--Hanoi to Hoboken: a round trip ticket --Living with other women --Take a lesbian to lunch --The last straw --The shape of things to come --Roxanne Dunbar --Gossip --Leadership vs. stardom --The last picture show --A manifesto for the feminist artist --Love song for feminists from Flamingo Park --I am a woman --The good fairy --It's all Dixie cups to me --The lady's not for burning.

    The book is an urgent recall of heartbreak, a stark portrait of an identity in crisis.

    One teenager with a lighter.One moment that changes both of their lives forever.If it weren't for the 57 bus, Sasha and Richard never would have met. Both were high school students from Oakland, California, one of the most diverse cities in the country, but they inhabited different worlds. Sasha, a white teen, lived in the middle-class foothills and attended a small private school. Richard, a black teen, lived in the crime-plagued flatlands and attended a large public one. Each day, their paths overlapped for a mere eight minutes. But one afternoon on the bus ride home from school, a single reckless act left Sasha severely burned, and Richard charged with two hate crimes and facing life imprisonment. The case garnered international attention, thrusting both teenagers into the spotlight.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

     Stretching between these figures is a cast of artists, writers, and scientists--mostly women, mostly queer--whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience, and appreciate the universe. Among them are the astronomer Maria Mitchell, who paved the way for women in science; the sculptor Harriet Hosmer, who did the same in art; the journalist and literary critic Margaret Fuller, who sparked the feminist movement; and the poet Emily Dickinson.Emanating from these lives are larger questions about the measure of a good life and what it means to leave a lasting mark of betterment on an imperfect world: Are achievement and acclaim enough for happiness? Is genius? Is love? Weaving through the narrative is a set of peripheral figures--Ralph Waldo Emerson, Charles Darwin, Elizabeth Barrett Browning, Herman Melville, Frederick Douglass, Nathaniel Hawthorne, and Walt Whitman--and a tapestry of themes spanning music, feminism, the history of science, the rise and decline of religion, and how the intersection of astronomy, poetry, and Transcendentalist philosophy fomented the environmental movement.

    In this book, completed shortly before his death from pancreatic cancer in December 2017, Barres (born Barbara Barres in 1954) describes a life full of remarkable accomplishments--from his childhood as a precocious math and science whiz to his experiences as a female student at MIT in the 1970s to his female-to-male transition in his forties, to his scientific work and role as teacher and mentor at Stanford.Barres recounts his early life--his interest in science, first manifested as a fascination with the mad scientist in Superman; his academic successes; and his gender confusion. Barres felt even as a very young child that he was assigned the wrong gender. After years of being acutely uncomfortable in his own skin, Barres transitioned from female to male. He reports he felt nothing but relief on becoming his true self. He was proud to be a role model for transgender scientists.As an undergraduate at MIT, Barres experienced discrimination, but it was after transitioning that he realized how differently male and female scientists are treated. He became an advocate for gender equality in science, and later in life responded pointedly to Larry Summers's speculation that women were innately unsuited to be scientists. Privileged white men, Barres writes, "miss the basic point that in the face of negative stereotyping, talented women will not be recognized." At Stanford, Barres made important discoveries about glia, the most numerous cells in the brain, and he describes some of his work. "The most rewarding part of his job," however, was mentoring young scientists. That, and his advocacy for women and transgender scientists, ensures his legacy

    In this extraordinarily candid and radically inventive memoir, Machado tackles a dark and difficult subject with wit, inventiveness and an inquiring spirit, as she uses a series of narrative tropes—including classic horror themes—to create an entirely unique piece of work which is destined to become an instant classic.

    Bono delivers a groundbreaking and candid account of his 40-year struggle to match his gender identity with his physical body, and his transformation from female to male.

    (And a ninja.) The problem is getting everyone else to realize it.In this exuberant companion to Jodie Patterson's adult memoir, The Bold World, Patterson shares her son Penelope's frustrations and triumphs on his journey to share himself with the world. Penelope's experiences show children that it always makes you stronger when you are true to yourself and who you really are.

    Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality the dangers experienced in skin and body and blood and a diagnosis of HIV positive. "Some of us are killed / in pieces," Smith writes, some of us all at once. Don't Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes America--"Dear White America"--where every day is too often a funeral and not often enough a miracle.

    When ex-G.I. George Jorgensen went to Copenhagen in the early 1950s to consult experts in sexual deviance, he was afraid they'd simply proclaim him a fairy. A full battery of hormonal and psychological tests revealed that, while he was drawn to men, he was no garden-variety homophile; he was a lady. Keeping the secret from his family, Jorgensen endured a groundbreaking series of operations, finally emerging in November 1952 as a delicately beautiful young woman. "I merely wanted to correct what I considered a misjudgment of Nature," wrote Jorgensen, who died in 1989. No one seeing the photographs included here (many of them new to this edition) can doubt the success of Jorgensen's transformation or wonder too long at the fascination she engendered back home, where a newspaper bought her story for $20,000 and she was proclaimed New York City's Woman of the Year. A stage and screen career soon followed. As Susan Stryker points out in a new introduction, Jorgensen offers a somewhat flattering and selectively abridged account of herself in the autobiography, but no more so than any plucky girl smiling her way through what must have been, at times, a harrowing and lonely journey, but one that she conducted with remarkable dignity. --Regina Marler

    Me is an intimate memoir about the very liberating and spiritual journey of one of the most iconic pop-stars of our time.

    Max is lonely and uncertain about her future — fearful, in fact, of America's future with its War on Terror and War in Iraq — with only a core group of friends to turn to for reassurance. Max is shaken from her crisis, however, by the news that her friend Vickie, a transvestite, has been found murdered on her way home late one night. As the community of cross-dressers, drag queens, lesbian and gay men, and "genderqueers" of all kinds stand up together in the face of this tragedy, Max taps into the activist spirit she thought had long disappeared and for the first time in years discovers hope for her future.

    Portraits, family photographs, and candid images grace the pages, augmenting the emotional and physical journey each youth has taken. Each honest discussion and disclosure, whether joyful or heartbreaking, is completely different from the other because of family dynamics, living situations, gender, and the transition these teens make in recognition of their true selves.

    Titled after the poem that burned up on Tumblr and has inspired wedding vows, paintings, songs, YouTube videos, and even tattoos among its fans, Mouthful of Forevers brings the first substantial collection of this gifted young poet’s work to the public.Clementine von Radics writes of love, loss, and the uncertainties and beauties of life with a ravishing poetic voice and piercing bravura that speak directly not only to the sensibility of her generation, but to anyone who has ever been young.