Co-published by two of the premiere publishers in comics—DC and IDW, this oversize comic contains moving and heartfelt material from some of the greatest talent in comics, mourning the victims, supporting the survivors, celebrating the LGBTQ community, and examining love in today’s world. All material has been kindly donated by the writers, artists, and editors with all proceeds going to victims, survivors, and their families. Be a part of an historic comics event! It doesn’t matter who you love. All that matters is you love.

    . . nevertheless, here it is: a learned, witty study of how our curious culture has managed to get everything wrong about sex."-Gore Vidal

    Despite the prevalence of bisexuality among Generation X and Y women, she finds that it continues to be marginalized by both gay and straight cultures, and dismissed either as a phase or a cop-out. With intimacy and humor, Baumgardner discusses her own experience as a bisexual, and the struggle she's undergone to reconcile the privilege she's garnered as a woman who is perceived as straight and the empowerment and satisfaction she's derived from her relationships with women. Part memoir, part pop-culture study, "Look Both Ways "connects the prominent dots of a bisexual community (Alix Kates Shulman, Ani DiFranco, Rebecca Walker, and, of course, Anne Heche) that Baumgardner argues have bridged feminist aims with those of the gay rights movement. "Look Both Ways "is a compelling and current study in bisexual lives lived secretly and openly, and an exploration of the lessons learned by writers, artists, and activists who have refused the either/or paradigm defended by both gay and straight communities.

    Transgender evangelist Jemima Wilkinson, in the early 1800s, changed her name to “Publick Universal Friend,” refused to use pronouns, fought for gender equality, and led her own congregation in upstate New York. In the mid-nineteenth century, internationally famous Shakespearean actor Charlotte Cushman led an openly lesbian life, including a well-publicized “female marriage.” And in the late 1920s, Augustus Granville Dill was fired by W. E. B. Du Bois from the NAACP’s magazine the Crisis after being arrested for a homosexual encounter. These are just a few moments of queer history that Michael Bronski highlights in this groundbreaking book.   Intellectually dynamic and endlessly provocative, A Queer History of the United States is more than a “who’s who” of queer history: it is a book that radically challenges how we understand American history. Drawing upon primary documents, literature, and cultural histories, noted scholar and activist Michael Bronski charts the breadth of lesbian, gay, bisexual, and transgender history, from 1492 to the 1990s, and has written a testament to how the LGBT experience has profoundly shaped our country, culture, and history.  A Queer History of the United States abounds with startling examples of unknown or often ignored aspects of American history—the ineffectiveness of sodomy laws in the colonies, the prevalence of cross-dressing women soldiers in the Civil War, the impact of new technologies on LGBT life in the nineteenth century, and how rock music and popular culture were, in large part, responsible for the devastating backlash against gay rights in the late 1970s. Most striking, Bronski documents how, over centuries, various incarnations of social purity movements have consistently attempted to regulate all sexuality, including fantasies, masturbation, and queer sex. Resisting these efforts, same-sex desire flourished and helped make America what it is today.   At heart, A Queer History of the United States is simply about American history. It is a book that will matter both to LGBT people and heterosexuals. This engrossing and revelatory history will make readers appreciate just how queer America really is.

    Since she never did find the story she was looking for all those years ago, she decided to write it.In Book I of the trilogy, Tamras arrives in Merin's house to begin her apprenticeship as a warrior, but her small stature causes many, including Tamras herself, to doubt that she will ever become a competent swordswoman. To make matters worse, the Lady Merin assigns her the position of companion, little more than a personal servant, to a woman who came to Merin's house, seemingly out of nowhere, the previous winter, and this stranger wants nothing to do with Tamras.

    A personal story of Kate Millett's struggle to regain control of her life after falling under an ascription of manic depression.

    Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality the dangers experienced in skin and body and blood and a diagnosis of HIV positive. "Some of us are killed / in pieces," Smith writes, some of us all at once. Don't Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes America--"Dear White America"--where every day is too often a funeral and not often enough a miracle.

