In one story, a Jewish college Sarah passively consents to a form-life in pursuit of an MRS degree and is swept into a culture of normalized sexual violence. Another reveals a version of Sarah finding pleasure—and a new set of problems—by playing dead for a wealthy necrophiliac. A Buffy-loving Sarah uses fan fiction to work through romantic obsession. As the collection progresses, Cohen explodes this search for self, insisting that we have more to resist and repair than our own personal narratives. Readers witness as the ever-evolving "Sarah" gets recast: as a bible-era trans woman, an aging lesbian literally growing roots, a being who transcends the earth as we know it. While Cohen presents a world that will clearly someday end, "Sarah" will continue.In each Sarah's refusal to adhere to a single narrative, she potentially builds a better home for us all, a place to live that demands no fixity of self, no plague of consumerism, no bodily compromise, a place called Sarahland.

    While his German parents don’t know what to make of a South pining for the past, shy Max thrives in the thick heat. Taken in by the football team, he learns how to catch a spiraling ball, how to point a gun, and how to hide his innermost secrets.Max already expects some of the raucous behavior of his new, American friends—like their insatiable hunger for the fried and cheesy, and their locker room talk about girls. But he doesn’t expect the comradery—or how quickly he would be welcomed into their world of basement beer drinking. In his new canvas pants and thickening muscles, Max feels like he’s “playing dress-up.” That is until he meets Pan, the school “witch,” in Physics class: “Pan in his all black. Pan with his goth choker and the gel that made his hair go straight up.” Suddenly, Max feels seen, and the pair embarks on a consuming relationship: Max tells Pan about his supernatural powers, and Pan tells Max about the snake poison initiations of the local church. The boys, however, aren’t sure whose past is darker, and what is more frightening—their true selves, or staying true in Alabama.Writing in verdant and visceral prose that builds to a shocking conclusion, Genevieve Hudson “brilliantly reinvents the Southern Gothic, mapping queer love in a land where God, guns, and football are king” (Leni Zumas, author of Red Clocks). Boys of Alabama becomes a nuanced portrait of masculinity, religion, immigration, and the adolescent pressures that require total conformity.

    When Agnes finds Tilly's Dungeons & Dragons notebook, however, she stumbles into a journey of discovery and action-packed adventure in the imaginary world that was Tilly's refuge. In this high-octane dramatic comedy laden with homicidal fairies, nasty ogres, and 90s pop culture, acclaimed young playwright Qui Nguyen offers a heart-pounding homage to the geek and warrior within us all.

    This is a theatrical book of dilapidated houses and overgrown gardens, of passageways and thresholds, edges, prosceniums, unearthings, and root systems. The unstable property lines here rove from heaven to hell, troubling proportion and upsetting propriety in the name of unfathomable propagation. Are all the gates in this book folly? Are the walls too easily scaled to hold anything back or impose self-confinement? What won't a poem do to get to the other side?

    D.'s supposed "fallow" period. As these pages reveal, she was in fact writing a great deal of important poetry at the time, although publishing only a small part of it. The later, wartime poems in this section form an essential prologue to her magnificent Trilogy (1944), the fourth and culminating part of this book. Born in Pennsylvania in 1886, Hilda Doolittle moved to London in 1911 in the footsteps of her friend and one-time fiancé Ezra Pound. Indeed it was Pound, acting as the London scout for Poetry magazine, who helped her begin her extraordinary career, penning the words "H. D., Imagiste" to a group of six poems and sending them on to editor Harriet Monroe in Chicago. The Collected Poems 1912-1944 traces the continual expansion of H. D.'s work from her early imagistic mode to the prophetic style of her "hidden" years in the 1930s, climaxing in the broader, mature accomplishment of Trilogy. The book is edited by Professor Louis L. Martz of Yale, who supplies valuable textual notes and an introductory essay that relates the significance of H. D.'s life to her equally remarkable literary achievement.

    H. Auden, and James Merrill. Their poems of love are among the most perceptive, the most passionate, the wittiest, and the most moving we have. From Michelangelo’s “Love Misinterpreted” to Noël Coward’s “Mad About the Boy,” from May Swenson’s “Symmetrical Companion” to Muriel Rukeyser’s “Looking at Each Other,” these poems take on both desire and its higher power: love in all its tender or taunting variety.

    This book chews with its open mouth full of the juiciest words, the most indigestible images. This book undoes me. . . . francine j. harris brilliantly ransacks the poet's toolkit, assembling art from buckets of disaster and shreds of hope. Nothing she lays her mind's eye on escapes. You, too, will be captured by her work."—Evie ShockleyLyrically raw and dangerously unapologetic, play dead challenges us to look at our cultivated selves as products of circumstance and attempts to piece together patterns amidst dissociative chaos. harris unearths a ruptured world dictated by violence—a place of deadly what ifs, where survival hangs by a thread. Getting by is carrying bruises and walking around with "half a skull."From "low visibility":I have light in my mouth. I hunger you. You wantwhat comes in drag. a black squirrel in a black tar lane,fresh from exhaust, hot and July's unearthed steam.You want to watch it run over. to study the sog. You want the stink of gristle buried in a muggy weather.I want the faulty mirage. a life of grass.we want the same thing. We want their deathsto break up the sun.francine j. harris is a 2015 NEA Creative Writing Fellow whose first collection, allegiance, was a finalist for the 2013 Kate Tufts Discovery and PEN Open Book Award. Originally from Detroit, she is also Cave Canem fellow who has lived in several cities before returning to Michigan. She received an MFA in Creative Writing from the University of Michigan, and currently teaches writing at Interlochen Center for the Arts.

