The original graphic novel adapted into the film Blue Is the Warmest Color, winner of the Palme d'Or at the 2013 Cannes Film Festival; released in the US this fall by IFC Films/Sundance Selects
In this tender, bittersweet, full-color graphic novel, a young woman named Clementine discovers herself and the elusive magic of love when she meets a confident blue-haired girl named Emma: a lesbian love story for the ages that bristles with the energy of youth and rebellion and the eternal light of desire.
First published in France by Glénat, the book has won several awards, including the Audience Prize at the Angoulême International Comics Festival, Europe's largest.
The live-action, French-language film version of the book, entitled Blue Is the Warmest Color, won the Palme d'Or at the Cannes Film Festival in May 2013. Directed by director Abdellatif Kechiche and starring Lea Seydoux and Adele Exarchopoulos, the film generated both wide praise and controversy. It will be released in the US through Sundance Selects/IFC Films.
Julie Maroh is an author and illustrator originally from northern France.

Finalist, Lambda Literary Award

In the beginning, there is no he. There is no she.

Two cells make up one cell. This is the mathematics behind creation. One plus one makes one. Life begets life. We are the period to a sentence, the effect to a cause, always belonging to someone. We are never our own.

This is why we are so lonely.


She of the Mountains is a beautifully rendered illustrated novel by Vivek Shraya, the author of the Lambda Literary Award finalist God Loves Hair. Shraya weaves a passionate, contemporary love story between a man and his body, with a re-imagining of Hindu mythology. Both narratives explore the complexities of embodiment and the damaging effects that policing gender and sexuality can have on the human heart.

Illustrations are by Raymond Biesinger, whose work has appeared in such publications as The New Yorker and the New York Times.

Vivek Shraya is a multimedia artist, working in the mediums of music, performance, literature, and film. Her most recent film, What I LOVE about Being QUEER, has been expanded to include an online project and book with contributions from around the world. She is also author of God Loves Hairand Even This Page Is White.

Set in the nineteenth century, Isabel Miller's classic lesbian novel traces the relationship between Patience White, a painter, and Sarah Dowling, a farmer, whose romantic bond does not sit well with the puritanical New England farming community in which they live. Ultimately, they are forced to make life-changing decisions that depend on their courage and their commitment to one another.
First self-published in 1969 (titled
) in an edition of 1,000 copies, the author hand-sold the book on New York street corners; it garnered increasing attention to the point of receiving the American Library Association's first Gay Book Award in 1971. McGraw-Hill's version of the book a year later brought it to mainstream bookstores across the country.
is a historical romance whose drama was a touchstone for the burgeoning gay and women's activism of the 1960s and early 1970s. It celebrates the joys of an uninhibited love between two strong women with a confident defiance that remains relevant today.
Features an appendix of supplementary materials about
and the author, as well as an introduction by acclaimed novelist Emma Donoghue.

"You're gonna need a rock and a whole lotta medicine" is a mantra that Jonny Appleseed, a young Two-Spirit/Indigiqueer, repeats to himself in this vivid and utterly compelling novel. Off the reserve and trying to find ways to live and love in the big city, Jonny becomes a cybersex worker who fetishizes himself in order to make a living. Self-ordained as an NDN glitter princess, Jonny has one week before he must return to the "rez," and his former life, to attend the funeral of his stepfather. The next seven days are like a fevered dream: stories of love, trauma, sex, kinship, ambition, and the heartbreaking recollection of his beloved kokum (grandmother). Jonny's world is a series of breakages, appendages, and linkages--and as he goes through the motions of preparing to return home, he learns how to put together the pieces of his life. Jonny Appleseed is a unique, shattering vision of Indigenous life, full of grit, glitter, and dreams.

2019 CANADA READS FINALIST
Shortlisted for the Hilary Weston Writers' Trust of Canada Prize for Nonfiction; Winner, Hubert Evans Nonfiction Prize; Longlisted for the Stephen Leacock Medal for Humour
In this jaw-dropping, darkly comedic memoir, a young woman comes of age in a dysfunctional Asian family who blame their woes on ghosts and demons when they should really be on anti-psychotic meds.
Lindsay Wong grew up with a paranoid schizophrenic grandmother and a mother who was deeply afraid of the "woo-woo" -- Chinese ghosts who come to visit in times of personal turmoil. From a young age, she witnessed the woo-woo's sinister effects; when she was six, Lindsay and her mother avoided the dead people haunting their house by hiding out in a mall food court, and on a camping trip, in an effort to rid her daughter of demons, her mother tried to light Lindsay's foot on fire.
The eccentricities take a dark turn, however, and when Lindsay starts to experience symptoms of the woo-woo herself, she wonders whether she will suffer the same fate as her family.
At once a witty and touching memoir about the Asian immigrant experience and a harrowing and honest depiction of the vagaries of mental illness, The Woo-Woo is a gut-wrenching and beguiling manual for surviving family, and oneself.

