With wonderful delicacy and subtle insight and intimation, McCabe creates Mr. Patrick "Pussy" Braden, the enduringly and endearingly hopeful hero(ine) whose gutsy survival and yearning quest for love resonate in and drive the glimmering, agonizing narrative in which the troubles are a distant and immediate echo and refrain. Twenty years ago, her ladyship escaped her hometown of Tyreelin, Ireland, fleeing her foster mother Whiskers (prodigious Guinness-guzzler, human chimney) and her mad household, to begin a new life in London. There, in blousey tops and satin miniskirts, she plies her trade, often risking life and limb amongst the flotsam and jetsam that fill the bars of Piccadilly Circus. But suave businessmen and lonely old women are not the only dangers that threaten Pussy. It is the 1970's and fear haunts the streets of London and Belfast as the critical mass of history builds up, and Pussy is inevitably drawn into a maelstrom of violence and tragedy destined to blow his fragile soul asunder. Brilliant, startling, profound and soaring, Breakfast on Pluto combines light and dark, laughter and pain, with such sensitivity, directness and restraint that the dramatic impact reverberates in our minds and hearts long after the initial impression.

    Fiction is matched in excitement by graphic novel excerpts and personal essays. Certain to become a literary touchstone for a new generation of writers and readers, Baby Remember My Name speaks to the broad range of queer girl experiences in work that is brave, irreverent, funny, sensitive, and hot.

    Poulin, Jr., Poetry Prize. In his foreword he writes, "I was immediately struck by the boldness of imagination, the strange cadences, and wild music of these poems. We should be glad that young poets like Keetje Kuipers are making their voices heard not by tearing up the old language but by making the old language new."Keetje Kuipers, a native of the Northwest, earned her BA at Swarthmore College and MFA at the University of Oregon. A Stegner Fellow at Stanford University, she divides her time between Stanford and Missoula, Montana.From Devils Lake Journal:“Keetje Kuipers’ Beautiful in the Mouth is at once lovely, frank, and haunting. The poems move easily between landscapes, inhabiting the American west, Paris, and New York City with equal ease and yet, they never exploit sympathies of locale for their power. Instead, they rely on nothing but the speaker’s own candor, who is able to speak through such disparate poems as “Bondage Play as Substitue for Prayer” alongside “Waltz of the Midnight Miscarriage,” “Reading Sappho in a Wine Bar,” and “Barn Elegy” with a good spattering of honest-to-goodness sonnets.”From ForeWord Reviews:“The poems move like ghosts themselves: disappearing into walls, circling back, appearing for a moment to be captured, then evaporating into thin air. Kuipers pins moments onto the page with the care of an etymologist collecting rare specimens. Her poems are at once visceral and cosmic, “a wave as well as a particle.””

    What she finds are the Grays: a group of friends who throw around terms like queer and witch like they're ordinary and everyday, though they feel like an earthquake to Danny. But Danny didn't just find the Grays. They cast a spell that calls her halfway across the country, because she has something they need: she can bring back Imogen, the most powerful of the Grays, missing since the summer night she wandered into the woods alone. But before Danny can find Imogen, she finds a dead boy with a redwood branch through his heart. Something is very wrong amid the trees and fog of the Lost Coast, and whatever it is, it can kill. Lush, eerie, and imaginative, Amy Rose Capetta's tale overflows with the perils and power of discovery — and what it means to find your home, yourself, and your way forward.

    Written between the ages of sixteen and eighteen, with examinations of anxiety, death, first loves, and first lusts, Graffiti extends a hand to those undergoing the trials and uncertainty of teenagehood, and assures them they're not alone.

    Within twenty-four hours, the blood made international news. All over the world, blood appeared out of the ground, even through concrete, even in water. Then the earth started growing hair and bones.Lea wants to ignore the blood. She wants to spend time with her new girlfriend, Aracely, in public, if only Aracely wasn't so afraid of her father. Lea wants to be a regular teen again, but the blood has made her a prisoner in her own home. Fear for her social life turns into fear for her sanity, and Lea must save herself and Aracely whatever way she can.

    In despair, Melville takes his family for a vacation to his cousin’s farm in the Berkshires, where he meets Nathaniel Hawthorne at a picnic—and his life turns upside down.  The Whale chronicles the fervent love affair that grows out of that serendipitous afternoon. Already in debt, Melville recklessly borrows money to purchase a local farm in order to remain near Hawthorne, his newfound muse. The two develop a deep connection marked by tensions and estrangements, and feelings both shared and suppressed.   Melville dedicated Moby-Dick to Hawthorne, and Mark Beauregard’s novel fills in the story behind that dedication with historical accuracy and exquisite emotional precision, reflecting his nuanced reading of the real letters and journals of Melville, Hawthorne, Oliver Wendell Holmes, and others. An exuberant tale of longing and passion, The Whale captures not only a transformative relationship—long the subject of speculation—between two of our most enduring authors, but also their exhilarating moment in history, when a community of high-spirited and ambitious writers was creating truly American literature for the first time.

