Struggling to be, or at least to imitate, a straight man, through Ivy League halls of privilege and bohemian travels abroad, loveless intimacy and unrequited passion, Paul Monette was haunted, and finally saved, by a dream of "the thing I'd never even seen: two men in love and laughing."Searingly honest, witty, and humane, Becoming a Man is the definitive coming-out story in the classic coming-of-age genre.

    When a cleaning sweep of a New York City apartment building brings this lost treasure to light, both the diary and its owner are given a second life.Recovered by Lily Koppel, a young writer working at the New York Times, the journal paints a vivid picture of 1930s New York—horseback riding in Central Park, summer excursions to the Catskills, and an obsession with a famous avant-garde actress. From 1929 to 1934, not a single day's entry is skipped.Opening the tarnished brass lock, Koppel embarks on a journey into the past, traveling to a New York in which women of privilege meet for tea at Schrafft's, dance at the Hotel Pennsylvania, and toast the night at El Morocco. As she turns the diary's brittle pages, Koppel is captivated by the headstrong young woman whose intimate thoughts and emotions fill the pale blue lines. Who was this lovely ingénue who adored the works of Baudelaire and Jane Austen, who was sexually curious beyond her years, who traveled to Rome, Paris, and London?Compelled by the hopes and heartaches captured in the pages, Koppel sets out to find the diary's owner, her only clue the inscription on the frontispiece—"This book belongs to . . . Florence Wolfson." A chance phone call from a private investigator leads Koppel to Florence, a ninety-year-old woman living with her husband of sixty-seven years. Reunited with her diary, Florence ventures back to the girl she once was, rediscovering a lost self that burned with artistic fervor.Joining intimate interviews with original diary entries, Koppel reveals the world of a New York teenager obsessed with the state of her soul and her appearance, and muses on the serendipitous chain of events that returned the lost journal to its owner. Evocative and entrancing, The Red Leather Diary re-creates the romance and glitter, sophistication and promise, of 1930s New York, bringing to life the true story of a precocious young woman who dared to follow her dreams.

    As editor Charlotte Mosley notes, not since the Brontës have the members of a single family written so much about themselves, or have been so written about. The Mitfords offers an unparalleled look at these privileged sisters: Nancy, the scalding wit who transformed her family life into bestselling novels; Pamela, who craved nothing more than a quiet country life; Diana, the fascist jailed with her husband, Oswald Mosley, during World War II; Unity, a suicide, torn by her worship of Hitler and her loyalty to home; Jessica, the runaway Communist and fighter for social change; and Deborah, the genial socialite who found herself Duchess of Devonshire. Spanning the twentieth century, the magically vivid letters of the legendary Mitford sisters constitute not just a superb social and historical chronicle; they also provide an intimate portrait of the stormy but enduring relationships between six beautiful, gifted and radically different women who wrote to one another to confide, commiserate, tease, rage and gossip -- and above all, to amuse.

    From nicotine gum addiction to lesbian personal ads to incontinent dogs, Possible Side Effects mines Burroughs's life in a series of uproariously funny essays. These are stories that are uniquely Augusten, with all the over-the-top hilarity of Running with Scissors, the erudition of Dry, and the breadth of Magical Thinking. A collection that is universal in its appeal and unabashedly intimate, Possible Side Effects continues to explore that which is most personal, mirthful, disturbing, and cherished, with unmatched audacity. A cautionary tale in essay form. Be forewarned--hilarious, troubling, and shocking results might occur.

    This tell-all autobiography reveals the whole truth of his life, from the height of Boy George mania to the waning of Culture Club's fame, his failed relationship with drummer Jon Moss, his desperate battle against heroin addiction, and his return with the hit single The Crying Game. 24-page photo insert.

    This diary, which he kept in four notebooks over six weeks, is the only sustained, on-the-spot written account we have by a major artist of the experience of entering psychosis.Nijinsky's diary was first published in 1936, in a heavily bowdlerized version that omitted almost half of his text. The present edition, translated by Kyril FitzLyon, is the first complete version in English and the first version in any language to include the fourth notebook, which was written at the very edge of madness. It contains Nijinsky's last lucid thoughts -- on God, sex, war, and the nature of the universe, as well as on his own broken life. In her Introduction, the noted dance writer Joan Acocella explains the context of the diary and its place in the history of modernism.

    By the age of twenty-three, he was on his first tour of America, facing an astonished audience in his tight silver hotpants, bare legs and a T-shirt with ROCK AND ROLL emblazoned across it in sequins. Elton John had arrived and the music world would never be the same again.His life has been full of drama, from the early rejection of his work with song-writing partner Bernie Taupin to spinning out of control as a chart-topping superstar; from half-heartedly trying to drown himself in his LA swimming pool to disco-dancing with the Queen; from friendships with John Lennon, Freddie Mercury and George Michael to setting up his AIDS Foundation. All the while, Elton was hiding a drug addiction that would grip him for over a decade.In Me Elton also writes about getting clean and changing his life, about finding love with David Furnish and becoming a father.

