They’ve shared stolen kisses and romantic promises. But Iran is a dangerous place for two girls in love—Sahar and Nasrin could be beaten, imprisoned, even executed if their relationship came to light.So they carry on in secret—until Nasrin’s parents announce that they’ve arranged for her marriage. Nasrin tries to persuade Sahar that they can go on as they have been, only now with new comforts provided by the decent, well-to-do doctor Nasrin will marry. But Sahar dreams of loving Nasrin exclusively—and openly.Then Sahar discovers what seems like the perfect solution. In Iran, homosexuality may be a crime, but to be a man trapped in a woman’s body is seen as nature’s mistake, and sex reassignment is legal and accessible. As a man, Sahar could be the one to marry Nasrin. Sahar will never be able to love the one she wants, in the body she wants to be loved in, without risking her life. Is saving her love worth sacrificing her true self?

    Fiona was always destined to leave, her effortless beauty burnished by fierce ambition--qualities that Jane admired and feared in equal measure. When Fiona moves to New York and cares for a sick friend through a breakup with an opportunistic boyfriend, Jane remains in California and grieves her estranged father's sudden death, in the process alienating an overzealous girlfriend. Strained by distance and unintended betrayals, the women float in and out of each other's lives, their friendship both a beacon of home and a reminder of all they've lost.In stories told in alternating voices, Jean Chen Ho's debut collection peels back the layers of female friendship--the intensity, resentment, and boundless love--to probe the beating hearts of young women coming to terms with themselves, and each other, in light of the insecurities and shame that holds them back.Spanning countries and selves, Fiona and Jane is an intimate portrait of a friendship, a deep dive into the universal perplexities of being young and alive, and a bracingly honest account of two Asian women who dare to stake a claim on joy in a changing, contemporary America.

    So why does everyone have a problem with it? They think the way she looks and acts means she’s trying to be a boy—that she should quit trying to be something she’s not. If she dresses like a girl, and does what her folks want, it will show respect. If she takes orders and does what her friend Colby wants, it will show her loyalty. But respect and loyalty, Pen discovers, are empty words. Old-world parents, disintegrating friendships, and strong feelings for other girls drive Pen to see the truth—that in order to be who she truly wants to be, she’ll have to man up.

    “i care so much abot the whord i cant reed.” In feeld, Charles stakes her claim on the language available to speak about trans experience, reckoning with the narratives that have come before by reclaiming the language of the past. In Charles’s electrifying transliteration of English—Chaucerian in affect, but revolutionary in effect—what is old is made new again. “gendre is not the tran organe / gendre is yes a hemorage.” “did u kno not a monthe goes bye / a tran i kno doesnt dye.” The world of feeld is our own, but off-kilter, distinctly queer—making visible what was formerly and forcefully hidden: trauma, liberation, strength, and joy. Urgent and vital, feeld composes a new narrative of what it means to live inside a marked body.

