I Don't Care About Your Band posits that lately the worst guys to date are the ones who seem sensitive. It's the jerks in nice guy clothing, not the players in Ed Hardy, who break the hearts of modern girls who grew up in the shadow of feminism, thinking they could have everything, but end up compromising constantly. The cowards, the kidults, the critics, and the contenders: these are the stars of Klausner's memoir about how hard it is to find a man--good or otherwise--when you're a cynical grown-up exiled in the dregs of Guyville. Off the popularity of her New York Times "Modern Love" piece about getting the brush-off from an indie rock musician, I Don't care About Your Band is marbled with the wry strains of Julie Klausner's precocious curmudgeonry and brimming with truths that anyone who's ever been on a date will relate to. Klausner is an expert at landing herself waist-deep in crazy, time and time again, in part because her experience as a comedy writer (Best Week Ever, TV Funhouse on SNL) and sketch comedian from NYC's Upright Citizens Brigade fuels her philosophy of how any scene should unfold, which is, "What? That sounds crazy? Okay, I'll do it." I Don't Care About Your Band charts a distinctly human journey of a strong-willed but vulnerable protagonist who loves men like it's her job, but who's done with guys who know more about love songs than love. Klausner's is a new outlook on dating in a time of pop culture obsession, and she spent her 20's doing personal field research to back up her philosophies. This is the girl's version of High Fidelity. By turns explicit, funny and moving, Klausner's debut shows the evolution of a young woman who endured myriad encounters with the wrong guys, to emerge with real- world wisdom on matters of the heart. I Don't Care About Your Band is Julie Klausner's manifesto, and every one of us can relate.

     Equality for LGBT people has come a long way and all, but voices of persons of color within the community are still often silenced, and being black in America is…well, have you watched the news? With the characteristic wit and candor that have made him one of today’s boldest writers on social issues, I Can’t Date Jesus is Michael Arceneaux’s impassioned, forthright, and refreshing look at minority life in today’s America. Leaving no bigoted or ignorant stone unturned, he describes his journey in learning to embrace his identity when the world told him to do the opposite. He eloquently writes about coming out to his mother; growing up in Houston, Texas; that time his father asked if he was “funny” while shaking his hand; his obstacles in embracing intimacy; and the persistent challenges of young people who feel marginalized and denied the chance to pursue their dreams. Perfect for fans of David Sedaris and Phoebe Robinson, I Can’t Date Jesus tells us—without apologies—what it’s like to be outspoken and brave in a divisive world.

    Giving birth to his son Samson clarified his gender identity and allowed him to project a more masculine self. And yet, when his partner Anna adopted Samson, the legal documents listed Belc as “the natural mother of the child.”By considering how the experiences contained under the umbrella of “motherhood” don’t fully align with Belc’s own experience, The Natural Mother of the Child journeys both toward and through common perceptions of what it means to have a body and how that body can influence the perception of a family. The Natural Mother of the Child is a visual memoir-in-lyric-essays, an archive of Belc’s queerness. By engaging directly with the documentation often thought to constitute a record of one’s life—childhood photos, birth certificates—Belc creates a new kind of life record, one that addresses his own ambivalence about the “before” and “after” so prevalent in trans stories, which feels apart from his own.The Natural Mother of the Child is the story of a person moving past societal expectations to take control of his own narrative, with prose that delights in the intimate dailiness of family life and explores how much we can ever really know when we enter into parenting.

    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.

    First love. First heartbreak. At once romantic and devastating, brutally honest and full of humor, this graphic-novel memoir is a debut of the rarest sort.Maggie Thrash has spent basically every summer of her fifteen-year-old life at the one-hundred-year-old Camp Bellflower for Girls, set deep in the heart of Appalachia. She’s from Atlanta, she’s never kissed a guy, she’s into Backstreet Boys in a really deep way, and her long summer days are full of a pleasant, peaceful nothing . . . until one confounding moment. A split-second of innocent physical contact pulls Maggie into a gut-twisting love for an older, wiser, and most surprising of all (at least to Maggie), female counselor named Erin. But Camp Bellflower is an impossible place for a girl to fall in love with another girl, and Maggie’s savant-like proficiency at the camp’s rifle range is the only thing keeping her heart from exploding. When it seems as if Erin maybe feels the same way about Maggie, it’s too much for both Maggie and Camp Bellflower to handle, let alone to understand.

