In 2001, the mesmerizing film adaptation was released to equally glowing reviews. Brilliantly innovative and oddly endearing, Hedwig and the Angry Inch—inspired by Plato’s Symposium—is the story of “internationally ignored song stylist” Hedwig Schmidt, the victim of a gruesomely botched sex-change operation, as dazzlingly recounted by Hedwig (née Hansel) herself in the form of a lounge act, backed by the rock band The Angry Inch.

    They were also Whitman’s most adventurous explorations of the theme of same-sex love, composed decades before the word “homosexual” came into use. This revolutionary, extraordinarily beautiful and passionate cluster of poems was never published by Whitman and has remained unknown to the general public—until now. New York Times bestselling and Caldecott Award–winning illustrator Brian Selznick offers a provocative visual narrative of “Live Oak, With Moss,” and Whitman scholar Karen Karbiener reconstructs the story of the poetic cluster’s creation and destruction. Walt Whitman’s reassembled, reinterpreted Live Oak, With Moss serves as a source of inspiration and a cause for celebration.

    In boarding school and on trips with his mother into the countryside, Matthew navigates his budding sexuality and complicated new relationships with trepidation and hardship until he is forced to confront Finistère—lands end—where the brutal truths of the world can be found. Finistère was a profound achievement in the early years of the 1950's, and sold over 350,000 copies. This new edition, which returns this beautiful book to print, includes an appendix of historical materials about the book and author, as well as an introduction by Michael Bronski, author of such books as Culture Clash, The Pleasure Principle, and Pulp Friction.

    The reemergence of the photo, taken fifty-five years earlier, sets her on a journey to reconstruct the vicious summer that changed her life.In the summer of 1945, Ceola Bliss is a lonely twelve-year-old tomboy, mourning the loss of her brother, Robbie, who was declared missing in the Pacific. She tries to piece together his life by rereading his favorite pulp detective story “A Date with Death” and spending time with his best friend, Jay Greenwood, in Royal Oak, VA. One unforgettable August day, Jay leads Ceola and Bunny to a stretch of woods where he found a dead woman, but when they arrive, the body is gone. They soon discover a local woman named Lily Vellum is missing and begin to piece together the threads of her murder, starting with the photograph Jay took of her abandoned body.As Ceola gets swept up playing girl detective, Bunny becomes increasingly skeptical of Jay, and begins her own investigation into the connection between Jay and Lily. She discovers a series of clues that place doubt on the identity of the corpse and Jay’s story of how he found it, and journeys to Washington, D.C. in search of Lily. In D.C., Bunny is forced to recognize the brutal truth about her dear friend, and sets off a series of events that will bring tragedy to Jay and decades of estrangement between her and Ceola.

    Set in the 1980s against the backdrop of a swiftly gentrifying Manhattan, The Lost Language of Cranes tells the story of twenty-five-year-old Philip, who realizes he must come out to his parents after falling in love for the first time with a man. Philip's parents are facing their own crisis: pressure from developers and the loss of their longtime home. But the real threat to this family is Philip's father's own struggle with his latent homosexuality, realized only in his Sunday afternoon visits to gay porn theaters. Philip's admission to his parents and his father's hidden life provoke changes that forever alter the landscape of their worlds.

    When Sarah reclaims Jeremiah from his foster parents, he finds himself catapulted into her world of motels and truck stops, exposed to the abusive, exploitative men she encounters. As he learns to survive in this harrowing environment, Jeremiah also learns to love his mother, even as she descends into drug-fueled madness. Told in spare, lyrical prose, rich with imagination and dark humor, The Heart Is Deceitful Above All Things transforms the savagery of Jeremiah's world into an indelible experience of compassion. This special edition includes an additional seven stories, previously uncollected, by JT LeRoy, the literary persona of Laura Albert.

