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A major collection of performance works by artist and agitator Anthony Hudson

Lamp Back: Plays and Other Grievances collects nearly a decade of work by Anthony Hudson, a queer Indigenous artist and agitator also known as Portland, Oregon’s premier drag clown, Carla Rossi. Whether fumbling with a lamp in a satirical takedown of land acknowledgments or confronting the history of redface in pop culture, Hudson alternates between Rossi’s cackling “ghost of white privilege” and more earnest, vulnerable confessionals as himself—all with a deep commitment to bitter humor and brutal honesty. In these performance works, a mixed-race Native boy plays a pilgrim in his kindergarten Thanksgiving pageant. A young artist recounts the racism in their favorite musical and the larger American theater system. A drag queen storytime goes disastrously wrong and calls for an exorcism with a plunger. Kate Bredeson’s unflinching introduction speaks to Hudson’s work through a cultural and historical lens and illuminates the importance of his project to filet the American Empire.

James Magruder’s collection of linked stories follows two gay cousins, Tom and Elliott, from adolescence in the 1970s to adulthood in the early ’90s. With a rueful blend of comedy and tenderness, Magruder depicts their attempts to navigate the closet and the office and the lessons they learn about libidinous coworkers, résumé boosting, Italian suffixes, and frozen condoms. As Tom and Elliot search for trusting relationships while the AIDS crisis deepens, their paths diverge, leading Tom to a new sense of what matters most. Magruder is especially adept at rendering the moments that reveal unwritten codes of behavior to his characters, who have no way of learning them except through painful experience.

Loss is sudden, the fallout portrayed with a powerful economy. In Tom and Elliott, readers come to recognize themselves, driven by the same absurd desires and unconscious impulses, subjected to the same fates.

A bold rethinking of genre as both form and philosophical problem. 

Why do we have literary genres, and what problems do they solve? In this original engagement with the ancient problem of literary genres, Enzo Melandri begins by asking why literary genres exist in the first place. His investigation extends beyond literary history, as important as it is, to become a philosophical inquiry into the limits of language and the strategies language must employ to register the impossibility of fully grasping its relation to the world. In this light, tragedy, comedy, epic, elegy, and so on emerge as the musical and emotional traces language bears from its encounter with its own limits.

This handsome volume combines interviews and photographs to document the experiences of lesbian, gay, bisexual, and transgendered parents and their children. It allows all of the family members to speak candidly about their lives, their relationships, and the ways in which they have dealt with the pressures of homophobia. Included in the book are people from a diverse array of racial, ethnic, and economic backgrounds, representing a wide range of family structures. Together, they provide clear evidence that family roles and responsibilities need not be based on gender, and that children thrive in an atmosphere in which understanding, respect, and love transcend the prejudices of the day.

Schwarzenbach’s clear, psychologically acute prose makes this novella an evocative narrative, with many intriguing parallels to her own life.

Annemarie Schwarzenbach—journalist, novelist, antifascist, archaeologist, and traveler—has become a European cult figure for bohemian free spirits since the rediscovery of her works in the late 1980s. Lyric Novella is her story of a young man’s obsession with a Berlin variété actress. Despite having his future career mapped out for him in the diplomatic service, the young man begins to question all his family values under Sibylle’s spell. His family, future, and social standing become irrelevant when set against his overriding compulsion to pick her up every night from the theater so they can go for a drive. Bringing the story back to her own life, Schwarzenbach admitted after publication that her hero was in fact a young woman, not a man, leaving little doubt that Lyric Novella is a literary tale of lesbian love during socially and politically turbulent times.