Despite assuming from a young age that he was gay, Scott Murphy couldn’t imagine life without Shelly. He threw away the label he'd stuck on his sexuality and had eleven amazing years with her, but now, he feels even more lost trying to figure out how to move on after Shelly’s death. After nearly a year of watching Scott fade away, Shelly’s father forces him to start living again.As much as Chris loathes the idea of attending a bereavement group week after week, it’s one of the only places he can go in this town, other than the bar, to not feel so alone. When there’s nothing to distract him or dull his senses, he spends too much time obsessing over how he should have been able to help his sister. When Scott shows up at his group session, Chris decides that maybe some good can come out of his sister’s death. There’s no denying that Chris is the first man to catch Scott’s attention in a long time, but how can he move on when just thinking of Shelly sends him to his dark place? The road to recovery won’t be an easy one, but Chris is determined to help Scott see that life is still worth living. But before Scott can allow himself to admit what he feels for Chris, he knows he has to reveal the full truth about Shelly’s death.

    A young, probably gay, boy named Gordo puts on a wrestler's mask and throws fists with a boy in the neighborhood, fighting his own tears as he tries to grow into the idea of manhood so imposed on him by his father. As he comes of age, Gordo learns about sex, watches his father's drunken fights, and discovers even his own documented Mexican-American parents are wary of illegal migrants. Fat Cookie, high schooler and resident artist, uses tiny library pencils to draw huge murals of graffiti flowers along the camp's blank walls, the words "CHICANO POWER" boldly lettered across, until she runs away from home one day with her mother's boyfriend, Manny, and steals her mother's Panasonic radio for a final dance competition among the camp kids before she disappears. And then there are Los Tigres, the perfect pair of twins so dark they look like indios, Pepito and Manuel, who show up at Gyrich Farms every season without fail. Los Tigres, champion drinkers, end up assaulting each other in a drunken brawl, until one of them is rushed to the emergency room still slumped in an upholstered chair tied to the back of a pick-up truck. These scenes from Steinbeck Country seen so intimately from within are full of humor, family drama, and a sweet frankness about serious matters - who belongs to America and how are they treated? How does one learn decency, when laborers, grown adults, must fear for their lives and livelihoods as they try to do everything to bring home a paycheck? Written with balance and poise, Cortez braids together elegant and inviting stories about life on a California camp, in essence redefining what all-American means.

    . . its emotional wallop is earned honestly and uncompromisingly.”—Kevin Thomas, L.A. TimesWinner of the Outstanding First Narrative Feature Award at OUTFest (the Los Angeles Gay & Lesbian Film Festival), and the Best Gay Male Feature Film Award at the Philadelphia International Gay & Lesbian Film Festival.Combine a hunky, repressed Mormon missionary and an L.A. party boy, sensual sex and knowing humor, and the result is a sure-fire crowd-pleaser. Christian is a handsome, young man who flits from guy to guy without much of a thought in his pretty little head. So when his roommate Julie discovers that the gorgeous group of young men who moved in next door are Mormon missionaries, they bet on whether Christian can bed one of them. Christian quickly moves in for the kill, identifying Elder Aaron Davis as a repressed homo—and quite a sexy one at that. Their initial encounters have a charged sexual tension, but fear of the devil keeps Aaron’s libido at bay. When the two are alone together, Aaron’s Mormon missionary roommates interrupt, spot their brother as gay and send him back in shame to his Idaho hometown and embarrassed parents. But in a heartfelt conclusion that brought festival audiences to their feet, love wins out over fear.The feature film version of Latter Days will be released in January 2004, starring Jacqueline Bisset, Mary Kay Place, Wes Ramsey, Steve Sandvoss and Amber Benson.C. Jay Cox wrote the screenplay for the smash hit film Sweet Home Alabama, starring Reese Witherspoon, and makes his directing debut with Latter Days, for which he also wrote the screenplay.

     I’m a son, a brother, a friend. A writer. An addict. Dead. Cardiac arrest isn’t enough to keep me dead, though. The doctors brought me back, but for what? At twenty four I’ve already achieved what most people do in a life time. I’m a successful author, own a flat in the heart of London and drive my dream sports car. Or at least that’s what people see. Once the spotlight fades, I’m left alone with my overactive mind, alcohol and drugs the only way to quiet down the noise. Until an overdose nearly kills me and drags everyone I love down with me. With the help of my best friend, I leave London and its toxic influence behind, moving to a small town in the outskirts of Cambridge to try and put my life back together again. If only it were that easy.

    It was directed by Tony Speciale; it was produced by Dixon Place; the original music was by Duncan Sheik; the visuals were by Matthew Sandager; and the clothing was by Paul Marlow.

    Facing a harrowing winter campaign, Elliott must rally disheartened men through sickness, battle and starvation.But when he is assigned the additional task of spying on a fellow officer, the inscrutable Cornet Ilyas Kovakin, he finds himself disconcerted and fascinated by both the work and the man.The half-Russian officer reports to none in his division. Rumors of demonic power and black magic surround him, but the truth turns out to be worse than the suspicions.For Ilyas, his return to the Crimea is marred by the terrible mistake that cursed him with a horrifying power nearly beyond his control. His grip on his humanity is slipping away daily. Torn between a master he cannot trust and the family he must not return to, his only hope for salvation lies hidden in the long-forgotten symbols of centuries-old relics. But their meanings remain a mystery until the cheerful Captain Parrish offers assistance.Although Ilyas fears trusting the young captain, Elliott’s company is almost irresistible.Surrounded by deprivation, cruelty and war, both men know the closer they are drawn together, the greater the stakes. But with the balance of European power on the line, retreat is not an option.

