This book is an eye opener on Mughal history in India. Mughals have been glorified as great rulers in Indian history books despite being maniacs, incest-lovers, rapists and merciless invaders. The book is a compilation of all hidden facts. Straight from their authentic biographies. To make Indians realise, enough is enough. Do not glorify these filthy creatures in the name of preserving the secular fabric of India. Note: This is the latest edition of the book “Great Ruler of India” with different title and few additional chapters.

    Dani is befriended--against her own better judgment--by a young therapist named Grace Beaumont, who helps Dani make it through the ordeal of bringing the attacker to justice.

    Jones's I'm Open to Anything explores bohemian Southern California of the late 1980s and early 90s, before gentrification ruined everything. The book's narrator flees a crumbling industrial wasteland in the Midwest and finds himself in sunny Los Angeles without a car, working in a neighborhood video store and spending many hours watching films. He explores his adopted city and befriends a number of men, most of them immigrants, who teach him the finer points of sex. He acquires the skill of fisting, giving his partners intense pleasure, and at the same time hearing the stories of their lives. They too have fled their hometowns: one to escape torture at the hands of a Salvadoran death squad; another to study anthropology after years of wandering and religious questioning. Alternating between explicit scenes of kinky sex and intimate conversations about matters of life and death, I'm Open to Anything is a porno novel of rare ambition and humor. The book recalls Olympia Press's heyday, when authors made quick money churning out dirty books, but couldn't hide the intellectual obsessions that made them writers in the first place. William E. Jones's previous book, True Homosexual Experiences (also published by We Heard You Like Books), a biography of Straight to Hell's iconoclastic editor Boyd McDonald, celebrates the frank, raunchy language of the first queer 'zine. Jones brings the same unsparing and profane attitude to I'm Open to Anything, his debut novel.

    One of the first filmmakers to project an unabashed gay sensibility onto screen, Jarman creates here a montage of autobiography, interviews, and social history that shifts back and forth through time, resulting in an intriguing portrait of his personal and artistic growth from the 1940s to the present. Jarman is able to distill the essence of an era with just a few well-chosen anecdotes. He is outraged at what he sees as the complicit passivity of the British government's response to the AIDS epidemic; throughout, he drops the uncaring words of government officials like deadly bombs. Some readers may find his honesty brazen and offensive, but Jarman is truly a spokesman for his tribe, a teacher and a sage who, while staring death in the face, keeps his eyes open to report back with a deep understanding of what is important to the gay community. Highly recommended.- Jeffery Ingram, Newport P.L., Ore.Copyright 1992 Reed Business Information, Inc.

    Nobody could have expected what would happen when the story continued. Collected here is the entire trilogy of Chuck Tingle’s history making Space Raptor Butt series.SPACE RAPTOR BUTT INVASIONSpace can be a lonely place, especially when you’re stationed by yourself on the distant planet Zorbus. In fact, Lance isn’t quite sure that can last the whole year before his shuttle pod arrives, but when a mysterious visitor appears at Lance’s terraforming station, he quickly realizes that he might not be so alone after all. Soon enough, Lance becomes close with this mysterious new astronaut, a velociraptor. Together, they form an unlikely duo, which quickly begins to cross the boundaries of friendship into something much, much more sensual. It’s not gay if it’s a man and a dinosaur, is it? SPACE RAPTOR BUTT REDEMPTIONAfter a year stationed on planet Zorbus, astronaut Lance Tanner and his raptor lover Orion return home to find that they are not greeted as heroes, but as villains. Unbeknownst to Lance, his space travels have been funded by the villainous Scoundrels Inc, a corporation that has deep ties to the illegal trade of unicorn tears and a destructive mining project at the core of the earth. Now Lance is on trial for a number of false charges; from having connections to the wicked Scoundrels, to being too strange for space. The opposing lawyer argues that space is only for serious astronauts, and that love between a raptor and a man is giving space travel a bad name. Lance is arguing that there’s room to be weird in space. More importantly, Lance is arguing for the idea of love itself; that just because something comes out of darkness doesn’t mean it can’t become a beacon of light. Of course, this all culminates in a hardcore dinosaur on astronaut pounding that will have your jaw on the courtroom floor! SPACE RAPTOR BUTT ASCENSIONSoon after blasting off on their mission to find refuge for the people of Earth 1 on the dinosaur inhabited Earth 2, Orion and his space raptor lover Lance find a spaceship stow away, the notorious CEO of Scounrels Inc, Vam Dox. Vam claims that his intentions are pure, but it’s hard to trust such a sad, strange man. After landing in Hugona, the planet capital of Earth 2, our heroes restrain Vam Dox and head off to secure an important diplomatic relationship with the pterodactyl president, but that’s when all hell breaks loose. Soon, Vam Dox is storming the capital with a band of rabid dogs, and Lance and Orion are wrongly taking the blame! Fortunately, Lance and Orion know that the only cure for evil this strong is to prove their love in a hardcore gay encounter at the steps of the capital building. When the smoke clears, will Vam Dox be revealed as the super villain that he claims to be, or a meek, lonesome manbaby who is starved for attention?

