Through a string of narrative moments, Tea records a year lived in a world of girls: there's knife-wielding Marta, who introduces Michelle to a new world of radical sex; Willa, Michelle's tormented poet-girlfriend; Iris, the beautiful boy-dyke who ran away from the South in a dust cloud of drama; and Iris's ex, Magdalena Squalor, to whom Michelle turns when Iris breaks her heart. Valencia conveys a blend of youthful urgency and apocalyptic apathy.

    Chulito, which means "cutie," is one of the boys, and everyone in his neighborhood has seen him grow up—the owner of the local bodega, the Lees from the Chinese restaurant, his buddies from the corner, and all of his neighbors and friends, including Carlos, who was Chulito's best friend until they hit puberty and people started calling Carlos a pato . . . a faggot.Chulito rejects Carlos, buries his feelings for him, and becomes best friends with Kamikaze, a local drug dealer. When Carlos comes home from his first year away at college and they share a secret kiss, Chulito's worlds collide as his ideas of being a man, being macho, and being in love are challenged. Vivid, sexy, funny, heartbreaking, and fearless, this brilliant work is destined to become a queer classic.

    But when Alani gets a call from a doctor at the assisted living facility where their mother has been for the last five years, they learn that their mother's dementia has worsened and appears to have taken away her ability to speak. As a result, Alani suddenly find themselves running away again - only this time, they're running back to their mother.Staying at their mother's empty home, Alani attempts to tie up the loose ends of their mother's life while grappling with the painful memories that - in the face of their mother's disease - they're terrified to lose. Meanwhile, the memories inhabiting the house slowly grow animate, and the longer Alani is there, the longer they're forced to confront the fact that any closure they hope to get from this homecoming will have to be manufactured.This beautiful, tenderly written debut novel by Bronwen Wallace Award for Emerging Writers winner John Elizabeth Stintzi explores what haunts us most, bearing witness to grief over not only what is lost, but also what remains.

    What we know of identity is smashed and in its place, true individuals emerge, each bristling with a unique sexuality, a belief-system all their own. Reminiscent of Jane Bowles, William Burroughs, and Colette, her writing glows with an authenticity that is intoxicating and rare. A National Book Foundation 5 Under 35 HonoreeWhiting Award WinnerPEN/Hemingway Award FinalistLambda Literary Award FinalistLonglisted for the PEN/Robert W. Bingham Prize for Debut Fiction & The Story

    No experience is required. Choose from twenty-five preset post-realities! Rejoice at obstacles unquestionably bested and conflicts efficiently resolved. Bring denouement to your drama with THE FOOLPROOF AUGMENTATION DEVICE FOR OUR CONTEMPORARY UTOPIA.

     Marie Antoine is the charismatic, spoiled daughter of a sugar baron. At 12 years old, with her blond curls and her unparalleled sense of whimsey, she's the leader of all the children in the Golden Mile, an affluent strip of 19th century Montreal. Until one day in 1873, when Sadie Arnett, dark-haired, sly, and brilliant, moves to the neighborhood.Marie and Sadie are immediately united by their passion and intensity, and they attract and repel each other in ways that light each of them on fire. Marie with her bubbly charm sees the light and sweetness of the world, whereas Sadie's obsession with darkness is all consuming. Soon their childlike games take on a thrill of danger and then become deadly.Forced to separate, they spend their teenage years engaged in acts of alternating innocence and depravity--until a singular event unites them once more, with dizzying effects. And after Marie inherits her father's sugar empire and Sadie disappears into the city's gritty underworld, a revolution of the working class begins to foment. Each of them will have unexpected roles to play in events that upend their city--the only question is whether they will find each other once more.Traveling from a repressive finishing school to a vibrant brothel, taking readers firsthand into the brutality of factory life and the opulent lives of Montreal's wealthy, When We Lost Our Heads dazzlingly explores gender and power, sex and desire, class and status, and the terrifying power of the human heart when it can't let someone go.