Strange Material explores the relationship between handmade textiles and storytelling.
Through text, the act of weaving a tale or dropping a thread takes on new meaning for those who previously have seen textiles?quilts, blankets, articles of clothing, and more?only as functional objects. This book showcases crafters who take storytelling off the page and into the mediums of batik, stitching, dyeing, fabric painting, knitting, crochet, and weaving, creating objects that bear their messages proudly, from personal memoir and cultural fables to pictorial histories and wearable fictions.
Full-color throughout, the book includes chapters on various aspects of textile storytelling, from "Textiles of Protest, Politics, and Power" to "The Fabric of Remembrance"; it also includes specific projects, such as the well-known and profoundly moving Names Project AIDS Memorial Quilt, as well as poetry mittens, button blankets, and stitched travel diaries. Offbeat, poetic, and subversive, Strange Material will inspire readers to re-imagine the possibilities of creating through needle and fabric.
Leanne Prain is the co-author (with Mandy Moore) of Yarn Bombing, now in its third printing, and the author of Hoopla: The Art of Unexpected Embroidery. A professional graphic designer, Leanne holds degrees in creative writing, art history, and publishing.

In this collection of essays, Lambda Literary Award-winning writer and longtime activist and performance artist Leah Lakshmi Piepzna-Samarasinha explores the politics and realities of disability justice, a movement that centers the lives and leadership of sick and disabled queer, trans, Black, and brown people, with knowledge and gifts for all.<br /><br /><i>Care Work</i> is a mapping of access as radical love, a celebration of the work that sick and disabled queer/people of color are doing to find each other and to build power and community, and a tool kit for everyone who wants to build radically resilient, sustainable communities of liberation where no one is left behind. Powerful and passionate, <i>Care Work</i> is a crucial and necessary call to arms.

Leah Lakshmi Piepzna-Samarasinha follows up their incredible book Care Work with The Future Is Disabled. Piepzna-Samarasinha writes about the last two years of surviving COVID-19 as a disabled femme of color in an ableist world that isn’t interested in protecting disabled folks. They also discuss mutual aid and disabled joy in the face of isolation and discrimination.<br /><br />The pandemic has been incredibly difficult for disabled people who have been asked to “take one for the team” by wider society. Piepzna-Samarasinha writes encouragement to disabled folks, relishing in our community’s creativity in our fight for survival. They also mourn those lost in the pandemic and the care crisis so many of us still face.

From intimate relationships to global politics, Sarah Schulman observes a that inflated accusations of harm are used to avoid accountability. Illuminating the difference between Conflict and Abuse, Schulman directly addresses our contemporary culture of scapegoating. This deep, brave, and bold work reveals how punishment replaces personal and collective self-criticism, and shows why difference is so often used to justify cruelty and shunning. Rooting the problem of escalation in negative group relationships, Schulman illuminates the ways cliques, communities, families, and religious, racial, and national groups bond through the refusal to change their self-concept. She illustrates how Supremacy behavior and Traumatized behavior resemble each other, through a shared inability to tolerate difference. This important and sure to be controversial book illuminates such contemporary and historical issues of personal, racial, and geo-political difference as tools of escalation towards injustice, exclusion, and punishment, whether the objects of dehumanization are other individuals in our families or communities, people with HIV, African Americans, or Palestinians. Conflict Is Not Abuse is a searing rejection of the cultural phenomenon of blame, cruelty, and scapegoating, and how those in positions of power exacerbate and manipulate fear of the "other" to achieve their goals. Sarah Schulman is a novelist, nonfiction writer, playwright, screenwriter, journalist and AIDS historian, and the author of eighteen books. A Guggenheim and Fulbright Fellow, Sarah is a Distinguished Professor of the Humanities at the City University of New York, College of Staten Island. Her novels published by Arsenal include Rat Bohemia , Empathy , After Delores , and The Mere Future . She lives in New York.

At age nineteen, the queer narrator of Green Glass Ghosts steps off a bus in downtown Vancouver, a city where the faceless condo towers of the wealthy loom over the streets to the east where folks are just trying to get by, against the deceptively beautiful backdrop of snow-capped mountains and sparkling ocean. It's the year 2000, and the world is still mostly analogue--pagers are the best way to get ahold of someone and resumés are printed out on paper and dropped off in person, and what's this new fad called webmail? Our hopeful hero arrives on the West Coast on the cusp of adulthood, fleeing a traumatic childhood in an unsafe family plagued by religious extremism, mental health crises, and abuse in a conservative town not known for accepting difference. They're eager to build a new life among like-minded folks, and before they know it, they've got a job, an apartment, and a relationship, dancing, busking, and making out in bars, parks, art spaces, and apartments across the city. But their search for belonging and stability is buried in drinking, jealousy, and painful memories of the past, distracting the protagonist from their ultimate goal of playing live music and spurring them to an emotional crisis. If they can't learn to care for themselves, how will they ever find true connection and community? With haunting illustrations by Gem Hall that conjure the moody, misty urban landscape, Green Glass Ghosts is an evocation of that delicate, aching moment between youth and adulthood when we are trying, and often failing, to become the person we dream ourselves to be. Ages 14 and up.