    White explores different aspects of aging, romance, and sex, inviting his readers to come with him to Florida, the Greek Isles, and Turkey — and into the chaotic gay demimonde of contemporary New York.

    "Hound Dog" Fisher's life since the death of his beloved mom when he was a boy. Bounced around the foster care system, he ran away as soon as he could… and took the foster dog with him. As far as he's concerned, only dogs have no ulterior motive, never hold a grudge, and offer unconditional love. Now he helps run a no-kill shelter and leaves relationships where they belong: in the back room. "Bean" Alexander settled in Kansas City to open his coffee shop after years of traveling. He never expected to open his heart too. When a man with a grudge takes a swing at H.D. while in line at Bean's shop, Bean jumps to intervene. So taking a hit for H.D. gets Bean noticed, and H.D. feels obligated to pay a debt. But then the unexpected happens. A series of misadventures causes H.D. to open up—but falling in love makes him turn tail and run. Trust is a tough road to travel. Will good friends, a dog named Sarah Jane, and a bit of folk magic be enough to bring Hound Dog and Bean a happy ending?

    Disowned over his sexuality as a teenager, he hasn’t been back to his home on the Outer Banks since his fisherman father kicked him out. But when he returns for the Old Man’s funeral, he discovers his father left him the house and boat in his will. Noah must choose whether to stay or go, but he won’t be alone. There’s Ian, working to overcome the emotional scars left by a domineering ex-boyfriend, and Ty, a cheerful housekeeper who’s struggling to take care of his Alzheimer’s-stricken aunt. There’s Joshua too, running from the destruction of his old life, and Gabriel, who was once beaten and left for dead, and doesn’t know how to survive on his own. Will they find in each other the strength and courage to keep living—and learn, together, how to love again? A polyamorous relationship is the last thing any of them expected to find in the Outer Banks, but it might be what they need most, and it might even be their redemption—if they can keep their group from breaking apart under the pressure.

    The story of his capture, and the marshal’s bravery, has already become legend back east by the time Pinkerton inspector Ezra Johns gets off the train from New York City to testify in the murderer’s trial.When Ambrose is unable to give witness to the evils he’s seen, Ezra becomes their lone hope for putting Jennings in a noose. But if Ezra thinks that’s his biggest problem, he’s got plenty to learn about life—and the afterlife—in the spirited West.Fortunately, Ambrose is there to assist, and more than happy to oblige Ezra—in the courtroom or the bedroom. He spent his life bringing justice to the Wild West, and if he has a say in it, that’s how he’ll be spending his death too.

    Nathan Grier was born human, but his twin brother Jim is a changeling. On the run since they were children, time for both of them is running out. Turning to fae hunter Sasha Kelly for help, Nathan must soon face his growing feelings for the other man while trying to save himself and his brother from a fate worse than death.This series is an Urban Paranormal Fantasy/Gay Romance story that kicks off the beginning of an epic trilogy of love, family, and a fight to save the world.

    Blow mines the compelling poetry of the out-of-time African-American Louisiana town where he grew up -- a place where slavery's legacy felt astonishingly close, reverberating in the elders' stories and in the near-constant wash of violence.Blow's attachment to his mother -- a fiercely driven woman with five sons, brass knuckles in her glove box, a job plucking poultry at a nearby factory, a soon-to-be-ex husband, and a love of newspapers and learning -- cannot protect him from secret abuse at the hands of an older cousin. It's damage that triggers years of anger and searing self-questioning.Finally, Blow escapes to a nearby state university, where he joins a black fraternity after a passage of brutal hazing, and then enters a world of racial and sexual privilege that feels like everything he's ever needed and wanted, until he's called upon, himself, to become the one perpetuating the shocking abuse.A powerfully redemptive memoir that both fits the tradition of African-American storytelling from the South, and gives it an indelible new slant.

    But a secret Jason has been keeping from his sister threatens to tear the siblings apart…right when they need each other most. Scott is waiting to hear about his girlfriend, Aimee, who was on a bus with her theater group when the bridge went down. Their relationship has been rocky, but Scott knows that if he can just see Aimee one more time, if she can just make it through this ordeal and he can tell her he loves her, everything will be all right. And then there’s Skyler, whose sister Kate—the sister who is more like a mother, the sister who is basically Skyler’s everything—was crossing the bridge when it collapsed. As the minutes tick by without a word from the hospital staff, Skyler is left to wonder how she can possibly move through life without the one person who makes her feel strong when she’s at her weakest.

    In these unflinching, riveting poems, Roy G. Guzmán reaches across borders—between life and death and between countries—invoking the voices of the lost. Part immigration narrative, part elegy, and part queer coming-of-age story, Catrachos finds its own religion in fantastic figures such as the X-Men, pop singers, and the “Queerodactyl,” which is imagined in a series of poems as a dinosaur sashaying in the shadow of an oncoming comet, insistent on surviving extinction. With exceptional energy, humor, and inventiveness, Guzmán’s debut is a devastating display of lyrical and moral complexity—an introduction to an immediately captivating, urgently needed voice.

    Despite not knowing anything about herding cattle or taking care of horses, Matty does his best to impress the older hunky foreman, Baxter Hollingsworth. Baxter is drawn to the new young hand, but he’s deeply closeted, and after an openly gay veterinarian shows he’s interested in Matty, Baxter’s repressed feelings lead to an explosive encounter. Baxter then withdraws—leaving Matty feeling angry and used—until an accident forces him to confront his fears.