An unforgettable story of coming of age in America, it is also an essential milestone in the movement of American fiction, from a novelist who has become one of the most important and enduring voices of this generation.

    While the plot of the book was wildly imaginative, it was also based on the author's own experience as a sex worker in the 1990s and early 2000s, and on her coming out as lesbian.How Poetry Saved My Life, Amber Dawn's sophomore book, reveals an even more poignant and personal landscape—the terrain of sex work, queer identity, and survivor pride. This memoir, told in prose and poetry, offers a frank, multifaceted portrait of the author's experiences hustling the streets of Vancouver, and the how those years took away her self-esteem and nearly destroyed her; at the crux of this autobiographical narrative is the tender celebration of poetry and literature, that—as the title suggests—acted as a lifeline during her most pivotal moments.

    In the central sequences, "The Future of Terror" and "The Terror of the Future," Harvey imagines citizens and soldiers at the end of their wits at the impending end of the world. Her prose pieces and lyrics examine the divided, halved self in poems about centaurs, ship figureheads, and a robot boy. Throughout, Harvey's signature wit and concision show us the double-sided nature of reality, of what we see and what we know.

    He really only has one friend, his best friend, David. His normally decent grade point average is in limbo due to a slightly violent, somewhat inappropriate claymation film. And girls . . . well, does hanging out with his sister count?When David tells Mitchell he's gay, Mitchell's okay with it—but it still seems to change things. Since David's not out to anyone else, the guys agree to be set up with prom dates. Then, one of the most popular girls in school decides she must date Mitchell, and he's gone from zero to two girlfriends in sixty seconds.From his pending English grade, to his floundering friendship, to his love life—the one thing that's taken a bizarre turn for the better—Mitchell is so confused, he'll be lucky if he lasts another week in high school! And then there's the prom . . .With a wickedly funny voice and a colorful cast of characters, Steven Goldman has written a novel for every reader—even those who like high school!

    G. Sebald, and Joseph Conrad. The prefatory lyric, "Burial Practice," imagines the posthumous narrative of "then’s" that follows an individual's extinction; in the poem "Aria," a stagehand steps onto the floorboards to wax poetic after the curtain has dropped on an opera; and the extended sequence of "Circle" poems obliquely revisits Dante's ethical landscape of the afterlife.Many of these poems were written while Srikanth Reddy worked for a rural literacy program in the south of India, a fact reflected in the imagined postcolonial world of lyrics such as "Monsoon Eclogue" and "Thieves’ Market." Yet the collection moves beyond the identity politics and ressentiment of postcolonial and Asian-American writings by addressing the fugitive dreams of shared experience in poems such as "Fundamentals of Esperanto." Mobilizing traditional literary forms such as terza rima and the villanelle while simultaneously exploring the poetics of prose and other "formless" modes, Facts for Visitors re-negotiates the impasse between traditional and experimental approaches to writing in contemporary American poetry.

    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.

    Smith.American expat Aubrey has only two weeks left in Europe before she leaves for college, and she’s nowhere near ready. Good thing she and her best friend, Rae, have planned one last group trip across the continent. From Paris to Prague, they’re going to explore famous museums, sip champagne in fancy restaurants, and eat as many croissants as possible with their friends Clara, Jonah, and Gabe.But when old secrets come to light, Aubrey and Rae’s trip goes from a carefree adventure to a complete disaster. For starters, there’s Aubrey and Gabe’s unresolved history, complicated by the fact that Aubrey is dating Jonah, Gabe’s best friend. And then there’s Rae’s hopeless crush on the effortlessly cool Clara. How is Rae supposed to admit her feelings to someone so perfect when they’re moving to different sides of the world in just a few weeks?Author Cecilia Vinesse delivers a romantic European adventure that embraces the magic of warm summer nights, the thrill of first kisses, and the bittersweet ache of learning to say goodbye to the past while embracing the future.

    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.

    RUSH: I’m in love with my best friend. There wasn’t an exact moment when I fell for him. It was something that grew and evolved over time. He loves me back, but it’ll never be more than platonic. It can’t be because he’s straight. Then one night he kissed me and left me with more questions than answers. The very next morning my trust was shattered by a family secret. I’d been lied to my whole life. He was by my side through it all, offering support when I needed it most. How can I risk losing a friendship that held me together when I was falling apart? TORIN: He friend-zoned me. Four years ago, I gathered enough courage to kiss my best friend. What I’d hoped would be a pivotal moment that would start a new kind of relationship between us was over before it began. His world was upended, so I put my feelings aside and stepped back into my role as a friend he could count on. He wasn’t ready then, but now it’s time to find out if he’s willing to take a chance on us being something more. We’ve been friends, roommates and teammates, but I want him, body and heart. Quarterback Sneak is a low angst, high steam novella about childhood friends, trust and football.

    When she meets the rebellious Amina who confounds the Indian community by driving a taxi and setting up a cafe with a black man, her world is turned upside down.

    Kincaid's incantatory, poetic, and often shockingly frank recounting of her brother's life and death is also a story of her family on the island of Antigua, a constellation centered on the powerful, sometimes threatening figure of the writer's mother. My Brother is an unblinking record of a life that ended too early, and it speaks volumes about the difficult truths at the heart of all families.My Brother is a 1997 National Book Award Finalist for Nonfiction.

    This collection contains, too, many examples of that humorous and epigrammatic genius which captured the London theatre and, by suddenly casting light from an unexpected angle, widened the bounds of truth.

    These poems ask: What kind of revisions will make this a world/a story that is concerned with my people’s flourishing? How ought I pay attention, how to register perpetual bad news without letting it fatally intrude? Cameron Awkward-Rich is among the most bracing voices to emerge in recent years, a dazzling exemplar of poetry’s (and humanity’s) possibilities.

    It was a journey that would lead him from a homoerotic Navy initiation ceremony in the jungles of Vietnam to that strangest of strange lands: San Francisco in the early 1970s. Reflecting on the profound impact those closest to him have had on his life, Maupin shares his candid search for his "logical family," the people he could call his own. "Sooner or later, we have to venture beyond our biological family to find our logical one, the one that actually makes sense for us," he writes. "We have to, if we are to live without squandering our lives." From his loving relationship with his palm-reading Grannie who insisted Maupin was the reincarnation of her artistic bachelor cousin, Curtis, to an awkward conversation about girls with President Richard Nixon in the Oval Office, Maupin tells of the extraordinary individuals and situations that shaped him into one of the most influential writers of the last century. Maupin recalls his losses and life-changing experiences with humor and unflinching honesty, and brings to life flesh-and-blood characters as endearing and unforgettable as the vivid, fraught men and women who populate his enchanting novels. What emerges is an illuminating portrait of the man who depicted the liberation and evolution of America’s queer community over the last four decades with honesty and compassion—and inspired millions to claim their own lives.

    Martin Sherman's worldwide hit play Bent took London by storm in 1979 when it was first performed by the Royal Court Theatre, with Ian McKellen as Max (a character written with the actor in mind). The play itself caused an uproar. "It educated the world," Sherman explains. "People knew about how the Third Reich treated Jews and, to some extent, gypsies and political prisoners. But very little had come out about their treatment of homosexuals." Gays were arrested and interned at work camps prior to the genocide of Jews, gypsies, and handicapped, and continued to be imprisoned even after the fall of the Third Reich and liberation of the camps. The play Bent highlights the reason why - a largely ignored German law, Paragraph 175, making homosexuality a criminal offense, which Hitler reactivated and strengthened during his rise to power.