    She was called Hu Gu Po, and she hungered to eat children, especially their toes. Soon afterwards, Daughter awakes with a tiger tail. And more mysterious events follow: Holes in the backyard spit up letters penned by her grandmother; a visiting aunt arrives with snakes in her belly; a brother tests the possibility of flight. All the while, Daughter is falling for Ben, a neighborhood girl with strange powers of her own. As the two young lovers translate the grandmother’s letters, Daughter begins to understand that each woman in her family embodies a myth–and that she will have to bring her family’s secrets to light in order to change their destiny.With a poetic voice of crackling electricity, K-Ming Chang is an explosive young writer who combines the wit and fabulism of Helen Oyeyemi with the subversive storytelling of Maxine Hong Kingston. Tracing one family’s history from Taiwan to America, from Arkansas to California, Bestiary is a novel of migration, queer lineages, and girlhood.

    Nguyen’s poems ache with loneliness and desire and the giddy terrors of allowing yourself to hope for love, and revel in moments of connection achieved.

    Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking. Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

    From the stirrings of his adolescent libido to his eventual death from AIDS, Oscar Moore's hero confronts his destiny with raw candour, shocking self-awareness, and frightening fatalism.

    It's part nostalgia, part confusion, and part an ongoing wondering: How do any of us achieve adulthood? And why would we want to, if we had the choice? This collection is woven from and interrupted by extraordinary sequences, including Stephanie poems about Stephen's female self; poems on particular years of the poet's early life, each with its own memories, desires, insecurities, and pop songs; and versions of poems by the Greek poet Callimachus, whose present-day incarnation worries (who doesn't?) about mortality, the favor of the gods, and the career of Taylor Swift. The collection also includes poems on politics, location, and parenthood. Taken all together, this is Stephen Burt's most personal and most accomplished collection, an essential work that asks who we are, how we become ourselves, and why we make art.

    Take, for instance, the Kentucky Club on Avenida Juárez two blocks south of the Rio Grande. It's a touchstone for each of Sáenz's stories. His characters walk by, they might go in for a drink or to score, or they might just stay there for a while and let their story be told. Sáenz knows that the Kentucky Club, like special watering holes in all cities, is the contrary to borders. It welcomes Spanish and English, Mexicans and gringos, poor and rich, gay and straight, drug addicts and drunks, laughter and sadness, and even despair. It's a place of rich history and good drinks and cold beer and a long polished mahogany bar. Some days it smells like piss. "I'm going home to the other side." That's a strange statement, but you hear it all the time at the Kentucky Club.Benjamin Alire Sáenz is a highly regarded writer of fiction, poetry, and children's literature. Like these stories, his writing crosses borders and lands in our collective psyche. Poets & Writers Magazine named him one of the fifty most inspiring writers in the world. He's been a finalist for the Los Angeles Times Book Prize and PEN Center's prestigious award for young adult fiction. Sáenz is the chair of the creative writing department of University of Texas at El Paso.Awards:PEN/Faulkner Award for FictionLambda Literary AwardSouthwest Book Award

    Elegaic, macabre, chimerical, Funeral Rites is a dark meditation on the mirror images of love and hate, sex and death.

     In his electrifying novel, adolescent gay love, violence, and the spirituality of old-time religion are combined through the alchemy of Grimsley's vision into a powerfully suspenseful story of escape and redemption.

    Karl Preston, at fifty-two, certainly fits this image, as he lives an emotionally comfortable life with his wife and daughter in an affluent North Carolina suburb. But preparing for a weekend visit to his elderly parents' Florida home, Karl becomes increasingly aware of the pressing concerns of their faltering lives-realizing too it will be the first time in years he has seen his gay brother, Sven. Frank, Karl's father, is bellicose and bewildered, and Annike, his still beautiful mother, is increasingly isolated, despite her fluency in three languages. Then there is Sven: Harried, loving, and hopeful, he is a forty-year-old gay man who finds his life bound by the confines of his parents' needs, a situation that has taken over his life. In rich, lyrical prose, Jay Quinn charts what happens when responsibility outweighs love, when obligation turns to guilt, and when the walls come down and the truth unfolds. The Beloved Son marks a new chapter in Jay Quinn's remarkable career, as he paints both a loving and tortured portrait of the modern-day family.