This volume restores all of the material removed by the novel's first editor.Upon receipt of the typescript, Wilde's editor panicked at what he saw. Contained within its pages was material he feared readers would find "offensive"--especially instances of graphic homosexual content. He proceeded to go through the typescript with his pencil, cleaning it up until he made it "acceptable to the most fastidious taste." Wilde did not see these changes until his novel appeared in print. Wilde's editor's concern was well placed. Even in its redacted form, the novel caused public outcry. The British press condemned it as "vulgar," "unclean," "poisonous," "discreditable," and "a sham." When Wilde later enlarged the novel for publication in book form, he responded to his critics by further toning down its "immoral" elements.Wilde famously said that "The Picture of Dorian Gray" "contains much of me" Basil Hallward is "what I think I am," Lord Henry "what the world thinks me," and "Dorian what I would like to be--in other ages, perhaps." Wilde's comment suggests a backward glance to a Greek or Dorian Age, but also a forward-looking view to a more permissive time than his own repressive Victorian era. By implication, Wilde would have preferred we read today the uncensored version of his novel.

    Through photographs, poetry, prose, and a short story, Orion Carloto invites readers to remember the forgotten and reach into the past, find comfort in the present, and make sense of the intangible future. Film photography isn’t just eye candy; it’s timeless and romantic—the ideal complement to Carloto’s writing. In Film for Her, much like a visual diary, word and image are intertwined in a book perfect for both gift and self-purchase.

    This is an amazing collection of erotic pleasures.

    She had scraped together what previous generations of trans women could only dream of: a life of mundane, bourgeois comforts. The only thing missing was a child. But then her girlfriend, Amy, detransitioned and became Ames, and everything fell apart. Now Reese is caught in a self-destructive pattern: avoiding her loneliness by sleeping with married men.Ames isn't happy either. He thought detransitioning to live as a man would make life easier, but that decision cost him his relationship with Reese—and losing her meant losing his only family. Even though their romance is over, he longs to find a way back to her. When Ames's boss and lover, Katrina, reveals that she's pregnant with his baby—and that she's not sure whether she wants to keep it—Ames wonders if this is the chance he's been waiting for. Could the three of them form some kind of unconventional family—and raise the baby together?This provocative debut is about what happens at the emotional, messy, vulnerable corners of womanhood that platitudes and good intentions can't reach. Torrey Peters brilliantly and fearlessly navigates the most dangerous taboos around gender, sex, and relationships, gifting us a thrillingly original, witty, and deeply moving novel.

    This is a new voice made of sunlight, knives, emergencies, heat, honesty, bottles of vodka, and a tanker full of talent. Madievsky has created something we should not go without."- Matthew Dickman"Go ahead, try all you want pulling on Ruth Madievsky’s Emergency Brake—but just remember it won’t do you any good. This will be the most exciting and inventive first book you have read in years, and this poet’s take-no-prisoners attitude makes for an ecstatic joyride. These deeply moving poems reflect the raw darkness paring at the edges of our lives, and they reveal how that dark can sometimes move to the very centers of our being. Sexy, irreverent, sorrowful, thrilling—the poems of Emergency Brake become a young woman’s survival manual for the Twenty-First Century: ignore it at your own peril."- David St. John"...a metaphor-maker par excellence"- ZYZZYVA"The social importance of Emergency Brake doesn’t come at the cost of artful finesse; a cleverly engineered speaker who invites distrust through sly direction guides us through the collection’s gallery of sex and Los Angeles sprawl..."- Columbia Journal"Emergency Brake is filled with boxcar after boxcar of metaphors you’ll wish you wrote, but Madievsky got to them first. You’ll want to hate her if it wasn’t for that sugary child jumping up and down behind your ribs, yelling, 'Do it again! Do it again!'”- Harpur Palate

    Even though Theo had moved to California for college and started seeing Jackson, Griffin never doubted Theo would come back to him when the time was right. But now, the future he's been imagining for himself has gone far off course. To make things worse, the only person who truly understands his heartache is Jackson. But no matter how much they open up to each other, Griffin's downward spiral continues. He's losing himself in his obsessive compulsions and destructive choices, and the secrets he's been keeping are tearing him apart. If Griffin is ever to rebuild his future, he must first confront his history, every last heartbreaking piece in the puzzle of his life.

