And images of a fantastic idyll complete with falling stars, the sound of the sea, and beautiful countryside. In the hands of Surrealists, though, love poetry also includes gravediggers and murderers, dice and garbage, snakeskin purses and "the drunken kisses of cyclones." Surrealism, the movement founded in the 1920s on the ashes of Dada's nihilism, embraced absurdity, contradiction, and, to a supreme extent, passion and desire. From André Breton's battle cry of "Mad Love" to the quiet lyricism of Robert Desnos, Surrealist writers and artists obsessively expressed the permutations of that fundamental human state, love, and they did so with the vocabulary of natural and unnatural worlds, the explicit language of sex, and a great deal of humor.Surrealist Love Poems brings together sixty poems by Surrealists who charged their work with all forms of eroticism. Expertly and energetically edited by Mary Ann Caws, this collection seeks to demonstrate the truth of Breton's words, that "the embrace of poetry like that of bodies / As long as it lasts / Shuts out all the woes of the world.""Erotic, impassioned and necrophilic, the sixty works gathered in Surrealist Love Poems celebrate the idea of obsessive and transformative love. 'I want to sleep with you side by side. . . . Stretched out on your shadow / Hammered by your tongue / To die in a rabbit's rotting teeth / Happy' writes Joyce Mansour. . . . Caws places poems by major surrealist writers like André Breton and Paul Eluard, along with the poetry of Picasso, Dalí, and Frida Kahlo, side by side with fourteen lushly printed and alluring black-and-white photos by the likes of Man Ray, Lee Miller, and Claude Cahun."—Publishers Weekly

    Mixed-race queer art activist Nia King left a full-time job in an effort to center her life around making art. Grappling with questions of purpose, survival, and compromise, she started a podcast called We Want the Airwaves in order to pick the brains of fellow queer and trans artists of color about their work, their lives, and "making it" - both in terms of success and in terms of survival.In this collection of interviews, Nia discusses fat burlesque with Magnoliah Black, queer fashion with Kiam Marcelo Junio, interning at Playboy with Janet Mock, dating gay Latino Republicans with Julio Salgado, intellectual hazing with Kortney Ryan Ziegler, gay gentrification with Van Binfa, getting a book deal with Virgie Tovar, the politics of black drag with Micia Mosely, evading deportation with Yosimar Reyes, weird science with Ryka Aoki, gay public sex in Africa with Nick Mwaluko, thin privilege with Fabian Romero, the tyranny of "self-care" with Lovemme Corazon, "selling out" with Miss Persia and Daddie$ Pla$tik, the self-employed art activist hustle with Leah Lakshmi Piepzna-Samarsinha, and much, much more. Welcome to the future of QPOC art activism.

    Whether fictionalizing his dramatic exploits as a Royal Air Force pilot during World War II or concocting the ingeniously plotted fables that were dramatized on television as Tales of the Unexpected, Dahl was brilliant at provoking in his readers the overwhelming desire to know what happens next—and at satisfying that desire in ways that feel both surprising and inevitable.In this collection:-A Fine Son-Death of an Old Man-Parson’s Pleasure-Poison-The Hitch-Hiker-The Wish-Mrs. Bixby and the Colonel’s Coat-Dip in the Pool-The Landlady-Skin-Lamb to the Slaughter-Man from the South-The Way Up to Heavan-The Umbrella Man-Taste-The Swan-William and MaryFilled with devilish plot twists, his tales display a tantalizing blend of macabre humor and the absurdly grotesque. Dahl’s creations amuse and shock us in equal measure, gleefully reminding us of what might lurk beneath the surface of the ordinary.