     Allie just wants to make movies. But that’s not so easy when distractions abound. Distractions like sexy set designer Ashley. Or for that matter, sensitive screenwriter Cameron. In the high pressure atmosphere of a top film school, can Allie hang on to who she is? And with two different love paths in front of her, will she choose the right one? Or will she fuck everything up? From the author of 'The Plus One' and 'Waiting for the Punchline', 'Close Ups and F**k Ups' is about risking everything for what (and who) you love.

    A unique and provocative anthology of lesbian writing, guaranteed to soothe the soulful and savage the soulless.

    I was depressed and gay.”Shaun David Hutchinson was nineteen. Confused. Struggling to find the vocabulary to understand and accept who he was and how he fit into a community in which he couldn’t see himself. The voice of depression told him that he would never be loved or wanted, while powerful and hurtful messages from society told him that being gay meant love and happiness weren’t for him.A million moments large and small over the years all came together to convince Shaun that he couldn’t keep going, that he had no future. And so he followed through on trying to make that a reality.Thankfully Shaun survived, and over time, came to embrace how grateful he is and how to find self-acceptance. In this courageous and deeply honest memoir, Shaun takes readers through the journey of what brought him to the edge, and what has helped him truly believe that it does get better.

    My withdrawal/delirium tremens (DTs) were terrifying and excruciating.My story takes the reader through my experiences of late stage alcoholism, two arrests by my new husband of three months and my subsequent adventures through and between five inpatient treatment centers for alcohol abuse.

    Asked by author Alexandra del Torre to provide as much detail as possible, they held nothing back in their retelling of these intensely intimate encounters. In “Lesbian Firsts,” you will hear from real lesbians and read about their real first times, including:HEATHER, a 24-year-old high school English teacher who discovered her lesbianism with a volleyball teammate at the age of 19.MEGHAN, a 32-year-old attorney who lost her lesbian virginity to her first-year dormmate in college.KRISTEN, a 26-year-old accountant who discovered her preference for women at 18 during a sleepover with her more advanced 22-year-old friend, Michelle.MARIA, a 36-year-old basketball coach who found sapphic love in a locker room shower with a teammate.KORI, a 28-year-old makeup artist who, at 18, was stimulated in a movie theatre by her cousin’s suave, butch neighbor.DEBBIE, a 41-year-old psychologist whose first lesbian experience came at age 30, following her divorce from her husband of two years. Trapped overnight during a rainstorm at her book club friend’s house, Debbie discovers pleasures she never knew with a man.JENNIFER, a 34-year-old police officer who lost her lesbian virginity on the same night she gained the legal right to drink – her 21st birthday. A mysterious stranger in a lesbian bar introduces Jennifer to strap-on sex in the bathroom, much to her delight.DIANE, a 25-year-old assistant book editor who engaged in her first lesbian sexual encounter with her current boss when she was a 20-year-old intern at a publishing company.TAYLOR, a 37-year-old personal chef who, as a student at a women’s Catholic college, shared an intimate encounter with a classmate in her car during half-time of a school basketball game.SARAH, a 22-year-old flight attendant who found lesbian love in the skies with a flirtatious flight attendant who was serving as her mentor when she was a 20-year-old trainee.***

    

    The best of the first 5 years of BUTT: Adventures in 21st century gay subculture Since its first legendary issue in 2001, international quarterly magazine BUTT has been bringing together groups of young alternative gay guys all around the world, connecting fashion, sex, and art with a good sense of irony.

    Focusing on the “orientation” aspect of “sexual orientation” and the “orient” in “orientalism,” Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.Ahmed proposes that a queer phenomenology might investigate not only how the concept of orientation is informed by phenomenology but also the orientation of phenomenology itself. Thus she reflects on the significance of the objects that appear—and those that do not—as signs of orientation in classic phenomenological texts such as Husserl’s Ideas. In developing a queer model of orientations, she combines readings of phenomenological texts—by Husserl, Heidegger, Merleau-Ponty, and Fanon—with insights drawn from queer studies, feminist theory, critical race theory, Marxism, and psychoanalysis. Queer Phenomenology points queer theory in bold new directions.