An ordinand, he has had a breakdown while serving at the altar. The Church has sent him to a London therapist, rather than a priest, for confession. During the course of his cure, while living in an unfamiliar world of outcasts, fundamentalists, and AIDS sufferers, he is forced to face the reality of his own physical passion: first for a humble rent boy, then for a sadomasochistic pimp, and, finally, for a priest. The healing begins as he gradually comes to terms with his own history.

    It is in her poetry, however, where she achieves the full extent of her revelation as artist and human. The poems in this first selection from her whole work were written over a period of forty years. They convey a wonderfully energetic alternation of mood, idea, and experience that are part of her unique creative process.

    The city was a place of endless possibility, and he captured the pace and rhythms, the quandaries and exhilarations of city life. This selection of his work is edited by Mark Ford.

    Eloquence is only a grasping in the space of ineffable air. There are few words or phrases that do justice to the soul singing its own revelations. That place is where Last Psalm at Sea Level lives, where it is as solid as gold burning itself into light. --Afaa Michael Weaver

    He has been a prominent advocate of gay rights and feminism, which joins men and women in resistance. A gay man born into an Italian American family in New Jersey, he relates in this book his own experience on how the initiation of boys into patriarchy inflicts trauma, leading them to mindlessly accept patriarchal codes of masculinity, and how (through art, philosophy, and experience—including mutual love) he and others (straight and gay men) come to join women in resisting patriarchy through the discovery of how deeply it harms men as well as women.

    These poems are honest, vulnerable, and unflinching in their ability to look into the speaker's complications. The poems trace the author's childhood, adulthood, and hopeful future, all of them asking the central question of how a person continues to love themselves, even as all they know evolves and vanishes.

    There they discover a city in the midst of revolution, bustling with gay men in search of liberation—few of whom are raising a child.Steve throws himself into San Francisco’s vibrant cultural scene. He takes Alysia to raucous parties, pushes her in front of the microphone at poetry readings, and introduces her to a world of artists, thinkers, and writers. But the pair live like nomads, moving from apartment to apartment, with a revolving cast of roommates and little structure. As a child Alysia views her father as a loving playmate who can transform the ordinary into magic, but as she gets older Alysia wants more than anything to fit in. The world, she learns, is hostile to difference.In Alysia’s teens, Steve’s friends—several of whom she has befriended—fall ill as AIDS starts its rampage through their community. While Alysia is studying in New York and then in France, her father tells her it’s time to come home; he’s sick with AIDS. Alysia must choose whether to take on the responsibility of caring for her father or continue the independent life she has worked so hard to create.Reconstructing their life together from a remarkable cache of her father’s journals, letters, and writings, Alysia Abbott gives us an unforgettable portrait of a tumultuous, historic time in San Francisco as well as an exquisitely moving account of a father’s legacy and a daughter’s love.It has been named a Stonewall Book Award-Israel Fishman Non-Fiction Award Honor Book for 2014.

    With quiet consideration and dark wit, Bibbins addresses the majority of his poems to Mark Crast, his friend and lover who died from AIDS at the early age of 25. Every broken line and startling linguistic turn grapples with the genre of elegy: what does it mean to experience personal loss, Bibbins seems to ask, amidst a greater societal tragedy? The answer is blurred—amongst unforeseen disease, intolerance, and the intimate consequences of mismanaged power. Perhaps the most unanswerable question arrives when Bibbins writes, "For me elegy/ is like a Ouija planchette/ something I can barely touch/ as I try to make it/ say what I want it to say." And while we are still searching for the words that might begin an answer, Bibbins helps us understand that there is endless value in continuing—through both joy and grief—to wonder.

    He has a flourishing bar in the heart of Soho and in six months he will be marrying Ashley. There's just one problem. Phil has been married before, 20 years ago. To a woman. In fact, technically Phil and Hazel are still married. And what Phil doesn't know yet is that Hazel has a son - a 19-year-old son.

    On Prince Philip Playing Fields. He crossed the dew-soaked grass toward what he took to be a bundle of clothes, but then he came across a discarded shoe, and then t’ mutilated body. her name wor Wilma McCann.’Leeds, late 1975 and a body has been found on Prince Philip Playing Fields. Ricky, teenage delivery van boy for Corona pop, will be late for The Matterhorn Man. In the years that follow until his capture, the Yorkshire Ripper and Rick’s own life draw ever closer with unforeseen consequences. Set in a time in England's history of upheaval and change – both personal and social – this is a story told in an unforgettable voice.'An incredible debut novel: a coming of age tale set against the backdrop of the Yorkshire Ripper murders, ‘full of daring, authenticity and wit’ (Rachel Cusk).

