Vulnerable and resilient, openhanded and open-hearted, these women forge their lives in a place that in turn threatens and protects—a common prison and a shared home. Naylor renders both loving and painful human experiences with simple eloquence and uncommon intuition. Her remarkable sense of community and history makes The Women of Brewster Place a contemporary classic—and a touching and unforgettable read.

    Blending radical formal fluidity and caustic humor, Mean turns what might be tragic into piercing, revealing comedy. This is a confident, funny, brassy book that takes the cost of sexual assault, racism, misogyny, and homophobia deadly seriously.We act mean to defend ourselves from boredom and from those who would cut off our breasts. We act mean to defend our clubs and institutions. We act mean because we like to laugh. Being mean to boys is fun and a second-wave feminist duty. Being mean to men who deserve it is a holy mission. Sisterhood is powerful, but being mean is more exhilarating.Being mean isn't for everybody.Being mean is best practiced by those who understand it as an art form.These virtuosos live closer to the divine than the rest of humanity. They're queers.Myriam Gurba is a queer spoken-word performer, visual artist, and writer from Santa Maria, California. She's the author of Dahlia Season (2007, Manic D) which was a finalist for the Lambda Literary Award, Wish You Were Me (2011, Future Tense Books), and Painting Their Portraits in Winter (2015, Manic D). She has toured with Sister Spit and her work has been exhibited at the Museum of Latin American Art in Long Beach. She lives in Long Beach, where she teaches social studies to eighth-graders.

    After covering the American military occupation of South Texas, the story involves the reader in romances between two young lovers from opposing sides during the military conflict of the U.S.-Mexico War. Caballero's young protagonists fall in love but face struggles with race, class, gender and sexual contradictions. An introduction by Jose E. Limon, epilogue by Maria Cotera, and foreword by Thomas H. Kreneck offer a clear picture of the importance of the work to the study of Mexican-American and Texas history and to the feminist critique of culture. This work, long lost in a collection of private papers and unavailable until now, serves as a literary ethnography of South Texas-Mexican folklore customs and traditions.

    Time shifts from one consciousness to another in a hypnotic flow of dreams, desires, and memories, a world of ghosts dominated by the figure of Pedro Páramo - lover, overlord, murderer.Rulfo's extraordinary mix of sensory images, violent passions, and unfathomable mysteries has been a profound influence on a whole generation of Latin American writers, including Carlos Fuentes, Mario Vargas Llosa, and Gabriel García Márquez. To read Pedro Páramo today is as overwhelming an experience as when it was first published in Mexico back in 1955.

    If finding her mother Nellie in hospital after a savage beating from her husband wasn’t enough, Emily’s plight deepens when she yields to the advances of Tommy, a young soldier, and becomes pregnant with his child.Not for nothing is Victoria station nicknamed the ‘palace of tears’. As trainloads of men leave for the Western Front, and Emily says goodbye to Tommy, she is left contemplating the life of a single mother. Yet amidst the devastation, happiness still lies within her grasp… A classic saga of World War One, Palace of Tears is a perfect read for fans of Carol Rivers, Sally Warboyes, and Annie Murray.

    Janie's quest for identity takes her through three marriages and into a journey back to her roots.

    There is no she.Two cells make up one cell. This is the mathematics behind creation. One plus one makes one. Life begets life. We are the period to a sentence, the effect to a cause, always belonging to someone. We are never our own.This is why we are so lonely.She of the Mountains is a beautifully rendered illustrated novel by Vivek Shraya, the author of the Lambda Literary Award finalist God Loves Hair. Shraya weaves a passionate, contemporary love story between a man and his body, with a re-imagining of Hindu mythology. Both narratives explore the complexities of embodiment and the damaging effects that policing gender and sexuality can have on the human heart.Illustrations are by Raymond Biesinger, whose work has appeared in such publications as The New Yorker and the New York Times.Vivek Shraya is a multimedia artist, working in the mediums of music, performance, literature, and film. Her most recent film, What I LOVE about Being QUEER, has been expanded to include an online project and book with contributions from around the world. She is also author of God Loves Hairand Even This Page Is White.

    Beautiful and pampered, she has never worked and has never wanted to. She lives only to appreciate the finer things and to be adored. But after four years of marriage, she finds herself unable to move, to dress in the morning, or to take the elevator outside.Lately, she finds her days drifting by in a haze. She'd like to leave Cameron, but the effort seems too great. Instead, she visits her mother, once her closest confidante, now indifferent and distant. As Francesca prays for rescue, change makes a surprise appearance, and suddenly she is faced with the choice between an awkward life and a slow, comfortable death. . . ."Deceptively subtle: it would be easy to skim right over all the deep things the author is saying and read her book as a well-written surface story of a beautiful woman who makes an abortive bid for freedom....I have been crying out for contemporary woman's new consciousness to express or define itself in a good novel....Here it is: Glass People by Gail Godwin."--Anatole Broyard The New York Times"POWERFUL. . .GODWIN IS BRILLIANT. . .DEFTLY PLOTTED AND IMAGINED. . . [It] deepened my long-cherished belief about certain forms of art: that in exploring extremities of human behavior, in forcing us to wade through real or metaphorical blood, such art saves us from these experiences and is cathartic in the best sense of the term."--Joyce Carol OatesThe Washington Post

    The Indians are indifferent to Western notions of time and industry. The French, on the other hand, are sufficiently meticulous to import 2,348 pieces of cast iron to the desolate mining town of Santa Sofia, there to be assembled into a church under the supervision of a disciple of the renowned Gustave Eiffel.

