Richard Siken’s Crush, selected as the 2004 winner of the Yale Younger Poets prize, is a powerful collection of poems driven by panic and obsession. Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

The long-anticipated third collection from the revered Richard Siken delivers his most personal and introspective collection yet. Richard Siken's long-anticipated third collection, I Do Know Some Things, navigates the ruptured landmarks of family trauma: a mother abandons her son, a husband chooses death over his wife. While excavating these losses, personal history unfolds. We witness Siken experience the death of a boyfriend and a stroke that is neglectfully misdiagnosed as a panic attack. Here, we grapple with a body forgetting itself—"the mind that / didn't work, the leg that wouldn't move...". Meditations on language are woven throughout the collection. Nouns won't connect and Siken must speak around a meaning: "dark-struck, slumber-felt, sleep-clogged." To say "black tree" when one means "night." Siken asks us to consider what a body can and cannot relearn. "Part insight, part anecdote," he is meticulous and fearless in his explorations of the stories that build a self. Told in 77 prose poems, I Do Know Some Things teaches us about transformation. We learn to shoulder the dark, to find beauty in "The field [that] had been swept clean of habit."

Richard Siken’s Crush, selected as the 2004 winner of the Yale Younger Poets prize, is a powerful collection of poems driven by panic and obsession. Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

The long-awaited new novel from the author of global sensation Tender Is the Flesh: a thrilling work of literary horror about a woman cloistered in a secretive, violent religious order, while outside the world has fallen into chaos. From her cell in a mysterious convent, a woman writes the story of her life in whatever she can find—discarded ink, dirt, and even her own blood. A lower member of the Sacred Sisterhood, deemed an unworthy, she dreams of ascending to the ranks of the Enlightened at the center of the convent and of pleasing the foreboding Superior Sister. Outside, the world is plagued by catastrophe—cities are submerged underwater, electricity and the internet are nonexistent, and bands of survivors fight and forage in a cruel, barren landscape. Inside, the narrator is controlled, punished, but safe. But when a stranger makes her way past the convent walls, joining the ranks of the unworthy, she forces the narrator to consider her long-buried past—and what she may be overlooking about the Enlightened. As the two women grow closer, the narrator is increasingly haunted by questions about her own past, the environmental future, and her present life inside the convent. How did she get to the Sacred Sisterhood? Why can’t she remember her life before? And what really happens when a woman is chosen as one of the Enlightened? A searing, dystopian tale about climate crisis, ideological extremism, and the tidal pull of our most violent, exploitative instincts, this is another unforgettable novel from a master of feminist horror.

From a #1 Apple podcast host, Lambda Literary fellow, and former dominatrix, a sex-positive, judgement-free cultural deep-dive into the world of kink. When BDSM educator and former dominatrix Tina Horn first launched Why Are People Into That?!, publications from Esquire and Guardian to Vice, Bustle, Buzzfeed, and beyond heralded the undertaking as one of the best podcasts about sex. Each episode centered around a different aspect of kink, erotic fantasy, and human sexuality, thoughtfully and non-judgmentally examining why, exactly, different strokes work for different folks. From sex workers and scientists to artists, writers, and porn stars, Tina’s wide range of guests helped educate fascinated listeners across the world on the wide spectrum of humanity’s sexual appetite. But for every episode she released, with every guest expert she interviewed, she found her listeners more and more insatiable--and she soon realized that the only way to really address the titular question with all the depth and nuance it deserved was to turn that idea into a book. From spanking, bondage, and financial domination, to the most taboo fantasies involving cake, chains, and cannibalism, WHY ARE PEOPLE INTO THAT? explores the universal human drives that shape even the most specific erotic tastes, and the cultural context that molds and is molded by the way we conceptualize sex, pleasure, gender, fantasy, and power. Along the way, Tina invites us to reconsider everything we thought we knew about sex and sexuality. How, for example, should we think about "consensual nonconsent" in a post-#MeToo era? How does cross-dressing, as a sexual fantasy, fit in with our evolving cultural understanding of gender performance and identity? And what do foot fetishists, furries, and “femdoms” have in common? Blending insightful cultural criticism, investigative journalism, psychology, and spicy anecdotes from Tina’s 15+ years of hard-earned expertise in the sex industry and beyond, WHY ARE PEOPLE INTO THAT? is a philosophical-but-fun exploration of the prismatic spectrum of human desire and the expansive possibilities of pleasure. For readers of books like Kink and Sex at Dawn, this raunchy and rousing book is perfect for anyone who is interested not only in the intricacies of what we desire, but in how desire itself really works.

A wry and bold debut novel, which is at once an irresistible catastrophe waiting to happen and an unflinching exploration of how we narrate the stories of our lives, as an aspiring novelist finds herself stalking—and writing about—her boyfriend’s ex-girlfriend. “I can’t help but compare our worth as writers, as lovers, as women. Is anything solely mine, or will I always dwell in someone else’s shadow?” Twenty-four-year-old bookseller and New Yorker Naomi Ackerman, desperate to write a novel, struggles to find the right story to tell. When, after years of disastrous Tinder dates, she meets Caleb—a perfectly nice guy with a Welsh accent and a unique patience for all of her quirks—she feels she's finally stumbled onto a time-honored subject: love. But then Caleb's ex-girlfriend, Rosemary, enters the scene. When Naomi learns that Rosemary is not safely tucked away overseas as she'd assumed but in fact lives in New York and works in the literary world, she is fundamentally threatened and intrigued in equal measure. On paper, Rosemary sounds like a better version of Naomi—but if they both fell for the same man, they must have something more essential in common. Determined to figure out how their stories intertwine, Naomi's casual Instagram stalking morphs into a full-blown friendship under false pretenses. She can't seem to get herself to quit Rosemary, in whom she discovers an unexpected confidant—and she can't stop writing about her either, having now found a more interesting subject for her nascent novel. As her lies and half-truths spiral out of her control, and fact and fiction become increasingly difficult to separate, Naomi manipulates the most important people in her life—her family, her friends, Caleb, Rosemary, and, perhaps most devastatingly, herself—in pursuit of her craft. Ultimately, she’s forced to decide who and what she's willing to sacrifice to write them all the perfect ending.