Rachel Lacey‘s READ BETWEEN THE LINES, pitched as an #OwnVoices sapphic retelling of You’ve Got Mail, featuring a bisexual bookstore owner and a property developing corporate executive with more than one secret, to Lauren Plude at Montlake, in an exclusive submission, in a two-book deal, by Sarah Younger at Nancy Yost Literary Agency (world).
Katharine Schellman‘s LAST CALL AT THE NIGHTINGALE, an #OwnVoices queer murder mystery set in 1920s New York, where a seamstress escapes drudgery at a speakeasy, but when she discovers a body behind the club, she finds herself caught between the dangers of New York’s underground and the world of the city’s wealthy and careless, where money can hide any sin and the lives of the poor are considered disposable—including her own, to Nettie Finn at Minotaur, in a two-book deal, for publication in summer 2022, by Whitney Ross at Irene Goodman Agency (NA).
2020 National Book Foundation 5 under 35 honoree and author of BESTIARY K-Ming Chang‘s RESIDENT ALIENS, a short story collection that evokes the splendor and peculiar nature of families, the grotesque and wondrous parts of the body, and the wild and poignant battles of queer love, to Nicole Counts at One World, by Julia Kardon at HG Literary.
Ally Wilkes‘s ALL THE WHITE SPACES, set in the Heroic Age of Antarctic exploration, in which a trans man narrates the fate of an expedition as something unnamed and terrible picks off his shipmates one by one, against the backdrop of the pitch-black polar night, to Lara Jones at Emily Bestler Books, in a good deal, in a pre-empt, in a two-book deal, for publication in spring 2022, by Oliver Munson at A.M. Heath (NA).
Helena Greer‘s MY FIRST NOELLE, pitched as a queer and Jewish Hallmark-style holiday rom-com about a free-spirited bisexual artist who’s forced to return home when she inherits her family’s Christmas tree farm, and has an unexpected romance with the farm’s grumpy butch manager, to Amy Pierpont and Sam Brody at Forever, in a two-book deal, for publication in winter 2022, by Rebecca Podos at Rees Literary Agency (world).
Winner of the 60th Gunzo New Writer’s Award for Excellence in 2017 Li Kotomi‘s SOLO DANCE, depicting the painful coming-of-age of a gay woman in Taiwan and the salaryman’s world in Japan; an account of a person’s search for hope after trauma and depression, to Judith Uyterlinde at World Editions (Netherlands), in a nice deal, in a pre-empt, for publication in fall 2022, by Li Kangqin at New River Literary (world English).
Three-time Pushcart prize winner and Stegner fellow Lydia Conklin’s RAINBOW RAINBOW, a collection of stories exploring the complex inner lives of queer, trans, and nonbinary characters, pitched as appealing to fans of Garth Greenwell, Jenny Zhang, and Katherine Dunn, to Leigh Newman at Catapult, for publication in June 2022, by Samantha Shea at Georges Borchardt.
Center for Fiction First Novel Prize nominee Celia Laskey’s THE BRIDESMAID, exploring contemporary female friendship, platonic queer-straight dynamics, and the absurdity of the wedding industrial complex; and UNDER THE RAINBOW, her debut novel, to Cicely Aspinall at HQ, at auction, in a two-book deal, by Jennifer Helinek at Trident Media Group, on behalf of Alexa Stark.
Hazel Newlevant‘s QUEER AND HOW WE GOT HERE, in which the author blends their personal story of coming out with explorations of important moments from queer history to draw a parallel between the growth of a community and the growth of the author’s personal identity, to Andrea Colvin at Little, Brown Children’s, in an exclusive submission, for publication in early 2024, by Tanya McKinnon at McKinnon Literary (world).
Will Taylor‘s THE LANGUAGE OF SEABIRDS, in which a 12-year-old boy confined to two weeks at a beach house with his freshly divorced father meets a local boy and his world is flipped as he struggles find some way to share the truths flooding his heart—things he’s never spoken to anyone, not even himself, to David Levithan at Scholastic, for publication in summer 2022, by Brent Taylor at TriadaUS Literary Agency (world).
Detroit-based illustrator and designer Oli Franey’s MONSTER CRUSH, pitched as BEETLE AND THE HOLLOWBONES meets Teen Wolf, in which a 16-year-old closes herself off from the world after her parents split, until she meets a girl; as the two of them fight off school bullies, the girl accidentally reveals her ability to transform into a monstrous beast, and reveals the world of monsters, to Brett Israel at Dark Horse, for publication in 2023, by Claire Draper at The Bent Agency (world English).
Young Adult Fiction
Epic Reads founder Margot Wood‘s FRESH, a queer coming-of-age story that follows a freshman at Emerson College as she navigates the highs and lows of her first year away from home, to Maggie Lehrman at Abrams Children’s, at auction, for publication in fall 2021, by Joanna Volpe at New Leaf Literary & Media (world English).
Author of THE DEAD AND THE DARK Courtney Gould’s ECHO SUNSET, following two sisters who, after their mother dies, learn about her mysterious ties to an isolated Arizona town; when they decide to investigate, nothing and no one is who they seem, including the daughter of the town’s enigmatic leader, to Jennie Conway at Wednesday Books, for publication in 2022, by Claire Friedman and Jessica Mileo at Inkwell Management (NA).
Illustrator and comic artist on Tapas The Kao’s MAGICAL BOY, in which a trans man just trying to get through high school as his true self has his life turned upside down when he discovers that he is descended from a long line of magical girls tasked with defending humanity from a dark, ancient evil; with a sassy feline sidekick and loyal group of friends by his side, he must take on his destiny, save the world, and become the first magical boy, to Michael Moccio at Scholastic, for publication in fall 2021, by Liz Parker at Verve Talent & Literary (world).
