Now, in Telling, she takes us on a journey both personal and universal, a tour of the minefield of chance and circumstance that make up a life. Along the way, she offers razor-sharp takes on everything from adolescence in suburban New Jersey ("Yes, I wanted to be a wild teenage rebel, but I wanted to do it with my parents' blessing") to hellish houseguests and bad-news boyfriends; from the joys of breastfeeding in public to the sometimes-salvation of motherhood.Candid, passionate, and breathtakingly funny, Marion Winik maintains an unshaken belief that following one's heart is more important than following the rules -- and a conviction that the secrets we try to hide often contain the deepest truths."A born iconoclast, an aspiring artiste, a feminist vegetarian prodigal daughter, from early youth I considered myself destined to lead a startling life far outside the bounds of convention. I would be famous, dangerous, brilliant and relentlessly cool: a sort of cross between Emma Goldman, Jack Kerouac, and Georgia O'Keeffe.... So where did this station wagon come from?" -- from Telling

    Chronicle of a Plague, Revisited features ten pieces never previously republished outside Christopher Street, as well as a new introduction keenly describing and evaluating a historical moment that still informs and defines today’s world-particularly its community of homosexuals, which, arguably, is still recovering from the devastation of AIDS.

    In this groundbreaking anthology, more than seventy women and men from all walks of life describe their lives as bisexuals in prose, poetry, art, and essays

    From the break-out star of BuzzFeed's “Whine About It” and the People’s Choice Award-winning comedian behind the web series “To Be Honest” comes a collection of hilariously anguished essays chronicling awful moments from Matt’s life so far, the humiliations of being an adult, and other little indignities.

    White's deliberate, dominating voice evokes a Plath-like dynamism turned on to queer pleasure and displeasure, indulgence and raison d'être, the bedevilments of a gay bitch on the pole.

    Editor Stephen Cope has made a judicious selection of Oppen's extant writings outside of poetry, including the essay "The Mind's Own Place" as well as "Twenty-Six Fragments," which were found on the wall of Oppen's study after his death. Most notable are Oppen's "Daybooks," composed in the decade following his return to poetry in 1958. iSelected Prose, Daybooks, and Papers is an inspiring portrait of this essential writer and a testament to the creative process itself.

    Shock Treatment includes Karen Finley’s most provocative and acclaimed performance monologues, essays, and poems, with “The Constant State of Desire,” “We Keep Our Victims Ready,” “It's Only Art,” and “The Black Sheep.” Excoriating misogyny, homophobia, abusive families, greed, and state coercion of bodies and minds, Finley holds out hope for a world informed not by hate and fear, but by truth and unconditional love.

    Tea’s girlhood is shaped by the rough fabric of the neighborhood and by its characters—the soft vulnerability of her sister Madeline and her quietly brutal Polish father; the doddering, sometimes violent nuns of Our Lady of Assumption; Marisol Lewis from the projects by the creek; and Johnna Latrotta, the tough-as-nails Italian dance-school teacher who offered a slim chance for escape to every young Chelsea girl in tulle and tap shoes. Told in Tea’s trademark loose-tongued, lyrical style, this memoir both celebrates and annihilates one girl’s tightrope walk out of a working-class slum and the lessons she carries with her. With wry humor and a hard-fought wisdom, Tea limns the extravagant peril of a dramatic adolescence with the private, catastrophic secret harbored within the walls of her family’s home—a secret that threatens to destroy her family forever.

    Star of BBC's Supersizers and hugely popular Times columnist's works through his anger about everything from dogs to cycle helmets.

    

    Over more than three decades Adrienne Rich’s essays have been praised for their lucidity, courage, and range of concerns. In A Human Eye, Rich examines a diverse selection of writings and their place in past and present social disorders and transformations. Beyond literary theories, she explores from many angles how the arts of language have acted on and been shaped by their creators’ worlds. This powerful new collection includes a stirring response to the anthology Iraqi Poetry Today, a critique of three classic socialist manifestos, and a rereading of The Dead Lecturer, an early volume of poems by LeRoi Jones. Rich engages the impulse to make art that both impels toward and interacts with social change, a theme she also traces through the letters of poets Robert Duncan and Denise Levertov, gay and lesbian politics and poetry, and influential texts on Zionism and the Jewish diaspora.

    Whatever happened to sexual flamboyance and gender liberation, an end to marriage, the military, and the nuclear family? As backrooms are shut down to make way for wedding vows, and gay sexual culture morphs into “straight-acting dudes hangin’ out,” what are the possibilities for a defiant faggotry that challenges the assimilationist norms of a corporate-cozy lifestyle?Why Are Faggots So Afraid of Faggots? challenges not just the violence of straight homophobia but the hypocrisy of mainstream gay norms that say the only way to stay safe is to act straight: get married, join the military, adopt kids! Mattilda Bernstein Sycamore reinvokes the anger, flamboyance, and subversion once thriving in gay subcultures in order to create something dangerous and lovely: an exploration of the perils of assimilation; a call for accountability; a vision for change. A sassy and splintering emergency intervention!Called "startlingly bold and provocative" by Howard Zinn, and described as "a cross between Tinkerbell and a honky Malcolm X with a queer agenda" by The Austin Chronicle, Mattilda Bernstein Sycamore is undoubtedly one of America's most outspoken queer critics. She is the author of two novels, including, most recently, So Many Ways to Sleep Badly, and is the editor of four nonfiction anthologies, including Nobody Passes: Rejecting the Rules of Gender and Conformity and That’s Revolting! Queer Strategies for Resisting Assimilation.

    

    Functioning as an atelier, it forecasts the writing of a novel, which does not materialize as such; the journal itself -- a mausoleum of lovers -- comes to take its place. The sensual exigencies and untempered forms of address in this epistolary work, often compared to Barthes' A Lover's Discourse, use the letter and the photograph in a work that hovers between forms, in anticipation of its own disintegration.

    Molly Malone Cook, who died in 2005, was Oliver's partner for many years, a pioneer gallery owner and photographer. Our World weaves forty-nine of Cook's photographs and selections from her journals with Oliver's extended writings, both reminiscence and reflection, in prose and in poetry. The result is an intimate revelation of their lives and art.Within the art world, Molly Malone Cook made her reputation as an early advocate of photography as an art form; she was a champion of the work of now-famous photographers, including Edward Steichen, Eugene Atget, Berenice Abbott, Minor White, Ansel Adams, Harry Callahan, and W. Eugene Smith. There are famous faces here as well, captured by Cook's camera, among them Walker Evans, Robert Motherwell and Henry Geldzahler, the first curator of twentieth-century art at the Metropolitan Museum.Cook and Oliver also lived among writers, and Cook caught several on film, including Lorraine Hansberry and Norman Mailer. Other artists and dozens of wonderful characters and scenes are also immortalized by Cook's unfailing eye for telling detail and composition. Oliver writes of Cook's work, the people they knew, and the places they visited or lived. The poet's beautiful text captures not only the vivifying qualities of her partner's work, but the texture of their shared world. In Mary Oliver's words, Cook taught the beginner poet "to see, with searching attention and compassion."