Here in Bonfire Opera, grief and Eros grapple in the same domain. A bullet-hole through the heart, a house full of ripe persimmons, a ghost in a garden. Coyotes cry out on the hill, and lovers find themselves kissing, “bee-stung, drunk” in the middle of road. Here, the dust is holy, as is the dark, unknown. These are poems that praise the impossible, wild world, finding beauty in its wake.  Excerpt from “Bonfire Opera”   In those days, there was a woman in our circle who was known, not only for her beauty, but also for taking off all her clothes and singing opera. And sure enough, as the night wore on and the stars emerged to stare at their reflections on the sea, and everyone had drunk a little wine, she began to disrobe, loose her great bosom and the tender belly, pale in the moonlight, the Viking hips, and to let her torn raiment fall to the sand as we looked up from the flames.

    That was the way it was since the beginning, and the way it was to be until the end. In the barn they tended to the animals, but also to each other, transforming the hollowed-out shed into a place of human refuge, a source of intimacy and hope in a world ruled by vicious masters. But when an older man—a fellow slave—seeks to gain favor by preaching the master’s gospel on the plantation, the enslaved begin to turn on their own. Isaiah and Samuel’s love, which was once so simple, is seen as sinful and a clear danger to the plantation’s harmony.With a lyricism reminiscent of Toni Morrison, Robert Jones, Jr. fiercely summons the voices of slaver and the enslaved alike to tell the story of these two men; from Amos the preacher to the calculating slave-master himself to the long line of women that surround them, women who have carried the soul of the plantation on their shoulders. As tensions build and the weight of centuries—of ancestors and future generations to come—culminate in a climactic reckoning, The Prophets masterfully reveals the pain and suffering of inheritance, but is also shot through with hope, beauty, and truth, portraying the enormous, heroic power of love.

    For Patrisse, the most vulnerable people in the country are Black people. Deliberately and ruthlessly targeted by a criminal justice system serving a white privilege agenda, Black people are subjected to unjustifiable racial profiling and police brutality. In 2013, when Trayvon Martin’s killer went free, Patrisse’s outrage led her to co-found Black Lives Matter with Alicia Garza and Opal Tometi.Condemned as terrorists and as a threat to America, these loving women founded a hashtag that birthed the movement to demand accountability from the authorities who continually turn a blind eye to the injustices inflicted upon people of Black and Brown skin. Championing human rights in the face of violent racism, Patrisse is a survivor. She transformed her personal pain into political power, giving voice to a people suffering in equality and a movement fueled by her strength and love to tell the country—and the world—that Black Lives Matter.When They Call You a Terrorist is Patrisse Khan-Cullors and asha bandele’s reflection on humanity. It is an empowering account of survival, strength and resilience and a call to action to change the culture that declares innocent Black life expendable.

    They present an illusion of marital bliss to their conservative Sri Lankan–American families, while each dates on the side. It’s not ideal, but for Lucky, it seems to be working. She goes out dancing, shedrinks a bit, she makes ends meet by doing digital art on commission. But when Lucky’s grandmother has a nasty fall, Lucky returns to her childhood home and unexpectedly reconnects with her former best friend and first lover, Nisha, who is preparing for her own arranged wedding with a man she’s never met.As the connection between the two women is rekindled, Lucky tries to save Nisha from entering a marriage based on a lie. But does Nisha really want to be saved? And after a decade’s worth of lying, can Lucky break free of her own circumstances and build a new life? Is she willing to walk away from all that she values about her parents and community to live in a new truth? As Lucky—an outsider no matter what choices she makes—is pushed to the breaking point, Marriage of a Thousand Lies offers a vivid exploration of a life lived at a complex intersection of race, sexuality, and nationality. The result is a profoundly American debut novel shot through with humor and loss, a story of love, family, and the truths that define us all.

    It’s not something they say. It’s something about their hands, the shape of their mouths, the way they look walking away from you."A collection that will beg you to be dogeared, coffee-stained, & shared.”—Amanda Lovelace, author of the princess saves herself in this oneHoneybee is an honest take on walking away and still feeling like you were walked away from. It’s about cutting love loose like a kite string and praying the wind has the decency to carry it away from you. It’s an ode to the back and forth, the process of letting something go but not knowing where to put it down. Honeybee is putting it down. It’s small town girls and plane tickets, a taste of tenderness and honey, the bandage on the bee sting. It’s a reminder that you are not defined by the people you walk away from or the people who walk away from you."A spine tingling, heart wrenching, goosebumps-across-your-skin experience."—Nikita Gill, author of Fierce FairytalesPerfect for fans of Caroline Kaufman, Atticus, Clementine von Radics, Nina LaCour, Adam Silvera, and Becky Albertalli; or anyone interested in bisexuality, heartbreak, running away from your problems, and coming out.Look for Trista Mateer's other book of poetry, Aphrodite Made Me Do It and her contribution to [Dis]Connected Volume 1: Poems & Stories of Connection and Otherwise.

