Lalas Words

Winner of the 2022 Ezra Jack Keats Illustrator Award! From debut author-illustrator Gracey Zhang comes a timeless and timely picture book that celebrates the unassuming power of kind words. Oh, there goes Lala! She carries a pot of water around the corner, down the block, and over the fence, to a patch of dirt and concrete where tiny weeds sprout. "Hello, hello, friends!" she whispers. Lala waters the plants every day, but it is her kind words that make them sway and nod. Lala's wild nature and quiet compassion enchant in this evergreen story about the power of kind words and the magic of being loved for who you are.

"The Vanderpump Rules provocateur opens up about her rocky road to fame and sobriety in this collection of humorous and brutally honest essays"--

This is the first ethnographic study of lala (lesbian, bisexual, and transgender) communities and politics in China, focusing on the city of Shanghai. Based on several years of in-depth interviews, the volume concentrates on lalas' everyday struggle to reconcile same-sex desire with a dominant rhetoric of family harmony and compulsory marriage, all within a culture denying women’s active and legitimate sexual agency. Lucetta Yip Lo Kam reads discourses on homophobia in China, including the rhetoric of "Chinese tolerance" and considers the heteronormative demands imposed on tongzhi subjects. She treats "the politics of public correctness" as a newly emerging tongzhi practice developed from the culturally specific, Chinese forms of regulation that inform tongzhi survival strategies and self-identification. Alternating between Kam's own queer biography and her extensive ethnographic findings, this text offers a contemporary portrait of female tongzhi communities and politics in urban China, making an invaluable contribution to global discussions and international debates on same-sex intimacies, homophobia, coming-out politics, and sexual governance.

#1 NEW YORK TIMES BESTSELLER! Stephanie Garber’s THE BALLAD OF NEVER AFTER is the jaw-dropping sequel to the ONCE UPON A BROKEN HEART, starring Evangeline Fox and the Prince of Hearts on a new journey of magic, mystery, and heartbreak Not every love is meant to be. After Jacks, the Prince of Hearts, betrays her, Evangeline Fox swears she'll never trust him again. Now that she’s discovered her own magic, Evangeline believes she can use it to restore the chance at happily ever after that Jacks stole away. But when a new terrifying curse is revealed, Evangeline finds herself entering into a tenuous partnership with the Prince of Hearts again. Only this time, the rules have changed. Jacks isn’t the only force Evangeline needs to be wary of. In fact, he might be the only one she can trust, despite her desire to despise him. Instead of a love spell wreaking havoc on Evangeline’s life, a murderous spell has been cast. To break it, Evangeline and Jacks will have to do battle with old friends, new foes, and a magic that plays with heads and hearts. Evangeline has always trusted her heart, but this time she’s not sure she can. . . . Also by Stephanie Garber: The Caraval Series - Caraval - Legendary - Finale

NATIONAL BESTSELLER • Every year, Ceyala “Lala” Reyes' family—aunts, uncles, mothers, fathers, and Lala's six older brothers—packs up three cars and, in a wild ride, drive from Chicago to the Little Grandfather and Awful Grandmother's house in Mexico City for the summer. From the celebrated bestselling author of The House on Mango Street and winner of the 2019 PEN/Nabokov Award for Achievement in International Literature. Struggling to find a voice above the boom of her brothers and to understand her place on this side of the border and that, Lala is a shrewd observer of family life. But when she starts telling the Awful Grandmother's life story, seeking clues to how she got to be so awful, grandmother accuses Lala of exaggerating. Soon, a multigenerational family narrative turns into a whirlwind exploration of storytelling, lies, and life. Like the cherished rebozo, or shawl, that has been passed down through generations of Reyes women, Caramelo is alive with the vibrations of history, family, and love. From the winner of the 2019 PEN/Nabokov Award for Achievement in International Literature.

Eleven sketches, "exhibits" in the Colored Museum, offer a humorous and irreverent look at slavery, Black cuisine, soldiers, family life, performers, and parties.

This book sheds light on 'contact moments' between Japanese male-queer culture and that of the West in the postwar period, and critiques various contemporary examples of persistent Orientalism and nativism. Focusing on a range of Japanese as well as English male-queer materials including magazines, memoirs and cybertexts, Suganuma shows how the interactions of the two cultures affected the subject formation process of queer selves. The instances examined range from the hentai magazines of the 1950s and their depiction of men who had sex with foreign men (mostly American servicemen); the depiction of race in the magazine Barazoku; John Whittier Treat's memoir of his sabbatical in Japan and his depiction of his own Orientalism; the writings and strategies of OCCUR and Fushimi in the 1990s; and the GJN news site. The author sees the depiction of and reaction to Japanese men who had sex with foreigners in the hentai magazines as part of a larger pattern of representation manifesting gender anxieties among Japanese men (both heterosexual and homosexual) who found themselves feminized by defeat in the war. He draws on Dyer's understanding of whiteness as a flexible default position in his discussion of Barazoku, but argues that in this case Japaneseness is the default position and whiteness is othered. In his final chapter, he argues for an understanding of the activities of GJN also as a space of mediation rather than simply as a wholesale importation of American or 'global gay' culture. Suganuma argues that the binaries of cross-cultural comparison (local/global, Japan/West, acts/identities, and us/them) can be generative and productive as well as repressive and reductive.

The words of this 14th-century Kashmiri mystic speak to us across the centuries with clarity and courage.

Singapore remains one of the few countries in Asia that has yet to decriminalize homosexuality. Yet it has also been hailed by many as one of the emerging gay capitals of Asia. This book accounts for the rise of mediated queer cultures in Singapore's current milieu of illiberal citizenship. This collection analyses how contemporary queer Singapore has emerged against a contradictory backdrop of sexual repression and cultural liberalisation. Using the innovative framework of illiberal pragmatism, established and emergent local scholars and activists provide expansive coverage of the impact of homosexuality on Singapore's media cultures and political economy, including law, religion, the military, literature, theatre, photography, cinema, social media and queer commerce. It shows how new LGBT subjectivities have been fashioned through the governance of illiberal pragmatism, how pragmatism is appropriated as a form of social and critical democratic action, and how cultural citizenship is forged through a logic of queer complicity that complicates the flows of oppositional resistance and grassroots appropriation.

The incredible story of the Auschwitz-Birkenau tattooist and the woman he loved. Lale Sokolov is well-dressed, a charmer, a ladies' man. He is also a Jew. On the first transport of men from Slovakia to Auschwitz in 1942, Lale immediately stands out to his fellow prisoners. In the camp, he is looked up to, looked out for, and put to work in the privileged position of Tatowierer - the tattooist - to mark his fellow prisoners, forever. One of them is a young woman, Gita, who steals his heart at first glance. His life given new purpose, Lale does his best through the struggle and suffering to use his position for good. This story, full of beauty and hope, is based on years of interviews author Heather Morris conducted with real-life Holocaust survivor and Auschwitz-Birkenau tattooist Ludwig (Lale) Sokolov. It is heart-wrenching, illuminating, and unforgettable. 'Morris climbs into the dark miasma of war and emerges with an extraordinary tale of the power of love' - Leah Kaminsky