This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.Cherríe Moraga is the co-editor of the classic feminist anthology This Bridge Called My Back and the author of The Last Generation. She is Artist-in-Residence at Stanford University.

    Larissa Lai interweaves three narrative voices and their attendant cultures: an elusive fox growing toward wisdom and her 1000 birthday, the ninth-century Taoist poet/nun Yu Hsuan-Chi (a real person executed in China for murder), and the oddly named Artemis, a young Asian-American woman living in contemporary Vancouver.With beautiful and enchanting prose, and a sure narrative hand, Lai combines Chinese mythology, the sexual politics of medieval China, and modern-day Vancouver to masterfully revise the myth of the Fox (a figure who can inhibit women’s bodies in order to cause mischief).

    Bette Midler inspires with her words full of charm. As she tells us how Baby Divine escapes harm. How so much talent could be in one girl? To fathom it makes my poor brain start to whirl. She not only acts, sings, dances and writes! She's the brightest of stars in a world full of nights ...

    She is working as a software engineer in an investment bank in USA. She has money ($$$$), she can afford sex outside marriage. She also has opinion on everything. She is dating various marriage prospects, will she get her dream guy?

    A somewhat cranky woman to begin with, she really doesn't much like people. But she does enjoy working at her pet accessory boutique The Fuzzy Belly Deli. Brooke Hewitt thought she was happy in her relationship with her stockbroker boyfriend, until the day she and her dog wander into the Fuzzy Belly Deli. There she meets Cayden - a woman that Brooke can't stop thinking about. Brooke has never questioned her sexuality, but there is something about Cayden that she just can't shake free. The encounter changes both Cayden and Brooke, disrupting both women's lives - in some ways for the worse and yet, some certainly for the better...

    Examining how trauma becomes a part of the language we use, Scott takes us back to our roots: childhood incidents, the violence our scars betray, forgotten forebears and histories. The hungers of sexual encounters are underscored by the risks that threaten when we give ourselves to or accept another. But the poems celebrate joy and tenderness, too, as in a sequence re-imagining the love poetry of Verlaine.The collection crescendos to Scott's tour de force, 'Oh My Soho!', where a night stroll under the street lamps of Soho Square becomes a search for true lineage, a reclamation of stolen ancestors, hope for healing, and, above all, the finding of our truest selves.

    Merle is in her first year at the Corcoran School of Art, catapulted from her impoverished Appalachian upbringing into a sophisticated, dissipated art scene.It is also 1870. The teenage poet Arthur Rimbaud is on the verge of breaking through to the images and voice that will make his name.The meshed power of words and art thins the boundaries between the present and the past—and allows these two troubled, brilliant artists to enter each other’s worlds.

    L. Polk arrives on the scene with Witchmark, a stunning, addictive fantasy that combines intrigue, magic, betrayal, and romance.In an original world reminiscent of Edwardian England in the shadow of a World War, cabals of noble families use their unique magical gifts to control the fates of nations, while one young man seeks only to live a life of his own.Magic marked Miles Singer for suffering the day he was born, doomed either to be enslaved to his family's interest or to be committed to a witches' asylum. He went to war to escape his destiny and came home a different man, but he couldn’t leave his past behind. The war between Aeland and Laneer leaves men changed, strangers to their friends and family, but even after faking his own death and reinventing himself as a doctor at a cash-strapped veterans' hospital, Miles can’t hide what he truly is.When a fatally poisoned patient exposes Miles’ healing gift and his witchmark, he must put his anonymity and freedom at risk to investigate his patient’s murder. To find the truth he’ll need to rely on the family he despises, and on the kindness of the most gorgeous man he’s ever seen.

    Again. And normally I wouldn't mind. But right now, my best friend and source of solace, Jupiter Sanchez, is ignoring me to text some girl. Rae Evelyn ChinI assumed "new girl" would be synonymous with "pariah," but Jupiter and Courtney make me feel like I'm right where I belong. I also want to kiss him. And her. Which is . . . perplexing.Jupiter Charity-SanchezThe only thing worse than losing the girl you love to a boy is losing her to your boy. That means losing him, too. I have to make a move. . . .One story.Three sides.No easy answers.

    E. Housman's A Shropshire Lad, first published in 1896. Scholars and critics have seen in these timeless poems an elegance of taste and perfection of form and feeling comparable to the greatest of the classic. Yet their simple language, strong musical cadences and direct emotional appeal have won these works a wide audience among general readers as well.This finely produced volume, reprinted from an authoritative edition of A Shropshire Lad, contains all 63 original poems along with a new Index of First Lines and a brief new section of Notes to the Text. Here are poems that deal poignantly with the changing climate of friendship, the fading of youth, the vanity of dreams — poems that are among the most read, shared, and quoted in our language.

    Powerfully written, keenly felt, "The Trouble Boy" heralds an exciting new voice in fiction. "This is about fame and celebrity and the lengths to which people will go to have a taste of it. . ."At twenty-two, Toby Griffin wants it all--fame, fortune, an Oscar-winning screenplay and a good-looking boyfriend by his side. For now, what he's got is a freelance writing job at a tanking online magazine, a walk-up sublet in the East Village and "the boys," a young posse of preppy Upper East Siders with a taste for high fashion, top-shelf liquor and other men.But for Toby, downing vodka cranberries and falling in and out of lust with a series of guys he knows as Subway Boy, Loft Boy and Goth Boy is getting old. That all changes when Toby gets the chance of a lifetime--working as a personal assistant to hip, ruthless film mogul, Cameron Cole. In this decadent, drug-fueled world of VIP lounges, endless networking and relentless hype, Toby discovers that nothing is what is seems and that anything and anyone can be spun into PR gold. Though he's making friends with all the right people. Toby realizes that succeeding in Manhattan isn't as easy as he thought--until the one tragic night that changes his future forever and puts him in a position of power he never could have imagined.But with Toby's name suddenly becoming Page Six material, his life is coming unglued. And as his professional contacts betray him and his friends reveal troubling secrets, his choices become that much harder--and that much more important. Now, in his first year on his own, Toby Griffin is about to learn the price of getting everything he ever wanted."What really makes Toby's world so familiar--along with the author's lively, often-hilarious eye for even the most mundane social details--is the crisp prose and the snappy story."-- "The San Francisco Chronicle"

    Non-stop all-you-can-eat buffets while marathoning her favorite TV shows (best friends totally included) with the smallest dash of adulting--working at the library to pay her share of the rent. The only thing missing from her perfect plan? Her girlfriend (who ended things when Alice confessed she's asexual). Alice is done with dating--no thank you, do not pass go, stick a fork in her, done.But then Alice meets Takumi and she can’t stop thinking about him or the rom com-grade romance feels she did not ask for (uncertainty, butterflies, and swoons, oh my!).When her blissful summer takes an unexpected turn, and Takumi becomes her knight with a shiny library employee badge (close enough), Alice has to decide if she’s willing to risk their friendship for a love that might not be reciprocated—or understood.

    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.

    Unheard. Alone. Chilling words, but apt to describe the isolation and alienation of queer youth. In silence and fear they move from childhood memories of intolerance or violence to the unknown, unmentored landscape of queer adulthood, their voices stilled or ignored. No longer. Revolutionary Voices celebrates the hues and harmonies of the future of queer society, offering a collection of experiences, ideas, dreams, manifestos, and fantasies expressed through prose, poetry, artwork, and performance pieces. This one-of-a-kind collection is an all-encompassing, far-reaching call to action that provides the groundwork for a new community where all members are recognized as critical components to our future society.

    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.