His characters solicit sex on their lunch breaks, expose themselves to racist neighbors, sleep with their coworker's husbands, rub Preparation H on their hungover eyes, and, in an uproarious epilogue, take a punk band on a disastrous tour of Europe. They also travel to claim inheritances, push past personal trauma, and cultivate community while living on the margins of a white supremacist, heteronormative society.Armed with a deadpan wit that finds humor in even the lowest of nadirs, Brontez Purnell--a widely acclaimed underground writer, filmmaker, musician, and performance artist--writes with the peerless zeal, insight, and horniness of a gay punk messiah. From dirty warehouses and gentrified bars in Oakland to desolate farm towns in Alabama, Purnell indexes desire, desperation, race, and loneliness with a startling blend of levity and vulnerability. Together, the slice-of-life tales that writhe within 100 Boyfriends are a singular and uncompromising vision of an unexposed queer underbelly. Holding them together is the vision of an iconoclastic storyteller, as fearless as he is human.

    But her life has turned inside out like a sock. She can't rely on family, her body is letting her down, and friends and colleagues are turning away—they treat her like a victim. She needs to break that narrative: build her own community, learn new strengths, and fight. But what do you do when you find out that the story you’ve been told, the story you’ve told yourself, is not true? How can you fight if you can’t trust your body? Who can you rely on if those around you don’t have your best interests at heart, and the systems designed to help do more harm than good? Mara makes a decision, and acts, but her actions unleash monsters aimed squarely at the heart of her new community.This is fiction from the front lines, incandescent and urgent, a narrative juggernaut that rips through sentiment to expose the savagery of America’s treatment of the disabled and chronically ill. But So Lucky also blazes with hope and a ferocious love of self, of the life that becomes possible when we stop believing lies.

    He only has one friend, Harry, and school is...Well, it's pure HELL. Why can't Noah be normal, like everyone else at school? Maybe if he struck up a romantic relationship with someone - maybe Sophie, who is perfect and lovely - he'd be seen in a different light? But Noah's plans for romance are derailed when Harry kisses him at a party. That's when things go from bad to worse utter chaos.

    Unprepared for the consequences of their attraction, at first each feigns indifference. But during the restless summer weeks that follow, unrelenting buried currents of obsession and fear, fascination and desire, intensify their passion as they test the charged ground between them. What grows from the depths of their spirits is a romance of scarcely six weeks' duration and an experience that marks them for a lifetime. For what the two discover on the Riviera and during a sultry evening in Rome is the one thing both already fear they may never truly find again: total intimacy. The psychological maneuvers that accompany attraction have seldom been more shrewdly captured than in André Aciman's frank, unsentimental, heartrending elegy to human passion. Call Me by Your Name is clear-eyed, bare-knuckled, and ultimately unforgettable.

    His mother Eileen died two years earlier when her car plunged into the icy waters of the Mississippi River, and since then Kevin's relationship with his father Patrick has become increasingly distant. As lonely women vie for his father's attention, Kevin discovers Patrick's own closely guarded secret: he had planned to abandon his family for another woman. More disturbingly, his mother's death may well have been a suicide, not an accident.Complicating the family dynamic is the constant meddling of Kevin's outspoken Aunt Nora--who will never forgive Patrick for Eileen's death--along with Patrick's inability to stay single for very long. His loyalties divided between his father and his aunt, between his internal reality and his public persona, Kevin is forced to accept his gay identity and reevaluate his notions of family and love as painful truths emerge about both.

    But when he and his best friend, Bob, partake in "awful kid stuff", the experience forms Jim's ideal of spiritual completion. Defying his parents’ expectations, Jim strikes out on his own, hoping to find Bob and rekindle their amorous friendship. Along the way he struggles with what he feels is his unique bond with Bob and with his persistent attraction to other men. Upon finally encountering Bob years later, the force of his hopes for a life together leads to a devastating climax. The first novel of its kind to appear on the American literary landscape, The City and the Pillar remains a forthright and uncompromising portrayal of sexual relationships between men.

    And then one day this closest of friendships grows into something more.But then we fast forward a decade or so, to find that Ellis is married to Annie, and Michael is nowhere in sight. Which leads to the question, what happened in the years between?This is almost a love story. But it's not as simple as that.

