June is the Pride month and we have hand-picked the greatest queer classics to spread love and positivity. This collector's collection is a testimony to the versatile writers and poets from the past whose works were throughout the ages - subversive, celebratory, or simply in your face. So come and celebrate the month of love and acceptance. Content: The Picture of Dorian Gray Mrs. Dalloway Joseph and His Friend Regiment of Women Bertram Cope's Year The Green Carnation This Finer Shadow Cecil Dreeme The Satyricon The Sins of the Cities of the Plain Sappho: One Hundred Lyrics The History of Sir Richard Calmady Carmilla

NATIONAL BESTSELLER A NEW YORK TIMES BOOK REVIEW EDITORS' CHOICE Proclaimed as “truly spellbinding,” a “great fable” that “functions as transporting romance” by the Guardian, the runaway #1 international bestseller "A rich, gothic entertainment that explores what books have trapped inside them and reminds us of the power of storytelling. Spellbinding.” — TRACY CHEVALIER Imagine you could erase grief. Imagine you could remove pain. Imagine you could hide the darkest, most horrifying secret. Forever. Young Emmett Farmer is working in the fields when a strange letter arrives summoning him away from his family. He is to begin an apprenticeship as a Bookbinder—a vocation that arouses fear, superstition, and prejudice amongst their small community, but one neither he nor his parents can afford to refuse. For as long as he can recall, Emmett has been drawn to books, even though they are strictly forbidden. Bookbinding is a sacred calling, Seredith informs her new apprentice, and he is a binder born. Under the old woman’s watchful eye, Emmett learns to hand-craft the elegant leather-bound volumes. Within each one they will capture something unique and extraordinary: a memory. If there’s something you want to forget, a binder can help. If there’s something you need to erase, they can assist. Within the pages of the books they create, secrets are concealed and the past is locked away. In a vault under his mentor’s workshop rows upon rows of books are meticulously stored. But while Seredith is an artisan, there are others of their kind, avaricious and amoral tradesman who use their talents for dark ends—and just as Emmett begins to settle into his new circumstances, he makes an astonishing discovery: one of the books has his name on it. Soon, everything he thought he understood about his life will be dramatically rewritten. An unforgettable novel of enchantment, mystery, memory, and forbidden love, The Binding is a beautiful homage to the allure and life-changing power of books—and a reminder to us all that knowledge can be its own kind of magic.

No one raises an eyebrow if you suggest that a guy who arranges his furniture just so, rolls his eyes in exaggerated disbelief, likes techno music or show tunes, and knows all of Bette Davis's best lines by heart might, just possibly, be gay. But if you assert that male homosexuality is a cultural practice, expressive of a unique subjectivity and a distinctive relation to mainstream society, people will immediately protest. Such an idea, they will say, is just a stereotype-ridiculously simplistic, politically irresponsible, and morally suspect. The world acknowledges gay male culture as a fact but denies it as a truth. David Halperin, a pioneer of LGBTQ studies, dares to suggest that gayness is a specific way of being that gay men must learn from one another in order to become who they are. Inspired by the notorious undergraduate course of the same title that Halperin taught at the University of Michigan, provoking cries of outrage from both the right-wing media and the gay press, How To Be Gay traces gay men's cultural difference to the social meaning of style. Far from being deterred by stereotypes, Halperin concludes that the genius of gay culture resides in some of its most despised features: its aestheticism, snobbery, melodrama, adoration of glamour, caricatures of women, and obsession with mothers. The insights, impertinence, and unfazed critical intelligence displayed by gay culture, Halperin argues, have much to offer the heterosexual mainstream.

In 2003, Osama al-Kharrat returns to Beirut after many years in America to stand vigil at his father's deathbed. As the family gathers, stories begin to unfold: Osama's grandfather was a hakawati, or storyteller, and his bewitching tales are interwoven with classic stories of the Middle East. Here are Abraham and Isaac; Ishmael, father of the Arab tribes; the beautiful Fatima; Baybars, the slave prince who vanquished the Crusaders; and a host of mischievous imps. Through Osama, we also enter the world of the contemporary Lebanese men and women whose stories tell a larger, heartbreaking tale of seemingly endless war, conflicted identity, and survival. With The Hakawati, Rabih Alameddine has given us an Arabian Nights for this century.