    It was cut glass and silver. Something a movie star might wear. Is this what my boy thought of me? I wondered as he fastened it around my neck. He called me Elizabeth Taylor and I laughed and laughed. I wore that necklace throughout the rest of the day. In spite of its garishness, I was surprised by how I felt: glamourous, special. I was out of my element amidst my kitchen cupboards and self-hemmed curtains. I almost believed in a version of myself that had long since faded away.--From Natural Order by Brian FrancisJoyce Sparks has lived the whole of her 86 years in the small community of Balsden, Ontario. “There isn’t anything on earth you can’t find in your own backyard,” her mother used to say, and Joyce has structured her life accordingly. Today, she occupies a bed in what she knows will be her final home, a shared room at Chestnut Park Nursing Home where she contemplates the bland streetscape through her window and tries not to be too gruff with the nurses. This is not at all how Joyce expected her life to turn out. As a girl, she’d allowed herself to imagine a future of adventure in the arms of her friend Freddy Pender, whose chin bore a Kirk Douglas cleft and who danced the cha-cha divinely. Though troubled by the whispered assertions of her sister and friends that he was “fruity,” Joyce adored Freddy for all that was un-Balsden in his flamboyant ways.  When Freddy led the homecoming parade down the main street , his expertly twirled baton and outrageous white suit gleaming in the sun, Joyce fell head over heels in unrequited love.Years later, after Freddy had left Balsden for an acting career in New York, Joyce married Charlie, a kind and reserved man who could hardly be less like Freddy. They married with little fanfare and she bore one son, John. Though she did love Charlie, Joyce often caught herself thinking about Freddy, buying Hollywood gossip magazines in hopes of catching a glimpse of his face. Meanwhile, she was growing increasingly alarmed about John’s preference for dolls and kitchen sets. She concealed the mounting signs that John was not a “normal” boy, even buying him a coveted doll if he promised to keep it a secret from Charlie.News of Freddy finally arrived, and it was horrifying: he had killed himself, throwing himself into the sea from a cruise ship. “A mother always knows when something isn’t right with her son,” was Mrs. Pender’s steely utterance when Joyce paid her respects, cryptically alleging that Freddy’s homosexuality had led to his destruction. That night, Joyce threatened to take away John’s doll if he did not join the softball team. Convinced she had to protect John from himself, she set her small family on a narrow path bounded by secrecy and shame, which ultimately led to unimaginable loss.Today, as her life ebbs away at Chestnut Park, Joyce ponders the terrible choices she made as a mother and wife and doubts that she can be forgiven, or that she deserves to be. Then a young nursing home volunteer named Timothy appears, so much like her long lost John. Might there be some grace ahead in Joyce’s life after all?Voiced by an unforgettable and heartbreakingly flawed narrator, Natural Order is a masterpiece of empathy, a wry and tender depiction of the end-of-life remembrances and reconciliations that one might undertake when there is nothing more to lose, and no time to waste.

    In his new book, Touch, written with an almost invisible but ever-present art, he continues to render his human topics—a mother’s death, a lover’s addiction, war—with a startling clarity. Cole’s new poems are impelled by a dark knowledge of the body—both its pleasures and its discontents—and they are written with an aesthetic asceticism in the service of truth. Alternating between innocence and violent self-condemnation, between the erotic and the elegiac, and between thought and emotion, these poems represent a kind of mid-life selving that chooses life. With his simultaneous impulses to privacy and to connection, Cole neutralizes pain with understatement, masterful cadences, precise descriptions of the external world, and a formal dexterity rarely found in contemporary American poetry.   Touch is a Publishers Weekly Best Poetry Books title for 2011.

    But when Maggie’s mom, Iris, dies in a car crash, Maggie returns home only to discover a withdrawn dad, an angry brother, and, along with Iris's will, five sealed envelopes, each addressed to a mysterious man she’s never heard of.In an effort to run from her own grief and discover the truth about Iris—who made no secret of her discomfort with her daughter's sexuality—Maggie embarks on a road trip, determined to hand-deliver the letters and find out what these men meant to her mother. Maggie quickly discovers Iris’s second, hidden life, which shatters everything Maggie thought she knew about her parents’ perfect relationship. What is she supposed to tell her father and brother? And how can she deal with her own relationship when her whole world is in freefall?Told over the course of a funeral and shiva, and written with enormous wit and warmth, All My Mother's Lovers is the exciting debut novel from fiction writer and book critic Ilana Masad. A unique meditation on the universality and particularity of family ties and grief, and a tender and biting portrait of sex, gender, and identity, All My Mother's Lovers challenges us to question the nature of fulfilling relationships.

    When a denizen from Salt Water City suffering from a mysterious flu comes into their midst, Peristrophe becomes infected and dies, prompting Kirilow to travel to Salt Water City, where the flu is now a pandemic, to find a new starfish who will help save her sisters. There, Kirilow meets Kora, a girl-woman desperate to save her family from the epidemic. Kora has everything Kirilow is looking for, except the will to abandon her own family. But before Kirilow can convince her, both are kidnapped by a group of powerful men to serve as test subjects for a new technology that can cure the mind of the body.Bold, beautiful, and wildly imaginative, The Tiger Flu is at once a female hero's saga, a cyberpunk thriller, and a convention-breaking cautionary tale--a striking metaphor for our complicated times.

    Invoking both the personal and the civic self, they chart uncertain new beginnings in a shattered nation. What emerges is both a poignant meditation on a daughter's relationship with her mother and a citizen's relationship to her country. from "Frontier" . . . At times, I felt sick, intoxicatedby BPA and mercury.At other times I fasted and the starsstumbled clear from the vault.Up there, the universe stands around drunk.I hope the Lord is kind to us,for we engrave our every mistake . . .