    His older sister, Beth, thought he was dead. His childhood friend Josh thought it was all his fault. They were the last two people to see him alive.Until now. Because Sam has been found, and he’s coming home. Beth desperately wants to understand what happened to her brother, but her family refuses to talk about it—even though Sam is clearly still affected by the abuse he faced at the hands of his captor.And as Sam starts to confide in Josh about his past, Josh can’t admit the truths he’s hidden deep within himself: that he’s gay, and developing feelings for Sam. And, even bigger: that he never told the police everything he saw the day Sam disappeared. As Beth and Josh struggle with their own issues, their friends and neighbors slowly turn on Sam, until one night when everything explodes. Beth can’t live in silence. Josh can’t live with his secrets. And Sam can’t continue on until the whole truth of what happened to him is out in the open.For fans of thought-provoking stories like The Face on the Milk Carton, this is a book about learning to be an ally—even when the community around you doesn’t want you to be.

    From this interaction, John meets a variety of characters, each with their own values and ideas of "self-actualization." However, Liz begins to fall in love with John's best friend, and John realizes his journey of self-discovery has only just begun.

    Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

    After his father dies, Noah's mother, a temperamental poet, takes a teaching job in a small New Hampshire town, far from Chicago and the only world Noah has known. While Noah gets along reasonably with his mother, the crumbling house they try to renovate quickly reveals dark secrets, via dusty Mason jars they discover interred between walls. The jars contain scraps of letters, poems, and journal entries, and eventually reconstructs a history of pain and violence that drives a sudden wedge between Noah and his mother. Fortunately, Noah finds an unexpected ally in J.D., a teenager down the street who has family troubles of his own.

    From the body’s first mysterious eroticism to its final humiliation and pain, Gil Cuadros gives voice to both the beauty and sorrow of our common fate. His writing cuts like a double-edged sword—at times artful and sharp, at times unfiltered and raw. This is an awesome and haunting book.”—David Trinidad“The sensual, the expressive, the daring, the transformed become the matryrs of every era, every family. Their memoirs, heroics are our most devastating works of art. Gil Cuadros’s story ‘Unprotected’ is a classic of AIDS fiction and deserves a place of honor in the mosaic of American writing.”—Sarah Schulman“In a voice poised between plainspokenness and urgency, Gil Cuadros writes about the remnants of love in a devastated world. The poems and stories in City of God are as dire as they are beautiful, and sharp as a blow to the body.”—Bernard Cooper“I accuse Gil Cuadros of literary seduction in the nth degree…He makes me read on when I want to cry…I do not want to look at his words, and yet I cannot take my eyes away. His images sooth, burn, inspire. I accuse Gil Cuadros of language abuse—his stroke of silk, his pen a bludgeon. I accuse him of heart-bashing.”—Wanda ColemanGil Cuadros published stories and poems in Indivisible, High Risk 2, and Blood Whispers. His work is also on the compact disc, Verdict and the Violence: Poet’s Response to the LA Uprising. He was awarded the 1991 Brody Literature Fellowship, and was one of the first recipients of the PEN Center USA/West grant to writers with HIV. He lived in Los Angeles until his death in 1996.

     In his electrifying novel, adolescent gay love, violence, and the spirituality of old-time religion are combined through the alchemy of Grimsley's vision into a powerfully suspenseful story of escape and redemption.

    His third book of poetry, Looking for The Gulf Motel, is a genealogy of the heart, exploring how his family’s emotion legacy has shaped—and continues shaping—his perspectives. The collection is presented in three movements, each one chronicling his understanding of a particular facet of life from childhood into adulthood. As a child born into the milieu of his Cuban exiled familia, the first movement delves into early questions of cultural identity and their evolution into his unrelenting sense of displacement and quest for the elusive meaning of home. The second, begins with poems peering back into family again, examining the blurred lines of gender, the frailty of his father-son relationship, and the intersection of his cultural and sexual identities as a Cuban-American gay man living in rural Maine. In the last movement, poems focused on his mother’s life shaped by exile, his father’s death, and the passing of a generation of relatives, all provide lessons about his own impermanence in the world and the permanence of loss. Looking for the Gulf Motel is looking for the beauty of that which we cannot hold onto, be it country, family, or love.

    Not so with Daphne Gottlieb. In Why Things Burn, Gottlieb tackles sexuality, lesbian issues, rape, urban life, and a host of other topics with the same power of her live performances.

    Besieged by the press, his widow Millie flees to a remote Scottish village, where she seeks solace in memories of their marriage. The reminiscences of those who knew Joss Moody render a moving portrait of a shared life founded on an intricate lie, one that preserved a rare, unconditional love.