What he doesn’t have is a partner to share it with—a fact that’s never bothered him much. But the romantic in him isn’t entirely dead. When a moment of weakness finds him with a contact to a high-class escort specializing in fulfilling fantasies, Micah asks for only one thing: Show me what it’s like to feel loved.

    As the children of refugees carve out radical new paths for themselves in California, they shoulder the inherited weight of the Khmer Rouge genocide and grapple with the complexities of race, sexuality, friendship, and family.A high school badminton coach and failing grocery store owner tries to relive his glory days by beating a rising star teenage player. Two drunken brothers attend a wedding afterparty and hatch a plan to expose their shady uncle’s snubbing of the bride and groom. A queer love affair sparks between an older tech entrepreneur trying to launch a “safe space” app and a disillusioned young teacher obsessed with Moby-Dick. And in the sweeping final story, a nine-year-old child learns that his mother survived a racist school shooter.With nuanced emotional precision, gritty humor, and compassionate insight into the intimacy of queer and immigrant communities, the stories in Afterparties deliver an explosive introduction to the work of Anthony Veasna So.

    She is obsessed with the Get Happies, the quintessential 1960s Californian band, helmed by its resident genius, B—-. Why did the band stop making music? Why did they never release their rumored album, Summer Fun?Gala writes letters to B—- that shed light not only on the Get Happies, but paint an extraordinary portrait of Gala. The parallel narratives of B—- and Gala form a dialogue about creation–of music, identity, self, culture, and counterculture.Summer Fun is an epic and magical work of trans literature that marks Thornton as one of our most exciting and original novelists.

    Emphasis on hidden. If anyone from school finds out, she’ll be abandoned to her haters. Facing a long and lonely summer, Mattie finally seeks out Miyu, the reclusive daughter of a world-renowned escape artist. Following in Houdini’s footsteps, Miyu helps Mattie secretly transform herself into an escapologist and performance artist.When Will, a popular athlete from school, discovers Mattie’s act at an underground venue, Mattie fears her secret persona will be exposed. Instead of outing her, Will tells Mattie a secret not even his girlfriend knows. Through a blossoming friendship, the two must find a way to express their authentic selves. Told through the perspectives of the witty main characters, this funny and fresh debut explores the power of stage personas and secret spaces, and speaks to the uncanny ways in which friendships transform us.

    From a typical suburban childhood to his perpetual search for true love, Albo evokes a poignant, nostalgic past and a vibrant, energetic present. By turns vulnerable and jaded, flamboyant and obsessive, Hornito is full of subversive humor and outrageous irony.

    . . . No one is writing better or more needed verse than this."--Boston Evening Globe

    Coyote's wry, honest stories about gender and identity have captivated audiences everywhere. Ivan's eighth book is her first for LGBT youth, written for anyone who has ever felt different or alone in their struggles to be true to themselves. Included are stories about Ivan's tomboy youth and her adult life, where she experiences cruelty and kindness in unexpected places.Funny, inspiring, and full of heart, One in Every Crowd is about embracing and celebrating difference and feeling comfortable in one's own skin.Ivan E. Coyote was also featured in the anti-bullying anthology It Gets Better.

    But few have written of crossing—completely and entirely—the gender line. Crossing is the story of Deirdre McCloskey (formerly Donald), once a golden boy of conservative economics and a child of 1950s and 1960s privilege, and her dramatic and poignant journey to becoming a woman. McCloskey's account of her painstaking efforts to learn to "be a woman" unearth fundamental questions about gender and identity, and hatreds and anxieties, revealing surprising answers.

    As it turns out, thirty years later, Williams' look back at his life is not quite so scandalous as it once seemed; he recalls his childhood in Mississippi and St. Louis, his prolonged struggle as a "starving artist," the "overnight" success of The Glass Menagerie in 1945, the death of his long-time companion Frank Merlo in 1962, and his confinement to a psychiatric ward in 1969 and subsequent recovery from alcohol and drug addiction, all with the same directness, compassion, and insight that epitomize his plays.And, of course, Memoirs is filled with Williams' amazing friends from the worlds of stage, screen, and literature as heoften hilariously, sometimes fondly, sometimes notremembers them: Laurette Taylor, Gore Vidal, Truman Capote, Elia Kazan, Marlon Brando, Vivian Leigh, Carson McCullers, Anna Magnani, Greta Garbo, Elizabeth Taylor, and Tallulah Bankhead to name a few. And now film director John Waters, well acquainted with shocking the American public, has written an introduction that gives some perspective on the various reactions to Tennessee's Memoirs, while also paying tribute to a fellow artist who inspired many with his integrity and endurance.

    Is seeing really believing? Hank would never dream of coming on to the most striking guy at the bar—but it’s his lucky night since Thomas, the burgundy-haired vision in black lipstick and mirrored shades, takes it upon himself to make the first move.While the encounter itself is mind-blowing, the hot-and-heavy grapple in the janitor’s closet isn’t the only way in which Thomas blows Hank’s mind.