    Morgan’s nîtisânak is woven around grief over the loss of their mother. It also explores despair and healing through community and family, and being torn apart by the same. Using cyclical narrative techniques and drawing on Morgan’s Cree, Saulteaux, and Métis ancestral teachings, this work offers a compelling perspective on the connections that must be broken and the ones that heal.

    They fell in love at eighteen, married at twenty-four, and were living their dream life in San Francisco. When Giulia was twenty-seven, she suffered a terrifying and unexpected psychotic break that landed her in the psych ward for nearly a month. One day she was vibrant and well-adjusted; the next she was delusional and suicidal, convinced that her loved ones were not safe.Eventually, Giulia fully recovered, and the couple had a son. But, soon after Jonas was born, Giulia had another breakdown, and then a third a few years after that. Pushed to the edge of the abyss, everything the couple had once taken for granted was upended.A story of the fragility of the mind, and the tenacity of the human spirit, My Lovely Wife in the Psych Ward is, above all, a love story that raises profound questions: How do we care for the people we love? What and who do we live for? Breathtaking in its candor, radiant with compassion, and written with dazzling lyricism, Lukach’s is an intensely personal odyssey through the harrowing years of his wife’s mental illness, anchored by an abiding devotion to family that will affirm readers’ faith in the power of love.

    But a house of her own, where she could truly take root, has eluded her. With this collection—spanning nearly three decades, and including never-before-published work—Cisneros has come home at last. Ranging from the private (her parents' loving and tempestuous marriage) to the political (a rallying cry for one woman's liberty in Sarajevo) to the literary (a tribute to Marguerite Duras), and written with her trademark sensitivity and honesty, these poignant, unforgettable pieces give us not only her most transformative memories but also a revelation of her artistic and intellectual influences. Here is an exuberant, deeply moving celebration of a life in writing lived to the fullest—an important milestone in a storied career.

    At the age of five, Jazz transitioned to life as a girl, with the support of her parents. A year later, her parents allowed her to share her incredible journey in her first Barbara Walters interview, aired at a time when the public was much less knowledgeable or accepting of the transgender community. This groundbreaking interview was followed over the years by other high-profile interviews, a documentary, the launch of her YouTube channel, a picture book, and her own reality TV series—I Am Jazz—making her one of the most recognizable activists for transgender teens, children, and adults. In her remarkable memoir, Jazz reflects on these very public experiences and how they have helped shape the mainstream attitude toward the transgender community. But it hasn't all been easy. Jazz has faced many challenges, bullying, discrimination, and rejection, yet she perseveres as she educates others about her life as a transgender teen. Through it all, her family has been beside her on this journey, standing together against those who don't understand the true meaning of tolerance and unconditional love. Now Jazz must learn to navigate the physical, social, and emotional upheavals of adolescence—particularly high school—complicated by the unique challenges of being a transgender teen. Making the journey from girl to woman is never easy—especially when you began your life in a boy's body.

    We've all felt uncomfortable in our own skin at some point, and we've all been told that it's just a part of growing up. But for Arin Andrews, it wasn't a phase that would pass. He had been born in the body of a girl and there seemed to be no relief in sight. In this revolutionary memoir, Arin details the journey that led him to make the life-transforming decision to undergo gender reassignment as a high school junior. In his captivatingly witty, honest voice, Arin reveals the challenges he faced as a girl, the humiliation and anger he felt after getting kicked out of his private school, and all the changes, both mental and physical, he experienced once his transition began. Arin also writes about the thrill of meeting and dating a young transgender woman named Katie Hill and the heartache that followed after they broke up. Some Assembly Required is a true coming-of-age story about knocking down obstacles and embracing family, friendship, and first love. But more than that, it is a reminder that self-acceptance does not come ready-made with a manual and spare parts. Rather, some assembly is always required.

