In this wry and hilarious queer romantic comedy, fifteen-year-old Phoebe realizes that falling in love is maybe not just for losers. Did you know you can marry yourself? How strange / brilliant is that? Fifteen-year-old Phoebe thinks falling in love is vile and degrading, and vows never to do it. Then, due to circumstances not entirely in her control, she finds herself volunteering at a local thrift shop. There she meets Emma . . . who might unwittingly upend her whole theory on life. This is a laugh-out-loud exploration of sexuality, family, female friendship, grief, and community. With the heart and hilarity of Netflix's critically-acclaimed Sex Education, Wibke Brueggemann's sex positive debut is required reading for Generation Z teens. Think of this as Bridget Jones' Diary, if it were written by Bridget's daughter.

From a global icon, a bold, essential account of how a fear of gender is fueling reactionary politics around the world. Judith Butler, the groundbreaking thinker whose iconic book Gender Trouble redefined how we think about gender and sexuality, confronts the attacks on “gender” that have become central to right-wing movements today. Global networks have formed “anti-gender ideology movements” that are dedicated to circulating a fantasy that gender is a dangerous, perhaps diabolical, threat to families, local cultures, civilization―and even “man” himself. Inflamed by the rhetoric of public figures, this movement has sought to nullify reproductive justice, undermine protections against sexual and gender violence, and strip trans and queer people of their rights to pursue a life without fear of violence. The aim of Who’s Afraid of Gender? is not to offer a new theory of gender but to examine how “gender” has become a phantasm for emerging authoritarian regimes, fascist formations, and transexclusionary feminists. In their vital, courageous new book, Butler illuminates the concrete ways that this phantasm of “gender” collects and displaces anxieties and fears of destruction. Operating in tandem with deceptive accounts of “critical race theory” and xenophobic panics about migration, the anti-gender movement demonizes struggles for equality, fuels aggressive nationalism, and leaves millions of people vulnerable to subjugation. An essential intervention into one of the most fraught issues of our moment, Who’s Afraid of Gender? is a bold call to refuse the alliance with authoritarian movements and to make a broad coalition with all those whose struggle for equality is linked with fighting injustice. Imagining new possibilities for both freedom and solidarity, Butler offers us a hopeful work of social and political analysis that is both timely and timeless―a book whose verve and rigor only they could deliver.

On October 7, 1998, a young gay man was discovered bound to a fence outside Laramie, Wyoming, savagely beaten and left to die in an act of brutality and hate that shocked the nation. Matthew Shepard’s death became a national symbol of intolerance, but for the people of the town, the event was deeply personal. In the aftermath, Moisés Kaufman and members of the Tectonic Theater Project went to Laramie and conducted more than 200 interviews with its people. From the transcripts, the playwrights constructed an extraordinary chronicle of life in the town after the murder. Since its premiere, The Laramie Project has become a modern classic and one of the most-performed theater pieces in America.         Now, in this expanded edition, The Laramie Project: Ten Years Later adds an essential sequel to the original work. Revisiting the town a decade after the tragedy, the troupe finds a community grappling with its legacy and its place in history. The two plays together comprise an epic and deeply moving theatrical cycle that explores the life of an American town over the course a decade.  

On the occasion of the twenty-fifth anniversary of its first publication, here is the definitive edition of the book acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker). The Pulitzer Prize-winning Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler’s Europe, and his son, a cartoonist coming to terms with his father’s story. Maus approaches the unspeakable through the diminutive. Its form, the cartoon (the Nazis are cats, the Jews mice), shocks us out of any lingering sense of familiarity and succeeds in “drawing us closer to the bleak heart of the Holocaust” (The New York Times). Maus is a haunting tale within a tale. Vladek’s harrowing story of survival is woven into the author’s account of his tortured relationship with his aging father. Against the backdrop of guilt brought by survival, they stage a normal life of small arguments and unhappy visits. This astonishing retelling of our century’s grisliest news is a story of survival, not only of Vladek but of the children who survive even the survivors. Maus studies the bloody pawprints of history and tracks its meaning for all of us.