Author of the #murdertrending series and GET EVEN Gretchen McNeil‘s DIG TWO GRAVES, pitched as a YA Strangers on a Train with a queer twist in which a school pariah meets her new best friend at summer camp where they jokingly fantasize about killing each other’s bullies, until those fantasies become disturbing realities and she finds herself blackmailed into committing murder, to Kieran Viola at Disney-Hyperion, in a two-book deal, by Ginger Clark at Curtis Brown (world).
Author of ACE OF SHADES Amanda Foody and author of THE DEVOURING GRAY Christine Lynn Herman‘s ALL OF US VILLAINS, set in a blood-soaked city, where seven families compete every generation in a tournament to the death for control of high magic; one powerful, villainous family has won nearly every tournament, but this year, thanks to a salacious tell-all book, each of the other families has the means to win, to Melissa Frain at Tor Teen, with Ali Fisher editing, in a major deal, at auction, in a two-book deal, for publication in fall 2021 and 2022, by Whitney Ross at Irene Goodman Agency for Foody, and by Kelly Sonnack at Andrea Brown Literary Agency for Herman (world English).
Naz Kutub‘s THE LOOPHOLE, pitched as a speculative SIMON VS. THE HOMO SAPIENS AGENDA with a focus on identity, found family, and friendship, following a queer Indian Muslim boy traveling the world for a second chance at love after a possibly magical heiress grants him three wishes, to Claire Stetzer at Bloomsbury Children’s, in a very nice deal, in a pre-empt, in a two-book deal, for publication in spring 2022, by Natalie Lakosil at Bradford Literary Agency (world).
Cayla Keenan’s RAVENSONG, the first in a contemporary fantasy duology with Northeastern Gothic vibes, in which a 17-year-old girl is one third of a war goddess triad, sworn to slay demons with her sisters and guard the gate to hell in their coastal town, yet is stuck in high school, counting down the days until her 18th birthday, when her powers fully unlock—until she meets a girl with secrets of her own who’ll force her to choose between duty and love, to Amanda Ramirez at Simon & Schuster Children’s, in a pre-empt, in a two-book deal, for publication in spring 2023, by Patrice Caldwell at New Leaf Literary & Media (NA).
Dahlia Adler ed.’s AT THE STROKE OF MIDNIGHT, a collection of classic fairy tales reimagined by authors Melissa Albert, Tracy Deonn, Hafsah Faizal, Brigid Kemmerer, Stacey Lee, Darcie Little Badger, Malinda Lo, Alex London, Anna-Marie McLemore, Rebecca Podos, Rory Power, Meredith Russo, Justin Reynolds, and Randy Ribay, to Sarah Barley at Flatiron Books, for publication in fall 2022, by Patricia Nelson at Marsal Lyon Literary Agency (world).
Andrea Mosqueda’s debut JUST YOUR LOCAL BISEXUAL DISASTER, following a self-described romantic disaster, a bisexual Chicana living in the Rio Grande Valley, as she tries to figure out whom she wants to ask to be her escort at her little sister’s upcoming quinceanera: her charming ex-boyfriend twice over, her first crush and gorgeous best friend, or the mysterious new girl with the romantic baggage?, to Kat Brzozowski at Feiwel and Friends, for publication in 2022, by Lauren Macleod at The Strothman Agency (world English).
Saundra Mitchell’s OUT THERE, the future-set third and final anthology in a series that began with the historical ALL OUT and contemporary OUT NOW; its contributors include Kayla Ancrum, Kalynn Bayron, Z Brewer, Mason Deaver, Alechia Dow, ZR Ellor, Leah Johnson, Naomi Kanakia, Claire Kann, Alex London, Jim McCarthy, Abdi Nazemian, Emma K. Ohland, AJ Sass, Nita Tyndall, and two slots to be filled through an open call, to Natashya Wilson at Inkyard Press, for publication in spring 2022, by Jim McCarthy at Dystel, Goderich & Bourret (world).
Sunday Times Young Writer of the Year finalist for his poetry collection TONGUES OF FIRE Sean Hewitt‘s ALL DOWN DARKNESS WIDE, an excavation of the year following his partner’s suicide attempt, a confrontation with the specters of shame, and a love letter to queer literature that illuminates a path ahead, to Caroline Sydney at Penguin Press, in a pre-empt, by Adam Eaglin at The Cheney Agency on behalf of Matthew Marland at Rogers, Coleridge & White (NA).
Cultural historian, performer, Leverhulme Early Career Fellow in English at the University of Cambridge, and BBC New Generation Thinker Diarmuid Hester’s NOTHING EVER JUST DISAPPEARS: A NEW HISTORY OF QUEER CULTURE THROUGH ITS SPACES, a history of queer identity from the late 1800s to the present, following seven artists and writers whose lives and work are inextricable from a sense of place, including E.M. Forster, Josephine Baker, Claude Cahun, James Baldwin, and Derek Jarman; interweaving their stories with the author’s own experiences as a queer person, arguing for the centrality of place in the formation of identity, culture, and politics, while showing all that is lost when queer spaces are forgotten, to Maria Bedford at Allen Lane, at auction, for publication in November 2022, by Matthew Marland at Rogers, Coleridge & White (world English).
Sibling duo, journalist, and archivist Alison Nastasi and PJ Nastasi’s QUEER ICONS AND THEIR CATS, a celebration of LGBTQ+ icons past and present, and their furry feline friends, to Bridget Watson Payne at Chronicle, with Natalie Butterfield editing, for publication in May 2021 (world).
Today on the site I’m thrilled to have two authors with new YA releases out this month! You may already know Mark Oshiro from Anger is a Gift and Lauren Shippen from The Infinite Noise, and they’re both here to discuss their work, its themes, and what’s up next! (And make sure you check out the September New Releases post for info and buy links for Each of Us a Desert and A Neon Darkness!) The authors have jumped right into their conversation, and so shall we!
