That is, until she meets Sarah Jamieson. Sarah is a reclusive artist, a loner who wears black makeup and doesn’t have any friends, but for some reason, Harper can’t stop thinking about her.Sarah isn’t used to people looking her way, especially popular girls like Harper Isabelle. Scared, religious, and unsure of herself, when Sarah begins to realize that her feelings for Harper might go beyond friendship, she is afraid to take the plunge and tell Harper how she feels.Emotions build between these young women until they both reach their breaking points, and they need to make a choice about coming to terms with who they really are, and what they can and cannot live without.Words: 92,000

    O'Hara’s untimely death in 1966 at the age of forty was, in the words of fellow poet John Ashbery, "the biggest secret loss to American poetry since John Wheelwright was killed.” This collection is a reissue of a volume first published by Grove Press in 1957, and it demonstrates beautifully the flawless rhythm underlying O'Hara’s conviction that to write poetry, indeed to live, "you just go on your nerve.”

    this impressive debut has established Hera Lindsay Bird as a good girl………with many beneficial thoughts and feelings………with themes as varied as snow and tears, the poems in this collection shine with the fantastic cream of who she is………juxtaposing many classical and modern breezesBird turns her prescient eye on love and loss, and what emerges is like a helicopter in fog………or a bejewelled Christmas sleigh, gliding triumphantly through the contemporary aesthetic desert………this is at once an intelligent and compelling fantasy of tenderness………heartbreaking and charged with trees………without once sacrificing the forest………Whether you are masturbating luxuriously in your parent’s sleepout………………or pushing a pork roast home in a vintage pram………this is the book for you………………………heroically and compulsively stupid………………………………………………………………………………whipping you once again into medieval sunlight.

    It depicts the adventures of Malone, a beautiful young man searching for love amid New York's emerging gay scene. From Manhattan's Everard Baths and after-hours discos to Fire Island's deserted parks and lavish orgies, Malone looks high and low for meaningful companionship. The person he finds is Sutherland, a campy quintessential queen -- and one of the most memorable literary creations of contemporary fiction. Hilarious, witty, and ultimately heartbreaking, Dancer from the Dance is truthful, provocative, outrageous fiction told in a voice as close to laughter as to tears.

    Unfurling and unrelenting in its delivery, Candrilli has painted “the mountain” in excruciating detail. They show readers a world of Borax cured bear hides and canned peaches, of urine-filled Gatorade bottles and the syringe and all the syringe may carry. They show a violent world and its many personas. What Runs Over, too, is a story of rural queerness, of a transgender boy almost lost to the forest. The miracle of What Runs Over is that Candrilli has lived to write it at all."When Roethke said 'energy is the soul of poetry,' he might have been anticipating a book like What Runs Over, which is so full of energy it practically vibrates in your hand. Here, Candrilli’s speaker sticks their tongue 'into the heads / of venus fly traps just to feel the bite,' then later, burns holy books in the backyard and rolls around in the ashes until they become 'a painted god.' This is the verve of an urgent new poetic voice announcing itself to the world. As Candrilli writes: 'This is what I look like / when I’m trying to save myself.'"-Kaveh Akbar

    Hood and educated AF. You've met her. Wearing all her feelings and responding with a side-eye or a tongue-pop. You've seen her. At the grocery store. In restaurants. On the subway. At the bus stop. In a car you pulled up next to blaring whatever matches her mood. Hair in some natural or protective style for the Gods. Ebony Stewart. An around the way girl. One part human, all parts womxn. You know these poems because they be familiar. They be your grandmama, mama, auntie, and sis stories. Welcome to Home. Girl. Hood.

    In places the palimpsest is so heavily worked that the letters feel like braille. I like to keep my body rolled away from prying eyes, never unfold too much, tell the whole story. I didn't know that Louise would have reading hands. She has translated me into her own book.