    An introverted young man from Alabama, black and queer, he has left behind his family without escaping the long shadows of his childhood. For reasons of self-preservation, Wallace has enforced a wary distance even within his own circle of friends—some dating each other, some dating women, some feigning straightness. But over the course of a late-summer weekend, a series of confrontations with colleagues, and an unexpected encounter with an ostensibly straight, white classmate, conspire to fracture his defenses while exposing long-hidden currents of hostility and desire within their community.

    They’ve shared stolen kisses and romantic promises. But Iran is a dangerous place for two girls in love—Sahar and Nasrin could be beaten, imprisoned, even executed if their relationship came to light.So they carry on in secret—until Nasrin’s parents announce that they’ve arranged for her marriage. Nasrin tries to persuade Sahar that they can go on as they have been, only now with new comforts provided by the decent, well-to-do doctor Nasrin will marry. But Sahar dreams of loving Nasrin exclusively—and openly.Then Sahar discovers what seems like the perfect solution. In Iran, homosexuality may be a crime, but to be a man trapped in a woman’s body is seen as nature’s mistake, and sex reassignment is legal and accessible. As a man, Sahar could be the one to marry Nasrin. Sahar will never be able to love the one she wants, in the body she wants to be loved in, without risking her life. Is saving her love worth sacrificing her true self?

    Under the cover of deepest night, sleeping men are run over by trucks. Navajo bodies are deserted in fields. Resources are extracted. Lines are crossed. Men communicate through beatings, and football, and sex. In this place, “the closest men become is when they are covered in blood / or nothing at all.”But if Jake Skeets’s collection is an unflinching portrait of the actual west, it is also a fierce reclamation of a living place―full of beauty as well as brutality, whose shadows are equally capable of protecting encounters between boys learning to become, and to love, men. Its landscapes are ravaged, but they are also startlingly lush with cacti, yarrow, larkspur, sagebrush. And even their scars are made newly tender when mapped onto the lover’s body: A spine becomes a railroad. “Veins burst oil, elk black.” And “becoming a man / means knowing how to become charcoal.”Selected by Kathy Fagan as a winner of the 2018 National Poetry Series, Eyes Bottle Dark with a Mouthful of Flowers is a debut collection of poems by a dazzling geologist of queer eros.

    Through reframing their own coming-of-age story, Ziyad takes readers on a powerful journey of growing up queer and Black in Cleveland, Ohio, and of navigating the equally complex path toward finding their true self in New York City. Exploring childhood, gender, race, and the trust that is built, broken, and repaired through generations, Ziyad investigates what it means to live beyond the limited narratives Black children are given and challenges the irreconcilable binaries that restrict them.Heartwarming and heart-wrenching, radical and reflective, Hari Ziyad’s vital memoir is for the outcast, the unheard, the unborn, and the dead. It offers us a new way to think about survival and the necessary disruption of social norms. It looks back in tenderness as well as justified rage, forces us to address where we are now, and, born out of hope, illuminates the possibilities for the future.

    These 49 short stories, poems, interviews and essays—fiction and nonfiction—make up a powerful collection of original and new writing by 41 women. does your mama know? is ready to take its place in the halls of literary African-American lesbian voices.

    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).

    That is, this is a book that studies the wisdom of the garden and orchard, those places where all—death, sorrow, loss—is converted into what might, with patience, nourish us.

    In verse that deals with sexual assault, mental illness, and body acceptance, Ms. Lambert's Shame Is an Ocean I Swim Across emerges as an important new voice in poetry, providing strength and resilience even in the darkest of times.

    He's the out-and-gay, super-likable guy that people admire for his confidence. The only person who may not know Remy that well is Remy himself. So when he is assigned to write an essay describing himself, he goes on a journey to reconcile the labels that people have attached to him, and get to know the real Remy Cameron.

    Drawing on the black feminist tradition, including Audre Lourde’s invitation to use the erotic as power and Toni Cade Bambara’s exhortation that we make the revolution irresistible, the contributors to this volume take up the challenge to rethink the ground rules of activism. Writers including Cara Page of the Astraea Lesbian Foundation For Justice, Sonya Renee Taylor, founder of This Body Is Not an Apology, and author Alexis Pauline Gumbs cover a wide array of subjects— from sex work to climate change, from race and gender to sex and drugs—creating new narratives about how politics can feel good and how what feels good always has a complex politics of its own.Building on the success of her popular Emergent Strategy, brown launches a new series of the same name with this volume, bringing readers books that explore experimental, expansive, and innovative ways to meet the challenges that face our world today. Books that find the opportunity in every crisis!