Isabel is experimenting with the new medium of photography, and is inspired by Annie, who becomes her muse. The two form a close relationship, but when Eldon devises his own plans for the young maid, Annie nearly loses herself, until disaster reveals her power over the Dashells' work and hearts.

    Inspired by European post-impressionism, Vanessa’s experimental work places her at the vanguard of early twentieth-century art, as does her role in helping introduce many key names – Cézanne, Matisse, Picasso – to an unsuspecting public in 1910. Virginia took these artistic innovations and applied them to literature, pushing the boundaries of form, narrative and language to find a voice uniquely her own. Yet their private lives were just as experimental. Forming the core of the Bloomsbury Group, they welcomed into their London and Sussex homes a host of their talented peers and followed their hearts in the pursuit of love. Vanessa’s marriage to art critic Clive Bell was shaken early on by his flirtation with her sister, but this allowed her to find happiness with fellow artist Roger Fry. It was the predominantly homosexual Duncan Grant, though, who would become her lifelong partner, as they shared and decorated their home, Charleston, making it a living showpiece for their art. Virginia’s marriage to Leonard Woolf placed him more in the role of carer than husband, with the pair abstaining from sex and living under a regime designed to meet the needs of Virginia’s fragile mental health. Her meeting with the aristocratic Vita Sackville-West and their lesbian affair led Virginia to write one of the masterpieces of modern literature. What led the sisters to make such choices? How did they reconcile life and art? How did it feel, in early modern Britain, to live outside the social box? The sisters lived bravely, passionately and innovatively; where did this strength and talent come from?

    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.

    They developed an intensely close friendship, and ten years later in 1778, to the horror of their families, the two ladies eloped.

    Serano shares her experiences and observations—both pre- and post-transition—to reveal the ways in which fear, suspicion, and dismissiveness toward femininity shape our societal attitudes toward trans women, as well as gender and sexuality as a whole.Serano's well-honed arguments stem from her ability to bridge the gap between the often-disparate biological and social perspectives on gender. She exposes how deep-rooted the cultural belief is that femininity is frivolous, weak, and passive, and how this “feminine” weakness exists only to attract and appease male desire.In addition to debunking popular misconceptions about transsexuality, Serano makes the case that today's feminists and transgender activist must work to embrace and empower femininity—in all of its wondrous forms.

    But for all the interest in who's out and who's not (yet), there's been surprisingly little understanding of the diversity and richness of lesbian experience. This funny, lively, and perceptive book will change all that. Drawing on more than a hundred interviews with women around the country, and on their own keen wits and eyes, Van Gelder and Brandt have composed an unprecedented portrait of how gay women today—lipsticked and flannel-shirted alike—think, feel, love, and live. Three major "tribal" events—the long-running Michigan Womyn's Music Festival, "Dinah" (the annual Dinah Shore Golf Tournament and party circuit, a mecca for upwardly mobile luppies), and a cross-country trek with the activist Lesbian Avengers en route to the 1994 Stonewall commemoration—provide points of entry into an exploration of lesbian identity, social dynamics, and politics that's as entertaining as it is revealing. The result is a kaleidoscopic portrait that will resonate with lesbians themselves and reveal to their "neighbors" a world of unsuspected vibrancy and depth.

    Picardie's unprecedented research illuminates Chanel’s path from little-known seamstress to the aristocracy of style in this stunning look at the fashion icon, illustrated with more than sixty color and black-and-white images.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    From Weimar Berlin to LA's Chinatown, from a seaside resort in East Germany to a luxury apartment on the Champs-Élysées, the different settings they inhabit are as richly textured as the roles they play: siren, muse, predator, or lover, each one a carefully calibrated performance. And in the orbit of each star live secondary players--a Chinese immigrant housemaid, a German soldier on leave from North Africa, a pompous Hollywood director--whose voices and viewpoints reveal the legacy each woman left in her own time, as well as in ours. Amanda Lee Koe's playful, wry prose guides the reader dexterously around murky questions of ego, persona, complicity, desire, and difference. Intimate and raw, Delayed Rays of a Star is a visceral depiction of womanhood--its particular hungers, its calculations, and its eventual betrayals--and announces a bold new literary voice.

    At its center is a romance: the story of the author's relationship with the artist Harry Dodge. This story, which includes Nelson's account of falling in love with Dodge, who is fluidly gendered, as well as her journey to and through a pregnancy, offers a firsthand account of the complexities and joys of (queer) family-making.Writing in the spirit of public intellectuals such as Susan Sontag and Roland Barthes, Nelson binds her personal experience to a rigorous exploration of what iconic theorists have said about sexuality, gender, and the vexed institutions of marriage and child-rearing. Nelson's insistence on radical individual freedom and the value of caretaking becomes the rallying cry of this thoughtful, unabashed, uncompromising book.

    His family is another inspiration. You Can't Kill the Rooster is a portrait of his brother, who talks incessant hip-hop slang to his bewildered father. And no one hones a finer fury in response to such modern annoyances as restaurant meals presented in ludicrous towers of food and cashiers with six-inch fingernails.

    The Truth Is . . . is a highly charged autobiography—a bold and unflinching account of an extraordinary life that Melissa describes as only she can: from her Kansas roots, through her early love of music, to her brilliant rise to superstardom in a male-dominated rock world. Melissa openly discusses the massive impact of her publicly coming out, a revelation that only increased her popularity, making her a highly visible spokesperson for the gay and lesbian community. The Truth Is . . . shares Melissa Etheridge’s fascinating story with unprecedented candor and insight.

    Propelled into the upper echelons by his knowledge and adoration of fashion, André moved to Paris as bureau chief of John Fairchild's Women's Wear Daily, befriending fashion's most important designers (Halston, Yves Saint Laurent, Oscar de la Renta). But as André made friends, he also made enemies. A racially tinged encounter with a member of the house of Yves Saint Laurent sent him back to New York and into the offices of Vogue under Grace Mirabella.There, he eventually became creative director, developing an unlikely but intimate friendship with Anna Wintour. As she rose to the top of Vogue's masthead, André also ascended, and soon became the most influential man in fashion. The Chiffon Trenches offers a candid look at the who's who of the last fifty years of fashion. At once ruthless and empathetic, this engaging memoir tells with raw honesty the story of how André not only survived the brutal style landscape but thrived--despite racism, illicit rumors, and all the other challenges of this notoriously cutthroat industry--to become one of the most renowned voices and faces in fashion.Woven throughout the book are also André's own personal struggles that have impacted him over the decades, along with intimate stories of those he has turned to for inspiration (Diana Vreeland, Diane von Férstenberg, Lee Radziwill, to name a few), and of course his Southern roots and ongoing faith, which have guided him since childhood.

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

    Atherton. Social expectations and gender politics, thwarted ambitions and personal tragedy are played out against two contrasting historical backgrounds, poignantly evoked by the atmospheric visual storytelling of award-winning graphic-novel pioneer Bryan Talbot. Produced through an intense collaboration seldom seen between writers and artists, Dotter of Her Father''s Eyes is smart, funny, and sad - an essential addition to the evolving genre of graphic memoir.