    Wright’s most intimate thoughts and images appear before us in dramatic and spectral short narratives: mesmerizing poems whose colloquial sound and rhythms announce a new path for this luminous and masterful poet. In these journeys, we hear the constant murmured “yes” of creation—“it will be packing its small suitcase soon; it will leave the keys dangling from the lock and set out at last,” Wright tells us. He introduces us to the powerful presences in his world (the haiku master Basho, Nietzsche, St. Teresa of Avila, and especially his father, James Wright) as he explores the continually unfolding loss of childhood and the mixed blessings that follow it. Taken together, the pieces deliver the diary of a poet—“a fairly good egg in hot water,” as he describes himself—who seeks to narrate his way through the dark wood of his title, following the crumbs of language. “Take everything,” Wright suggests, “you can have it all back, but leave for a little the words, of all you gave the most mysteriously lasting.” With a strong presence of the dramatic in every line, Kindertotenwald pulls us deep into this journey, where we too are lost and then found again with him.

    E. Housman is being ferried across the river Styx, glad to be dead at last. The river that flows through Tom Stoppard's The Invention of Love connects Hades with the Oxford of Housman's youth: High Victorian morality is under siege from the Aesthetic movement, and an Irish student named Wilde is preparing to burst onto the London scene. On his journey the elder Housman confronts the younger version of himself and his memories of the man he loved his entire life, Moses Jackson -- the handsome athlete who could not return his feelings.

    Written in dialogic fragments and intersped with prose poems reflecting on the lasting impact of colonial trauma, it is arranged around the two different discourses. The bed on which America sleeps, and which America has made, is built on the fear that the nations it has oppressed will rise up against it, a monstrous shadow in a child’s nightmare. Written in English, while they sleep points to a imperialist American identity: the dormant body of the text. Answering in Spanish, under the bed is another country is the footnote, the monster under the bed, the colony: Puerto Rico.

    Planisphere is a new collection by one of America’s most innovative and influential poets—an exceptional artist whose work stands alongside the finest of Whitman, Dickinson, Stevens, and Hart Crane. For more than half a century Ashbery has been producing timeless works such as Chinese Whispers, Hotel Lautréamont, A Wave, Self-Portrait in a Convex Mirror, and Where Shall I Wander. Planisphere is proof that the master only improves with age.

    Sammy Tampari was Conrad’s lover. He was his teacher. And, it turns out, he was not just a chemist, but an alchemist, searching for a mythic elixir of life. Sammy’s death was sudden, yet he somehow managed to leave twenty years’ worth of his notebooks and a storage locker full of expensive, sometimes baffling equipment in the hands of his star student. The notebooks contain cryptic “recipes,” but no instructions; they tell his life story, but only hint at what might have caused his death. And Sammy’s research is littered with his favorite teaching question: What’s missing?As Conrad pieces together the solution, he finds he is not the only one to suspect that Sammy succeeded in his quest. And if he wants to save his father from a mysterious illness, Conrad will have to make some very difficult choices.A globe-trotting, century-spanning adventure story, Jake Wolff’s The History of Living Forever takes us from Maine to Romania to Easter Island and introduces a cast of unforgettable characters—drug kingpins, Big Pharma flunkies, centenarians, boy geniuses, and even a group of immortalists masquerading as coin collectors. It takes us deep into the mysteries of life—from first love to first heartbreak, from the long pall of grief to the irreconcilable loneliness of depression to the possibility of medical miracles, from coming of age to coming out. Hilarious, haunting, heart-busting, life-affirming, it asks each of us one of life’s essential questions: How far would you go for someone you love?

    The hip, noir adventurers who get by on wit, bravado, and drugs, and haunt the virtual worlds of the Shadows of cyberspace, are up against the encroachments of civilization. It's time to adapt or die.India Carless, alias Trouble, got out ahead of the feds and settled down to run a small network for an artist's co-op.Now someone has taken her name and begun to use it for criminal hacking. So Trouble returns. Once the fastest gun on the electronic frontier, she had tried to retire-but has been called out for one last fight. And it's a killer.

    The world was 'somewhere inside his skull. And it hurt.' These poems and dramatic sketches, however, delight even when they hurt" -- ROSMARIE WALDROP"BORIS BY THE SEA was born when Aesop was reading Chekhov, and Chekhov was reading Nietzsche, and Nietzsche was watching The Brother From Another Planet. Actually Matvei Yankelevich wrote this book, but 'wrote' is incomplete... he seems more to inhabit this stateless, beautiful being who uses language to move his body or erase the sea: 'Boris looked over himself and realized there were many parts of him that he could not see. And only a small part of these parts was on the surface.' BORIS BY THE SEA could be a children's fable if it weren't so freakin' real, unreal, hyper-real: 'But people need each other to open each other up and see what is inside.' This is Boris--and he, like Pinnochio--has a clever master." -- ROBERT FITTERMANMatvei Yankelevich's first full-length book, BORIS BY THE SEA, is a work of existential theater that destroys the distance between puppeteer and puppet, between ego and id, between what is real and what is absurd. Consisting of prose, poems, and plays, the book creates its own world and then confronts the loneliness of having to exist within one's own creation. Like Daniil Kharms, Yankelevich has written a children's book for only the bravest of adults.

    It's part nostalgia, part confusion, and part an ongoing wondering: How do any of us achieve adulthood? And why would we want to, if we had the choice? This collection is woven from and interrupted by extraordinary sequences, including Stephanie poems about Stephen's female self; poems on particular years of the poet's early life, each with its own memories, desires, insecurities, and pop songs; and versions of poems by the Greek poet Callimachus, whose present-day incarnation worries (who doesn't?) about mortality, the favor of the gods, and the career of Taylor Swift. The collection also includes poems on politics, location, and parenthood. Taken all together, this is Stephen Burt's most personal and most accomplished collection, an essential work that asks who we are, how we become ourselves, and why we make art.