    David Shields and Matthew Vollmer, both writers and professors, have gathered forty short fictions that they've found to be seriously hilarious and irresistibly teachable (in both writing and literature courses): counterfeit texts that capture the barely suppressed frustration and yearning that percolate just below the surface of most official documents. The innovative stories collected in Fakes including ones by Ron Carlson (a personal ad), Amy Hempel (a complaint to the parking department), Rick Moody (Works Cited), and Lydia Davis (a letter to a funeral parlor) trace the increasingly blurry line between fact and fiction and exemplify a crucial form for the twenty-first century.With contributions by:David MeansGeorge SaundersStanley CrawfordMark HallidayCharles YuCaron A. LevisLorrie MooreKevin WilsonElizabeth Stuckey-FrenchAmy HempelDonald BarthelmeJoe WenderothLaura Jayne MartinRon CarlsonChris BachelderRob CohenMieke EerkensJoseph SalvatoreDaniel OrozcoGreg BurnhamJack PendarvisRobin HemleyKari Anne RoyRachel B. GlaserWendy BrennerLucas CooperSamantha HuntCharles McLeodMatthew WilliamsonArda CollinsDavid ShieldsMelanie Rae ThonMatthew VollmerLydia DavisPaul TherouxRick MoodyMichael MartoneJ. Robert LennonJonathan Safran FoerJ. G. Ballard

    It explores the use of art to survive abuse, incest, madness and depression, and the often deep-seated impulse toward self-destruction including cutting, eating disorders, and addiction. Here, some of our most compelling cartoonists, novelists, poets, dancers, playwrights, and burlesque performers traverse the pains and passions that can both motivate and destroy women artists, and mark a path for survival. Taken together, these artful reflections offer an honest and hopeful journey through a woman's silent rage, through the power inherent in struggles with destruction, and the ensuing possibilities of transforming that burning force into the external release of art. With contributions by Nan Goldin, bell hooks, Patricia Smith, Cristy C. Road, Carol Queen, Annie Sprinkle, Elizabeth Stephens, Carolyn Gage, Eileen Myles, Fly, Diane DiMassa, Bonfire Madigan Shive, Inga Muscio, Kate Bornstein, Toni Blackman, Nicole Blackman, Silas Howard, Daphne Gottleib, and Stephanie Howell.

    His acting career is taking off. Public recognition is picking up. Now more than ever, he understands how key reputation is to his success. But his relationship with his co-star, Kris—arranged around publicity rather than genuine feelings—is suffocating him. She once understood his needs, but her demands are beginning to grate with every shrill order she gives.Zach has a secret. The breakout star of a new medical series, he’s been hiding his orientation from co-stars, friends and family, the studio, and his fans.On the recommendation of a friend, Zach seeks out Sky Kelly, a well-connected herbalist whose concoctions are natural magic, as is her stunning beauty. On the surface, she has it all: her own house, a thriving business, and good friends, but the things she had to do to get there are a time bomb ticking away, and when it goes off, she'll be teetering on the edge of a chasm that can put her right back where she started.Sky has secrets. Like, she’s got a Y chromosome and the original equipment to go with it. Like being a highly paid escort. Like, if Zach is seen with her in public, it could ruin his career. Like someone becoming so obsessed with Sky, that obsession threatens them both. Secrets... everyone is hiding something, and instead of finding The One, it could be The End.

    But dragging them into the light is never easy—and it isn’t something Cyrus Hood can do alone.Amidst the atmosphere of suspicion brought on by the Cold War, Cyrus struggles to keep a lid on his family’s dark secrets, like the reason for his little brother, Charlie, being “not right in the head” and his father’s drinking, conspiracy theories, and abuse. While trying to hold together a family hell-bent on tearing itself apart, Cyrus is also discovering things within himself he can’t divulge—like his attraction to his best friend Oliver. Yet it might be Oliver who stands with Cyrus when Cyrus is at his most lost and vulnerable, and it might be Oliver to show him that no matter how many times life knocks you down, love can raise you up again.

    Now, The View from the Cheap Seats brings together for the first time ever more than sixty pieces of his outstanding nonfiction. Analytical yet playful, erudite yet accessible, this cornucopia explores a broad range of interests and topics, including (but not limited to): authors past and present; music; storytelling; comics; bookshops; travel; fairy tales; America; inspiration; libraries; ghosts; and the title piece, at turns touching and self-deprecating, which recounts the author’s experiences at the 2010 Academy Awards in Hollywood.