    Martin writes poems that seek out moments when the box buckles, or breaks, poems that suggest there is more. Life in a Box is a Pretty Life continues Martin's investigation into what is produced in the interstices between the body, experience, and language, and how alternative narratives can yield some other knowledge about what it means to be black (or female, or queer) in contemporary America.

    New home. New job. New town. She's moved in with her politically-active best friend from university who has promised to find Millie a date before Christmas.  When news that the local head of the council, Nightmare Nightingale, has decided that there will be no Christmas tree in the town centre that year, Millie is quick to pick up a placard and join the protests. After all, what is Christmas without a tree? But Millie soon discovers that Professor Kay Nightingale isn't quite the nightmare she is painted to be.  What will happen when Millie gets closer to Kay? How will she explain the confusing relationship to her friends? And will there be a Christmas tree in the end?

    LGBT Studies. In her Los Angeles Review of Books essay "Who Is Who: Pronouns, Gender, and Merging Selves," Dana Levin describes Stacey Waite's fusion of gender identities: "Pseudonyms, heteronyms, personae, all the ventriloquizing literary arts; point of view and tonal shifts: these are tools for speakers and speaking. But the sentence too has a voice: 'i will not be the kind of boy who can not bear the memory of her body'... This is [Waite's] genius...to take innocuous syntactical phrasing and change the players mid-sentence--to get around English's pronominal either/or by creating a syntactical both/and...."

    In Proxies an original constraint, a “total suppression of recourse to authoritative sources,” engineers Brian Blanchfield’s disarming mode of independent intellection. The “repeatable experiment” to draw only from what he knows, estimates, remembers, and misremembers about the subject at hand often opens onto an unusually candid assessment of self and situation. The project’s driving impulse, courting error, peculiar in an era of crowd-sourced Wiki-knowledge, is at least as old as the one Montaigne had when, putting all the books back on the shelf, he asked, “What do I know?”

    It is clear that the author is madly in love, not only with her partner for whom she writes both idiosyncratic and sultry poems for, but in love with language, in love with queerness, in love with the therapeutic process of bankrupting the politics of shame. These poems tackle gun violence, toxic masculinity, LGBTQ* struggles, suicidality, and the oppression of women's bodies, while maintaining a vivid wildness that the tongue aches to speak aloud. Known best for breathtaking last lines and truths that will bowl you over, Drive Here and Devastate Me will "relinquish you from the possibility of meeting who you could have been, and regretting who you became."

    Estranged from his parents and his older brother, he moves in with forty-one-year-old William and begins a disastrous series of attempts to make a new home. Must he make a choice between his family and desire? First published to wide acclaim in 1999, Lawnboy by Paul Lisicky wanders the lush and tumultuous landscape of the early 1990s, its south Florida setting as fertile and troubling as Evan's inner life.

    – Shubhangi Swarup (Latitudes of Longing)

    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.”

    In passages that are arousing, thoughtful, and funny, he details a scene of unrivaled sexual hedonism. First and foremost an erotic record, Wild Animals I Have Known is also the diary of a bookish, terrified, exuberantly promiscuous, and laughably romantic gay man’s exploits during the heyday of San Francisco’s gay bohemia. “[Bentley’s] writing is direct, intelligent, savagely funny, and very, very erotic.” — Kevin Dax, author of D.O.C. Lust Letters

    In Life of the Party, she weaves together her own coming of age with an investigation into our culture's romanticization of violence against women. In precise, searing language—at times blistering and riotous, at times soulful and exuberant—she explores the boundary between what is real and what is imagined in a life saturated with fear. How does one grow from a girl to a woman in a world wracked by violence? Where is the line between perpetrator and victim? What is the meaning of bravery? Visceral and haunting, this multifaceted collection illustrates that what happens to our bodies makes us who we are.