A lucid exploration of amnesia, selfhood, and who is left behind when the past is obliterated.
Tara Sidhoo Fraser is thirty-two years old when a rare mutation in her brain causes a stroke. Awakening after surgery with no memory of her previous life, she attempts to piece it all back together through a haze of amnesia. Yet, as memories do begin to surface, they are seen through someone else’s eyes—the person whose body she stole, whom she calls Ghost.  
Fighting to stabilize her existence, Tara struggles with the gulf between who she was and who she is now, while constantly battling and paying penance to Ghost. She meets Jude, who is also contending with their identity, the gap between who they are and who they present to the world. As Jude’s transition progresses and they begin testosterone injections, Tara’s conflict with Ghost heightens. Ghost’s voice becomes stronger, and memories, buried in the body they now share, of hospital visits, old desires, and her ex threaten Tara’s new relationship. 
She burrows deeper into the mystery of who she once was, recognizing the need to fuse herself and Ghost into one. When My Ghost Sings is a lyrical memoir of healing, a farewell letter, and an embracing/reclamation of selfhood.

The worlds of urban gentrification, overpriced real estate, and gang violence collide in this wry and sardonic crime novel by author and comedian Charles Demers (Vancouver Special, The Horrors).

As a shaky truce between suburban gangsters starts to unravel, schlubby civilian Scott Clark has other things on his mind: if he can't afford to buy out his former father-in-law, Scott's about to lose the only house he's ever called home. In Vancouver's red-hot real estate market, he doesn't have a chance--until he and his best friends take the last-ditch measure of staging a drive-by shooting on the property to push down the asking price. But when Scott's pretend gangland stunt attracts the attention of real criminals, his make-believe crew soon finds itself in the middle of a deadly rivalry.

With wicked humour and a brilliant cast of desperate characters, Property Values explodes the crime novel genre while exploring the absurd lengths to which a man will go to in order to hold onto his home in today's market.

<b>Longlisted for the Scotiabank Giller Prize</b><br /><br />Spanning three continents, <i>Butter Honey Pig Bread</i> tells the interconnected stories of three Nigerian women: Kambirinachi and her twin daughters, Kehinde and Taiye. Kambirinachi believes that she is an Ogbanje, or an Abiku, a non-human spirit that plagues a family with misfortune by being born and then dying in childhood to cause a human mother misery. She has made the unnatural choice of staying alive to love her human family but lives in fear of the consequences of her decision.<br /><br />Kambirinachi and her two daughters become estranged from one another because of a trauma that Kehinde experiences in childhood, which leads her to move away and cut off all contact. She ultimately finds her path as an artist and seeks to raise a family of her own, despite her fear that she won't be a good mother. Meanwhile, Taiye is plagued by guilt for what her sister suffered and also runs away, attempting to fill the void of that lost relationship with casual flings with women. She eventually discovers a way out of her stifling loneliness through a passion for food and cooking.<br /><br />But now, after more than a decade of living apart, Taiye and Kehinde have returned home to Lagos. It is here that the three women must face each other and address the wounds of the past if they are to reconcile and move forward.<br /><br />For readers of African diasporic authors such as Teju Cole and Chimamanda Ngozi Adichie, <i>Butter Honey Pig Bread</i> is a story of choices and their consequences, of motherhood, of the malleable line between the spirit and the mind, of finding new homes and mending old ones, of voracious appetites, of queer love, of friendship, faith, and above all, family.

When it was first published in 1988, Patrick Califia's Macho Sluts, a collection of S/M stories set in San Francisco's dyke bathhouses, sex parties, and S/M gay bars, shocked the lesbian community and caused an upheaval in the field of queer publishing. Nobody had ever written so frankly about the kinky potential of woman-to-woman sex (and nobody has ever done it any better). If any book is responsible for the formation of the modern lesbian leather community, this one is it.Despite its graceful language, imaginative scenarios, and abundant humor, the lesbian press trashed Macho Sluts, and it became a focal point for the infamous legal battles between Canada Customs and Little Sister's, the gay and lesbian bookstore. But readers loved it, and to this day Macho Sluts remains a vital and moving classic that still has the power to educate, radicalize, and expand our notions of the body's potential to provide us with pleasure, pain, and love.This new edition, part of Arsenal Pulp Press' Little Sister's Classics series resurrecting classics of LGBT literature, includes a new afterword by the author, and an introduction by Wendy Chapkis, a professor of sociology and women and gender studies at the University of Southern Maine in Portland.Patrick Califia has written many books about radical sex, queer communities, and the repression of desire. Almost ten years ago, Califia transitioned from female to male; he now lives as a bisexual transman in San Francisco.

This is a vivid graphic history of the Chinese experience in North America over the last 150 years, beginning with the immigration of Chinese to "Gold Mountain" (the Chinese colloquialism for North America) in the 1800s that resulted in decades of discrimination, subjugation, and separation from loved ones. Based on historical documents and interviews with elders, the book is also the epic story of the Wong family as they traverse these challenges with hope and determination, creating an immigrant's legacy in their new home of North America. David H.T. Wong is an architect and historian.