Henry is a lawyer, an old-fashioned man, gay, successful, and lonely. Thalia, his stepdaughter from a misbegotten marriage, is now twenty-nine, an actress, hopeful and estranged from her newly widowed crackpot mother. Hoping it will lead to better things for her career, Thalia poses as the girlfriend of a former sitcom star and current horror-movie luminary who is down on his romantic luck. When Thalia and her complicated social life move into the basement of Henry's Upper West Side townhouse, she finds a champion in her long-lost father, and he finds new life--and maybe even new love--in the commotion.

    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.

    His lover, Arthur, whom Patrick can't quite commit to, wants to cement their relationship by buying a house. Then a call comes in the middle of the night. Patrick's younger brother, Tony, has fallen in love - unfortunately she's not the woman he's already pledged to marry.

    Through a string of narrative moments, Tea records a year lived in a world of girls: there's knife-wielding Marta, who introduces Michelle to a new world of radical sex; Willa, Michelle's tormented poet-girlfriend; Iris, the beautiful boy-dyke who ran away from the South in a dust cloud of drama; and Iris's ex, Magdalena Squalor, to whom Michelle turns when Iris breaks her heart. Valencia conveys a blend of youthful urgency and apocalyptic apathy.

    After her mother dies in a tragic accident and she is left to feel responsible, Maggie leaves her popular crowd behind and befriends a fellow outsider like herself, but when her new friendship with Dahlia becomes something more intense, Maggie's ideas of everything she thought she once was is forever changed as love begins to blossom.

    On the wrong side of political correctness, Sister introduces a wry, intelligent new voice with an edge!

    And she does. We marvel at every year's batch of annual excellence. Swooningly romantic, shudderingly erotic, poundingly good prose that will tug at your heartstrings (etc) at the beginning of every single year, or every time you open the volume.Love stories from Cheyenne Blue, Andrea Dale, Charlotte Dare, Sacchi Green, Anna Meadows, Radclyffe, and others span the tumultuous, exhilarating roller-coaster ride of romance, from the breathtakingly discoveries of new passion to the poignant depths of a shared lifetime. Love, newly minted or aged like fine wine, is ever young at heart—savor the pleasure of romance with Best Lesbian Romance 2013.

    But her husband Max disagrees - more than that, he wants a divorce. When they separate, there is no mention of the unborn children they created together, still waiting at the clinic.The Zoe falls in love again, out of the blue, and finds herself with an unexpected second chance to have a family.But Max has found a new life too - one with no place in it for people like Zoe. And he will stand up in court to say that her new choice of partner makes her an unfit mother.Jodi Picoult's most powerful novel yet asks who has the right to decide what makes the ideal family?

    New to a small town, Jackie and Paula envision a quiet life for their kids: a young adopted son and two teenage foster children, including the troubled Star. However, they quickly butt heads with their neighbor, Clementine, who disapproves of their lifestyle and is incensed when Star befriends her spirited horse, Comet. Haunted by past tragedy and unable to properly care for Comet, Clem nevertheless resents the bond Star soon shares with the horse. When Star disappears with Comet, the neighbors are thrown together—far too close together. But as the search for the pair wears on, both families must learn to put aside their animosity and confront the choices they’ve made and the scars they carry. Plumbing the depths of regret and forgiveness, The Language of Hoofbeats explores the strange alchemy that transforms a group of people into a family.

    She had her family and her best friends and, most important, she had Sarah. Sarah, her girlfriend, with whom she dreamed with about the day they could move far away and live out and proud and accepted for themselves, instead of having to hide their relationship. Alyssa never thought she would have to make that move by herself, but disowned by her father and cut off from everyone she loves, she is forced to move hundreds of miles away to live with Carly, the biological mother she barely knows, in a town where everyone immediately dismisses her as "Carly's girl." As Alyssa struggles to forget her past and come to terms with her future, will she be able to build a new life for herself and believe in love again? Or will she be forced to relive the mistakes that have cost her everything and everyone she cared about?National Book Award finalist Julie Anne Peters has written a compelling novel about coming out, finding love, and discovering your place in the world. Alyssa's story will speak to anyone who has known the joy and pain of first love and the struggle to start over again.

    (1886-1961) is what can best be described as a 'find', a posthumous treasure. In writing this book, H.D. returned to a year in her life that was 'peculiarly blighted.' She was in her early twenties--'a disappointment to her father, an odd duckling to her mother, an importunate, overgrown, unincarnated entity that had no place... Waves to fight against, to fight against alone... 'I am Hermione Gart, a failure'--she cried in her dementia, 'I am Her, Her, Her.' She had failed at Bryn Mawr, she felt hemmed in by her family, she did not yet know what she was going to do with her life.

    Stone Butch Blues traces a propulsive journey, powerfully evoking history and politics while portraying an extraordinary protagonist full of longing, vulnerability, and working-class grit. This once-underground classic takes the reader on a roller-coaster ride of gender transformation and exploration and ultimately speaks to the heart of anyone who has ever suffered or gloried in being different.

    Earl, a black, gay actor working in a meatpacking plant, and Bette, a white secretary, have lived next door to each other in the same Greenwich Village apartment building for thirty years. Shamed and disowned by their families, both found refuge in New York and in their domestic routine. Everything changes when Hortense, a wealthy young actress from Ohio, comes to the city to "make it." Textured with the grit and gloss of midcentury Manhattan, The Cosmopolitans is a lush, inviting read. The truths it frames about the human need for love and recognition remain long after the book is closed.

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

    At school she is an ace at quantum physics. At home she sneaks off to her parents’ scooter garage to read the Kamasutra. Before long she has seduced an elegant older divorcée and the family servant, and has caught the eye of a classmate coveted by all the boys.With the world of adulthood dancing before her, Anamika confronts questions that would test someone twice her age. Ebullient, unfettered, and introducing one of the most charming heroines in contemporary fiction, Babyji is irresistible.