Lauren: Mark!! It is so wonderful to talk to you, virtually, as we’ve been doing for the past few months with online book events! We’ve both been making the social distancing rounds for Pride Month events to promote our upcoming books – my second novel, A Neon Darkness, and your new book, Each of Us a Desert. Both of our stories center queer characters and have themes of self-discovery, love, and companionship. For me, the theme of self-discovery is the big one. The protagonist of A Neon Darkness, Robert Gorham, arrives in LA as a lost eighteen year old with a terrible supernatural power and discovers a group of people like him who help him learn more about himself. The whole novel is a discussion about how we define ourselves – is it our intentions or our actions that matter – and about how communities of people and found family help hone those definitions. Rob learns about himself through the eyes of the people he’s learning to love and they, in turn, learn about themselves and their limits. It’s a dark book to be sure, filled with difficult choices. Each of Us a Desert is also about difficult choices, and the consequences of those choices – how do those themes feature in your book?
Mark: HI, LAUREN! I wish this wasn’t digital I WANT TO YELL AT YOUR FACE ABOUT YOUR BOOK. This shall suffice, though!
There’s a lot in Each of Us a Desert that works as a reaction–conscious or not–to what I tried to deal with in Anger is A Gift, my debut. I definitely went into this new book wanting to talk about queerness in a different way. Moss already had his wonderful community in his friends, but that wasn’t my experience growing up. I was eager to explore the notion of queerness in rural communities, and how that intersects with feeling isolated. So many of us grew up in places where we saw out and happy queer people far away from where we lived. Desert doesn’t deal in homophobia–it doesn’t really exist in the world I created–but rather uses a fantastical narrative to speak in metaphor for this experience, which is still centered on two girls who are desperate for someone to see them for who they really are. To me, that’s what love is in all its forms: being seen. Like, TRULY seen!
I was very conscious of what sort of queer representation I was putting on the page, too. I wanted a dark, challenging struggle, but I also didn’t want to repeat what I’d done in Anger. This HAD to be a happy ending. So I’m curious, especially since A Neon Darkness is so much darker than The Infinite Noise: How do you address that balance between joy and tragedy in a queer narrative?
Lauren: Someday in the hopefully not too distant future we can stand in the same spot and yell at each other because I want to SCREAM ABOUT YOUR BOOK TOO.
I love that you brought up that homophobia doesn’t really exist in this world you’ve created and that you were insistent on a happy ending. There is such a place in my heart for those difficult coming out stories, those tragic star-crossed romances, but DAMN! Queer folx need HEAs too and we don’t get them in media nearly as much as we should. That was something I decided when I created the world of The Bright Sessions: homophobia is almost a completely distant memory in this alternate universe and coming out is never traumatic.
Now, that being said, plenty of difficult and traumatic things happen to my characters and I can’t claim a happy ending for everyone inA Neon Darkness. In writing a darker story, I made sure to focus on the fact that any of the tragedy the characters endure isn’t because they are queer. The central queer relationship in the story, between Neon and Indah, brings them joy and also sorrow–but that’s real life relationships! The sorrow they experience isn’t because they’re two women in a relationship, it’s because human relationships are hard. Which is something Robert discovers as well–the tragedies he experiences and the ones he inflicts aren’t a result of his or anyone’s sexuality. Robert goes on his own journey of trying to figure out what he wants in intimate relationships in this book and, even though he doesn’t land anywhere specific by the end, the tragedy is not his inability to define his sexuality, but his inability to connect at all.
Life is full of joy and pain, regardless of how you identify, so in our beautiful, homophobia-free worlds, queer characters are free to go through struggles unrelated to their sexuality. BUT that doesn’t mean the struggles they experience are easy: Xo and Emilia go on quite the journey in Each of Us a Desert and I’m curious how you went about building certain elements of that journey. Writing violence and its horrible consequences is not new for you, but I’m always so enraptured by how you’re able to write difficult, visceral things that are frightening and real, but that never leave me feeling unsafe as a reader. How do you do that??? How do you write violence in a YA setting without it going too far?
Mark: Look, I RELATE TO THIS SO MUCH. Because Anger is a much more dark and more traumatic novel for reasons that are obvious, and I love that you say that you’re trying to find that darkness outside of homophobia, too. I love fiction that is challenging and intense and scary, and we need more queer stories like that, too.
ANYWAY. I would love to tell you I planned everything out ahead of time and fully intended for Xochitl’s and Emilia’s respective journeys to end up as they did when I first began writing the book. But Emilia didn’t even exist until like… the second rewrite. The original draft of Desert was a very different story and a different genre, but it still contained a long journey across a frightening, mysterious desert.
The answer is editing. I was inspired by my editor, Miriam Weinberg, to pursue a much more fantastical story, and almost ALL of the worldbuilding and those frightening moments were created over two sessions at a Le Pain Quotidien in Manhattan. This might make fantasy purists furious, but I crafted all the worldbuilding for the characters, not the other way around. Everything happens and exists to support the journey I came up with, and so I believe there’s a much more intimate sense of stakes and drama because of that. So when I was coming up with the pesadillas–the nightmares that come to life–the character was fully formed and real at that point. So any violence happening… I knew it was happening to a person. I tried to construct the more horrific stuff with empathy in mind. Why is this person seeing this terrifying manifestation? And how can the reader understand it?
I feel like empathy is a HUGE theme across your work, both on your podcast and in your two novels. Like… your work is about stepping into someone else’s shoes and understanding them. How do you see the intersection of empathy and queerness within your fiction? Do you think that fiction can provide empathy for other people?
Lauren: I love what you said about the violence happening to a real person. It isn’t devoid of context. I think if any fantasy purists take issues with how you’ve built your world, they’ve missed the point completely. World building that comes from character first is so powerful, and it’s why your world feels so real and high-stakes. The consequences feel grounded because your characters are grounded.
That’s how I try to approach everything too–I always start with character and build outwards. And you’re absolutely right that empathy is a huge theme. It’s really the only way I know how to write characters at all. I try to understand everyone I create, even the villains, and feel empathy for them and their choices, even when I intellectually understand that they might be bad ones.
