Chronicling the complexities, joys, and challenges of this transitional phase of life, Please Don’t Go Before I Get Better is a powerful, deeply affecting work that pierces your heart with its refreshing candor and vulnerability. A poignant exploration of self-image, self-discovery, and self-reflection, this anthology brilliantly captures the universal experience of growing up, and you are bound to find yourself reflected in these glimmering pages.

    "Here’s a partial list of things I don’t believe in: God. The Devil. Heaven. Hell. Bigfoot. Ancient Aliens. Past lives. Life after death. Vampires. Zombies. Reiki. Homeopathy. Rolfing. Reflexology. Note that 'witches' and 'witchcraft' are absent from this list. The thing is, I wouldn’t believe in them, and I would privately ridicule any idiot who did, except for one thing: I am a witch."For as long as Augusten Burroughs could remember, he knew things he shouldn't have known. He manifested things that shouldn't have come to pass. And he told exactly no one about this, save one person: his mother. His mother reassured him that it was all perfectly normal, that he was descended from a long line of witches, going back to the days of the early American colonies. And that this family tree was filled with witches. It was a bond that he and his mother shared--until the day she left him in the care of her psychiatrist to be raised in his family (but that's a whole other story). After that, Augusten was on his own. On his own to navigate the world of this tricky power; on his own to either use or misuse this gift.From the hilarious to the terrifying, Toil & Trouble is a chronicle of one man's journey to understand himself, to reconcile the powers he can wield with things with which he is helpless. There are very few things that are coincidences, as you will learn in Toil & Trouble. Ghosts are real, trees can want to kill you, beavers are the spawn of Satan, houses are alive, and in the end, love is the most powerful magic of all.

    The personal and political crash into one language here, gothic as it is supple, meditating on visual art and myth, to desire, the practice of lynching and Hurricane Katrina. Always at its center, though, is the poet himself—confessing a double song of pleasure and inevitable pain.

    After deep reflection on her tradition, Edman is struck by the realization that her queer identity has taught her more about how to be a good Christian than the church.In Queer Virtue: What LGBTQ People Know About Life and Love and Why Christians Should Care, Edman posits that Christianity, at its scriptural core, incessantly challenges its adherents to rupture false binaries, to “queer” lines that pit people against one another. Thus, Edman asserts that Christianity, far from being hostile to queer people, is itself inherently queer. Arguing from the heart of scripture, she reveals how queering Christianity—that is, disrupting simplistic ways of thinking about self and other—can illuminate contemporary Christian faith. Pushing well past the notion that “Christian love = tolerance,” Edman offers a bold alternative: the recognition that queer people can help Christians better understand their fundamental calling, and the creation of sacred space where LGBTQ Christians are seen as gifts to the church.By bringing queer ethics and Christian theology into conversation, Edman also shows how the realities of queer life demand a lived response of high moral caliber—one that resonates with the ethical path laid down by Christianity. Lively and impassioned, Edman proposes that queer experience be celebrated as inherently valuable, ethically virtuous, and as illuminating the sacred.A rich and nuanced exploration, Queer Virtue mines the depths of Christianity’s history, mission, and core theological premises to call all Christians to a more authentic and robust understanding of their faith.

    It is clear that the author is madly in love, not only with her partner for whom she writes both idiosyncratic and sultry poems for, but in love with language, in love with queerness, in love with the therapeutic process of bankrupting the politics of shame. These poems tackle gun violence, toxic masculinity, LGBTQ* struggles, suicidality, and the oppression of women's bodies, while maintaining a vivid wildness that the tongue aches to speak aloud. Known best for breathtaking last lines and truths that will bowl you over, Drive Here and Devastate Me will "relinquish you from the possibility of meeting who you could have been, and regretting who you became."

    In fourteen linked essays, If You Knew Then What I Know Now reinvents the memoir with all-encompassing empathy—for bully and bullied alike. A father pitches baseballs at his hapless son and a grandmother watches with silent forbearance as the same slim, quiet boy sets the table dressed in a blue satin dress. Another essay explores origins of the word "faggot" and its etymological connection to "flaming queen." This deft collection maps the unremarkable landscapes of childhood with compassion and precision, allowing awkwardness its own beauty. This is essay as an argument for the intimate—not the sensational—and an embrace of all the skinned knees in our stumble toward adulthood.Ryan Van Meter grew up in Missouri and studied English at the University of Missouri-Columbia. After graduating, he lived in Chicago for ten years and worked in advertising. He holds an MA in creative writing from DePaul University and an MFA in nonfiction writing from the University of Iowa. His essays have appeared in The Gettysburg Review, Indiana Review, Gulf Coast, Arts & Letters, and Fourth Genre, among others, and selected for anthologies including Best American Essays 2009. In the summer of 2009, he was awarded a residency at the MacDowell Colony. He currently lives in California where he is an assistant professor of creative nonfiction at the University of San Francisco.

