, filled with the beats of '90s R&B, Tell Me How to Be is about our earliest betrayals and the cost of reconciliation. But most of all, it is the love story of a mother and son each trying to figure out how to be in the world.

    this impressive debut has established Hera Lindsay Bird as a good girl………with many beneficial thoughts and feelings………with themes as varied as snow and tears, the poems in this collection shine with the fantastic cream of who she is………juxtaposing many classical and modern breezesBird turns her prescient eye on love and loss, and what emerges is like a helicopter in fog………or a bejewelled Christmas sleigh, gliding triumphantly through the contemporary aesthetic desert………this is at once an intelligent and compelling fantasy of tenderness………heartbreaking and charged with trees………without once sacrificing the forest………Whether you are masturbating luxuriously in your parent’s sleepout………………or pushing a pork roast home in a vintage pram………this is the book for you………………………heroically and compulsively stupid………………………………………………………………………………whipping you once again into medieval sunlight.

    Our companions are an aging poet, who is sad because he can no longer write—he has lost the joy he used to have in simply being alive–and a young, mischievous female donkey, who is sad because she can't run and play—she has a touch of arthritis. . . . There is a moral, of course, but any moral looks dull next to the simple happiness of the old poet and his long-eared muse."—The New Yorker