    Winner of the United Nations Human Rights Award for Nonfiction, HOLDING THE MAN has been adapted into a play opening in America in September 2007. The playwright who adapted the book for stage refers to this a a memoir of striking and unapologetic honesty.

    His words will resonate with anyone coming of age in the digital era, but at the core is a timeless message for people of all ages: don't be afraid to be yourself and to go after what you truly want.This full-color collection includes photography and childhood clippings provided by Connor and is a must-have for anyone inspired by his journey.

    On social networks and dating sites, his image and identity—a forty-year-old straight white male—had been used to hook countless women into believing in lies of love and romance. Was it all an ironic cosmic joke? Almost a decade prior, William himself had been living a lie that had lasted for more than twenty years. His secret? He was a gay man, a fact he hid from his wife and two daughters for almost as long as he had hidden it from himself.In this emotional and unflinchingly honest memoir of coming out of the closet late in life, owning up to the past, and facing the future, William Dameron confronts steroid addiction, the shame and homophobia of his childhood, the sledgehammer of secrets that slowly tore his marriage apart, and his love for a gay father of three that would once again challenge the boundaries of trust. At the true heart of The Lie is a universal story about turning self-doubt into self-acceptance and about pain, anger, and the long journey of both seeking and giving forgiveness.

    The range, charm, and vitality of his talents—he was a playwright, actor, composer, librettist, lyricist, director, painter, writer, cabaret singer, wit—brought him into close encounters, and often close friendship, with the great and the gifted. He knew everybody who was anybody in the theater and in the movies, in literature and in politics, on both sides of the Atlantic. Among those at his “marvelous party”: George Bernard Shaw . . . T. E. Lawrence . . . Virginia Woolf . . . the Churchills . . . Daphne Du Maurier . . . Greta Garbo (she wrote asking him to marry her; he wrote back saying he almost accepted) . . . Ian Fleming . . . W. Somerset Maugham . . . Marlene Dietrich (he advised her, “To hell with God damned ‘L’Amour.’ It always causes far more trouble than it is worth”) . . . Tallulah Bankhead . . . Edith Sitwell . . . FDR . . . Gertrude Lawrence (in a cable about Private Lives: “Have written delightful new comedy stop good part for you stop wonderful one for me stop”), and many more. There are letters about his productions of Bitter Sweet . . . Cavalcade . . . In Which We Serve . . . Brief Encounter . . . Private Lives, etc. . . . about his activities during World War II (he was a spy for the British government along with co-conspirator Cary Grant) . . . about the move to make him a knight that was endorsed in a personal letter from King George VI and blocked by Winston Churchill. Here are letters to and from his beloved mother, Violet . . . his longtime set and costume designer, Gladys Calthrop . . . his traveling companion from the 1930s on, Lord Amherst . . . and his business manager and onetime lover, Jack Wilson, in which he reveals his “secret heart.”Profoundly savvy, witty, loving, bitchy, and often surprisingly moving, The Letters of Noël Coward gives us “Destiny’s Tot” at his crackling best. An irresistible portrait of a time, of the man himself, and of the world he lived in and enchanted.

    Facing an uncertain future, he nevertheless found solace in nature, growing all manner of plants. While some perished beneath wind and sea-spray others flourished, creating brilliant, unexpected beauty in the wilderness.Modern Nature is both a diary of the garden and a meditation by Jarman on his own life: his childhood, his time as a young gay man in the 1960s, his renowned career as an artist, writer and film-maker. It is at once a lament for a lost generation, an unabashed celebration of gay sexuality, and a devotion to all that is living.

    But, at forty-eight years old, having spent decades in San Francisco, he craved change. Grieving over the death of his partner, he quickly discovered the profound consolations of the city's incessant rhythms, the sight of the Empire State Building against the night sky, and New Yorkers themselves, kindred souls that Hayes, a lifelong insomniac, encountered on late-night strolls with his camera.And he unexpectedly fell in love again, with his friend and neighbor, the writer and neurologist Oliver Sacks, whose exuberance--"I don't so much fear death as I do wasting life," he tells Hayes early on--is captured in vignettes throughout. What emerges is a portrait of Sacks at his most personal and endearing, from falling in love for the first time at age seventy-five to facing illness and death (Sacks died of cancer in August 2015).

    Stone Butch Blues traces a propulsive journey, powerfully evoking history and politics while portraying an extraordinary protagonist full of longing, vulnerability, and working-class grit. This once-underground classic takes the reader on a roller-coaster ride of gender transformation and exploration and ultimately speaks to the heart of anyone who has ever suffered or gloried in being different.

    Wilde wrote the letter between January and March 1897; he was not allowed to send it, but took it with him upon release. In it he repudiates Lord Alfred for what Wilde finally sees as his arrogance and vanity; he had not forgotten Douglas's remark, when he was ill, "When you are not on your pedestal you are not interesting." He also felt redemption and fulfillment in his ordeal, realizing that his hardship had filled the soul with the fruit of experience, however bitter it tasted at the time.