For me, queerness is just another element of a character’s being and because I’m queer too, I never think much about how I feel empathy for that aspect of their experience–it’s baked right in. But I do focus on how the other characters approach it within the world and, similarly to the “no homophobia” rule, I always have their queerness met with empathy.
I really do think that fiction can be a force for good and for changing the way people see the world, and the thing I’m always trying to do is just show that queer people are human. It feels so silly to say that to another queer author, for an interview we’re doing for a queer publication, but we both know that there’s still a lot of people out there who have a hard time processing that concept! I want to help those people feel empathy for a person they were taught not to feel empathy for and that means feeling empathy for the WHOLE person. I want my queer characters to be flawed and messy and kind and challenging; I want them to be human, and all the pros and cons that come with that.
I ADORE that all of that scary and fantastical stuff was ideated in a Le Pain Quotidien–not only is the juxtaposition of the incredible world you created and a perfectly normal restaurant a wonderful image, but it really does speak to the power of fiction and how our imaginations can transport us. This is your first fantasy novel – how do queerness and fantasy intersect in your work? And more broadly, what do you think about the way queerness fits into the fantasy genre overall?
Mark: Wow, I’m seriously so mad we don’t get to do this in person. I feel like we could just go back and forth on this stuff forever.
Like you, it’s a default when I’m writing. I center queer people of color in my fiction because we have historically been left out of this world, and I want younger queer kids to see themselves in ways I do not. I came into fantasy more as an adult, so I’ve also had the luxury of getting to see so many rich depictions of queerness in fantasy, but I know it’s been a struggle. What’s so frustrating about it is how much push back there’s been against this sort of realism. (And that’s what it is: realism. The world has queer people in it, the end? It’s not a point to be debated.) I grew up seeing this in multiple genres, but its application to the fantasy world is infuriating because… we can literally do what we want in secondary fantasy. Why are we holding to gender binary? Or to a monotony in sexual identity? How can you imagine a world of dragons and magic and wizards and witches and a million different things we don’t have in our world, but the imagination doesn’t extend to queerness?
So with Each of Us a Desert, I wanted that queerness to be upfront: you meet queer people along the journey. You see Xochitl’s own growing desire for another woman and the conflict that comes from not knowing whether she’s right for her or if this is even the right time to be having feelings of that sort. But there’s a metaphorical element to it all, too: This is a book about being a rural queer person and feeling left out of the world. Granted, where I grew up was geographically large (Riverside, CA), but it felt like a small town. I lived next to a wildlife preserve, I had lots of friends who grew up on farms, and all the cool shit in the world was happening so, so far away. What happens when you feel isolated? When you haven’t found your community where you live and you ache so fully to escape?
If you can’t tell, I love writing about gay angst IT IS MY ENTIRE CHILDHOOD.
Lauren: Yes!! I cannot WAIT to speak with you in person someday soon and talk about all the ways in which fantasy and scifi are the perfect genres in which to break all the binaries and have queerness thrive. I can’t wait to read how everything we’ve discussed will manifest in your upcoming work–that YA contemporary especially sounds terrifying and wonderful! I’m exploring more fantastical elements myself at the moment as I finish up my third and final novel in The Bright Sessions universe, about a girl named Rose who can walk inside people’s dreams. The protagonist of A Neon Darkness appears in that final book as well, so I hope people grab it when it comes out on September 29th, 2020. Thank you so much for talking with me virtually, Mark, and happy happy Pride!!
MarkOshiro is the young adult author of Anger is a Gift (Tor Teen), winner of the 2019 Schneider Family Book Award and nominated for a 2019 Lammy Award, as well as Each of Us a Desert and their middle grade debut, The Insiders. When they are not writing, crying on camera about fictional characters for their online Mark Does Stuff universe, or traveling, Mark is busy trying to fulfill their lifelong goal: to pet every dog in the world.
Lauren Shippen is a writer most known for her work in fiction podcasts. She was the creator and sole writer of the popular audio drama The Bright Sessions. She went on to executive produce The AM Archives and co-produce Passenger List before founding Atypical Artists, a company dedicated to audio storytelling. She wrote MARVELS, an audio adaptation of the popular comic, set for release in 2019 by Marvel and Stitcher. She was named one of Forbes 2018 30 Under 30 in Media and one of MovieMaker Magazine and Austin Film Festival’s 25 Screenwriters to Watch. Shippen grew up in New York, where she spent most of her youth reading and going to Panic! at the Disco shows. She now lives in Los Angeles, where she does the same thing. Visit her at www.LaurenShippen.com and on social @laurenshippen.
From the bestselling author of She’s Not There: A Life in Two Genders, Good Boy is a memoir that explores seven crucial moments of growth and transformation in Boylan’s life, accompanied by seven unforgettable dogs.
“Boylan’s newest book is a touching look at the different identities she’s inhabited through her many furry friends—whose love has been a constant in a life marked by change.” —O, The Oprah Magazine, “44 LGBTQ Books That Are Changing the Literary Landscape in 2020”
The pirate Florian, born Flora, has always done whatever it takes to survive—including sailing under false flag on the Dove as a marauder, thief, and worse. Lady Evelyn Hasegawa, a highborn Imperial daughter, is on board as well—accompanied by her own casket.
But Evelyn’s one-way voyage to an arranged marriage in the Floating Islands is interrupted when the captain and crew show their true colors and enslave their wealthy passengers.
Both Florian and Evelyn have lived their lives by the rules, and whims, of others. But when they fall in love, they decide to take fate into their own hands—no matter the cost.
What he needs is for his favorite author to release another one of her sexy supernatural novels and more people to sign up for the romance book club that he fears is slowly and steadily losing its steam. He also needs for the new employee at his local bookstore to stop making fun of him for reading things meant for “grandmas.”