    Jonah Keller moved to New York City with dreams of becoming a successful playwright, but, for the time being, lives in a rundown sublet in Bushwick, working extra hours at a restaurant only to barely make rent. When he stumbles upon a photo of Richard Shriver—the glamorous Pulitzer Prize–winning playwright and quite possibly the stepping stone to the fame he craves—Jonah orchestrates their meeting. The two begin a hungry, passionate affair. When summer arrives, Richard invites his young lover for a spell at his sprawling estate in the Hamptons. A tall iron fence surrounds the idyllic compound where Richard and a few of his close artist friends entertain, have lavish dinners, and—Jonah can’t help but notice—employ a waitstaff of young, attractive gay men, many of whom sport ugly bruises. Soon, Jonah is cast out of Richard’s good graces and a sinister underlay begins to emerge. As a series of transgressions lead inexorably to a violent climax, Jonah hurtles toward a decisive revenge that will shape the rest of his life. Riveting, unpredictable, and compulsively readable, Yes, Daddy is an exploration of class, power dynamics, and the nuances of victimhood and complicity. It burns with weight and clarity—and offers hope that stories may hold the key to our healing.

    The girls are packing light: a supply of Diet Coke for Lux and her ‘89 Canon to help her frame the world in a sunnier light; half a pack of cigarettes for Trixie that she doesn’t really smoke, and a knife—one she’s just hanging on to for a friend—that she’s never used before.But a single night of violence derails their trip and will forever change the course of the girls’ lives, as they go from ordinary high schoolers to wanted fugitives. Trying to stay ahead of the cops and a hellscape of media attention, the girls grapple with an unforgiving landscape, rapidly diminishing supplies, and disastrous decisions at every turn. As they are transformed by the media into the face of a #MeToo movement they didn’t ask to lead and the road before them begins to run out, Trixie and Lux realize that they can only rely on each other, and that the love they find together is the one thing that truly makes them free.In rushing, powerful prose Julia Lynn Rubin takes readers on “a blistering, unapologetic thrill ride” (Emma Berquis) that will leave them haunted and reeling. Trouble Girls is “a powerful, beautifully-written gut punch” (Sophie Gonzales).

    Neil McCormick is fully aware of the events from that summer of 1981. Wise beyond his years, curious about his developing sexuality, Neil found what he perceived to be love and guidance from his baseball coach. Now, ten years later, he is a teenage hustler, a terrorist of sorts, unaware of the dangerous path his life is taking. His recklessness is governed by idealized memories of his coach, memories that unexpectedly change when Brian comes to Neil for help and, ultimately, the truth.

    . . then he was befriended by Lily, the aspiring author who helped him find his voice. Together, the two have spent years navigating first love and amassing an inseparable friend group. But all of it is upended one day when his school’s administration learns Owen’s secret: that he was sexually assaulted by a classmate.In the ensuing investigation, everyone scrambles to hold their worlds together. Owen, still wrestling with his self-destructive thoughts and choices. His father, a mission-driven military vet ready to start a war to find his son’s attacker. The school bureaucrats, who seem most concerned with kowtowing to the local media attention. And Lily, who can’t learn that Owen is the mystery victim everyone is talking about . . . because once she does, it will set off a chain of events that will change their lives forever.Heartbreaking and hopeful, this is a coming-of-age story that explores how we rebuild after the world comes crumbling down.

    But help is at hand - in the unlikely form of the rude, raucous, toxic and tantalising Maria (aka Sugar) Sweet, queen of the 'Ravers'. As Kim falls quickly under her spell, and gambles her good-girl past for an exciting life of late-night parties and daring emotion, she must ask herself a disturbing question: has she fallen in love with her best friend?

    Yet Cara, the free spirit, and Pen, the stoic, craft a bond so strong it seems as though nothing could sever it: not the bickering, not the secrets, not even Cara’s infidelities.But thirteen years on, a car crash kills Cara and rips the lid off Pen’s world. Pen is still in the closet, teaching at her old school, living under the roof of Cara’s gentle father, who thinks of her as his daughter’s friend. How can she survive widowhood without even daring to claim the word? Over the course of one surreal week of bereavement, she is battered by memories that range from the humiliating, to the exalted, to the erotic, to the funny. It will take Pen all her intelligence and wit to sort through her tumultuous past with Cara, and all the nerve she can muster to start remaking her life.

    Blythe Baird deftly and uniquely charts a course through various modes of womanhood and women's bodies. Through love, loss, and the struggles of disordered eating, If My Body Could Speak uses sharp narratives and visceral imagery to get to the heart of a many-layered existence, speaking to many generations at once.

    Simultaneously, this compilation unpacks the contentious relationship that exists between Róisín and her mother, her platonic and romantic heartbreaks, and the cognitive dissonance felt as a result of being so divided among her broad spectrum of identities.