Following a stray football to the other side of a wall where there is a secret, Standish Treadwell discovers astonishing truths about a moon landing that the overseeing Motherland, a ruthless regime, is determined to hide.

Since the mid-1980s, the Islamic Republic of Iran has permitted, and partially subsidized, sex reassignment surgery. In Professing Selves, Afsaneh Najmabadi explores the meaning of transsexuality in contemporary Iran. Combining historical and ethnographic research, she describes how, in the postrevolutionary era, the domains of law, psychology and psychiatry, Islamic jurisprudence, and biomedicine became invested in distinguishing between the acceptable "true" transsexual and other categories of identification, notably the "true" homosexual, an unacceptable category of existence in Iran. Najmabadi argues that this collaboration among medical authorities, specialized clerics, and state officials—which made transsexuality a legally tolerated, if not exactly celebrated, category of being—grew out of Iran's particular experience of Islamicized modernity. Paradoxically, state regulation has produced new spaces for non-normative living in Iran, since determining who is genuinely "trans" depends largely on the stories that people choose to tell, on the selves that they profess.

When she was only twenty-three, Carson McCullers's first novel created a literary sensation. She was very special, one of America's superlative writers who conjures up a vision of existence as terrible as it is real, who takes us on shattering voyages into the depths of the spiritual isolation that underlies the human condition. This novel is the work of a supreme artist, Carson McCullers's enduring masterpiece. The heroine is the strange young girl, Mick Kelly. The setting is a small Southern town, the cosmos universal and eternal. The characters are the damned, the voiceless, the rejected. Some fight their loneliness with violence and depravity, Some with sex or drink, and some -- like Mick -- with a quiet, intensely personal search for beauty. "From the Paperback edition."

A happily misanthropic Middle East divorcee finds refuge in books in a “beautiful and absorbing” novel of late-life crisis (The New York Times). Aaliya is a divorced, childless, and reclusively cranky translator in Beirut nurturing doubts about her latest project: a 900-page avant-garde, linguistically serpentine historiography by a late Chilean existentialist. Honestly, at seventy-two, should she be taking on such a project? Not that Aailiya fears dying. Women in her family live long; her mother is still going crazy. But on this lonely day, hour-by-hour, Aaliya’s musings on literature, philosophy, her career, and her aging body, are suddenly invaded by memories of her volatile past. As she tries in vain to ward off these emotional upwellings, Aaliya is faced with an unthinkable disaster that threatens to shatter the little life she has left. In this “meditation on, among other things, aging, politics, literature, loneliness, grief and resilience” (The New York Times), Alameddine conjures “a beguiling narrator . . . who is, like her city, hard to read, hard to take, hard to know and, ultimately, passionately complex” (San Francisco Chronicle). A finalist for the National Book Critics Circle Award and the National Book Award, An Unnecessary Woman is “a fun, and often funny . . . grave, powerful . . . [and] extraordinary” Washington Independent Review of Books) ode to literature and its power to define who we are. “Read it once, read it twice, read other books for a decade or so, and then pick it up and read it anew. This one’s a keeper” (The Independent)

From Sappho to Shakespeare to Cole Porter–a marvelous and wide-ranging collection of classic gay and lesbian love poetry. The poets represented here include Walt Whitman, Hart Crane, Gertrude Stein, Federico García Lorca, Djuna Barnes, Constantine Cavafy, Elizabeth Bishop, W. H. Auden, and James Merrill. Their poems of love are among the most perceptive, the most passionate, the wittiest, and the most moving we have. From Michelangelo’s “Love Misinterpreted” to Noël Coward’s “Mad About the Boy,” from May Swenson’s “Symmetrical Companion” to Muriel Rukeyser’s “Looking at Each Other,” these poems take on both desire and its higher power: love in all its tender or taunting variety.

From the winner of the Nobel Prize for Literature, a novel that satisfies as much as it challenges. Eddie Twyborn is bisexual and beautiful, the son of a Judge and a drunken mother. With this androgynous hero - Eudoxia/Eddie/Eadith Twyborn - and through his search for identity, for self-affirmation and love in its many forms, Patrick White takes us on a journey into the ambiguous landscapes, sexual, psychological and spiritual, of the human condition.