The very last thing he needs is for that same employee, Rex Bailey, to waltz into his living room and ask to join Meet Cute Club. Despite his immediate thoughts—like laughing in his face and telling him to kick rocks—Jordan decides that if he wants this club to continue thriving, he can’t turn away any new members. Not even ones like Rex, who somehow manage to be both frustratingly obnoxious and breathtakingly handsome.
As Jordan and Rex team up to bring the club back from the ashes, Jordan soon discovers that Rex might not be the arrogant troll he made himself out to be, and that, like with all things in life, maybe he was wrong to judge a book by its cover.
Felix Love has never been in love—and, yes, he’s painfully aware of the irony. He desperately wants to know what it’s like and why it seems so easy for everyone but him to find someone. What’s worse is that, even though he is proud of his identity, Felix also secretly fears that he’s one marginalization too many—Black, queer, and transgender—to ever get his own happily-ever-after.
When an anonymous student begins sending him transphobic messages—after publicly posting Felix’s deadname alongside images of him before he transitioned—Felix comes up with a plan for revenge. What he didn’t count on: his catfish scenario landing him in a quasi–love triangle….
But as he navigates his complicated feelings, Felix begins a journey of questioning and self-discovery that helps redefine his most important relationship: how he feels about himself.
Alani Baum, a non-binary photographer and teacher, hasn’t seen their mother since they ran away with their girlfriend when they were seventeen — almost thirty years ago. But when Alani gets a call from a doctor at the assisted living facility where their mother has been for the last five years, they learn that their mother’s dementia has worsened and appears to have taken away her ability to speak. As a result, Alani suddenly find themselves running away again — only this time, they’re running back to their mother.
Staying at their mother’s empty home, Alani attempts to tie up the loose ends of their mother’s life while grappling with the painful memories that—in the face of their mother’s disease — they’re terrified to lose. Meanwhile, the memories inhabiting the house slowly grow animate, and the longer Alani is there, the longer they’re forced to confront the fact that any closure they hope to get from this homecoming will have to be manufactured.
The Art of Drag by Jake Hall, ill. by Sofie Birkin, Helen Li, Jasjyot Singh Hans (5th)
The history of drag has been formed by many intersections: fashion, theatre, sexuality and politics–all coming together to create the show stopping entertainment millions witness today. In this extensive work, Jake Hall delves deep into the ancient beginnings of drag, to present day and beyond. Vibrant illustrations enhance the rich history from Kabuki theatre to Shakespearean, the revolutionary Stonewall riots to the still thriving New York ballroom scene. Nothing will go undocumented in this must-have documentation of all things drag.
“Toward what goal do I aspire, ever, but collision? Always accident, concussion, bodies butting together . . . By collision I also mean metaphor and metonymy: operations of slide and slip and transfuse.”
In his new nonfiction collection, poet, artist, critic, novelist, and performer Wayne Koestenbaum enacts twenty-six ecstatic collisions between his mind and the world. A subway passenger’s leather bracelet prompts musings on the German word for stranger; Montaigne leads to the memory of a fourth-grade friend’s stinky feet. Koestenbaum dreams about a hand job from John Ashbery, swims next to Nicole Kidman, reclaims Robert Rauschenberg’s squeegee, and apotheosizes Marguerite Duras as a destroyer of sentences. He directly proposes assignments to readers: “Buy a one-dollar cactus, and start anthropomorphizing it. Call it Sabrina.” “Describe an ungenerous or unkind act you have committed.” “Find in every orgasm an encyclopedic richness . . . Reimagine doing the laundry as having an orgasm, and reinterpret orgasm as not a tiny experience, temporally limited, occurring in a single human body, but as an experience that somehow touches on all of human history.” Figure It Out is both a guidebook for, and the embodiment of, the practices of pleasure, attentiveness, art, and play.
Skyler, Ellie, Scarlett and Amelia Grace are forced to spend the summer at the lake house where their moms became best friends.
One can’t wait. One would rather gnaw off her own arm than hang out with a bunch of strangers just so their moms can drink too much wine and sing Journey two o’clock in the morning. Two are sisters. Three are currently feuding with their mothers.
One almost sets her crush on fire with a flaming marshmallow. Two steal the boat for a midnight joyride that goes horribly, awkwardly wrong. All of them are hiding something.
One falls in love with a boy she thought she despised. Two fall in love with each other. None of them are the same at the end of the summer.
A young teenager stays a step ahead of her parents’ sexuality-based restrictions by running away and learns a very different set of rules. A woman grieves the loss of a sister, a “gay divorce,” and the pain of unacknowledged abuse with the help of a lone wallaby on a farm in Washington State. A professor of women’s and gender studies revels in academic and sexual power but risks losing custody of the family dog.
In Corinne Manning’s stunning debut story collection, a cast of queer characters explore the choice of assimilation over rebellion. In this historical moment that’s hyperaware of and desperate to define even the slowest of continental shifts, when commitment succumbs to the logic of capitalism and nobody knows what to call each other or themselves—Gay? Lesbian? Queer? Partners? Dad?—who are we? And if we don’t know who we are, what exactly can we offer each other?
Spanning the years 1992 to 2019, and moving from New York to North Carolina to Seattle, the eleven first-person stories in We Had No Rules feature characters who feel the promise of a radically reimagined world but face complicity instead.
Have you ever met someone and felt like you’ve known them in a thousand different lifetimes?
Lindsay Hall was a high school senior when she and her friend Patty discovered peach schnapps, listened to a past-life hypnosis CD, and got an up-close look at who she once was. And who she used to love. The knowledge of her past life has always haunted Lindsay. As her ex-husband is happy to point out, it’s made her a pretty crappy partner, too. Even her teenage daughter has politely suggested that she “get the eff over it.” Except she didn’t say eff.
Ren Christopher just wants a quick break before she starts a new job in London. She’s just extracted herself from a not-brief-enough, drama-filled relationship. A few weeks relaxing, drinking too much wine, and hanging with her old college friend Patty is just what the doctor ordered. No pressure, no expectations, and absolutely no drama.
