Born from Levithan's tradition of writing a story for his friends each Valentine's Day, this collection brings all of them to his readers for the first time. With fiction, nonfiction, and a story in verse, there's something for every reader here.Witty, romantic, and honest, teens (and adults) will come to this collection not only on Valentine's Day, but all year round.

    A West Coast poet, his influence spanned the national literary scene of the 1950s and '60s, though in many ways Spicer's innovative writing ran counter to that of his contemporaries in the New York School and the West Coast Beat movement. Now, more than forty years later, Spicer's voice is more compelling, insistent, and timely than ever. During his short but prolific life, Spicer troubled the concepts of translation, voice, and the act of poetic composition itself. My Vocabulary Did This to Me is a landmark publication of this essential poet's life work, and includes poems that have become increasingly hard to find and many published here for the first time.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Bill Cosby. Donald Trump. The most famous abusers in modern American history are finally starting to be outed for what they are. Women are speaking up and risking harassment to expose men's behavior that was previously only whispered about-and more people than ever are starting to believe them. How we respond to this moment could change everything. In Believe Me, contributors ask and answer the question: What would happen if we believed women? If we believed women about pleasure and reproduction, we would save a staggering amount of public health costs. If we believed survivors who aren't white or straight, we would strengthen our anti-rape efforts. If we believed black women when they talk about pain, we could save lives. Including contributions from Moira Donegan, Jamil Smith, Tatiana Maslany, and many more of the most important voices in feminism today, Believe Me is essential reading for the #MeToo era.

    (To date, it has won no fewer than 31 Emmys.) Seriously... I'm Kidding, Degeneres' first book in eight years, brings us up to date about the life of a kindhearted woman who bowed out of American Idol because she didn't want to be mean. Lively; hilarious; often sweetly poignant.

     A riveting, powerful telling of the story of the grassroots movement of activists, many of them in a life-or-death struggle, who seized upon scientific research to help develop the drugs that turned HIV from a mostly fatal infection to a manageable disease. Ignored by public officials, religious leaders, and the nation at large, and confronted with shame and hatred, this small group of men and women chose to fight for their right to live by educating themselves and demanding to become full partners in the race for effective treatments. Around the globe, 16 million people are alive today thanks to their efforts. Not since the publication of Randy Shilts's classic And the Band Played On has a book measured the AIDS plague in such brutally human, intimate, and soaring terms. In dramatic fashion, we witness the founding of ACT UP and TAG (Treatment Action Group), and the rise of an underground drug market in opposition to the prohibitively expensive (and sometimes toxic) AZT. We watch as these activists learn to become their own researchers, lobbyists, drug smugglers, and clinicians, establishing their own newspapers, research journals, and laboratories, and as they go on to force reform in the nation s disease-fighting agencies. With his unparalleled access to this community David France illuminates the lives of extraordinary characters, including the closeted Wall Street trader-turned-activist, the high school dropout who found purpose battling pharmaceutical giants in New York, the South African physician who helped establish the first officially recognized buyers club at the height of the epidemic, and the public relations executive fighting to save his own life for the sake of his young daughter. Expansive yet richly detailed, this is an insider's account of a pivotal moment in the history of American civil rights. Powerful, heart-wrenching, and finally exhilarating, How to Survive a Plague is destined to become an essential part of the literature of AIDS.

    What is the right way to handle an abusive partner? An unexpected pregnancy? A toxic friendship? Chronic unemployment? A family member going to war? A disability? Anger? Loneliness?  Finding themselves in disempowering, frightening, or otherwise unendurable circumstances, the girls and women in Maria Adelmann's stories look for ways to free themselves into new lives or, at the very least, new states of feeling. Sometimes they do this by hurting someone else or getting hurt; sometimes by submitting, other times by mounting a rebellion. With a special talent for pressing the sharp up against the tender, Adelmann explores the many pathways through the titular condition. Ranging in style from the magical to the terrifying to the calm tones of a self-help manual, GIRLS OF A CERTAIN AGE captures the spectrum of strategies we apply to the pain of life, strategies that we persist in pretending might actually work.

    This anthology breaks up the myth of hip-hop as a boys’ club, and asserts the truth that the cypher is a feminine form.

