The poems’ subject is the natural world, but their images would never occur in nature. This book is serious and funny at the same time, like a big grave with a clown lying in it.

    Anne Lister was a Regency landowner, an intrepid world traveller ... and an unabashed lover of other women. In this bold new biography, prizewinning author Angela Steidele uses the diaries to create a portrait of Anne Lister as we've never seen her before: a woman in some ways very much of her time and in others far ahead of it. Anne Lister recorded everything from the most intimate details of her numerous liaisons through to her plans to make her fortune by exploiting the coal seams under her family estate in Halifax and her reaction to the Peterloo massacre. She conducted a love life of labyrinthine complexity, all while searching for a girlfriend who could provide her with both financial security and true love.Anne Lister's rich and unconventional life is now the subject of the major BBC TV drama series Gentleman Jack.

    Stone Butch Blues traces a propulsive journey, powerfully evoking history and politics while portraying an extraordinary protagonist full of longing, vulnerability, and working-class grit. This once-underground classic takes the reader on a roller-coaster ride of gender transformation and exploration and ultimately speaks to the heart of anyone who has ever suffered or gloried in being different.

    Stephen grows to be a war hero, a bestselling writer and a loyal, protective lover. But Stephen is a woman, and her lovers are women. As her ambitions drive her, and society confines her, Stephen is forced into desperate actions.The Well of Loneliness was banned for obscenity when published in 1928. It became an international bestseller, and for decades was the single most famous lesbian novel. It has influenced how love between women is understood, for the twentieth century and beyond.

    In her poem “Deliverance” about her daughter’s birth she writes “What is the word for when the light leaves the body?/What is the word for when it/at last, returns?”Through poems that are as unforgettably beautiful as they are accessible, Kate proves herself to truly be an exemplary voice in modern poetry. As easy to post on Instagram as they are to print out and frame, Kate’s words make women feel seen in their own bodies, in their own marriages, and in their own lives. Her poems are those you share with your mother, your daughter, your sister, and your friends.

    Bertrice Martin—a widow, some seventy-three years young—has kept her youthful-ish appearance with the most powerful of home remedies: daily doses of spite, regular baths in man-tears, and refusing to give so much as a single damn about her Terrible Nephew. Then proper, correct Miss Violetta Beauchamps, a sprightly young thing of nine and sixty, crashes into her life. The Terrible Nephew is living in her rooming house, and Violetta wants him gone. Mrs. Martin isn’t about to start giving damns, not even for someone as intriguing as Miss Violetta. But she hatches another plan—to make her nephew sorry, to make Miss Violetta smile, and to have the finest adventure of all time. If she makes Terrible Men angry and wins the hand of a lovely lady in the process? Those are just added bonuses. Author’s Note: Sometimes I write villains who are subtle and nuanced. This is not one of those times. The Terrible Nephew is terrible, and terrible things happen to him. Sometime villains really are bad and wrong, and sometimes, we want them to suffer a lot of consequences.

    As soon as it's out of my mouth, I feel stupid. Even suggesting it feels like I've overstepped some kind of invisible line we've all agreed not to discuss. We don't talk about how Mara is different from other girls. We don't talk about how Mara is gay but no one says so. But when I do stuff like this, I worry it gets harder for us all to ignore what's right in front of us. I direct my gaze to Quinn. "What do you think?""I think it's frickin' genius," he says.After getting kicked off the basketball team for a fight that was absolutely totally not her fault (okay maybe a little her fault), Mara is dying to find a new sport to play to prove to her coach that she can be a team player. A lifelong football fan, Mara decides to hit the gridiron with her brother, Noah, and best friend, Quinn-and she turns out to be a natural. But joining the team sets off a chain of events in her small Oregon town-and within her family-that she never could have predicted.Inspired by what they see as Mara's political statement, four other girls join the team. Now Mara's lumped in as one of the girls-one of the girls who can't throw, can't kick, and doesn't know a fullback from a linebacker. Complicating matters is the fact that Valentina, Mara's crush, is one of the new players, as is Carly, Mara's nemesis-the girl Mara fought with when she was kicked off the basketball team. What results is a coming-of-age story that is at once tear-jerking and funny, thought-provoking and real, as Mara's preconceived notions about gender, sports, sexuality, and friendship are turned upside down.Britta Lundin's sophomore novel will give readers all the feels, and make them stand up and cheer.