    Molly Malone Cook, who died in 2005, was Oliver's partner for many years, a pioneer gallery owner and photographer. Our World weaves forty-nine of Cook's photographs and selections from her journals with Oliver's extended writings, both reminiscence and reflection, in prose and in poetry. The result is an intimate revelation of their lives and art.Within the art world, Molly Malone Cook made her reputation as an early advocate of photography as an art form; she was a champion of the work of now-famous photographers, including Edward Steichen, Eugene Atget, Berenice Abbott, Minor White, Ansel Adams, Harry Callahan, and W. Eugene Smith. There are famous faces here as well, captured by Cook's camera, among them Walker Evans, Robert Motherwell and Henry Geldzahler, the first curator of twentieth-century art at the Metropolitan Museum.Cook and Oliver also lived among writers, and Cook caught several on film, including Lorraine Hansberry and Norman Mailer. Other artists and dozens of wonderful characters and scenes are also immortalized by Cook's unfailing eye for telling detail and composition. Oliver writes of Cook's work, the people they knew, and the places they visited or lived. The poet's beautiful text captures not only the vivifying qualities of her partner's work, but the texture of their shared world. In Mary Oliver's words, Cook taught the beginner poet "to see, with searching attention and compassion."

    This feeling only deepened when his family moved from Japan to North Korea when Ishikawa was just thirteen years old, and unwittingly became members of the lowest social caste. His father, himself a Korean national, was lured to the new Communist country by promises of abundant work, education for his children, and a higher station in society. But the reality of their new life was far from utopian.In this memoir translated from the original Japanese, Ishikawa candidly recounts his tumultuous upbringing and the brutal thirty-six years he spent living under a crushing totalitarian regime, as well as the challenges he faced repatriating to Japan after barely escaping North Korea with his life. A River in Darkness is not only a shocking portrait of life inside the country but a testament to the dignity—and indomitable nature—of the human spirit

    Now on the cusp of turning 30, I'm ready to expose some parts of my life that I haven't shared before. Before, it was all about privacy, process and time. And now the time has come! I’m ready to put myself out there, for you.  I'm a little nervous about all these vulnerable words going into the world, these tales about my love life, the wrestling I’ve done with faith, how I feel about sex and my family and myself. I’ve had a lot of trials, a lot of errors, but also a lot of passion. Here’s the thing--I've always found comfort in the stories shared by others, so I hope my stories, now that I feel ready to tell them, will bring you some comfort too.And when you read this book please remember: Buffering is just the time it takes to process.Enjoy!Love,Hannah

    It was a fevered yearlong party fueled by the appetites of youth and by the shared sense of urgency to take action as artists in the months before America entered the war.In spite of the sheer intensity of life at 7 Middagh, the house was for its residents a creative crucible. Carson McCullers's two masterpieces, The Member of the Wedding and The Ballad of the Sad Cafe, were born, bibulously, in Brooklyn. Gypsy Rose Lee, workmanlike by day, party girl by night, wrote her book The G-String Murders in her Middagh Street bedroom. Auden -- who along with Britten was being excoriated at home in England for absenting himself from the war -- presided over the house like a peevish auntie, collecting rent money and dispensing romantic advice. And yet all the while he was composing some of the most important work of his career.Sherill Tippins's February House, enlivened by primary sources and an unforgettable story, masterfully recreates daily life at the most fertile and improbable live-in salon of the twentieth century.

    A year later, he'd completed a solo course from Athens to Marathon, and now, after dozens of such races, not to mention triathlons and a dozen critically acclaimed books, he reflects upon the influence the sport has had on his life and--even more important--on his writing. Equal parts training log, travelogue, and reminiscence, this revealing memoir covers his four-month preparation for the 2005 New York City Marathon and takes us to places ranging from Tokyo's Jingu Gaien gardens, where he once shared the course with an Olympian, to the Charles River in Boston among young women who outpace him. Through this marvelous lens of sport emerges a panorama of memories and insights: the eureka moment when he decided to become a writer, his greatest triumphs and disappointments, his passion for vintage LPs, and the experience, after fifty, of seeing his race times improve and then fall back. By turns funny and sobering, playful and philosophical, What I Talk About When I Talk About Running is rich and revelatory, both for fans of this masterful yet guardedly private writer and for the exploding population of athletes who find similar satisfaction in distance running."