    “a new poet explodes into the scene with a dark, fantastical, & all-too-relatable voice. you will consider this your new friendship breakup soundtrack.” — Amanda Lovelace, Author of the princess saves herself in this one“Riveting, thought-provoking and elegant, Water Runs Red will tug at your heartstrings and mend your soul in one fell swoop.” — Sasha Alsberg, #1 NYT Bestselling Author of ZENITH: The Androma Saga

    With tens of thousands reading his pieces on Thought Catalog and Vice, watching his videos on YouTube, and hanging on to each and every #dark tweet, Ryan has established himself as a unique young voice who's not afraid to dole out some real talk. He's that candid, snarky friend you consult when you fear you're spending too much time falling down virtual k-holes stalking your ex on Facebook or when you've made the all-too-common mistake of befriending a psycho while wasted at last night's party and need to find a way to get rid of them the next morning. But Ryan didn't always have the answers to these modern day dilemmas. Growing up gay and disabled with cerebral palsy, he constantly felt like he was one step behind everybody else. Then the rude curveball known as your twenties happened and things got even more confusing.Ryan spent years as a Millennial cliche: he had dead-end internships; dabbled in unemployment; worked in his pajamas as a blogger; communicated mostly via text; looked for love online; spent hundreds on "necessary" items, like candles, while claiming to have no money; and even descended into aimless pill-popping. But through extensive trial and error, Ryan eventually figured out how to take his life from bleak to chic and began limping towards adulthood.Sharp and entertaining, I'm Special will educate twentysomethings (or other adolescents-at-heart) on what NOT to do if they ever want to become happy fully functioning grown ups with a 401k and a dog.

    With inventiveness, compassion, and humor, she thrusts us into a world of unconventional praise. From an unexpected encounter with her grandmother's ghost, to a bubble bath with Bjӧrk, to her plumber's confession that he, too, has Bipolar, Erlichman buoyantly topples stigma against the mentally ill. These are necessary odes to self-acceptance, resilience, and the jagged path toward healing. With startling language, and accompanied by her bold drawings and collages, she gives us a sparkling, original view into what makes us human.

    They're ready to stand up and be heard - but with much to shout about, where they do they begin? What can I do? How can I help? How I Resist is the response, and a way to start the conversation. To show readers that they are not helpless, and that anyone can be the change. A collection of essays, songs, illustrations, and interviews about activism and hope, How I Resist features an all-star group of contributors, including John Paul Brammer, Libba Bray, Lauren Duca, Modern Family's Jesse Tyler Ferguson and his husband Justin Mikita, Alex Gino, Hebh Jamal, Malinda Lo, Dylan Marron, Hamilton star Javier Muñoz, Rosie O'Donnell, Junauda Petrus, Jodi Picoult, Jason Reynolds, Karuna Riazi, Maya Rupert, Dana Schwartz, Dan Sinker, Ali Stroker, Jonny Sun (aka @jonnysun), Sabaa Tahir, Shaina Taub, Daniel Watts, Jennifer Weiner, Jacqueline Woodson, and more, all edited and compiled by New York Times bestselling author Maureen Johnson. In How I Resist, readers will find hope and support through voices that are at turns personal, funny, irreverent, and instructive. Not just for a young adult audience, this incredibly impactful collection will appeal to readers of all ages who are feeling adrift and looking for guidance. How I Resist is the kind of book people will be discussing for years to come and a staple on bookshelves for generations.

    Told with voices that are rarely recorded but need to be heard, and incorporating the language and history of her people, Leanne Simpson's Islands of Decolonial Love is a profound, important, and beautiful book of fiction.

    With The Office of Historical Corrections, Evans zooms in on particular moments and relationships in her characters' lives in a way that allows them to speak to larger issues of race, culture, and history. She introduces us to Black and multiracial characters who are experiencing the universal confusions of lust and love, and getting walloped by grief—all while exploring how history haunts us, personally and collectively. Ultimately, she provokes us to think about the truths of American history—about who gets to tell them, and the cost of setting the record straight.In "Boys Go to Jupiter," a white college student tries to reinvent herself after a photo of her in a Confederate-flag bikini goes viral. In "Richard of York Gave Battle in Vain," a photojournalist is forced to confront her own losses while attending an old friend's unexpectedly dramatic wedding. And in the eye-opening title novella, a black scholar from Washington, DC, is drawn into a complex historical mystery that spans generations and puts her job, her love life, and her oldest friendship at risk.

    Fans felt as though they knew him after devouring the New York Times, Publishers Weekly, Los Angeles Times, and Wall Street Journal bestseller. They were right… almost. In this new collection of original personal essays, Shane goes even deeper, sharing never-before-revealed stories from his life, giving readers a no-holds-barred look at moments both bizarre and relatable, from cult-like Christian after-school activities, dressing in drag, and losing his virginity, to hiring a psychic, clashes with celebrities, and coming to terms with his bisexuality. Every step of the way, Shane maintains his signature brand of humor, proving that even the toughest breaks can be funny when you learn to laugh at yourself. This is Let's Pretend This Never Happened and Running With Scissors for the millennial generation: an inspiring, intelligent, and brutally honest collection of true stories by a YouTube sensation-turned one of the freshest new voices out there.