    But eleven months of abuse and overmedication leave him desperate to escape. And when the opportunity comes, Ahmed runs away to San Francisco. There, he moves into a secret safe house shared by a group of teens. Until they become independent at eighteen, the housemates hide away from authorities, bound by rules that both protect and frustrate. Ahmed, now known as Ben, tries to adjust to a life lived in impossibly close quarters with people he barely knows, all of whom guard secrets of their own. But even if they succeed in keeping the world at bay, there's no hiding from each other or from themselves. And there's no avoiding the conflicts, crushes, loneliness, and desire that could shatter their fragile, complicated sanctuary at any moment. . . "This fresh and original novel defies easy labels. It's knowing yet vulnerable, observant yet naive--a wholly unique and compelling read." --Rachel Cohn, "New York Times" bestselling author Tomas Mournian attended U.C. Berkeley. A freelance journalist, he's written articles for The San Francisco Bay Guardian, Los Angeles Magazine, OUT, In Style and Marie Claire. His investigation journalism ("Hiding Out," "Anywhere But There," and "Girls Sent to Institutions") has been recognized with awards from the Peninsula Press Club, East Bay Press Club and NCCD Pass awards, with nominations by the GLAAD Media Awards and Pulitzer. Writing under a pseudonym, his plays have been produced internationally. He held the Eli Cantor Chair at The Corporation of Yaddo and lives in Los Angeles.

    His life in Los Angeles has come to a halt because he's unable to finish the novel he's writing, doesn't have a boyfriend, and, at the pivotal age of thirty-four, has reached the juncture where he has to decide whether he's really talented or just gay. One day he meets Roy Briggs, a part-time salmon fisherman/full-time archaeology student who's visiting from Alaska. When Nelson attempts to make small talk with the handsome Roy, he references an obscure but haunting story about bowhead whales that startles the science nerd in both men into suspecting that they might be soulmates. Unfortunately, Nelson discovers his soul is a bit of a slut when he also meets the guest host of that week's show, the surprisingly bookish movie star Dylan Fabizak, freshly paroled after a drug bust. When the three end up at Roy's home in Alaska, hilarity, love, and debauchery ensue. Wooed by both Roy and Dylan, Nelson comes to strongly identify with the salmon they are fishing for — another insanely driven species that will overcome every hurdle in its search for love.

    Their first chapbook Sad Girl Poems delves into their relationship with domestic violence, queer youth homelessness, & the suicide of a close friend. Of the chapbook, Eileen Myles wrote "Sad Girl Poems are revolutionary and sad and finely wrought on the fly… I keep reading, needing to be living in the world of them.” CAConrad wrote “You are an asshole if you read this book and are not destroyed and renewed and see through the poet Loma a way to redemption for us all.” Christopher Soto is originally from the Los Angeles area but now lives in Brooklyn.

    Teare provides us with poems that insist on the simultaneous physical embodiment of tactile pleasure—that which is found in the textures of thought and language—as well as the action of syntax. Partly informed by an ecological imagination that leads him back to Emerson and Thoreau, Teare's method and fragmented style are nevertheless up to the moment. Remarkable in its range, Sight Map serves at once as a cross-country travelogue, a pilgrim's gnostic progress, an improvised field guide, and a postmodern "pillowbook," recording the erotic conflation of lover and beloved, deity and doubter.

    This book chews with its open mouth full of the juiciest words, the most indigestible images. This book undoes me. . . . francine j. harris brilliantly ransacks the poet's toolkit, assembling art from buckets of disaster and shreds of hope. Nothing she lays her mind's eye on escapes. You, too, will be captured by her work."—Evie ShockleyLyrically raw and dangerously unapologetic, play dead challenges us to look at our cultivated selves as products of circumstance and attempts to piece together patterns amidst dissociative chaos. harris unearths a ruptured world dictated by violence—a place of deadly what ifs, where survival hangs by a thread. Getting by is carrying bruises and walking around with "half a skull."From "low visibility":I have light in my mouth. I hunger you. You wantwhat comes in drag. a black squirrel in a black tar lane,fresh from exhaust, hot and July's unearthed steam.You want to watch it run over. to study the sog. You want the stink of gristle buried in a muggy weather.I want the faulty mirage. a life of grass.we want the same thing. We want their deathsto break up the sun.francine j. harris is a 2015 NEA Creative Writing Fellow whose first collection, allegiance, was a finalist for the 2013 Kate Tufts Discovery and PEN Open Book Award. Originally from Detroit, she is also Cave Canem fellow who has lived in several cities before returning to Michigan. She received an MFA in Creative Writing from the University of Michigan, and currently teaches writing at Interlochen Center for the Arts.