    We know much of poetry ever was and ever shall be elegiac. Jane Mead’s poem could be neither more literal nor nearer the verge of appearing a little too perfect for this world. As the laundry room floods and the grape harvest gets done; as Michoacan waits for another time, her beautiful, practical mother is dying. Ashes are scattered in the pecan groves of her own Rincon, her own corner of the world, and the poet, in elementary script, draws a sustaining record of the only feeling worth the struggle, and she cannot, will not, does not fuck it up." — C.D. WrightJane Mead's fifth collection candidly and openly explores the long process that is death. These resonant poems discover what it means to live, die, and come home again. We're drawn in by sorrow and grief, but also the joys of celebrating a long life and how simple it is to find laughter and light in the quietest and darkest of moments.…This year I have disappearedfrom the harvest routine—the pickers throwing their traysunder the vines, grape hooksflying, the heavy bunches flying—pickers running to the running tractorswith trays held high above their headsand the arc of dark fruit falling heavily into the half-ton bins.The hornets swarming in the diesel-filled air.Jane Mead is the author of four collections of poetry, most recently Money Money Money | Water Water Water (2014). Her poems appear regularly in journals and anthologies, and she's the recipient of a Guggenheim Foundation Fellowship, a Whiting Writers Award, and a Lannan Foundation Completion Grant. She teaches at the low-residency MFA program at Drew University and farms in Northern California.

    Unsurprisingly, this fact is as old as time--and that's why we see so many prayer circles within a multitude of church traditions. These gatherings are a trusted space where people seek help, hope, and peace, energized by God and one another.This book, curated by acclaimed author Sarah Bessey, celebrates and honors that prayerful tradition in a literary form. A companion for daily inspiration, this collection gives women permission to recognize the weight of all they carry, while also offering a broadened imagination of hope--of what can be restored and made new. Each prayer is an original piece of writing, with a short introduction from Bessey sharing exactly why she loves and looks up to the writer.This book is a literary hug, an invitation for respite, and a chance for readers to pause and celebrate who they are, beyond what they do.

    In his many years of teaching throughout the world, the Korean-born Zen Master Seung Sahn has become known for his ability to cut to the heart of Buddhist teaching in a way that is strikingly clear, yet free of esoteric and academic language. In this book, based largely on his talks, he presents the basic teachings of Buddhism and Zen in a way that is wonderfully accessible for beginners—yet so rich with stories, insights, and personal experiences that long-time meditation students will also find it a source of inspiration and a resource for study.

    Winner of the Pulitzer Prize, Justice has been hailed by his contemporary Anthony Hecht as “the supreme heir of Wallace Stevens.” In poems that embrace the past, its terrors and reconciliations, Justice has become our poet of living memory. The classic American melancholy in his titles calls forth the tenor of our collective passages: “Bus Stop,” “Men at Forty,” “Dance Lessons of the Thirties,” “The Small White Churches of the Small White Towns.” This master of classical form has found in the American scene, and in the American tongue, all those virtues of our literature and landscape sought by Emerson and Henry James. For half a century he has endeavored, with painterly vividness and plainspoken elegance, to make those local views part of the literary heritage from which he has so often taken solace, and inspiration.School Letting Out(Fourth or Fifth Grade)The afternoons of going home from schoolPast the young fruit trees and the winter flowers.The schoolyard cries fading behind you then,And small boys running to catch up, as thoughIt were an honor somehow to be near—All is forgiven now, even the dogs,Who, straining at their tethers, used to bark,Not from anger but some secret joy.From the Hardcover edition.

    Whether we grew up in the repressive purity culture of American Evangelical Christianity or not, we've all been taught in subtle and not-so-subtle ways that sex (outside of very specific contexts) is immoral and taboo. Psychotherapist Matthias Roberts helps readers overcome their shame around sex by overcoming three unhealthy coping mechanisms we use to manage that shame. Beyond Shame encourages each of us to determine our own definition of healthy sex, while avoiding the ditches of boundaryless sex positivity on the one hand and strict moralistic boundaries on the other. Define your sexual values on your own terms, overcome your shame, and start having great, healthy sex.

    But those who seek instead a true widening of the horizons of meaning, coupled with a sure-handed mastery of the craft of poetry, will find this latest collection satisfying indeed.Here is a man who matches superb gifts with a truly subtle imagination, into whose depths he is courageously traveling--pioneering--in exploratory penetrations into areas of life that are too often evaded or denied. "The Firebombing," "Slave Quarters," "The Fiend"--these poems, with the others that comprise the present volume, show a mature and original poet at his finest.

    Armed with only six passages in the Bible often known as the clobber passages the conservative Christian position has been one that stands against the full inclusion of our LGBT brothers and sisters. Unclobber reexamines each of those frequently quoted passages of Scripture, alternating with author Colby Martin's own story of being fired from an evangelical megachurch when they discovered his stance on sexuality.UnClobber reexamines what the Bible says (and does not say) about homosexuality in such a way that breathes fresh life into outdated and inaccurate assumptions and interpretations.

    A San Francisco Chronicle Best Book of 2004 and a Lambda Literary Award finalist.

    H. Auden first published in 1952, and the title work of a collection of poems by Auden, published in 1955. It is Auden's response to the detailed description, or ekphrasis, of the shield borne by the hero Achilles in Homer's epic poem the Iliad.The poem is the title work of The Shield of Achilles, a collection of poems in three parts, published in 1955, containing Auden's poems written from around 1951 through 1954. It begins with the sequence "Bucolics", then miscellaneous poems under the heading "In Sunshine and In Shade", then the sequence Horae Canonicae.It won the U.S. National Book Award for Poetry in 1956.