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.

    Plus the scars on his chest and a prescription for testosterone. Because Ren is transgender: assigned female at birth, living now as male. He films his transition and shares it bravely with the world; his fans love his honesty and positivity.But Ren has been living a double life.Off-camera, he’s Cane, the muscle-bound enforcer for social justice vigilante group Black Iris. As Cane, he lets his dark side loose. Hurts those who prey on the disempowered. Indulges in the ugly side of masculinity. And his new partner, Tamsin Baylor, is a girl as rough and relentless as him. Together, they terrorize the trolls into silence.But when a routine Black Iris job goes south, Ren is put in the crosshairs. Someone is out to ruin his life. He’s a bad boy, they say, guilty of what he punishes others for.Just like every other guy: at heart, he’s a monster, too.Now Ren’s got everything to prove. He has to clear his name, and show the world he’s a good man. But that requires facing demons he’s locked away for years. And it might mean discovering he’s not such a good guy after all.

    With quiet consideration and dark wit, Bibbins addresses the majority of his poems to Mark Crast, his friend and lover who died from AIDS at the early age of 25. Every broken line and startling linguistic turn grapples with the genre of elegy: what does it mean to experience personal loss, Bibbins seems to ask, amidst a greater societal tragedy? The answer is blurred—amongst unforeseen disease, intolerance, and the intimate consequences of mismanaged power. Perhaps the most unanswerable question arrives when Bibbins writes, "For me elegy/ is like a Ouija planchette/ something I can barely touch/ as I try to make it/ say what I want it to say." And while we are still searching for the words that might begin an answer, Bibbins helps us understand that there is endless value in continuing—through both joy and grief—to wonder.

    These poems alternately rage, laugh, celebrate and grieve, singing in the voices of people ravaged by cycles of war and news coverage and inviting the reader to see the human lives lived beyond the headlines.

    At first she dismisses this revelation, having other problems at hand, but as she and her friends struggle to cope with the challenges of their increasingly volatile lives--from alcoholism, to sex work, to suicide--Wendy is drawn to the lost pieces of her grandfather's life, becoming determined to unravel the mystery of his truth. Alternately warm-hearted and dark-spirited, desperate and mirthful, Little Fish explores the winter of discontent in the life of one transgender woman as her past and future become irrevocably entwined.

    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."

    The title poem confronts a human ritual of marriage from the standpoint of a wedding photographer. Within the tedium and alienation of the ceremony, the speaker grapples with a strange human hopefulness. In this vein, Stone explores our everyday patterns and customs, and in doing so, exposes them for their complexities. Drawing on the neurological, scientific, psychological, and even supernatural, this collection confronts the difficulties of love and family. Stone rankles with a desire to understand, but the questions she asks are never answered simply. These poems stroll along the abyss, pointing towards the absurdity of our choices. They recede into the imaginative in order to understand and translate the distressing nature of reality. It is a bittersweet question this book raises: Why we are like this? There is no easy answer. So while we look down at our hands, perplexed, Someone Else’s Wedding Vows raises a glass to the future.

    The book and the dream are the poet’s primary objects of investigation here. Through deft, quietly authoritative lyrics, Fisher meditates on the problems and possibilities—the frail craft—of perception for the reader, the dreamer, maintaining that “if the eye can love—and it can, it does—then I held you and was held.” In her foreword to the book, Louise Glück writes that Fisher’s poetry is “haunting, elusive, luminous, its greatest mystery how plain-spoken it is. Sensory impressions, which usually serve as emblems of or connections to emotion, seem suddenly in this work a language of mind, their function neither metonymic nor dramatic. They are like the dye with which a scientist injects his specimen, to track some response or behavior. Fisher uses the sense this way, to observe how being is converted into thinking.”

    I am a tabula rasa, a blank sheet of paper, an unhatched egg. I have not yet become a woman, although I possess a woman's shape. Not a woman, no: both more and less than a real woman. Now I am a being as mythic and monstrous as Mother herself . . . 'New York has become the City of Dreadful Night where dissolute Leilah performs a dance of chaos for Evelyn. But this young Englishman's fate lies in the arid desert, where a many-breasted fertility goddess will wield her scalpel to transform him into the new Eve.

    Decca is in love with Rupert, but he in turn is in love with her brother, Istvan. When Istvan comes to town, louche puppet troupe in tow, the lines of their age-old desires intersect against a backdrop of approaching war. Hearts are broken when old betrayals and new alliances - not just their own - take shape, as the townsmen seek refuge from the onslaught of history by watching the girls of the Poppy cavort onstage with Istvan's naughty puppets . . .Under the Poppy is a vivid, sexy, historical novel that zips along like the best guilty pleasure. Nominated for the IMPAC Award. Winner of the Gaylactic Spectrum Award.

    Part-fable, part-manifesto, the book takes place in Ramrod, an empire in decline, and introduces us to the communities of the faggots, the women, the queens, the queer men, and the women who love women who are surviving the ways and world of men. Cherished by many over the four decades since its publication, The Faggots and Their Friends Between Revolutions offers a trenchant critique of capitalism, assimilation, and patriarchy that is deeply relevant today.

    He recounts the schoolboy crushes, the family strife, and the ebb and flow of youthful desire, all with a "humor that animates just about every sentence" (New York Times Book Review).

    Struggling with an anxiety disorder compounded by their parents' rejection, they come out only to Hannah, Thomas, and their therapist and try to keep a low profile in a new school.But Ben's attempts to survive the last half of senior year unnoticed are thwarted when Nathan Allan, a funny and charismatic student, decides to take Ben under his wing. As Ben and Nathan's friendship grows, their feelings for each other begin to change, and what started as a disastrous turn of events looks like it might just be a chance to start a happier new life.At turns heartbreaking and joyous, I Wish You All the Best is both a celebration of life, friendship, and love, and a shining example of hope in the face of adversity.

    A powerful and passionate tale is set on a southern army post --a human hell inhabited by a sexually disturbed officer, his animalistic wife, her lover, and the driven young private who forces the drama to its climax...

    By night, I am Glamrou, an empowered, fearless and acerbic drag queen who wears seven-inch heels and says the things that nobody else dares to. Growing up in a strict Iraqi Muslim household, it didn’t take long for me to realise I was different. When I was ten years old, I announced to my family that I was in love with Macaulay Culkin in Home Alone. The resultant fallout might best be described as something like the Iraqi version of Jerry Springer: The Opera. And that was just the beginning. This is the story of how I got from there to here: about my teenage obsession with marine biology, and how fluid aquatic life helped me understand my non-binary gender identity; about my two-year scholarship at Eton college, during which I wondered if I could forge a new identity as a British aristocrat (spoiler alert: it didn’t work); about discovering the transformative powers of drag while at university (and how I very nearly lost my mind after I left); and about how, after years of rage towards it, I finally began to understand Islam in a new, queer way. Most of all, this is a book about my mother. It’s the journey of how we lost and found each other, about forgiveness, understanding, hope – and the life-long search for belonging.