His daughter, Stella, is on the verge of moving away to college; his lover, Jared, is pressing him for commitment; and his favorite watering hole—a ramshackle dive presided over by Bob the Bartender—is transforming into a karaoke hotspot. The story is set in a neighborhood that is also changing, gentrification inciting the ire of the established community. Upon the unexpected death of one of the bar’s regulars, Juan is sent reeling, and a series of upheavals follow as he both seeks and spurns intimacy, pondering the legacy of distant parents and a failed marriage and grappling with his sexuality—all the while cycling and dating, drinking at Nicks Lounge, and parenting a determined and defiant child-become-woman. When his incarcerated father dies and Stella reveals she’s pregnant, Juan is forced to examine the emotional bonds that both hold and hinder him, to reassess his ideas of commitment, of friendship, of love. His encounters with various characters—his mother, his ex-wife, a middle-aged punker, an aspiring acupuncturist, a dapper veteran—lead Juan to the realization that he himself must change to thrive. This is a story of making family and making mistakes, of rending and of mending. As a Latinx queer father with a mixed-race daughter, Juan exemplifies the ways identity connects and divides us. With wit, insight, and tenderness, Big Familia explores the complexities of desire, devotion, and the mysteries of the heart.

    With the author's characteristic eloquence and honesty, I Hope We Choose Love proposes heartfelt solutions on the topics of violence, complicity, family, vengeance, and forgiveness. Taking its cues from contemporary thought leaders in the transformative justice movement such as adrienne maree brown and Leah Lakshmi Piepzna-Samarasinha, this provocative book is a call for nuance in a time of political polarization, for healing in a time of justice, and for love in an apocalypse.

    Instead, Astrid spends hours lying on the backyard picnic table watching airplanes fly overhead. She doesn't know the passengers inside, but they're the only people who won't judge her when she asks them her most personal questions--like what it means that she's falling in love with a girl.As her secret relationship becomes more intense and her friends demand answers, Astrid has nowhere left to turn. She can't share the truth with anyone except the people at thirty thousand feet, and they don't even know she's there. But little does Astrid know just how much even the tiniest connection will affect these strangers' lives--and her own--for the better.In this truly original portrayal of a girl struggling to break free of society's definitions, Printz Honor author A.S. King asks readers to question everything--and offers hope to those who will never stop seeking real love.

    But as the city is thrown into confusion, a different kind of electricity sparks…A first meeting. Long-time friends. Bitter exes. And maybe the beginning of something new.When the lights go out, people reveal hidden truths. Love blossoms, friendship transforms, and new possibilities take flight.Beloved authors—Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon—celebrate the beauty of six couples and the unforgettable magic that can be found on a sweltering starry night in the city.

    This book celebrates this vibrant artistic underground by gathering together a collection of excellent stories that can be enjoyed by all.No Straight Lines showcases major names such as Alison Bechdel (whose book Fun Home was named Time Magazine's 2006 Book of the Year), Howard Cruse (whose groundbreaking Stuck Rubber Baby is now back in print), and Ralf Koenig (one of Europe's most popular cartoonists), as well as high-profile, cross-over creators who have dabbled in LGBT cartooning, like legendary NYC artist David Wojnarowicz and media darling and advice columnist Dan Savage. No Straight Lines also spotlights many talented creators who never made it out of the queer comics ghetto, but produced amazing work that deserves wider attention.Until recently, queer cartooning existed in a parallel universe to the rest of comics, appearing only in gay newspapers and gay bookstores and not in comic book stores, mainstream bookstores or newspapers. The insular nature of the world of queer cartooning, however, created a fascinating artistic scene. LGBT comics have been an uncensored, internal conversation within the queer community, and thus provide a unique window into the hopes, fears, and fantasies of queer people for the last four decades.These comics have forged their aesthetics from the influences of underground comix, gay erotic art, punk zines, and the biting commentaries of drag queens, bull dykes, and other marginalized queers. They have analyzed their own communities, and their relationship with the broader society. They are smart, funny, and profound. No Straight Lines will be heralded by people interested in comics history, and people invested in LGBT culture will embrace it as a unique and invaluable collection.

