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Winner of the James Laughlin Award of The Academy of American Poets. (1999) Tory Dent's is a voice like no other. Her use of language is virtuosic, complex, and plangent. These are daring poems that also dare the reader. HIV positive, Dent writes out of her own experience and profound refusal to look away or suspend feeling or turn from love. When her first book of poems, What Silence Equals, appeared in 1993, it was recognized as "immediately one of the great, necessary books to come out of the AIDS crisis, flinging its challenge in the face of death." With HIV, Mon Amour she moves further into the whirlwind -- as witness, lover, and observer.
A debut collection by the winner of the 1999 James Laughlin Award, reissued in a new design, traverses the dimensions of the writer's psyche and addresses AIDS as a central topic of personal exploration. Reissue.
W. G. Sebald meets Maggie Nelson in an autobiographical narrative of embodiment, visual art, history, and loss. How do the bodies we inhabit affect our relationship with art? How does art affect our relationship to our bodies? T Fleischmann uses Felix Gonzáles-Torres’s artworks—piles of candy, stacks of paper, puzzles—as a path through questions of love and loss, violence and rejuvenation, gender and sexuality. From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.
ALTERNATE ENDINGS, RADICAL BEGINNINGS was the 28th annual iteration of Visual AIDS' longstanding Day With(out) Art project. Curated by Erin Christovale and Vivian Crockett for Visual AIDS, the video program prioritized Black narratives within the ongoing AIDS epidemic, commissioning seven new and innovative short videos from artists Mykki Blanco, Cheryl Dunye & Ellen Spiro, Reina Gossett, Thomas Allen Harris, Kia LaBeija, Tiona Nekkia McClodden and Brontez Purnell.The 54 page soft cover publication includes film stills and artist statements from contributing filmmakers Mykki Blanco, Kia LaBeija, Cheryl Dunye and Ellen Spiro, Reina Gossett, Thomas Allen Harris, Tiona Nekkia McClodden, and Brontez Purnell; a statement by curators Erin Christovale and Vivian Crockett; and an essay by the Tacoma Action Collective.
Tom Spanbauer’s first novel in seven years is a love story triangle akin to The Marriage Plot and Freedom, only with a gay main character who charms gays and straights alike. I Loved You More is a rich, expansive tale of love, sex, and heartbreak, covering twenty-five years in the life of a striving, emotionally wounded writer. In New York, Ben forms a bond of love with his macho friend and foil, Hank. Years later in Portland, a now ill Ben falls for Ruth, who provides the care and devotion he needs, though they cannot find true happiness together. Then Hank reappears and meets Ruth, and real trouble starts. Set against a world of struggling artists, the underground sex scene of New York in the 1980s, the drab, confining Idaho of Ben’s youth, and many places in between, I Loved You More is the author’s most complex and wise novel to date.
In his first collection of poetry, novelist Kevin Killian views the horrors of the AIDS pandemic through a narrow prism, the films of Italian horror maestro Dario Argento. Argento Series is structured like a horror film, populating deadpan reportage with badly drawn "characters" whose grisly deaths nevertheless come as an apocalyptic shock. For twenty years Killian's friends have been dying like flies--four flies on gray velvet, to borrow one of Argento's titles. And not only his friends, but millions of untold strangers, a catastrophe of such enormity that poetry itself gasps in its wake, deaf, blind, and speechless. Killian's poems are deceptively simple, quiet, and lyric, until the creaky melodrama of the giallo makes its entrance, screaming, like a virus--then the language shrieks and trembles. Argento Series is a testament to human suffering, a curse on the bureaucratic blindness that allows it to spread and grow, a call to political action unlike any other.
Offers a dramatic human, medical, and scientific study of AIDS and its impact that focuses on a home for destitute AIDS victims, run by nuns in the heart of Manhattan
An American journalist researches the notorious roundup of Parisian Jews and uncovers her French family's war-era secrets.
With the rise of science, we moderns believe, the world changed irrevocably, separating us forever from our primitive, premodern ancestors. But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith. What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present. Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.
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.