    Blood Lyrics is a mother's song, one seared with the knowledge that her country wages long, aching wars in which not all lives are equal. There is beauty imparted, too, but it arrives at a cost: "Don't say it's the beautiful / I praise," Ford writes. "I praise the human, / gutted and rising."

    A bold story about the power of embracing your uniqueness. Sometimes, we need to take charge, to stand up wearing pink feathers - to show ourselves to the world in bold colour.

    In this new collection, human desire pulls with the force and rhythm of a sea tide, emerging from and receding into mysteries larger than any individual life. The book begins with the reverential title poem and concludes with four works that reflect the power of place to shape revelation; the way stone and sky and birdsong can point the way home. Whether tracing the sensual devotion of bodily presence or the painful heartbreak of impermanence, the poems keep faith with love's appearances and disappearances, and the promises we make and break on its behalf.

    Tempestuous, swashbuckling and volatile, within two years she has run away with her fencing master, fallen in love with a nun and is hiding from the authorities, sentenced to be burnt at the stake. Within another year, she has become Mademoiselle de Maupin, a beloved star at the famed Paris Opéra. Her lovers include some of Europe's most powerful men and France's most beautiful women. Yet Julie is destined to die alone in a convent at the age of 33. Based on an extraordinary true story, this is an original, dazzling and witty novel - a compelling portrait of an unforgettable woman. For all those readers who love Sarah Dunant, Sarah Waters and Hilary Mantel.

    While visiting, Grey must confront a painful past riddled in homophobia, secrets, religious hypocrisy and fear."-- Queerty "Anyone who has come out in small-town America will understand how difficult it is to be who you are when the majority of customers at your family restaurant are the same ones you just saw in church....Some Go Hungry is at its best when confronting religious prejudice, and is even pulse-quickening when the narrator sits through one of his friend's sermons aimed directly at him....Only someone who has grown up in rural America could write so convincingly of the pressures there. It's also refreshing to find a book that relates the experience of being gay somewhere other than in a large city."-- Gay & Lesbian Review "A gay murder mystery that takes readers from Miami Beach, Florida to Fort Sackville, Indiana, as Grey Daniels 'struggles to live his authentic, openly gay life' amidst the fundamentalist Christians in his hometown."-- Bay Area Reporter "Captivating debut...[Protagonist] Grey's tale is a lesson for us all that only when we consider our own feelings first will we find happiness--and acceptance."--Edge Media Network"Redmond's fiction isn’t an attempt to recap historical events. The fictional news reports of character Robbie Palmer's alleged murder interspersed between chapters, and the 'homophobia' that engulfs the fictional town of Fort Sackville, is a platform from which the author can express his sincere concern regarding real-life situations that occur in our modern world."-- Boomer Magazine "I was totally engrossed in what I read...An important tale that in some ways is timeless...We read of bigotry, religion, murder, and personal redemption in small-town America as told by a new writer who is a master storyteller and whom I expect to be hearing about in the near future."--Reviews by Amos Lassen"Patrick Redmond has filled his first novel with passion--the passion to tell a story that resonates far beyond the confines of the small Indiana town where it is set. Some Go Hungry tells an important tale that in some ways is timeless, and in other ways could have been ripped from today's headlines."--Mark Childress, author of Crazy in AlabamaPart of Akashic's Kaylie Jones Books imprint.Some Go Hungry is a fictional account drawn from the author's own experiences working in his family's provincial Indiana restaurant--and wrestling with his sexual orientation--in a town that was rocked by the scandalous murder of his gay high school classmate in the 1980s.Now a young man who has embraced his sexuality, Grey Daniels returns from Miami Beach, Florida, to Fort Sackville, Indiana, to run Daniels' Family Buffet for his ailing father. Understanding that knowledge of his sexuality may reap disastrous results on his family's half-century-old restaurant legacy--a popular Sunday dinner spot for the after-church crowd--Grey struggles to live his authentic, openly gay life. He is put to the test when his former high school lover--and fellow classmate of the murdered student--returns to town as the youth pastor and choir director of the local fundamentalist Christian church.Some Go Hungry is the story of a man forced to choose between the happiness of others and his own joy, all the while realizing that compromising oneself--sacrificing your soul for the sake of others--is not living, but death.

    Asta would rather spend her life performing in the village theater with her friends and fellow outcasts: her best friend Gunnar Fuglestad and his secret boyfriend, wealthy Erlend Fournier.But the situation takes a dire turn when Nils lashes out in jealousy—gravely injuring Gunnar. Shunning marriage for good, Asta moves with Gunnar and Erlend to their secluded cabin above town. With few ties left with their families, they have one shot at gaining enough kroner to secure their way of life: win the village's annual horse race.

    Her mother has been dead for almost two years, her truck driver father is always away, her almost girlfriend just dumped her for a guy, and now she's failing chemistry.When a stray dog lands literally at her feet, bleeding and broken on a busy road, it seems like the Universe has it in for Colby. But the incident also knocks a chink in the walls she's built around her heart. Against her better judgment, she decides to care for the dog. But new connections mean new opportunities for heartbreak.Terrified of another loss, Colby bolts at the first sign of trouble, managing to alienate her best friend, her father, the cute girl pursuing her, and even her dog's vet, who's taken Colby under her wing. Colby can't start over, but can she learn how to move on?

    Arranged chronologically, the forty-nine stories, when taken together with the memoir of his father that serves as a preface, not only establish Williams as a major American fiction writer of the twentieth century, but also, in Gore Vidal’s view, constitute the real autobiography of Williams’ "art and inner life."