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During her sophomore year at Middlebury College, Emily meets Max—“you” as she intimately refers to him in the book. Not exactly a tomboy, but not quite a girly girl either, Emily is intent on finding a masculine boyfriend to assuage a deeply rooted fear that she may not be quite feminine enough. Max—a boisterous class clown beloved by his many straight guy friends—has recently come out as gay and is embracing his newly claimed identity. Initially, Max and Emily dislike each other, but end up growing close after a make-out dare on Halloween.

Carl Phillips has aptly described his work as an “ongoing quest”; Then the War is the next step in that meaningful process of self-discovery for both the poet and his listener. The new poems, written in a time of rising racial conflict in the United States, with its attendant violence and uncertainty, find Phillips entering deeper into the landscape he has made his own: a forest of intimacy, queerness, and moral inquiry, where the farther we go, the more difficult it is to remember why or where we started.

Debut full-length book of poetry from PEN Emerging Voices Fellow, this interdisciplinary, daring project combines poetry, art exhibition, & educational instillation, akin to Claudia Rankine's "Citizen," to manifest a future and a universe where Black, queer, nonbinary, feminine, and all marginalized people live in peace & joy.

Mary Magdalene POP Icon is the second poetry chapbook from Elizabeth Fern Jensen, a feminist transgender poet who explores the life and legacy of Saint Mary Magdalene. This book is a continuation of Jensen’s celebration of Mary Magdalene as a powerful feminist icon and seeks to uncover the truth about her life and contributions to society.

Bloody Mary Magdalene is Elizabeth Fern Jensen's third chapbook, a collection of poems that reveals the poet's visions of Mary Magdalene, along with her experiences during her stay at an inpatient mental hospital. Through the lens of her transgender identity and feminist activism, Jensen explores the complex relationship between the Divine Feminine and the patriarchal structures of the world, and how Mary Magdalene embodies the struggle for liberation and healing.

Fall into this collection of poetry and prose inspired by healing and being open to love again, perfect for fans of Rupi Kaur and Courtney Peppernell.

From Tiktok phenomenon Whitney Hanson comes a revised edition of her bestselling Home, now with a new introduction and more than a dozen new poems. Resonant, raw, and vibrant, Home is a lyrical map to navigating heartbreak. Tracing the stages of healing—from the despair that comes with the end of a relationship to the eventual light and liberation that comes with time—the poems in Home provide comfort and solace, while revitalizing your soul—and helping you make peace with your bees.

In her second large collection of poetry, Jenna Citrus chronicles her adventures with diet as poison, the new aboration laws, and her search to find a way to express her bisexuality while in a heterosexual relationship.

A new poetry collection from Britain's foremost truth-teller, in Divisible by Itself and One Kae Tempest masterfully steers a path between their more public-facing performance and dramatic work and the contemplative voice that came to the fore in Running Upon the Wires. Questions of integrity – hence the prime number of the title – are addressed in direct, affecting terms: how can we be true to ourselves while under constant pressure to conform? Throughout the poems, ideas of form – of the body, gender, and in nature – resurface and resolve.

In Trace Evidence, the urgent follow-up to his award-winning debut Into Each Room We Enter without Knowing, Charif Shanahan continues his piercing meditations on the intricacies of mixed-race identity, queer desire, time, mortality, and the legacies of anti-Blackness in the US and abroad. With rich lyricism, power, and tenderness, Trace Evidence centers the racial periphery and excavates the vestiges of our violent colonial past in the most intimate aspects of our lives.

“Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” Guided by a devastatingly precise hand, Wound from the Mouth of a Wound—selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry—challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates “buckteeth & ulcer.” She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead.

Marlanda Dekine’s debut collection is a holy, radical unlearning and reclamation of self. What does it mean to be a Gullah-Geechee descendant from a rural place where a third of the nation’s founding wealth was harvested by trafficked West and Central Africans? Dekine’s poems travel across age and time, signaling that both the past and future exist in the present. Through erasure and persona, Dekine reimagines and calls to task the Works Progress Administration narratives, modern-day museums, and intergenerational traumas.

La colección «Poesía portátil» nos brinda en No creo poder tocar el cielo con las manos una traducción inédita de algunos de los escasos textos que se conservan de la poeta griega Safo, figura clave en la tradición poética femenina europea.

A follow up to "I Watched Through Windows".

These artfully crafted poems capture the thrill of sex and love, sorrow and joy, and all the nuances in between. Written by a Greek American gay poet who is at once businessman, athlete, and avid reader and writer, The Oculus is a journey of the eye. It captures the contradictions of memory, constantly evolving and unresolved, seen through the wisdom of the present.

Poetry. Literary nonfiction. Fiction. Drama. LGBTQIA studies. Women's studies. Compiled in one book for the first time, featuring both new and out-of-print pieces, the contents of The Judy Grahn Reader span four decades of work by the prominent writer and activist. This volume contains writing from every phase of Judy Grahn's career, including poems from all of her major poetry collections, a number of her groundbreaking essays, as well as selected fiction and the full-length play The Queen of Swords.

Secrets Unfolded: And Not a Care Was Given illustrates the experience of an unapologetic person that chooses to capitalize on the private innerworkings of their life to make money.

In the early 1990s, eight people living in a small conservative Florida town alleged that Dr. David Acer, their dentist, infected them with HIV. David's gayness, along with his sickly appearance from his own AIDS-related illness, made him the perfect scapegoat and victim of mob mentality. In these early years of the AIDS epidemic, when transmission was little understood, and homophobia rampant, people like David were villainized. Accuser Kimberly Bergalis landed a People magazine cover story, while others went on talk shows and made front page news.

Part expression, part confession, part question, it is an intimate look at the impact of mental illness, trauma, and neglect. A critical dissection of the interconnected roles that family, religion, society, education, and government play, as well as their impacts upon an individual. A commentary on current affairs, historical trends, and the bleak potential of our collective future, Can’t Quite Express is also both an example of, and an encouragement for, writing therapy.

Toda la obra de Federico García Lorca está rodeada de misterio, toda vez que las balas asesinas de Franco le arrebataron la vida. Y aún más aquellas partes de su obra que podemos considerar inacabadas. Es el caso de "Sonetos del amor oscuro", el único texto conocido en el que el poeta habla abiertamente del amor entre dos hombres. Once composiciones de una belleza inigualable, escritas durante el último año de su vida, que no sabemos si iban a formar parte de un determinado conjunto o de qué forma Lorca las había concebido.