    Lau alludes to the personal and political histories of a number of young Asian Canadian characters to explain their unique perspectives of the world, artfully fusing pure delusion and abstract perception with heartbreaking reality. Correspondingly, the book's title refers to an interview with Chinese basketball star Yao Ming, who when asked about the Shanghai Sharks, the team that shaped his formative sporting years, responded, "How does a single blade of grass thank the sun?" Lau's stories feature the children and grandchildren of immigrants, transnational adoptees and multiracial adults who came of age in the 1990s—all struggling to find a place in the Western world and using the only language they know to express their hopes, fears and expectations.

    A tourist from Montenegro desperately seeks a magic soup dumpling that can cure his fear of death. An aspiring chef realizes that butter and soul are the key ingredients to win a cooking competition that could win him the money to save his mother’s life. Welcome to Hungry Hearts Row, where the answers to most of life’s hard questions are kneaded, rolled, baked. Where a typical greeting is, “Have you had anything to eat?” Where magic and food and love are sometimes one in the same. Told in interconnected short stories, Hungry Hearts explores the many meanings food can take on beyond mere nourishment. It can symbolize love and despair, family and culture, belonging and home.

    Her characters are seekers, whose actions are influenced by their slippery identities and by the strange landscapes that surround them. In “Boy Box,” a young woman yearns to test her luck with a wild punk girl crush. In “God Hospital,” a character journeys deep into the woods of Alabama in search of an infamous religious healer, hoping he can fix her teeth. In “Adorno,” someone in need of forgiveness crosses paths with a band of radical vegan activists and gets subsumed into their world. In “Dance!,” a recluse writes a breakthrough song for her pink dolphin, but the song’s success only drives her further away from society.These stories hum with sexual tension, queerness, displacement, longing, humor, and dark nostalgia. With stories set in Amsterdam, the Pacific Northwest, and the Deep South, Hudson’s attention to the nuances and uncertainty of her characters make this collection a stunning debut.

    A woman trapped at a dinner party comes up against an ugly obsession. In the harsh light of dislocation, the people in these stories still find connections, words blowing in the street, and love in unexpected places.

    Befitting someone who "speaks things into being," Christmas extracts from family history, queer lineage, and the political landscape of a racialized life to create a rich, softly defiant collection of poems. Christmas draws a circle around the things she calls "holy" the family line that cannot find its root but survived to fill the skies with radiant flesh; the body, broken and unbroken and broken and new again; the lover lost, the friend lost, and the loss itself; and the hands that hold them all with brilliant, tender care. Expansive and beautiful, these poems allow readers to swim in Jillian Christmas's mother-tongue and to dream at her shores.

    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.

    Forrest's O Captain, My Captain.

    Stone Butch Blues traces a propulsive journey, powerfully evoking history and politics while portraying an extraordinary protagonist full of longing, vulnerability, and working-class grit. This once-underground classic takes the reader on a roller-coaster ride of gender transformation and exploration and ultimately speaks to the heart of anyone who has ever suffered or gloried in being different.

    Landscape paintings, trompe l’oeil quilts, decorated dolls, mixed-media assemblages, and more, all featuring the same peculiar hue, a shifting pigment somewhere between purple and pink, the color of the saltmarsh orchid, a rare and indigenous flower.Graduate student Xavier Wentworth has been drawn to Shimmer, hoping to study the work of artists like quilter Hazel Whitby and landscape painter Shadrach Grayson in detail, having experienced something akin to an epiphany when viewing a Hazel Whitby tapestry as a child. Xavier will find that others, too, have been drawn to Shimmer, called by something more than art, something in the marsh itself, a mysterious, spectral hue.From Lambda Literary Award-nominated author Craig Laurance Gidney (Sea, Swallow Me & Other Stories, Skin Deep Magic) comes A Spectral Hue, a novel of art, obsession, and the ghosts that haunt us all.