"there are so many words I've left unsaidso instead of going another year or five or tenin brutal, crushing silencedon't waste this opportunitydon't be scared when the full weight of my hearttests the strength of your handsI'm trusting you with something I barely trust myself withthis knowingthis tellingthis momentous uprootingI'm hereI amI am right here in these words"A debut poetry collection about love, heartbreak, body image, how absolutely breathtaking girls are, flower blooms and starlight.

    In this restless, swerving book simple questions—such as, Why paint a bird?—are immediately complicated by concerns of morality, human capacity, and the ways we look to art for meaning and purpose while participating in its—and our own—invention.

    Alison Wearing led a largely carefree childhood until she learned, at the age of 12, that her family was a little more complex than she had realized. Sure her father had always been unusual compared to the other dads in the neighbourhood he loved to bake croissants, wear silk pyjamas around the house, and skip down the street singing songs from Gilbert and Sullivan operettas. But when he came out of the closet in the 1970s, when homosexuality was still a cardinal taboo, it was a shock to everyone in the quiet community of Peterborough, Ontario, especially to his wife and three children.Alison's father was a professor of political science and amateur choral conductor, her mother was an accomplished pianist and marathon runner, and together they had fed the family a steady diet of arts, adventures, mishaps, normal frustrations, and inexhaustible laughter. Yet despite these agreeable circumstances, Joe's internal life was haunted by conflicting desires. As he began to explore and understand the truth about himself, he became determined to find a way to live both as a gay man and also a devoted father, something almost unheard of at the time.Through extraordinary excerpts from his own letters and journals from the years of his coming out, we read of Joe's private struggle to make sense and beauty of his life, to take inspiration from an evolving society and become part of the vanguard of the gay revolution in Canada. Confessions of a Fairy's Daughter is also the story of coming out as the daughter of a gay father. Already wrestling with an adolescent's search for identity when her father came out of the closet, Alison promptly went in, concealing his sexual orientation from her friends and spinning extravagant stories about all of the great straight things they did together.

    Around the world, thousands of people have found inspiration in the words of Cheryl Strayed, who in her three prior books and in her Dear Sugar columns has shared the twists and trials of her remarkable life. Her honesty, spirit, and ample supply of tough love have enabled many of us, even in the darkest hours, to somehow put one foot in front of the other--and be brave enough.This book gathers, each on a single page, more than 100 of Strayed's indelible quotes and thoughts--"mini instruction manuals for the soul" that urge us toward the incredible capacity for love, compassion, forgiveness, and endurance that is within us all.Be brave enough to break your own heart.You can't ride to the fair unless you get on the pony.Keep walking.Acceptance is a small, quiet room.Romantic love is not a competitive sport.Forward is the direction of real life.Ask yourself: "What is the best I can do?" And then do that.

    Instead he decided to redefine what ‘culture’ could — and should — mean for the show. He took a risk and declared, ‘I am culture.’ Karamo believes that culture is so much more than art museums and the ballet — it’s how people feel about themselves and others, how they relate to the world around them, and how their shared labels, burdens, and experiences affect their daily lives in ways both subtle and profound. Seen through this lens, Karamo is culture: His family is Jamaican and Cuban; he was raised in the South in predominantly white neighborhoods and attended a HBCU (Historically Black College/University); he was trained as a social worker and psychotherapist; he overcame personal issues of colorism, physical and emotional abuse, alcohol and drug addiction, and public infamy; he is a proud and dedicated gay single father of two boys, one biological and one adopted. It is by discussing deep subjects like these, he feels, that the makeovers on the show can attain their full, lasting meaning. Styling your hair is important, but so is figuring out why you haven’t done so in 20 years!In this eye-opening and moving memoir, Karamo reflects on his lifelong education. It comprises every adversity he has overcome, as well as the lessons he has learned along the way. It is only by exploring our difficulties and having the hard conversations—with ourselves and one another—that we are able to adjust our mind-sets, heal emotionally, and move forward to live our best lives.Karamo shows us the way.

    It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness, and how none of the author's black friends wanted to listen to "Don't Stop Believin'." It's about wrestling with histories, personal and shared. Abdurraqib uses touchstones from the world outside—from Marvin Gaye to Nikola Tesla to his neighbor's dogs—to create a mirror, inside of which every angle presents a new possibility.

    Weaving these texts together, Peck brilliantly imagines the book that Baldwin never wrote. In his final years, Baldwin had envisioned a book about his three assassinated friends, Medgar Evers, Malcolm X, and Martin Luther King. His deeply personal notes for the project have never been published before. Peck s film uses them to jump through time, juxtaposing Baldwin s private words with his public statements, in a blazing examination of the tragic history of race in America.

