40th anniversary reprinting of a beloved fable-manifesto from the 1970s queer counterculture.

Thirty-nine-year-old Fred Lemish had always hoped that love would find him by the age of forty, and with four days to go, he begins a compulsive, yet humorous, search for that love and commitment, in a classic novel of gay life. Reprint.

A dark satire about an amusement park more deranged than anything Disney could imagine: a playland for gay men called Faggotland. Castle Faggot is Derek McCormack's darkest and most delicious book yet, a satire of sugary cereals and Saturday morning cartoons set in an amusement park more deranged than anything Disney dreamed up. At the heart of the park is Faggotland, a playland for gay men, and Castle Faggot, the darkest dark ride in the world. Home to a cartoon Dracula called Count Choc-o-log, the castle is decorated with the corpses of gays—some were killed, some killed themselves, all ended up as décor. The book includes a map of Faggotland, a photobook of the castle, the instructions for a castle-shaped dollhouse, and the novelization of a TV puppet show about Count Choc-o-log and his friends—reminiscent of the classic stop-motion special Rudolph the Red-Nosed Reindeer, but even gayer and more grotesque. As scatological as Sade but with a Hanna-Barbera vibe, Castle Faggot transmutes McCormack's love of the lurid and the childlike, of funhouses and sickhouses, into something furiously funny: as Edmund White says, “the mystery of objects, the lyricism of neglected lives, the menace and nostalgia of the past—these are all ingredients in this weird and beautiful parallel universe.”

A basic text for radical faeries, but very loose on historic veracity.--Jim Kepner.

An unconventional history of homosexuality We all remember Oscar Wilde, but who speaks for Bosie? What about those ‘bad gays’ whose unexemplary lives reveal more than we might expect? Many popular histories seek to establish homosexual heroes, pioneers, and martyrs but, as Huw Lemmey and Ben Miller argue, the past is filled with queer people whose sexualities and dastardly deeds have been overlooked despite their being informative and instructive. Based on the hugely popular podcast series of the same name, Bad Gays asks what we can learn about LGBTQ+ history, sexuality and identity through its villains, failures, and baddies. With characters such as the Emperor Hadrian, anthropologist Margaret Mead and notorious gangster Ronnie Kray, the authors tell the story of how the figure of the white gay man was born, and how he failed. They examine a cast of kings, fascist thugs, artists and debauched bon viveurs. Imperial-era figures Lawrence of Arabia and Roger Casement get a look-in, as do FBI boss J. Edgar Hoover, lawyer Roy Cohn, and architect Philip Johnson. Together these amazing life stories expand and challenge mainstream assumptions about sexual identity: showing that homosexuality itself was an idea that emerged in the nineteenth century, one central to major historical events. Bad Gays is a passionate argument for rethinking gay politics beyond questions of identity, compelling readers to search for solidarity across boundaries.

A meditation on the trauma and possibility of searching for connection in a world that enforces bland norms of gender, sexual, and social conformity. When you turn the music off, and suddenly you feel an unbearable sadness, that means turn the music back on, right? When you still feel the sadness, even with the music, that means there's something wrong with this music. Sometimes I feel like sex without context isn't sex at all. And sometimes I feel like sex without context is what sex should always be.--The Freezer Door The Freezer Door records the ebb and flow of desire in daily life. Crossing through loneliness in search of communal pleasure in Seattle, Mattilda Bernstein Sycamore exposes the failure and persistence of queer dreams, the hypocritical allure of gay male sexual culture, and the stranglehold of the suburban imagination over city life. Ferocious and tender, The Freezer Door offers a complex meditation on the trauma and possibility of searching for connection in a world that relentlessly enforces bland norms of gender, sexual, and social conformity while claiming to celebrate diversity.

One of the most influential thinkers of her generation draws us into the lives of three women, all past their first youth, all facing unexpected crises in these three “immensely intelligent stories about the decay of passion” (The Sunday Herald Times). Suffused with de Beauvoir’s remarkable insights into women, The Woman Destroyed gives us a legendary writer at her best. Includes "The Age of Discretion," "The Monologue," and "The Woman Destroyed." "Witty, immensely adroit...These three women are believable individuals presented with a wry mixture of sympathy and exasperation." —The Atlantic

100 Essays I Don't Have Time to Write is an incisive, idiosyncratic collection on life and theater from major American playwright Sarah Ruhl. This is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life. Sarah Ruhl is a mother of three and one of America's best-known playwrights. She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy."

Those Barren Leaves is a satirical novel by Aldous Huxley, published in 1925. The title is derived from the poem 'The Tables Turned' by William Wordsworth which ends with the words: Enough of Science and of Art; Close up those barren leaves; Come forth, and bring with you a heart That watches and receives. Stripping the pretensions of those who claim a spot among the cultural elite, it is the story of Mrs. Aldwinkle and her entourage, who are gathered in an Italian palace to relive the glories of the Renaissance. For all their supposed sophistication, they are nothing but sad and superficial individuals in the final analysis.