    A high school art history teacher, newly single and desperately lonely, he envies his queer students their freedom to live openly the youth he lost to fear and shame.   So when he runs into his childhood friend Oscar Burnham at a wedding in Washington, D.C., he can’t help but see it as a second chance. Now thirty-five, the men haven’t seen each other in a decade. But Oscar has no interest in their shared history. Instead, he’s outraged by what he sees as the death of gay culture: bars overrun with bachelorette parties; friends getting married, having babies. While Oscar and Sebastian struggle to find their place in a rapidly changing world, each is drawn into a cross-generational friendship that treads the line between envy and obsession: Sebastian with one of his students and Oscar with an older icon of the AIDS era. And as they collide again and again, both men must come reckon not just with one another, but with themselves. Rich with sharply drawn characters and contemporary detail, provocative, and emotionally profound, Let’s Get Back to the Party is sure to appeal to readers of Garth Greenwell, Alan Hollinghurst, Claire Messud, and Rebecca Makkai.

    There is a dominant father and a socially ambitious mother who adores her son Dennis. When he arrives it is at once clear to the reader why he does not fit in with his smugly conventional family. Then, with the outbreak of war, the tone of the book changes: it focuses on Dennis’s refusal to fight, indeed on his abhorrence of violence; his falling in love with Alan; and his close friendship with Antoinette, who has not realised she is lesbian but is unabashed when she does. Dennis, however, is in agony about being ‘a musical man’ (slang for being gay): ‘Abnormal – perverted – against nature – he could hear the epithets that would be hurled against him. But what had nature been about, in giving him the soul of a woman in the body of a man?’Running through all this is the background of the war. At first everyone thought it would be over by Christmas. Then there were the horrors of 1915. And then conscription started. Month by month one sees what happens to Dennis and the other COs (conscientious objectors) he knows.The book was published by C.W. Daniel, a pacifist publisher, in May 1918. In September the book was banned for being ‘likely to prejudice the recruiting, training, and discipline of persons in his Majesty’s forces.’ Unsold copies were seized and the publisher was fined.

    Wearing her learning lightly, Walsh's stories make us see the world afresh, from a freewheeling story on cycling (and Freud), to a country in which words themselves fall out of fashion—something that will never happen wherever Walsh is read.“Joanna Walsh is clever, funny and merciless. She abducts people from their apparently normal lives and confronts them with the fact that dystopia is not a place in the future but a room in their own house." —Yuri Herrera, author of Signs Preceding the End of the World“Terrifyingly perceptive, subversively hilarious–these stories are part Daniil Kharms, part-Lydia Davis–while also managing to be singularly Joanna Walsh; how her writing always manages to make everything else I read (and write) seem specious and frivolous." —Sara Baume, author of The Line Made by Walking“Worlds from the Word’s End is an anti-mainstream collection. Joanna Walsh’s thick, blurred and claustrophobic worlds deal with deconstruction, estrangement, silence and the disappearance of common language. This is unconventional writing that is going to enchant unconventional readers." —Dubravka Ugrešić, author of Baba Yaga Laid an Egg

      The title story, inspired by Raymond Carver’s masterpiece, is a provocative portrait of two marriages in which the Holocaust is played out as a devastating parlor game. In the outlandishly dark “Camp Sundown” vigilante justice is undertaken by a group of geriatric campers in a bucolic summer enclave. “Free Fruit for Young Widows” is a small, sharp study in evil, lovingly told by a father to a son. “Sister Hills” chronicles the history of Israel’s settlements from the eve of the Yom Kippur War through the present, a political fable constructed around the tale of two mothers who strike a terrible bargain to save a child. Marking a return to two of Englander’s classic themes, “Peep Show” and “How We Avenged the Blums” wrestle with sexual longing and ingenuity in the face of adversity and peril. And “Everything I Know About My Family on My Mother’s Side” is suffused with an intimacy and tenderness that break new ground for a writer who seems constantly to be expanding the parameters of what he can achieve in the short form.   Beautiful and courageous, funny and achingly sad, Englander’s work is a revelation.

