E. Housman is being ferried across the river Styx, glad to be dead at last. The river that flows through Tom Stoppard's The Invention of Love connects Hades with the Oxford of Housman's youth: High Victorian morality is under siege from the Aesthetic movement, and an Irish student named Wilde is preparing to burst onto the London scene. On his journey the elder Housman confronts the younger version of himself and his memories of the man he loved his entire life, Moses Jackson -- the handsome athlete who could not return his feelings.

    A possible break in his fortunes occurs when he receives a script from a student in the seminar he has been conducting at a nearby college a thriller which Sidney recognizes immediately as a potential Broadway hit. Sidney's plan, which he devises with his wife's help, is to offer collaboration to the student, an idea which the younger man quickly accepts. Thereafter suspense mounts steadily as the plot begins to twist and turn with devilish cleverness, and with such an abundance of thrills and laughter, that audiences will be held enthralled until the final, startling moments of the play.

    George, the protagonist, is adjusting to life on his own after the sudden death of his partner, determined to persist in the routines of his daily life. An Englishman and a professor living in suburban Southern California, he is an outsider in every way, and his internal reflections and interactions with others reveal a man who loves being alive despite everyday injustices and loneliness. Wry, suddenly manic, constantly funny, surprisingly sad, this novel catches the true textures of life itself."--BOOK JACKET.

    Seventeen-year-old Edward Zanni, a feckless Ferris Bueller–type, is Peter Panning his way through a carefree summer of magic and mischief. The fun comes to a halt, however, when Edward’s father remarries and refuses to pay for Edward to study acting at Juilliard.Edward’s truly in a bind. He’s ineligible for scholarships because his father earns too much. He’s unable to contact his mother because she’s somewhere in Peru trying to commune with Incan spirits. And, as a sure sign he’s destined for a life in the arts, Edward’s incapable of holding down a job. So he turns to his loyal (but immoral) misfit friends to help him steal the tuition money from his father, all the while practicing for his high school performance of Grease. Disguising themselves as nuns and priests, they merrily scheme their way through embezzlement, money laundering, identity theft, forgery, and blackmail. But, along the way, Edward also learns the value of friendship, hard work, and how you’re not really a man until you can beat up your father—metaphorically, that is.How I Paid for College is a farcical coming-of-age story that combines the first-person tone of David Sedaris with the byzantine plot twists of Armistead Maupin. It is a novel for anyone who has ever had a dream or a scheme, and it marks the introduction to an original and audacious talent.

    . . both urgent and convincing."--The New York Times Book Review In this sequel to David Feinberg's national bestseller Eighty-Sixed, B.J. Rosenthal navigates life with an HIV-positive diagnosis amidst the "constant tide of deaths" in New York City during the AIDS crisis.

    Filled with guilt and indecision, he decides there is only one way to straighten this out....Mike Bartlett's punchy new story takes a playful, candid look at one man's sexuality and the difficulties that arise when you realise you have a choice.Cock premiered at the Royal Court Theatre, London, on November 13, 2009.

    Includes: 4 Jews in a Room Bitching * I'm Breaking Down * Marriage Proposal * March of the Falsettos * Making a Home * The Games I Play * I Never Wanted to Love You * Father to Son * The Baseball Game * A Day in Falsettoland * Everyone Hates His Parents * What More Can I Say? * Something Bad Is Happening * Holding to the Ground * Unlikely Lovers * You Gotta Die Sometime * What Would I Do.

    It is an exploration of intimacy, identity, and the courage it takes to be who you really are.

    He is also an accomplished screenwriter who has in the past few years turned his hand to writing plays. The results, collected here, hilariously explore serious questions of love, happiness and the meaning of life; they are rich with equal parts of pain and slapstick humour, torment and wit.

    Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

    Neil McCormick is fully aware of the events from that summer of 1981. Wise beyond his years, curious about his developing sexuality, Neil found what he perceived to be love and guidance from his baseball coach. Now, ten years later, he is a teenage hustler, a terrorist of sorts, unaware of the dangerous path his life is taking. His recklessness is governed by idealized memories of his coach, memories that unexpectedly change when Brian comes to Neil for help and, ultimately, the truth.

     Ennis del Mar and Jack Twist, two ranch hands, come together when they're working as sheepherder and camp tender one summer on a range above the tree line. At first, sharing an isolated tent, the attraction is casual, inevitable, but something deeper catches them that summer. Both men work hard, marry, and have kids because that's what cowboys do. But over the course of many years and frequent separations this relationship becomes the most important thing in their lives, and they do anything they can to preserve it. The New Yorker won the National Magazine Award for Fiction for its publication of "Brokeback Mountain," and the story was included in Prize Stories 1998: The O. Henry Awards. In gorgeous and haunting prose, Proulx limns the difficult, dangerous affair between two cowboys that survives everything but the world's violent intolerance.

    Jo's greatest fear is that her illegitimate baby might be mentally deficient like her own father. To soothe, clean and cook for her is Geof, an effeminate art student, with whom she makes a temporary home. Bruised by insensitivity and rejection, the boy and girl find a very real comfort in each other.

    But a chance meeting by the river soon becomes an intense, exhilarating, and all-consuming affair. After their camp duties are fulfilled, the pair spend a dreamlike few weeks camping in the countryside, bonding over an illicit copy of James Baldwin’s Giovanni’s Room. Inhabiting a beautiful natural world removed from society and its constraints, Ludwik and Janusz fall deeply in love. But in their repressive communist and Catholic society, the passion they share is utterly unthinkable.Once they return to Warsaw, the charismatic Janusz quickly rises in the political ranks of the party and is rewarded with a highly-coveted position in the ministry. Ludwik is drawn toward impulsive acts of protest, unable to ignore rising food prices and the stark economic disparity around them. Their secret love and personal and political differences slowly begin to tear them apart as both men struggle to survive in a regime on the brink of collapse.Shifting from the intoxication of first love to the quiet melancholy of growing up and growing apart, Swimming in the Dark is a potent blend of romance, post-war politics, intrigue, and history. Lyrical and sensual, immersive and intense, Tomasz Jedrowski has crafted an indelible and thought-provoking literary debut that explores freedom and love in all its incarnations.

    It's an antebellum fever-dream, where fear and desire entwine in the looming shadow of the Master's House. Jim trembles as Kaneisha handles melons in the cottage, Alana perspires in time with the plucking of Phillip's fiddle in the boudoir, while Dustin cowers at the heel of Gary's big, black boot in the barn. Nothing is as it seems, and yet everything is as it seems.