Relationships will change, he’ll change, but maybe, just maybe, he’ll find freedom in the release.Time is running out though, because way across town a ghost as risen from the lake. Searching, yearning, she leaves a trail of destruction in her wake…

    Roses grow out of Miel’s wrist, and rumors say that she spilled out of a water tower when she was five. Sam is known for the moons he paints and hangs in the trees, and for how little anyone knows about his life before he and his mother moved to town. But as odd as everyone considers Miel and Sam, even they stay away from the Bonner girls, four beautiful sisters rumored to be witches. Now they want the roses that grow from Miel’s skin, convinced that their scent can make anyone fall in love. And they’re willing to use every secret Miel has fought to protect to make sure she gives them up.

    A desperate young woman makes a prayer to the Saint of Sidewalks, but the miracle she receives isn’t what she expected. A painter spies a naked man, crouched by the Cathedral of St. John the Divine, transform into a beautiful white bird and decides to paint him, and becomes involved in his curse. Jeanne, a duelist and a sacred blade for God and Her holy saints, finds that the price of truth is always blood. And in the novella “Once, Future” Howard reimagines the Arthurian romance on a modern college campus as a story that is told, and told again, until the ending is right.

    Her father Lexander, an alchemist, harbors an evil obsession, and Catalina, his newest bride, made the grave mistake of becoming his wife. When Catalina finds herself falling in love with his daughter, Neve, instead, the deepening bond between the women sets in motion the final chapter of a story that began long ago, with a desperate longing and a handful of apple seeds. Together, Neve and Catalina must venture into the Huntsman's haunted forest to undo what has been done and set themselves free. The novella SEVEN is the lesbian retelling of the classic fairy tale, “Snow White.” It is part of the series SAPPHO’S FABLES: LESBIAN FAIRY TALES.

    He studies queer theory, has a dyke best friend, makes zines, and is a flâneur with a rich dating life. But Paul’s also got a secret: he’s a shapeshifter. Oscillating wildly from Riot Grrrl to leather cub, Women’s Studies major to trade, Paul transforms his body at will in a series of adventures that take him from Iowa City to Boystown to Provincetown and finally to San Francisco—a journey through the deep queer archives of struggle and pleasure.

    As the hours tick by deeper into the night, the familiar drops away and the unfamiliar beckons. Adults are asleep, and a hush falls over the hum of daily life. Anything is possible. It’s a time for romance and adventure. For prom night and ghost hunts. It’s a time for breaking up, for falling in love—for finding yourself. Stay up all night with these thirteen short stories from bestselling and award-winning YA authors like Karen McManus, Tiffany D. Jackson, Nina LaCour, and Brandy Colbert, as they take readers deep into these rarely seen, magical hours. Full contributor list: Brandy Colbert, Kathleen Glasgow, Maurene Goo, Tiffany D. Jackson, Amanda Joy, Nina LaCour, Karen M. McManus, Anna Meriano, Marieke Nijkamp, Laura Silverman, Kayla Whaley, Julian Winters, Francesca Zappia

    Chilling and witty, prescient and personal, delectable and tart, these highly imaginative, vintage Atwoodian mini-fictions speak on a broad range of subjects, reflecting the times we live in with deadly accuracy and knife-edge precision.In pieces ranging in length from a mere paragraph to several pages, Atwood gives a sly pep talk to the ambitious young; writes about the disconcerting experience of looking at old photos of ourselves; gives us Horatio's real views on Hamlet; and examines the boons and banes of orphanhood. Bring Back Mom: An Invocation; explores what life was really like for the "perfect" homemakers of days gone by, and in The Animals Reject Their Names she runs history backward, with surprising results.Chilling and witty, prescient and personal, delectable and tart, The Tent is vintage Atwood, enhanced by the author's delightful drawings.

    Threaded with magic, transcending time and place, these stories explore what it means to cross borders and break down walls, personally and politically. In one story, suburban families perform oblations to cattlelike angels who live on their roofs, believing that their “thoughts and prayers” will protect them from the world’s violence. In another, inhabitants of an unnamed dictatorship slowly lose their own agency as pieces of their bodies go missing and, with them, the essential rights that those appendages serve. “The Great Escape” tells of an old woman who hides away in her apartment, reliving the past among beautiful objects she’s hoarded, refusing all visitors, until she disappears completely. In the title story, children begin to levitate, flying away from their parents and their home country, leading them to eat rocks in order to stay grounded. With elements of science fiction and fantasy, fabulism and magical realism, Brenda Peynado uses her stories to reflect our flawed world, and the incredible, terrifying, and marvelous nature of humanity.

    The four chapbooks collected in A PECULIAR FEELING OF RESTLESSNESS, three of them finalists and one of them the winner of the Rose Metal Press first annual short short chapbook contest, all revel in the succinctness of their form, the underlying tension anchored beneath each story of 1,000 words or less. These stories are peculiar; they resonate with restlessness. They are deft, they are gritty, and they are lyrical. Laughter, Applause. Laughter, Music, Applause by Kathy Fish, Wanting by Amy L. Clark, Sixteen Miles Outside of Phoenix by Elizabeth Ellen, and The Sky Is a Well by Claudia Smith combine four multi-layered portrayals of beautiful uneasiness into a collection rich with wit, grace, and originality.