Everything is perfect until Lindsay faints at the sight of Ren.
It’s the late 1960s in McKinney, Texas. At the downtown theater and the local drive-in, movies—James Bond, My Fair Lady, Alfie, and Dr. Zhivago—feed the dreams and obsessions of a ten-year-old Clarke who loves Audrey, Elvis, his family, and the handsome boy in the projector booth. Then Clarke loses his beloved mother, and no one will tell him how she died. No one will tell her either. She is floating above the trees and movie screens of McKinney, trapped between life and death, searching for a glimpse of her final moments on this earth. Clarke must find the shattering truth, which haunts this darkly humorous and incredibly moving novel.
Living in a small town where magic is frowned upon, Sam needs his friends James and Delia—and their time together in their school’s magic club—to see him through to graduation.
But as soon as senior year starts, little cracks in their group begin to show. Sam may or may not be in love with James. Delia is growing more frustrated with their amateur magic club. And James reveals that he got mixed up with some sketchy magickers over the summer, putting a target on all their backs.
With so many fault lines threatening to derail his hopes for the year, Sam is forced to face the fact that the very love of magic that brought his group together is now tearing them apart—and there are some problems that no amount of magic can fix.
Nishat doesn’t want to lose her family, but she also doesn’t want to hide who she is, and it only gets harder once a childhood friend walks back into her life. Flávia is beautiful and charismatic, and Nishat falls for her instantly. But when a school competition invites students to create their own businesses, both Flávia and Nishat decide to showcase their talent as henna artists. In a fight to prove who is the best, their lives become more tangled―but Nishat can’t quite get rid of her crush, especially since Flávia seems to like her back.
As the competition heats up, Nishat has a decision to make: stay in the closet for her family, or put aside her differences with Flávia and give their relationship a chance.
More than five years in the making, Mark Gevisser’s The Pink Line: The World’s Queer Frontiers is a globetrotting exploration of how the human rights frontier around sexual orientation and gender identity has come to divide—and describe—the world in an entirely new way over the first two decades of the twenty-first century. No social movement has brought change so quickly and with such dramatically mixed results. While same-sex marriage and gender transition is celebrated in some parts of the world, laws are being strengthened to criminalize homosexuality and gender nonconformity in others. A new Pink Line, Gevisser argues, has been drawn across the world, and he takes readers to its frontiers.
In between sharp analytical chapters about culture wars, folklore, gender ideology, and geopolitics, Gevisser provides sensitive and sometimes startling profiles of the queer folk he’s encountered on the Pink Line’s front lines across nine countries. They include a trans Malawian refugee granted asylum in South Africa and a gay Ugandan refugee stuck in Nairobi; a lesbian couple who started a gay café in Cairo after the Arab Spring, a trans woman fighting for custody of her child in Moscow, and a community of kothis—“women’s hearts in men’s bodies”—who run a temple in an Indian fishing village.
Eye-opening, moving, and crafted with expert research, compelling narrative, and unprecedented scope, The Pink Line is a monumental—and vital—journey through the border posts of the world’s new LGBTQ+ frontiers.
New Year’s Eve, 1929. Millie is the emcee of the Cloak & Dagger, an LGTQ-friendly speakeasy deep in the heart of the French Quarter, full of bootleg booze, cabaret acts, and where the New Orleans elite comes out to play. Her best friend, Marion, is the star of the show–his diehard fans wouldn’t miss a performance from the boy in the red dress. And together they rule the underground scene.
Then a young socialite draped in furs starts asking questions, wielding a photograph of a boy who looks a lot like Marion. When the socialite’s body is found slumped in the back alley, all signs point to Marion as the murderer. Millie is determined to prove her best friend’s innocence, even if that means risking her own life. As she chases clues that lead to cemeteries and dead ends, Millie’s attention is divided between the wry and beautiful Olive, a waitress at the Cloak & Dagger, and Bennie, the charming bootlegger who’s offered to help her find the murderer. The clock is ticking for the fugitive Marion, but the truth of who the killer is might be closer than Millie thinks.
Emma Lane’s forced to face her fears when her mother unceremoniously dumps her on the doorstep of Camp Mapplewood, abandoning her for the summer while she heads off on a cruise with her latest husband. It’s the last place Emma wants to be with no shortage of creepy creatures, keen campers, and mandatory activities that she fears will hinder managing her anxiety and depression. When Emma breaks into the tool shed on her first day there, the fall out from her escapades leads her right into the path of her counsellor Vivian Black, and nothing is ever the same.
This is the second book in the Magic in Manhattan seriesNew York, 1925
Psychometric Rory Brodigan’s life hasn’t been the same since the day he met Arthur Kenzie. Arthur’s continued quest to contain supernatural relics that pose a threat to the world has captured Rory’s imagination—and his heart. But Arthur’s upper-class upbringing still leaves Rory worried that he’ll never measure up, especially when Arthur’s aristocratic ex arrives in New York.
For Arthur, there’s only Rory. But keeping the man he’s fallen for safe is another matter altogether. When a group of ruthless paranormals throws the city into chaos, the two men’s strained relationship leaves Rory vulnerable to a monster from Arthur’s past.
With dark forces determined to tear them apart, Rory and Arthur will have to draw on every last bit of magic up their sleeves. And in the end, it’s the connection they’ve formed without magic that will be tested like never before.
Hannah Walsh just wants a normal life. It’s her senior year, so she should be focusing on classes, hanging out with her best friend, and flirting with her new girlfriend, Morgan. But it turns out surviving a murderous Witch Hunter doesn’t exactly qualify as a summer vacation, and now the rest of the Hunters seem more intent on destroying her magic than ever.
When Hannah learns the Hunters have gone nationwide, armed with a serum capable of taking out entire covens at once, she’s desperate to help. Now, with witches across the country losing the most important thing they have—their power—Hannah could be their best shot at finally defeating the Hunters. After all, she’s one of the only witches to escape a Hunter with her magic intact.