    Sharper story telling, different points of view, same old Foster High.Kyle Stilleno is the invisible student even in his nothing high school in the middle of Nowhere, Texas. Brad Graymark is the baseball star of Foster High. When they bond over their mutual damage during a night of history tutoring, Kyle thinks maybe his life has changed for good. But when you’re gay and falling for the most popular boy in school, the promise of love is a fairy tale, not a reality. Isn’t it? A coming-of-age story, Tales from Foster High shows an unflinching vision of the ups and downs of teenage love and what it is like to grow up gay.

    Redefined.Martin H. Ehrengraf, dapper and diabolical, may be Lawrence Block's darkest creation. He's the defense attorney who never sees the inside of a courtroom, because all his clients are innocent - no matter how guilty they may seem. Some even believe themselves to be guilty: They remember pulling the trigger, or wiring the dynamite to their spouse's car, or holding the bloody blade. But things have a way of working out when Martin Ehrengraf is on the case. Evidence turns up, incriminating someone else. More murders occur, with the same M.O. And the gate of the jail cell opens, and the accused walks free.But be careful - hiring Martin Ehrengraf comes with a price. A high price, one that comes due even if he appears to have done nothing on your behalf. And you'd better be prepared to pay...Here at last are the complete exploits of Martin Ehrengraf: a dozen delicious tales of vice and villainy including one - ''The Ehrengraf Fandango'' - that is appearing for the first time anywhere. It's a 12-course meal of sinister surprises, exquisitely prepared and served simmering hot by the greatest living master of mystery fiction.

    When k realizes that she has infected her girlfriend, bea, with a disease, she loses herself in a masochistic quest for atonement, leaving bea to contend with her fears about an increasingly precarious world by herself. Literary and adventurous, lyrical yet anchored, Davey Davis’ work explores the meanings of responsibility, romantic love, and queer resistance in a late-capitalist hellscape where futurity is always in question.

    With "ONJ.com," a young woman in advertising decides she wants a gay man in her life, but the good-looking and fast-talking gay coworker she meets isn't as pleasant and "fun" as she had hoped. In "Dunford," a lonely, aging architect with a suppressed fascination for female escorts decides impulsively to take the opportunity of his wife's absence to set up a date. Sadly for Dunford, he realizes too late that his escort doesn't share his penchant for masturbation in car washes. And "Nightwalking" centers on a woman sleepwalker whose mother's death frames the occasion for a rocky family reunion. You Are Not the One marks the auspicious arrival of an exciting new talent.

    It's all the things we all hold onto, all the things we let anchor onto us, and all the things that leave us vacant.

    Wimbourne Books presents the first in a series of rare or out-of-print ghost stories from Victorian authors. With an introduction by author Alastair Gunn, Volume 1 in the series spans the years 1852 to 1899 and includes stories from a wide range of female authors; English, Irish, Scottish, Welsh and American. Includes tales by Mary Elizabeth Braddon, Charlotte Riddell, Isabella Banks and Gertrude Atherton. Readers new to this genre will discover its pleasures; the Victorian quaintness, the sometimes shocking difference in social norms, the almost comical politeness and structured etiquette, the archaic and precise language, but mostly the Victorians’ skill at stoking our fears and trepidations, our insecurities and doubts. Even if you are already an aficionado of the ghostly tale there is much within these pages to interest you. Wait until the dark of the stormy night arrives, lock the doors, shutter the windows, light the fire, sit with your back to the wall and bury yourself in the Victorian macabre. Try not to let the creaking floorboards, the distant howl of a dog, the chill breeze that caresses the candle, the shadows in the far recesses of your room, disturb your concentration.

    In “Dunsmuir,” a newly sober husband buys a hearse to help his wife spread her sister’s ashes, while “The Lesser Horsemen” illustrates what happens when God instructs the Four Horsemen of the Apocalypse to go on a team-building cruise as a way of boosting their frayed morale. In “Brad Benske and the Hand of Light,” an estranged husband seeks his wife’s whereabouts through a fortuneteller after she absconds with a cult, and the returning soldier in “Homecoming” navigates the strange and ghostly confines of his hometown, as well as the boundaries of his own grief. With grace, imagination, and a brazen gallows humor, Folk Songs for Trauma Surgeons merges the fantastic and the everyday, and includes new work as well as award-winning favorites.