    Unmoored from his birth family and caught between twin alienating forces of Somali tradition and Western culture, Mohamed must forge his own queer coming of age. What follows in this fierce and unrelenting account is a story of one young man's nascent sexuality fused with the violence wrought by displacement.

    But he has found a way to break the cycle—Bilodo has taken to stealing people's mail, steaming open the envelopes, and reading the letters inside. And so it is he comes across Ségolène's letters. She is corresponding with Gaston, a master poet, and their letters are each composed of only three lines. They are writing each other haikus. The simplicity and elegance of their poems move Bilado and he begins to fall in love with her. But one day, out on his round, he witnesses a terrible and tragic accident. Just as Gaston is walking up to the post-box to mail his next haiku to Ségolène, he is hit by a car and dies on the side of the road. And so Bilodo makes an extraordinary decision—he will impersonate Gaston and continue to write to Ségolène under this guise. But how long can the deception continue for? Denis Thériault weaves a passionate and elegant tale, comic and tragic with a love story at its heart.

    Sara Peters combines poetry and short prose vignettes to create a singular, unflinching portrait of a Town in which the lives of girls and women are shaped by the brutality meted upon them and by their acts of defiance and yearning towards places of safety and belonging. Through lucid detail, sparkling imagery and illumination, Peters' individual characters and the collective of The Town leap vividly, fully formed off the page. A hybrid in form, I Become a Delight to My Enemies is an awe-inspiring example of the exquisite force of words to shock and to move, from a writer of exceptional talent and potential.

    Consumed by grief and without access to professional help, Susan self-medicated, becoming addicted first to cocaine, then crack. As a resident of South L.A., an impoverished black community under siege by the War on Drugs, it was but a matter of time before Susan was arrested. She cycled in and out of prison for fifteen years; never was she offered therapy or treatment for addiction. On her own, she eventually found a private drug rehabilitation facility.Once clean, Susan dedicated her life to supporting women facing similar struggles. She began by greeting women as they took their first steps of freedom, welcoming them into her home, providing a space of safety and community. Her organization, A New Way of Life, now operates five safe homes in Los Angeles that supply a lifeline to hundreds of formerly incarcerated women and their children—setting them on the track to education and employment rather than returns to prison. Susan is now nationally known as an advocate for restoring basic civil and human rights to those who have served time. Ms. Burton not only humanizes the deleterious impact of mass incarceration, it also points the way to the kind of structural and policy changes that will offer formerly incarcerated people the possibility of a life of meaning and dignity.

    But when her debilitating tuberculosis means exile, she and her devoted lady's maid, Sally, set sail for Egypt. It is Sally who describes, with a mixture of wonder and trepidation, the odd menage marshalled by the resourceful Omar, which travels down the Nile to a new life in Luxor. When Lady Duff Gordon undoes her stays and takes to native dress, throwing herself into weekly salons; language lessons; excursions to the tombs; Sally too adapts to a new world, affording her heady and heartfelt freedoms never known before. But freedom is a luxury that a maid can ill-afford, and when Sally grasps more than her status entitles her to, she is brutally reminded that she is mistress of nothing.

    Holding all accountable, this collection fully embraces the loss, grief, and abundant joy that come with charting one’s own path in identity, life, and love.In the HospitalMy mother was in the hospital & everyone wanted to be my friend.But I was busy making a list: good dog, bad citizen, shortskeleton, tall mocha. Typical Tuesday.My mother was in the hospital & no one wanted to be her friend.Everyone wanted to be soft cooing sympathies. Very reasonablepigeons. No one had the time & our solution to itwas to buy shinier watches. We were enamored withwhat our wrists could declare. My mother was in the hospital& I didn’t want to be her friend. Typical son. Tall latte, short tale,bad plot, great wifi in the atypical café. My mother was in the hospital& she didn’t want to be her friend. She wanted to be the familygrocery list. Low-fat yogurt, firm tofu. She didn’t trust my fatherto be it. You always forget something, she said, even whenI do the list for you. Even then.

    Her debut book upends mainstream ideas about race, class and gender and sets forth a radically inclusive path to collective liberation. Her inclusive story about Black struggle draws on Black intellectual and grassroots organizing traditions including the Haitian Revolution, U.S. Civil Rights, and Black and LGBTQ Feminist Movements. Bold and honest, Unapologetic is an inside look from an on-the-ground activist and movement leader about how to move people from the margins to the center of political strategy and practice.

    This book also contains them all, except that each one appears by itself in its own chapter. A unique personality for each vowel soon emerges: A is courtly, E is elegiac, I is lyrical, O is jocular, U is obscene. A triumphant feat, seven years in the making, this uncanny work of avant-garde literature promises to be one of the most important books of the decade.