Or so everyone believes. Because as good as she is at faking it, doing even the smallest bit of magic leaves her in agony. The only person who can bring her comfort, who can make her power flourish, is Morgan. But Morgan’s magic is on the line, too, and if Hannah can’t figure out how to save her—and the rest of the Witches—she’ll lose everything she’s ever known. And as the Hunters get dangerously close to their final target, will all the Witches in Salem be enough to stop an enemy determined to destroy magic for good?
Everyone knows about the dare: Each week, Bryson Keller must date someone new–the first person to ask him out on Monday morning. Few think Bryson can do it. He may be the king of Fairvale Academy, but he’s never really dated before.
Until a boy asks him out, and everything changes.
Kai Sheridan didn’t expect Bryson to say yes. So when Bryson agrees to secretly go out with him, Kai is thrown for a loop. But as the days go by, he discovers there’s more to Bryson beneath the surface, and dating him begins to feel less like an act and more like the real thing. Kai knows how the story of a gay boy liking someone straight ends. With his heart on the line, he’s awkwardly trying to navigate senior year at school, at home, and in the closet, all while grappling with the fact that this “relationship” will last only five days. After all, Bryson Keller is popular, good-looking, and straight…right?
The team at King’s Row must face the school that defeated them in the fencing state championships last year, but first Nicholas and Seiji must learn to work together as a team…and maybe something more!
Just as Nicholas, Seiji and the fencing team at the prodigious Kings Row private school seem to be coming together, a deadly rival from their past stands in their way once more. MacRobertson is the school that knocked Kings Row out of the State Championships last year – but unless Nicholas and Seiji can learn to work together as a team, their school is doomed once again! And maybe those two can learn to be something more than teammates too…
For the first time, best-selling novelist C.S. Pacat (Captive Prince) and popular online sensation Johanna The Mad present the next all-new thrilling chapter in the story of Nicholas Cox’s entry into the world of competitive fencing where scoring points is the name of the game—but finding out who you really are is the only way to truly win!
In this bewitching first novel, a sensitive teen, newly arrived in Alabama, falls in love, questions his faith, and navigates a strange power. While his German parents don’t know what to make of a South pining for the past, shy Max thrives in the thick heat. Taken in by rowdy football players, he learns how to catch a spiraling ball, point a gun, and hide his innermost secrets. When Max meets fishnet-wearing Pan in physics class, they embark on an all-consuming relationship: Max tells Pan about his supernatural powers, and Pan tells Max about the snake poison initiations of a local church. The boys, however, aren’t sure what is more frightening—embracing their true selves, or masking their true selves. Evoking Dorothy Allison, Lambda Award finalist Genevieve Hudson offers a nuanced portrait of masculinity, immigration, and the adolescent pressures that require total conformity—in short, a twenty-first-century South that would have been unimaginable to the late Harper Lee.
My Maddy by Gayle E. Pitman and Anne Passchier (25th)
My Maddy has hazel eyes which are not brown or green. And my Maddy likes sporks because they are not quite a spoon or a fork.
Some of the best things in the world are not one thing or the other. They are something in between and entirely their own.
Randall Ehrbar, PsyD, offers an insightful note with more information about parents who are members of gender minority communities, including transgender, gender non-binary, or otherwise gender diverse people.
The first book to foreground the voices and experiences of autistic trans people, this collection of interviews explores questions of identity and gender from a neurodiverse perspective and examines how this impacts family, work, healthcare and religion.
Sixteen-year-old Randy Kapplehoff loves spending the summer at Camp Outland, a camp for queer teens. It’s where he met his best friends. It’s where he takes to the stage in the big musical. And it’s where he fell for Hudson Aaronson-Lim – who’s only into straight-acting guys and barely knows not-at-all-straight-acting Randy even exists.
This year, though, it’s going to be different. Randy has reinvented himself as ‘Del’ – buff, masculine, and on the market. Even if it means giving up show tunes, nail polish, and his unicorn bedsheets, he’s determined to get Hudson to fall for him.
But as he and Hudson grow closer, Randy has to ask himself how much is he willing to change for love. And is it really love anyway, if Hudson doesn’t know who he truly is?
Intimacy has always eluded twenty-seven-year-old Maggie Krause—despite being brought up by married parents, models of domestic bliss—until, that is, Lucia came into her life. But when Maggie’s mom, Iris, dies in a car crash, Maggie returns home only to discover a withdrawn dad, an angry brother, and, along with Iris’s will, five sealed envelopes, each addressed to a mysterious man she’s never heard of.
In an effort to run from her own grief and discover the truth about Iris—who made no secret of her discomfort with her daughter’s sexuality—Maggie embarks on a road trip, determined to hand-deliver the letters and find out what these men meant to her mother. Maggie quickly discovers Iris’s second, hidden life, which shatters everything Maggie thought she knew about her parents’ perfect relationship. What is she supposed to tell her father and brother? And how can she deal with her own relationship when her whole world is in freefall?
Told over the course of a funeral and shiva, and written with enormous wit and warmth, All My Mother’s Lovers is the exciting debut novel from fiction writer and book critic Ilana Masad. A unique meditation on the universality and particularity of family ties and grief, and a tender and biting portrait of sex, gender, and identity, All My Mother’s Lovers challenges us to question the nature of fulfilling relationships.
Hollywood powerhouse Jo is photographed making her assistant Emma laugh on the red carpet, and just like that, the tabloids declare them a couple. The so-called scandal couldn’t come at a worse time—threatening Emma’s promotion and Jo’s new movie.
As the gossip spreads, it starts to affect all areas of their lives. Paparazzi are following them outside the office, coworkers are treating them differently, and a “source” is feeding information to the media. But their only comment is “no comment”.
With the launch of Jo’s film project fast approaching, the two women begin to spend even more time together, getting along famously. Emma seems to have a sixth sense for knowing what Jo needs. And Jo, known for being aloof and outwardly cold, opens up to Emma in a way neither of them expects. They begin to realize the rumor might not be so off base after all…but is acting on the spark between them worth fanning the gossip flames?