    It's as rad as she imagined; her boss is BOSS, her co-workers spend their time arguing over music, pushing against the patriarchy, and endlessly trying to form a band. When Rosie Riot, the staff's favorite singer, mysteriously vanishes the night before her band’s show, Chris discovers her co-workers are doing more than just sorting vinyl . . . Her local indie record store is also a front for a teen girl vigilante fight club!    Follow writer Carly Usdin (director of Suicide Kale) and artist Nina Vakueva (Lilith’s World) into the Hi-Fi Fight Club, where they deliver a rock and roll tale of intrigue and boundless friendship.

    As a woman, a black, and a lesbian, Brand arrives at a rigorous and nakedly ruthless reclamation of the poetic.

    Kambirinachi believes that she is an Ogbanje, or an Abiku, a non-human spirit that plagues a family with misfortune by being born and then dying in childhood to cause a human mother misery. She has made the unnatural choice of staying alive to love her human family but lives in fear of the consequences of her decision.Kambirinachi and her two daughters become estranged from one another because of a trauma that Kehinde experiences in childhood, which leads her to move away and cut off all contact. She ultimately finds her path as an artist and seeks to raise a family of her own, despite her fear that she won't be a good mother. Meanwhile, Taiye is plagued by guilt for what her sister suffered and also runs away, attempting to fill the void of that lost relationship with casual flings with women. She eventually discovers a way out of her stifling loneliness through a passion for food and cooking.But now, after more than a decade of living apart, Taiye and Kehinde have returned home to Lagos. It is here that the three women must face each other and address the wounds of the past if they are to reconcile and move forward.For readers of African diasporic authors such as Teju Cole and Chimamanda Ngozi Adichie, Butter Honey Pig Bread is a story of choices and their consequences, of motherhood, of the malleable line between the spirit and the mind, of finding new homes and mending old ones, of voracious appetites, of queer love, of friendship, faith, and above all, family.

    She kept extensive diaries of her life and loves, written partly in code. Made up of Greek letters mingled with other symbols of her own devising, Anne referred to the code as her "crypthand," and the use of it allowed her the freedom to describe her intimate life in great detail. Her diaries have been edited by Helena Whitbread, who spent years decoding and transcribing them.

    One boy's love of a soldier leads to the death of a stranger. The present takes a bittersweet journey into the past when a man revisits the summer school where he had "an accidental romance." And a forgotten mother writes a poignant letter to the teenage daughter she hasn't seen for fourteen years.Poised between the past and the future are the stories of now. In nontraditional narratives, short stories, and brief graphics, tales of anticipation and regret, eagerness and confusion present distinctively modern views of love, sexuality, and gender identification. Together, they reflect the vibrant possibilities available for young people learning to love others—and themselves—in today's multifaceted and quickly changing world.

    Through monologues, emails, and text exchanges, she brilliantly weaves together the coming of age of five distinct characters: a woman who’s “gone off sausage” (men); her brother, in a secret affair with a powerful married man; a lesbian couple confronting an important transition; and the troubled young woman who forces them all to face their fears. With vibrant imagery and daring prose, Korneliussen writes honestly about finding yourself and growing into the person you were meant to be. Praised for creating “its own genre” (Politiken, Denmark), Last Night in Nuuk is a brave entrance onto the literary scene and establishes her as a voice that cannot be ignored.

    As Tala’s wedding day approaches, simmering tensions come to boiling point and the pressure mounts for Tala to be true to herself.Moving between the vast enclaves of Middle Eastern high society and the stunning backdrop of London’s West End, I Can’t Think Straight explores the clashes between East and West, love and marriage, conventions and individuality, creating a humorous and tender story of unexpected love and unusual freedoms.

    This landmark work of scholarship offers an enlightening review of the shifting concept of "lesbian literature," followed by examples of six different genres: Romantic Friendship, Sexual Inversion, Exotic and Evil Lesbians, Lesbian Encoding, Lesbian Feminism, and Post-Lesbian Feminism.Faderman examines works as diverse as Willa Cather's My Antonia and Virginia Woolf's Orlando; poetry by Gertrude Stein and Amy Lowell; fiction by Carson McCullers, Helen Hull, and Alice Walker. In addition, Chloe Plus Olivia contains writing by men who focused on women's relationships. These writings are included in the early section of the book and were, in various ways, important to the development of lesbian literature, since men were far more likely than women to achieve publication in other centuries.It would be impossible to identify a single "great tradition" of lesbian writing, since it is in constant metamorphosis, reflecting changing social attitudes and women's voices. Chloe Plus Olivia, with its historical scope enhanced by Faderman's own personal search for a definition of lesbian literature, makes this the first book of its kind; it is certain to become the point of reference from which all subsequent studies of lesbian literature will begin.