    This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.Cherríe Moraga is the co-editor of the classic feminist anthology This Bridge Called My Back and the author of The Last Generation. She is Artist-in-Residence at Stanford University.

    But in a few brief moments, Walter sees his life and his world fracture and split apart, driving him to commit a terrible crime. Many years later, Frank Cartwright ponders his next move. His film career has left him wealthy but incomplete. When a director approaches him with a script that has a riddle for a plot Frank is intrigued by its resonance. In his search for an answer to the riddle, Frank embarks on a journey that will lead him into a past he doesn’t remember.Jim Lewis, acclaimed author of Why the Tree Loves the Ax, returns with a novel stunning in its originality and scope. And as he tells the stories of two men and the conflicts that shape them, he delivers a powerful portrait of America and the treacherous currents that run through it.

    In America, anybody can become president. In 1920, anybody did. Harding was a strikingly handsome man, a high school graduate of impenetrable ignorance whose only two qualifications for the presidency were that he looked and sounded presidential--provided you didn't look or listen too closely. Ohio's "favorite son" at the nominating convention, he recognized his deficiencies, did not want such high office, and never expected to be nominated, no less elected. But his destiny was to become the first packaged candidate, elected largely on the strength of a carefully crafted image. Thus began 12 years of Republican rule that fostered unbridled capitalism and willful isolation, leading to the Great Depression and the rise of European dictatorships, which set the stage for World War II. Greatly complicating things was the relationship between Harding and Nan, who shared a deeper intimacy and hotter sex than anything enjoyed by more contemporary White House occupants. But woven around and through their furtive couplings is the tapestry of corruption and scandal generated by a half-dozen uniquely odious presidential cronies. But this tale is not unremittingly bleak. After having been content all of his life to just slide by, Harding reinvented himself in his last year, proving that nobility can triumph over selfishness, that listening to your heart may be more reliable than listening to your head, and that love which is pure can transcend death itself.

    She had scraped together what previous generations of trans women could only dream of: a life of mundane, bourgeois comforts. The only thing missing was a child. But then her girlfriend, Amy, detransitioned and became Ames, and everything fell apart. Now Reese is caught in a self-destructive pattern: avoiding her loneliness by sleeping with married men.Ames isn't happy either. He thought detransitioning to live as a man would make life easier, but that decision cost him his relationship with Reese—and losing her meant losing his only family. Even though their romance is over, he longs to find a way back to her. When Ames's boss and lover, Katrina, reveals that she's pregnant with his baby—and that she's not sure whether she wants to keep it—Ames wonders if this is the chance he's been waiting for. Could the three of them form some kind of unconventional family—and raise the baby together?This provocative debut is about what happens at the emotional, messy, vulnerable corners of womanhood that platitudes and good intentions can't reach. Torrey Peters brilliantly and fearlessly navigates the most dangerous taboos around gender, sex, and relationships, gifting us a thrillingly original, witty, and deeply moving novel.

    The sisters are so close that they have created a private language, yet to the outside world they can't be sisters: Birdie appears to be white, while Cole is dark enough to fit in with the other kids at the Afrocentric school they attend. For Birdie, Cole is the mirror in which she can see her own blackness. Then their parents' marriage falls apart. Their father's new black girlfriend won't even look at Birdie, while their mother gives her life over to the Movement: at night the sisters watch mysterious men arrive with bundles shaped like rifles.One night Birdie watches her father and his girlfriend drive away with Cole—they have gone to Brazil, she will later learn, where her father hopes for a racial equality he will never find in the States. The next morning—in the belief that the Feds are after them—Birdie and her mother leave everything behind: their house and possessions, their friends, and—most disturbing of all—their identity. Passing as the daughter and wife of a deceased Jewish professor, Birdie and her mother finally make their home in New Hampshire.Desperate to find Cole, yet afraid of betraying her mother and herself to some unknown danger, Birdie must learn to navigate the white world—so that when she sets off in search of her sister, she is ready for what she will find. At once a powerful coming-of-age story and a groundbreaking work on identity and race in America, "Caucasia deserves to be read all over" (Glamour).

    He strikes in broad daylight, yet no one ever sees him.His target?Garden gnomes ...