Fairest is a memoir about a precocious boy with albinism, a “sun child” from a rural Philippine village, who would grow up to become a woman in America. Coping with the strain of parental neglect and the elusive promise of U.S. citizenship, Talusan found childhood comfort from her devoted grandmother, a grounding force as she was treated by others with special preference or public curiosity. As an immigrant to the United States, Talusan came to be perceived as white. An academic scholarship to Harvard provided access to elite circles of privilege but required Talusan to navigate through the complex spheres of race, class, sexuality, and her place within the gay community. She emerged as an artist and an activist questioning the boundaries of gender. Talusan realized she did not want to be confined to a prescribed role as a man, and transitioned to become a woman, despite the risk of losing a man she deeply loved.
A follow-up to the critically acclaimed All Out anthology, Out Now features seventeen new short stories from amazing queer YA authors. Vampires crash prom, aliens run from the government, a president’s daughter comes into her own, a true romantic tries to soften the heart of a cynical social media influencer, a selkie and the sea call out to a lost soul. Teapots and barbershops, skateboards and VW vans, Street Fighter and Ares’s sword: Out Now has a story for every reader and surprises with each turn of the page!
Pony just wants to fly under the radar during senior year. Tired from all the attention he got at his old school after coming out as transgender, he’s looking for a fresh start at Hillcrest High. But it’s hard to live your best life when the threat of exposure lurks down every hallway and in every bathroom.
Georgia is beginning to think there’s more to life than cheerleading. She plans on keeping a low profile until graduation…which is why she promised herself that dating was officially a no-go this year.
Then, on the very first day of school, the new guy and the cheerleader lock eyes. How is Pony supposed to stay stealth when he wants to get close to a girl like Georgia? How is Georgia supposed to keep her promise when sparks start flying with a boy like Pony?
Rowan has too many secrets to write down in the pages of a diary. And if he did, he wouldn’t want anyone he knows to discover them. He understands who he is and what he likes, but it’s not safe for others to know. Now, the kids at school say he’s too different to spend time with. He’s not the “right kind” of girl, and he’s not the “right kind” of boy. His mom ignores him. And at night, his dad hurts him in ways he’s not ready to talk about yet.
But Rowan discovers another way to share his secrets: letters. Letters he attaches to balloons and releases into the universe, hoping someone new will read them and understand. But when he befriends a classmate who knows what it’s like to be lonely and scared, even at home, Rowan realizes that there might already be a person he can trust right by his side.
Iris Turner hightailed it out of Salty Cove, Maine, without so much as a backward glance. Which is why finding herself back in her hometown—in her childhood bedroom, no less—has the normally upbeat Iris feeling a bit down and out. Her spirits get a much-needed lift, though, at the sight of the sexy girl next door.
No one knows why Jude Wicks is back in Salty Cove, and that’s just how she likes it. Jude never imagined she’d be once again living in her parents’ house, never mind hauling lobster like a local. But the solitude is just what she needs—until Iris tempts her to open up.
A no-strings summer fling seems like the perfect distraction for both women. Jude rides a motorcycle, kisses hard and gives Iris the perfect distraction from her tangled mess of a life. But come September, Iris is still determined to get out of this zero-stoplight town.
That is, unless Jude can give her a reason to stay…
Alice lives in a world of stifling privilege and luxury – but none of it means anything when your own head plays tricks on your reality. When her troubled friend Bunny goes missing, Alice becomes obsessed with finding her. On the trail of her last movements, Alice discovers a mysterious invitation to ‘Wonderland’: the party to end all parties – three days of hedonistic excess to which only the elite are welcome.
Will she find Bunny there? Or is this really a case of finding herself? Because Alice has secrets of her own, and ruthless socialite queen Paisley Hart is determined to uncover them, whatever it takes.
Alice is all alone, miles from home and without her essential medication. She can trust no-one, least of all herself, and now she has a new enemy who wants her head…
Jake D’Arcy has spent most of his twenty-nine years trying to get his life just right. He’s nearly there: great girlfriend, great friends, stable job. A distant relationship with his boisterous family – which is exactly the way he wants it. So why does everything feel so wrong?
When his popular, irritatingly confident teenage brother Trick comes out as gay to a rapturous response, Jake realises he has questions about his own repressed bisexuality, and that he can’t wait any longer to find his answers.
As Trick begins to struggle with navigating the murky waters of adult relationships, Jake begins a journey that will destroy his relationship with girlfriend Amelia, challenge his closest friendships, and force him to face up to the distance between him and his family – but offers new friends, fewer inhibitions, and a glimpse of the magnificent life he never thought could be his.
It’s such a great feeling when you read a wonderful debut and know it’s just the beginning for a fabulous new voice, especially in queer lit. YA has seen some incredible social justice books in the last couple of years, and I’m so excited that this excellent queer one is in the mix, especially since it’s Under the Gaydar and also has a really phenomenal and superqueer secondary cast as well. Do yourself and YA lit in general a favor and grab this one as soon as it releases on May 22, or better yet, use those links at the bottom and preorder it now!
A story of resilience and loss, love and family, Mark Oshiro’s Anger is a Gift testifies to the vulnerability and strength of a community living within a system of oppression.
Six years ago, Moss Jefferies’ father was murdered by an Oakland police officer. Along with losing a parent, the media’s vilification of his father and lack of accountability has left Moss with near crippling panic attacks.
Now, in his sophomore year of high school, Moss and his fellow classmates find themselves increasingly treated like criminals their own school. New rules. Random locker searches. Constant intimidation and Oakland Police Department stationed in their halls. Despite their youth, the students decide to organize and push back against the administration.
When tensions hit a fever pitch and tragedy strikes, Moss must face a difficult choice: give in to fear and hate or realize that anger can actually be a gift.