    At the beginning of this novel, she drives back to her family ranch in the foothills of the Sierras to attend the wedding of her identical twin, Judith, to a nice young doctor from Connecticut. Cassandra, however, is hell-bent on sabotaging the wedding. Dorothy Baker's entrancing tragicomic novella follows an unpredictable course of events in which her heroine appears variously as conniving, self-aware, pitiful, frenzied, absurd, and heartbroken—at once utterly impossible and tremendously sympathetic. Cassandra reckons with her complicated feelings about the sister who she feels owes it to her to be her alter ego; with her father, a brandy-soaked retired professor of philosophy; and with the ghost of her dead mother, as she struggles to come to terms with the only life she has. First published in 1962, Cassandra at the Wedding is a book of enduring freshness, insight, and verve. Like the fiction of Jeffrey Eugenides and Jhumpa Lahiri, it is the work of a master stylist with a profound understanding of the complexities of the heart and mind.

    As a way to move from the linear timeline of healing and coming to terms with how trauma does not exist in subsequent happenings, it was never going to be okay tries to break down years of silence in simpson’s debut collection of poetry:i am fivemy sisters are saying boyi do not know what the word means but—i am bruised into knowing it: the blunt b,the hollowness of the o, the blade of y

    This compact tour de force affirms Dionne Brand's place as one of Canada's most dazzling and influential artists. Theory begins as its narrator sets out, like many a graduate student, to write a wildly ambitious thesis on the past, present, and future of art, culture, race, gender, class, and politics--a revolutionary work that its author believes will synthesize and thereby transform the world.While our narrator tries to complete this magnum opus, three lovers enter the story, one after the other, each transforming the endeavour: first, there is beautiful and sensual Selah, who scoffs at the narrator's constant tinkering with academic abstractions; then altruistic and passionate Yara, who rescues every lost soul who crosses her path; and finally, spiritual occultist Odalys, who values magic and superstition over the heady intellectual and cultural circles the narrator aspires to inhabit. Each galvanizing love affair (representing, in turn, the heart, the head, and the spirit) upends and reorients the narrator's life and, inevitably, requires an overhaul of the ever larger and more unwieldy dissertation, with results both humorous and poignant.By effortlessly telling this short, intense tale in the voice of an unnamed, ungendered (and brilliantly unreliable) narrator, Dionne Brand makes a bold statement not only about love and personhood, but about race and gender--and what can and cannot be articulated in prose when the forces that inhabit the space between words are greater than words themselves.A gorgeous, profoundly moving, word- and note-perfect novel of ideas that only a great artist at the height of her powers could write.

    Shocked and grieving, Jessa steps up to manage the failing business, while the rest of the Morton family crumbles. Her mother starts sneaking into the shop to make aggressively lewd art with the taxidermied animals. Her brother Milo withdraws, struggling to function. And Brynn, Milo’s wife—and the only person Jessa’s ever been in love with—walks out without a word. As Jessa seeks out less-than-legal ways of generating income, her mother’s art escalates—picture a figure of her dead husband and a stuffed buffalo in an uncomfortably sexual pose—and the Mortons reach a tipping point. For the first time, Jessa has no choice but to learn who these people truly are, and ultimately how she fits alongside them.

    her writing engages with subjects such as coming out as a trans woman, "surviving and thriving w/mental illness, and attempting to reconcile [her] anger/sadness at the state of things w/ [her] love for all the beauty that exists."

    At age twelve, she was head detective of the mystery club Girls Can Solve Anything. Margaret and her three best friends led exciting lives solving crimes, having adventures, and laughing a lot. But now that she's entered high school, the club has disbanded, and Margaret is unmoored—she doesn't want to grow up, and she wishes her friends wouldn't either. Instead, she opts out, developing an eating disorder that quickly takes over her life. When she lands in a treatment center, Margaret finds her path to recovery twisting sideways as she pursues a string of new mysteries involving a ghost, a hidden passage, disturbing desires, and her own vexed relationship with herself.Margaret and the Mystery of the Missing Body reimagines nineties adolescence—mashing up girl group series, choose-your-own-adventures, and chronicles of anorexia—in a queer and trans coming-of-age tale like no other. An interrogation of girlhood and nostalgia, dysmorphia and dysphoria, this debut novel puzzles through the weird, ever-evasive questions of growing up.