    There are the surprising, fresh little phrases minted expressly to convey the delicate realities of the made-up world. There's the humor, fierce and sly but always kind. There's the imagination that changes gender and historical epoch at whim, and does so convincingly; and the characters themselves, a sundry bunch of men and women not necessarily successful or commendable but always, somehow, likable. Best of all, by their very diversity, these stories reveal glimpses of the smart and enigmatic woman behind the work. In "Atlantic Crossing," Winterson becomes a middle-aged businessman of the mid-20th century, accidentally assigned to share his second-class cabin with a young black woman on a transatlantic crossing. In the realm of event, little happens, but in its depth of perception and what it tells of the nuances of regret, the story is as rich as a novel in another writer's hands. A few scant pages later, Winterson becomes a kind of lost female Homer, telling Orion's story from Artemis's point of view: "When she returned she saw this huge rag of a man eating her goat, raw.... His reputation hung about him like bad breath." In "The Poetics of Sex," she creates a lesbian love story that evokes her characters' personalities as explicitly as their erotic pleasures. "The 24-Hour Dog," the story of a woman writer returning a puppy she had thought to adopt, is remorseless as a psychological thriller in the squirmy depths it plumbs: "I had made every preparation, every calculation, except for those two essentials that could not be calculated: his heart and mine." Read The World and Other Places twice, once for instruction, once for joy. --Joyce Thompson

    This is a place where a boy with keys for fingers is a hero, a woman's children are potatoes, and a little boy with an iron for a head is born to a family of pumpkin heads. With her singular mix of surrealism, musical prose, and keenly felt emotion, Bender once again proves herself to be a masterful chronicler of the human condition.

    He's spent seven years putting himself back together under its rule, joining an Umber military academy and becoming the best pilot in his class. Even better, he's met Gal Veres--his exasperating and infuriatingly enticing roommate who's made the Academy feel like a new home. But when dozens of classmates spring an assassination plot on Gal, a devastating secret comes to light: Gal is the heir to the Umber Empire. Ettian barely manages to save his best friend and flee the compromised Academy unscathed, rattled both that Gal stands to inherit the empire that broke him and that there are still people willing to fight back against Umber rule. As they piece together a way to deliver Gal safely to his throne, Ettian finds himself torn in half by an impossible choice. Does he save the man who's won his heart and trust that Gal's goodness could transform the empire? Or does he throw his lot in with the brewing rebellion and fight to take back what's rightfully theirs?

    In"Bog Girl", a revelatory story about first love, a young man falls in love with a two thousand year old girl that he's extracted from a mass of peat in a Northern European bog. In "The Prospectors," two opportunistic young women fleeing the depression strike out for new territory, and find themselves fighting for their lives. In the brilliant, hilarious title story, a new mother desperate to ensure her infant's safety strikes a diabolical deal, agreeing to breastfeed the devil in exchange for his protection. The landscape in which these stories unfold is a feral, slippery, purgatorial space, bracketed by the void--yet within it Russell captures the exquisite beauty and tenderness of ordinary life. Orange World is a miracle of storytelling from a true modern master.

    But they aren’t the only ones making his high school years a living hell. All Nate wants is to keep his secret and keep his head down until he can graduate. That is, until the new boy, James Powell, takes a seat next to him in homeroom. James not only notices him, he manages to work his way into Nate’s life. But James has issues of his own.Between dead grandmothers and living aunts, Nate has to navigate the fact that he’s falling in love with his only friend, all while getting advice from the most unusual places.Ghosts, bullies, first love: it’s a lot to deal with when you’re just trying to survive senior year.

    Voth throws himself into his work, obsessively researching the life of Jack Sheppard, a legendary eighteenth century thief. No one knows Jack’s true story—his confessions have never been found. That is, until Dr. Voth discovers a mysterious stack of papers titled Confessions of the Fox. Dated 1724, the manuscript tells the story of an orphan named P. Sold into servitude at twelve, P struggles for years with her desire to live as “Jack.” When P falls dizzyingly in love with Bess, a sex worker looking for freedom of her own, P begins to imagine a different life. Bess brings P into the London underworld where scamps and rogues clash with London’s newly established police force, queer subcultures thrive, and ominous threats of an oncoming plague abound. At last, P becomes Jack Sheppard, one of the most notorious—and most wanted—thieves in history. Back in the present, Dr. Voth works feverishly day and night to authenticate the manuscript. But he’s not the only one who wants Jack’s story—and some people will do whatever it takes to get it. As both Jack and Voth are drawn into corruption and conspiracy, it becomes clear that their fates are intertwined—and only a miracle will save them both. An imaginative retelling of Brecht’s Threepenny Opera, Confessions of the Fox blends high-spirited adventure, subversive history, and provocative wit to animate forgotten histories and the extraordinary characters hidden within.