The first installment of the Pulitzer Prize-winning graphic novel acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker). A brutally moving work of art—widely hailed as the greatest graphic novel ever written—Maus recounts the chilling experiences of the author’s father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats. Maus is a haunting tale within a tale, weaving the author’s account of his tortured relationship with his aging father into an astonishing retelling of one of history's most unspeakable tragedies. It is an unforgettable story of survival and a disarming look at the legacy of trauma.

When Emile’s aunt declares he must marry or be disowned for being gay—he runs away to hide as a servant in Count Montoni’s mansion. In their service, Emile tends to the family who all suffer a strange affliction on the full moon. And after overhearing suspicious family arguments, he finds a body on the estate, drawing the attention of a handsome doctor as well as the count’s charismatic nephew, Henri. Before Emile can sort out his affections or unravel the growing Montoni family mystery, his identity is revealed and his aunt comes to collect him.When she arrives, Count Montoni forces everyone to depart to the remote Udolpho Castle—where there are no witnesses and no chance for escape. There, Emile realizes that he will have to risk his life to find the love he deserves—and survive the Montoni family.

「私のたったひとり大切で大好きな親友だもん」　同棲して2年の彼氏に突然フラれた宝（たから）は、勤務先の不動産会社で中2の頃の同級生・エマと偶然出会う。昔とは雰囲気が変わったエマの変化に戸惑いつつも、旧友との再会を喜ぶ宝。でもふとした瞬間、あることを思い出し…!?　33歳の今日、何かが動き出す――。

What would you do if you suddenly realized you were living in the world of boys’ love?! Could you avoid the tropes? It’s a BL-manga world, and unfortunately for our straight-as-an-arrow protagonist, he has only just discovered this! As a means of evading all the hotties after him for some of that sweet, sweet lovin’, he studies every BL manga he can get his hands on to become a master of spotting their tropes. His evasive maneuvers prove effective…for now. But this is the world of boys’ love, and fancy footwork can only get you so far! Could you avoid the tropes?

Librarian's Note: An alternate cover edition can be found here In April, 1992, a young man from a well-to-do family hitchhiked to Alaska and walked alone into the wilderness north of Mt. McKinley. His name was Christopher Johnson McCandless. He had given $25,000 in savings to charity, abandoned his car and most of his possessions, burned all the cash in his wallet, and invented a new life for himself. Four months later, a party of moose hunters found his decomposed body. How McCandless came to die is the unforgettable story of Into the Wild. Immediately after graduating from college in 1991, McCandless had roamed through the West and Southwest on a vision quest like those made by his heroes Jack London and John Muir. In the Mojave Desert he abandoned his car, stripped it of its license plates, and burned all of his cash. He would give himself a new name, Alexander Supertramp, and, unencumbered by money and belongings, he would be free to wallow in the raw, unfiltered experiences that nature presented. Craving a blank spot on the map, McCandless simply threw away the maps. Leaving behind his desperate parents and sister, he vanished into the wild.

Sentaro has failed. He has a criminal record, drinks too much, and his dream of becoming a writer is just a distant memory. With only the blossoming of the cherry trees to mark the passing of time, he spends his days in a tiny confectionery shop selling dorayaki, a type of pancake filled with sweet bean paste. But everything is about to change. Into his life comes Tokue, an elderly woman with disfigured hands and a troubled past. Tokue makes the best sweet bean paste Sentaro has ever tasted. She begins to teach him her craft, but as their friendship flourishes, social pressures become impossible to escape and Tokue's dark secret is revealed, with devastating consequences. Sweet Bean Paste is a moving novel about the burden of the past and the redemptive power of friendship. Translated into English for the first time, Durian Sukegawa's beautiful prose is capturing hearts all over the world.