    It was about two women, and they fell in love with each other.” And then Lily asked the question that had taken root in her, that was even now unfurling its leaves and demanding to be shown the sun: “Have you ever heard of such a thing?”Seventeen-year-old Lily Hu can’t remember exactly when the question took root, but the answer was in full bloom the moment she and Kathleen Miller walked under the flashing neon sign of a lesbian bar called the Telegraph Club.America in 1954 is not a safe place for two girls to fall in love, especially not in Chinatown. Red-Scare paranoia threatens everyone, including Chinese Americans like Lily. With deportation looming over her father—despite his hard-won citizenship—Lily and Kath risk everything to let their love see the light of day.

    The seventeen-year-old, new to everything around her—college, the East Coast, bodies of literature, and the sexual flurries of student life—is shocked by her desire to follow this wherever it will take her. When Flannery finds herself enrolled in a class with the remote, brilliant older woman, she is intimidated at first, but gradually becomes Anne Arden's student—Baudelaire, lipstick colors, or how to travel with a lover—Flannery proves an eager pupil, until one day learns more about Anne than she ever wanted to know.

    Desperate for relief from her panicky mind and alienated from her repressive family, she responds to a flyer for free therapy at a local Catholic church, and finds herself being greeted by Father Jeff, who assumes she’s there for a job interview. Too embarrassed to correct him, Gilda is abruptly hired to replace the recently deceased receptionist Grace.In between trying to memorize the lines to Catholic mass, hiding the fact that she has a new girlfriend, and erecting a dirty dish tower in her crumbling apartment, Gilda strikes up an email correspondence with Grace’s old friend. She can’t bear to ignore the kindly old woman, who has been trying to reach her friend through the church inbox, but she also can’t bring herself to break the bad news. Desperate, she begins impersonating Grace via email. But when the police discover suspicious circumstances surrounding Grace’s death, Gilda may have to finally reveal the truth of her mortifying existence.

    Here, we meet Newton, the beloved chapter president; Oprah, the sensitive reader; Petey, the treasurer, loyal to a fault; Claire, the couch-surfing dropout who hopes to sell them drugs; and a girl known, for unexpected reasons, as God. Though the living room reeks of sweat and spilled beer, the brothers know that to be inside is everything.Fraternity celebrates the debauched kinship of boys and girls straddling adolescence and adulthood: the drunken antics, solemn confessions, and romantic encounters that mark their first years away from home. Beneath each episode lies the dread of exclusion. The closeted Oprah's hero worship gives way to real longing. A combat veteran offers advice on hazing. An alienated young woman searches for a sanctuary. And the shadow of assault hovers over every sexual encounter.Voiced by an off-kilter chorus of the young and desperate to belong, Benjamin Nugent's provocative collection pries the fraternity door off its hinges, daring us to peer inside with amusement, horror, and also with love.

    Her art flourished in small settings, as can be seen in her bestselling novel The Summer Book and in her internationally celebrated cartoon strips and books about the Moomins. It is only natural, then, that throughout her life she turned again and again to the short story. The Woman Who Borrowed Memories is the first extensive selection of Jansson’s stories to appear in English. Many of the stories collected here are pure Jansson, touching on island solitude and the dangerous pull of the artistic impulse: in “The Squirrel” the equanimity of the only inhabitant of a remote island is thrown by a visitor, in “The Summer Child” an unlovable boy is marooned along with his lively host family, in “The Cartoonist” an artist takes over a comic strip that has run for decades, and in “The Doll’s House” a man’s hobby threatens to overwhelm his life. Others explore unexpected territory: “Shopping” has a post-apocalyptic setting, “The Locomotive” centers on a railway-obsessed loner with murderous fantasies, and “The Woman Who Borrowed Memories” presents a case of disturbing transference. Unsentimental, yet always humane, Jansson’s stories complement and enlarge our understanding of a singular figure in world literature.

    His family’s life revolves around the church, a church run by the vocally intolerant Pastor Myers, so Mike has resolved to spend his life in the closet. His only escape—besides the occasional, anonymous gay make-out session—is his art. He pours his complicated emotions into risqué drawings he keeps in a secret sketchbook. A sketchbook he carries everywhere. When his sketchbook goes missing in the middle of Sunday school, Mike is sure his life is over. He’s going to be outed, ostracized by their community, condemned by the pastor, maybe even homeless. What’s worse, the pastor’s son, Chris, suddenly seems hell-bent on adopting Mike and his friends and he has no idea why.When an awkward confrontation with Chris leads to an unexpected kiss instead of a much-expected punch, Mike’s world is turned upside down. As their friendship grows and faith is questioned, Mike may be forced to choose between the comfortable life he's always lived and a chance at the love he never thought he deserved.