    Of course, that was all before—before Quinn stopped going to school, before his mom started sleeping on the sofa…and before Annabeth was killed in a car accident.Enter Geoff, Quinn’s best friend who insists it’s time that Quinn came out—at least from hibernation. One haircut later, Geoff drags Quinn to his first college party, where instead of nursing his pain, he meets a guy—a hot one—and falls hard. What follows is an upside-down week in which Quinn begins imagining his future as a screenplay that might actually have a happily-ever-after ending—if, that is, he can finally step back into the starring role of his own life story.

    Despite their difference in age and disparate backgrounds, they've made a perfect life together. With everything to lose, Oliver shouldn't be visiting Haus, a gay bathhouse. But through the entrance he goes, and it's a line crossed. Inside, he follows a man into a private room, and it's the final line. Whatever happens next, Nathan can never know. But then, everything goes wrong, terribly wrong, and Oliver barely escapes with his life.He races home in full-blown terror as the hand-shaped bruise grows dark on his neck. The truth will destroy Nathan and everything they have together, so Oliver does the thing he used to do so well: he lies.What follows is a classic runaway-train narrative, full of the exquisite escalations, edge-of-your-seat thrills, and oh-my-god twists. P. J. Vernon's Bath Haus is a scintillating thriller with an emotional punch, perfect for readers curious for their next must-read novel.

    Billy, the bisexual narrator and main character of In One Person, tells the tragicomic story (lasting more than half a century) of his life as a "sexual suspect," a phrase first used by John Irving in 1978 in his landmark novel of "terminal cases," The World According to Garp.In One Person is a poignant tribute to Billy’s friends and lovers—a theatrical cast of characters who defy category and convention. Not least, In One Person is an intimate and unforgettable portrait of the solitariness of a bisexual man who is dedicated to making himself "worthwhile.

    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.

    Navigating the currents of the city are three friends: Rita Mae, a rat exterminator; Killer, a career plant-waterer; and David, an HIV-positive writer. Together, they seek new ways to be truthful and honest about their lives as others around them avert their glances. Alternately elegiac, defiant, and funny, Rat Bohemia is an expansive novel about how one can cope with loss and heal the wounds of the past by reinventing oneself in the city.Rat Bohemia won the Ferro-Grumley Award for Lesbian Fiction and was named one of the “100 Best Gay and Lesbian Novels of All Time” by the Publishing Triangle.

    . . now in paperback.Rafe is a normal teenager from Boulder, Colorado. He plays soccer. He's won skiing prizes. He likes to write.And, oh yeah, he's gay. He's been out since 8th grade, and he isn't teased, and he goes to other high schools and talks about tolerance and stuff. And while that's important, all Rafe really wants is to just be a regular guy. Not that GAY guy. To have it be a part of who he is, but not the headline, every single time.So when he transfers to an all-boys' boarding school in New England, he decides to keep his sexuality a secret -- not so much going back in the closet as starting over with a clean slate. But then he sees a classmate break down. He meets a teacher who challenges him to write his story. And most of all, he falls in love with Ben . . . who doesn't even know that love is possible. This witty, smart, coming-out-again story will appeal to gay and straight kids alike as they watch Rafe navigate feeling different, fitting in, and what it means to be himself.

    J. Rosenthal's only mission is to find himself a boyfriend and avoid setbacks like bad haircuts, bad sex, and Jewish guilt. In post-AIDS 1986, B.J.'s world has changed dramatically -- his friends and lovers are getting sick, everyone is at risk, and B.J. is panicking. Parrying high-wire wit against unbearable human tragedy, Eighty-Sixed now stands as a testament to an era. "If Woody Allen were gay and wrote novels, he'd produce something like David Feinberg's Eighty-Sixed." -- David Streitfeld, The Washington Post Book World "[Feinberg] has given us a painful story of one man coming of age in a terrifying age." -- The Plain Dealer (Cleveland) "Entertaining, harrowing, and powerfully unsensational." -- Booklist "[Eighty-Sixed] stands out for its frankness, ferocious wit, and total lack of sentimentality or self pity." -- Catherine Texier, The New York Times Book Review

    But the ensuing romance proves short-lived as Jimmy dies of an AIDS-related illness. The grieving Seamus is obliged to keep a promise to Jimmy: “Take me back the way I came.”    And so Seamus sets out by bicycle on a picaresque journey with the ashes, hoping to bring them back to Buffalo. He meets truck drivers, waitresses, college kids, farmers, ranchers, Marines, and other travelers—each one giving him a new perspective on his own life and on Jimmy’s death. When he meets and becomes involved with a young Native American man whose mother has recently died, Seamus’s grief and his story become universal and redemptive.