Bawdy and moving, the ultimate word-of-mouth bestseller, Rubyfruit Jungle is about growing up a lesbian in America--and living happily ever after.

    Presents an introduction to Shakespeare's greatest plays including Hamlet Othello, As You Like It, The Taming of the Shrew, The Tempest and Pericles.

    Tom is there to adopt another service dog into the Canine Comrade Corps, but it’s Jamie his heart goes out to. But each man turns away, walks away, from the potential pain, the rejection, the knowledge that it’ll all end in tears…Jamie knows damn well that the HIV he contracted from an unfaithful lover has put him out of the dating game forever in the small town of Santa Vera. Tom lost his legs in Afghanistan, and got new ones, yeah, but with a side order of PTSD to go, he thought grimly. The real problem is that only now does he realize he’s gay, now that the revelation would be just one too many things to put his family through, after everything else they’ve had to deal with. So both men grin and bear the loneliness, put their feelings on a shelf, even as Jamie’s volunteer stint at CCC turns into friendship and, despite their resolve, something more…

    Anne Rice brings to life the exquisite and otherworldly society of the eighteenth-century castrati, the delicate and alluring male sopranos whose graceful bodies and glorious voices brought them the adulation of the royal courts and grand opera houses of Europe, men who lived as idols, concealing their pain as they were adored as angels, yet shunned as half-men.As we are drawn into their dark and luminous story, as the crowds of Venetians, Neopolitans, and Romans, noblemen and peasants, musicians, prelates, princes, saints, and intriguers swirl around them, Anne Rice brings us into the sweep of eighteenth-century Italian life, into the decadence beneath the shimmering surface of Venice, the wild frivolity of Naples, and the magnetic terror of its shadow, Vesuvius.

    What this does to their lives, families, team, and the President of the US is hilarious, poignant, brilliant, and dazzling fun.

    Mute and terrified, his silence makes him vulnerable, and one night he is beaten by a gang of other kids, only to be rescued by a boy who pledges to take care of him.Julian is barely two years older than Romeo. A runaway from an abusive home, he has had to make some difficult choices and sells himself on the street to survive. Taking care of Romeo changes him, gives him a purpose in life, gives him hope, and he tries to be strong and keep his troubles with drugs behind him. But living as they do is slowly destroying him, and he begins to doubt he can be strong enough.This is the story of their struggle to find a way off the streets and stay together at all costs. But when events threaten to tear them apart, it is Romeo who must find the strength within himself to help Julian (and not let their love story turn into a Shakespearean tragedy).

    An aging, embittered novelist sets out to avenge himself on the women who have betrayed him. He finds the perfect instrument in Yuichi, a young man whose beauty makes him irresistible to women but who is just discovering his attraction to other men.As Yuichi's mentor presses him into a loveless marriage and a series of equally loveless philanderings, his protégé enters the gay underworld of postwar Japan. In that hidden society of parks and tearooms, prostitutes and aristocratic blackmailers, Yuichi is as defenseless as any of the women he preys on. Mordantly observed, intellectually provocative, and filled with icy eroticism, Forbidden Colors is a masterpiece.

    Billy, the bisexual narrator and main character of In One Person, tells the tragicomic story (lasting more than half a century) of his life as a "sexual suspect," a phrase first used by John Irving in 1978 in his landmark novel of "terminal cases," The World According to Garp.In One Person is a poignant tribute to Billy’s friends and lovers—a theatrical cast of characters who defy category and convention. Not least, In One Person is an intimate and unforgettable portrait of the solitariness of a bisexual man who is dedicated to making himself "worthwhile.

    A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

    Published on the 40th anniversary of the disease's first reported cases, this story is both a tribute to a generation lost to the pandemic as well as a powerful exploration of heartbreak, recovery, and how love can defy grief. Two years after his partner, Francesco, died, twenty-eight-year-old Kevin Doyle is dusting off his one good suit jacket for yet another funeral, yet another loss in their close-knit group. They had all been young, beautiful, and living the best days of their lives, though they didn’t know it. That was before New York City began to feel like a war zone, its horrors somehow invisible, and ignored by the rest of the world.Some people might insist that Francesco is in a better place now, but Kevin definitely isn’t. He spends his days in a mind-numbing job and his evenings drunk in Francesco’s old apartment, surrounded by memories. Francesco made everything look easy, and without him, Kevin struggles to keep going. And then one night, he stops trying. When Kevin awakens in a hospital, he knows it’s time to move back home to Minnesota and figure out how to start living again—without Francesco.With the help of a surviving partners support group and old and new friends, Kevin slowly starts to do just that. But an unthinkable family betrayal, and the news that his best friend is fighting for his life in New York, will force a reckoning and a defining choice. Drawing on his experience as part of the AIDS generation, Brian Malloy brings authenticity, insight, sensitivity, and humor to a story that is distinct yet universal in its powerful exploration of heartbreak and recovery, and the ways in which love can defy grief.

    Two years later it was revived by Nemirovich-Danchenko at the newly-founded Moscow Art Theatre with Stanslasky as Trigorin and was an immediate success. Checkhov's description of the play was characteristically self-mocking: "A comedy - 3F, 6M, four acts, rural scenery (a view over a lake); much talk of literature, little action, five bushels of love".Michael Frayn's translation was commissioned by the Oxford Playhouse Company.

    Elyot and Amanda, once married and now honeymooning with new spouses at the same hotel, meet by chance, reignite the old spark and impulsively elope. After days of being reunited, they again find their fiery romance alternating between passions of love and anger. Their aggrieved spouses appear and a roundelay of affiliations ensues as the women first stick together, then apart, and new partnerships are formed.

    They illuminate as with a flash of lightning a deadly serious problem--and they bring an eloquent and exceptionally powerful voice to the American theatre.Dutchman opened in New York City on March 24, 1964, to perhaps the most excited acclaim ever accorded an off-Broadway production and shortly thereafter received the Village Voice's Obie Award. The Slave, which was produced off-Broadway the following fall, continues to be the subject of heated critical controversy.

    'Changing Tides' is the heartwarming story of a man's struggle with his teen daughter, and the revelatory relationship he finds with another man.

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.