    Alexa, an incisive twenty-one-year-old queen, faces everyday brutality with determined nonchalance. Rejecting middle-class pretensions, she negotiates past and present traumas with a scathing critique of the world. Drawn to the ecstasy of drugged-out escapades, Alexa searches for nourishment in a gay culture bonded by clubs and conformity, willful apathy, and the specter of AIDS. Is there any hope for communal care?Sketchtasy brings 1990s gay culture startlingly back to life, as Alexa and her friends grapple with the impact of growing up at a time when desire and death are intertwined. With an intoxicating voice and unruly cadence, this is a shattering, incandescent novel that conjures the pain and pageantry of struggling to imagine a future.“Immersed in the '90s queer culture of Boston, Alexa is a mess. She's a queen in crisis, desperate for relief from the sinister traumas of her past and the ominous threats of her present. She's searching for hope, even as she becomes mired in an unforgiving cycle of addiction. Sketchtasy is a breakneck spree through a cultural moment, scratching off the patina of nostalgia to show how urgently relevant it still is. If you've heard her read, you know Sycamore's voice is one in a zillion. She's at her very best here.” —Dave Wheeler, associate editor, Shelf Awareness "Reading this was like a night of stealing other people's drinks, or a much-needed slap to the face, or a little of both. Bold, glittering, wise, fun, the novel as found poem alive in the mouth of this truth-telling queen, making her way through a wasteland of other people's lies (and a few of her own), and looking for something near paradise. Follow her and live." —Alexander Chee, author of The Queen of the Night“If Sketchtasy doesn't become a classic, we are doomed. Mattilda has such complete command of craft here that she is able to evoke experience, rather than simply describe it. Whether or not we identify with her characters, she lets us into their hearts and perceptions through sheer talent, raw honesty, and the sophisticated ability to handle word order, duration, pacing, and soul. The form of this novel is determined organically from the emotions at their core. A lesson in how to write, how to remember, how to grapple with history.” —Sarah Schulman"Sketchtasy is a vivid masterpiece that rivals the likes of Last Exit to Brooklyn by Hubert Selby Jr. It’s dangerous, hilarious, scary and transcendentally beautiful. Sycamore’s prose is so searing, you might want to read it with sunglasses." —Jake Shears, musician, actor, and author of Boys Keep Swinging“Every sentence in Sketchtasy is a living thing, fierce and funny and a little bit dangerous—a voice made of coke dust and club lights, cut with crackling insight. I was completely addicted to the story of Alexa's search for connection, set in the gritty Boston nightclub scene in the ‘90s. Nobody writes like Mattilda Bernstein Sycamore—most writers wouldn't dare try.” —Julie Buntin, author of Marlena

     Changing Trains is a fictionalised memoire that will transport you back to the glorious 1980s - that time just before mobile devices, the internet and social media changed the world - and one working class boy's journey of discovery and sexual self awareness.

     Bishop was unforgiving of fashion and limited ways of seeing and feeling, but cast an even more trenchant eye on her own work. One wishes this volume were thicker, though the perfections within mark the rightness of her approach. The poems are sublimely controlled, fraught with word play, fierce moral vision (see her caustic ballad on Ezra Pound, "Visits to St. Elizabeths"), and reticence. From the surreal sorrow of the early "Man-Moth" (leaping off from a typo she had come across for "mammoth"), about a lonely monster who rarely emerges from "the pale subways of cement he calls his home," to the beauty of her villanelle "One Art" (with its repeated "the art of losing isn't hard to master"), the poet wittily explores distance and desolation, separation and sorrow.

    Nominated for the Edgar Award for best true-crime book of the year, it also marked the debut of an audaciously talented writer, James St. James, who himself had been a club kid and close friend and confidant of Michael Alig, the young man convicted of killing the drug dealer known as Angel. Now the book has been brought to the screen as Party Monster, with Macaulay Culkin playing killer Michael Alig and Seth Green as author/celebutante James St. James.

    Eighteen hours later, Matthew was found tied to a log fence on the outskirts of town, unconscious and barely alive. He had been pistol-whipped so severely that the mountain biker who discovered his battered frame mistook him for a Halloween scarecrow. Overnight, a politically expedient myth took the place of important facts. By the time Matthew died a few days later, his name was synonymous with anti-gay hate. Stephen Jimenez went to Laramie to research the story of Matthew Shepard’s murder in 2000, after the two men convicted of killing him had gone to prison, and after the national media had moved on. His aim was to write a screenplay on what he, and the rest of the nation, believed to be an open-and-shut case of bigoted violence. As a gay man, he felt an added moral imperative to tell Matthew’s story. But what Jimenez eventually found in Wyoming was a tangled web of secrets. His exhaustive investigation also plunged him deep into the deadly underworld of drug trafficking. Over the course of a thirteen-year investigation, Jimenez traveled to twenty states and Washington DC, and interviewed more than a hundred named sources. The Book of Matt is sure to stir passions and inspire dialogue as it re-frames this misconstrued crime and its cast of characters, proving irrefutably that Matthew Shepard was not killed for being gay but for reasons far more complicated — and daunting.