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LGBTQ+ (romans), Littérature générale (romans)Journaux personnels et mémoires
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En esta novela, el protagonista Jaime Baylys, periodista peruano y personalidad de televisión incomprendido, reflexiona sobre su tumultuosa relación con…
una amante, Lucía, en anécdotas y a través de su periodismo. Lenguaje injurioso y descripciones de índole sexual
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LGBTQ+ (romans), Famille (récits)Journaux personnels et mémoires
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A fictionalized account of the process during which the author--a middle-aged, gay, single Los Angeles writer--is approved to adopt a…
child. He learns about Dennis, an emotionally disturbed, hyperactive eight-year-old who has been in foster care most of his life and who insists he's a Martian. Some strong language. 2002
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LGBTQ+ (romans)Essais, Journaux personnels et mémoires, Sociologie, Anthologies
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Finalist for the 2024 Firecracker Award in Creative Nonfiction • Shortlisted for the 2024 Lambda Literary Award for Transgender Nonfiction…
• Finalist for the 2024 Leslie Feinberg Award for Trans and Gender-Variant Literature • One of CBC Books' Canadian Nonfiction to Read in the Fall • A Tyee Best Book of 2023 • A CBC Books Best Nonfiction Book of 2023 • A Hamilton Review of Books Best Book of 2023 • An Autostraddle Best Queer Book of 2023 We need community to live. But what does it look like? Why does it often feel like it's slipping away? We are all hinged to some definition of a community, be it as simple as where we live, complex as the beliefs we share, or as intentional as those we call family. In an episodic personal essay, Casey Plett draws on a range of firsthand experiences to start a conversation about the larger implications of community as a word, an idea, and a symbol. With each thread a cumulative definition of community, and what it has come to mean to Plett, emerges. Looking at phenomena from transgender literature, to Mennonite history, to hacker houses of Silicon Valley, and the rise of nationalism in North America, Plett delves into the thorny intractability of community's boons and faults. Deeply personal, authoritative in its illuminations, On Community is an essential contribution to the larger cultural discourse that asks how, and to what socio-political ends, we form bonds with one another.
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LGBTQ+ (romans), Littérature générale (romans)Journaux personnels et mémoires
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The Best Graphic Book of 2021 by Publishers Weekly | A New York Times Best Graphic Novel of 2021 | A New…
York Times Notable Book | An Autostraddle Best Queer Book of the Year | A Boston Globe Best Book of the Year | A St. Louis Post Dispatch Best Book of the Year | NPR, 12 Books NPR Staffers Loved | Shelf Awareness Best Books of 2021 From the author of Fun Home, a profoundly affecting graphic memoir of Bechdel's lifelong love affair with exercise, set against a hilarious chronicle of fitness fads in our times Comics and cultural superstar Alison Bechdel delivers a deeply layered story of her fascination, from childhood to adulthood, with every fitness craze to come down the pike: from Jack LaLanne in the 60s ("Outlandish jumpsuit! Cantaloupe-sized guns!") to the existential oddness of present-day spin class. Readers will see their athletic or semi-active pasts flash before their eyes through an ever-evolving panoply of running shoes, bicycles, skis, and sundry other gear. But the more Bechdel tries to improve herself, the more her self appears to be the thing in her way. She turns for enlightenment to Eastern philosophers and literary figures, including Beat writer Jack Kerouac, whose search for self-transcendence in the great outdoors appears in moving conversation with the author&’s own. This gifted artist and not-getting-any-younger exerciser comes to a soulful conclusion. The secret to superhuman strength lies not in six-pack abs, but in something much less clearly defined: facing her own non-transcendent but all-important interdependence with others. A heartrendingly comic chronicle for our times.
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LGBTQ+ (romans)Journaux personnels et mémoires, Biographies
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&“Maurice Vellekoop's beautiful graphic memoir feels painfully honest. It's about art and life and families and belief, about who we…
are and what forms us, the magic and the hurt, and it evokes times that are well-lost while reminding us of the battles still being fought every day. Most of all, I think, it's about love.&” —Neil GaimanFor fans of Fun Home by Alison Bechdel, I&’m So Glad We Had This Time Together is an epic graphic memoir about a queer illustrator surviving his intensely Christian childhood in 1970s Toronto.Meet little Maurice Vellekoop, the youngest of four children raised by Dutch immigrants in the 1970s in a blue-collar suburb of Toronto. Despite their working-class milieu, the Vellekoops are devoted to art, music, and film, and they instill a deep reverence for the arts in young Maurice—except for literature. He&’d much rather watch Cher and Carol Burnett on TV than read a book. He also loves playing with his girlfriends&’ Barbie dolls and helping his Mum in her hair salon, which she runs out of the basement of their house. In short, he is really, really gay. Which is a huge problem, because the family is part of the Christian Reformed Church, a strict Calvinist sect. They go to church twice on Sunday, and they send their kids to a private Christian school, catechism classes, and the Calvinist Cadet Corps. Needless to say, the church is intolerant of homosexuality. Though she loves her son deeply, Maurice&’s mother, Ann, cannot accept him, setting the course for a long estrangement. Vellekoop struggles through all of this until he graduates from high school and is accepted into the Ontario College of Art in the early 1980s. Here he finds a welcoming community of bohemians, including a brilliant, flamboyantly gay professor who encourages him to come out. But just as he&’s dipping his toes into the waters of gay sex and love, a series of romantic disasters, followed by a violent attack, sets him back severely. And then the shadow of the AIDS era descends. Maurice reacts by retreating to the safety of childhood obsessions, and seeks to satisfy his emotional needs with film- and theatre-going, music, boozy self-medication, and prolific art-making. When these tactics inevitably fail, Vellekoop at last embarks on a journey towards his heart&’s true desire. In psychotherapy, the spiderweb of family, faith, guilt, sexuality, mental health, the intergenerational fallout of World War II, King Ludwig II of Bavaria, French Formula Hairspray, and much more at last begins to untangle. But it&’s going to be a long, messy, and occasionally hilarious process. I&’m So Glad We Had This Time Together is an enthralling portrait of what it means to be true to yourself, to learn to forgive, and to be an artist.