Johnny Would You Love Me If My Dick Were Bigger

A new epic novel about a teenage queer runaway from cult classic author of Black Wave and Valencia Michelle Tea. A Literary Hub Notable Small Press Book of 2025.

In Spencer's fantasies, the breezy, queer streets of Provincetown, MA, are utopia, a place where he can be free. Yet when a violent attack in his suburban Arizona schoolyard sends him to the hospital, he decides queer utopia can't wait. And one night, with the help of his best friend, the teenage witch Joy, he hitches a ride to find it.

The cross-country road odyssey that follows brings Spencer from new moon rituals in Arizona canyons to Texas bus stations, from the luxe drag stages of Houston's Montrose district to the jazz-soaked streets of the French Quarter and beyond. This new novel from Michelle Tea tells the story, by turns raw, romantic, and sweet, of a sheltered boy taking his first leap into queer life, among all the complicated queers who live it.

"Tea's conversational tone and her way of writing deeply personal experience . . . presents a very necessary counter-narrative to mainstream histories of American punk, feminism, and sexual identity." – The Brooklyn Rail

Michelle Tea is the author of over twenty books of fiction, memoir, poetry and children's literature. Her autofiction Valencia, a cult classic, won the Lambda Literary Award for Best Fiction. Her essay collection Against Memoir was awarded the PEN/Diamonstein-Spielvogel Award for The Art of the Essay. Tea is also the recipient of awards from the Rona Jaffe Foundation and the Guggenheim Foundation. The founder of Drag Queen Story Hour, she has received honors from the American Library Association and Logo Television. Tea curated the Sister Spit Books series at City Lights Publishers and founded the ongoing imprint Amethyst Edition at the Feminist Press.

Thirteen stories explore domestic horrors and everyday violence, providing an intimate and unflinching portrait of twenty-first-century Latin America.

Named one of the ten best fiction books of 2018 by the New York Times en Español, Cockfight is the debut work by Ecuadorian writer and journalist María Fernanda Ampuero.

In lucid and compelling prose, Ampuero sheds light on the hidden aspects of the home: the grotesque realities of family, coming of age, religion, and class struggle. A family’s maids witness a horrible cycle of abuse, a girl is auctioned off by a gang of criminals, and two sisters find themselves at the mercy of their spiteful brother. With violence masquerading as love, characters spend their lives trapped reenacting their past traumas.

Originally published in 1984, this classic dystopian trilogy is a testament to the power of language and women's collective action. 

In 2205, the Nineteenth Amendment has long been repealed and women are only valued for their utility. The Earth's economy depends on an insular group of linguists who "breed" women to be perfect interstellar translators until they are sent to the Barren House to await death. But instead, these women are slowly creating a language of their own to make resistance possible. Ignorant to this brewing revolution, Nazareth, a brilliant linguist, and Michaela, a servant, both seek emancipation in their own ways. But their personal rebellions risk exposing the secret language, and threaten the possibility of freedom for all.

Vanus übermann des villes, le roi de la ville, le roi du monde, se fait des odes à lui-même et met ses chaussettes dans la pâte à pain. Sophie Couderc raconte quelques-unes de ses péripéties.

Vanus übermann of the cities, the king of the city, the king of the world, writes odes to himself and puts his socks in bread dough. Sophie Couderc recounts some of his adventures.

Je jette le matelas dehors, il rebondit sur trois cons et tombe dans une grosse flaque de jus de rue. Ok, pas mal mais il m’en faut plus. (Vanus)

Carie, comme le trou qu’on bouche au plomb, est une collection de textes courts et moyens qui se glissent dans la poche. Chaque livre (la dent) de la collection (la bouche) est troué (la carie) et cerclé d’un œillet métallique (le plombage).

Carie, like the hole filled with lead, is a collection of short and medium-length texts that slip into the pocket. Each book (the tooth) in the collection (the mouth) is holed (the cavity) and circled with a metal eyelet (the filling).

Charismatic Spirals is for an America circa 2024, where poetry—the art of developing new means of speaking—has never been of such artistic, technological and political consequences.

An archetypal outsider, Will Alexander released his first poetry collection aged forty-four while working at the Los Angeles Lakers' ticket office. Three decades on, he has ascended to the legendary status of the city's great living surrealist, existing, as Eliot Weinberger wrote, in a state of "imaginal hyperdrive," with forty such collections to his name.

Operating at the edge of language, Alexander deploys words in a way that feels prophetic—human psyches synthesize with technological artifacts; atoms and archetypes collide; bodies are vacated, voices are newly incarnated. His America—like Glissant's—is multinational and—like Coover and Spiegelman's—multivalent and symbolically unstable. That is to say, he belongs to an America circa 2024, where poetry—the art of developing new means of speaking—has never been of such artistic, technological, and political consequence.

In doing so, Alexander draws from a vast array of influences, from luminaries like Aimé Césaire, Bob Kaufman, Andre Breton, Antonin Artaud, and Philip Lamantia, to holistic visions such as Sri Aurobindo's Integral Yoga, the Mayan numerical system, and Cheikh Anta Diop's perspectives on ancient Egypt. In a preview of Charismatic Spirals in the New York Times, Anne Boyer captured the essence of his work: "visionary poetry [that] achieves its effect through sound, not image...Cadence [that] can shatter us, set the world ablaze."
Read it syllabically, surf it quickly—there is no single way to approach this work.

Will Alexander (born 1948 in Los Angeles) is an African-American artist, philosopher, poet, novelist, essayist and pianist.

To be erotic is to be alive. In this collection of erotic short stories, desire and imagination meet in stairwells, apartments, bars and glances that linger just a little longer. Commissioned for and first published in Extra Extra magazine, these unique stories range from vibrant encounters of mere minutes to hours of simmering tension.

Carefully curated and unapologetic in its imagination, it’s an invitation into a literary space shaped by lust and longing.

One Hundred and six erotic short stories contains erotic stories by Obe Alkema, Karin Amatmoekrim, Mischa Andriessen, Sarah Arnolds, Simone Atangana Bekono, Gerbrand Bakker, Maria Barnas, Leonieke Baerwaldt, Persis Bekkering, Abdelkader Benali, Hannah van Binsbergen, Marion Bloem, Fiep van Bodegom, Daan Borrel, Charlotte van den Broeck, Saskia de Coster, Eelco Couvreur, Daniël Dee, Nikki Dekker, Maxime Garcia Diaz, Don Duyns, Rob van Essen, Edwin Fagel, Mira Feticu, Moya De Feyter, Andy Fierens, Gamal Fouad, Johan Fretz, Steff Geelen, Maureen Ghazal, Arnon Grunberg, Esha Guy Hadjadj, Thomas Heerma van Voss, Mariken Heitman, Tom Hofland, Philip Huff, Auke Hulst, Nicole Kaandorp, Asha Karami, Maite Karssenberg, Mensje van Keulen, Emy Koopman, Falun Ellie Koos, Willemijn Kranendonk, Selin Kuşçu, Rachida Lamrabet, Jordi Lammers, Wietske Leenders, Sandro van der Leeuw, Sun Li, Gilles van der Loo, Hannah Chris Lomans, Alma Mathijsen, Kiriko Mechanicus, Jens Meijen, Lars Meijer, Carmien Michels, Kaweh Modiri, Roelof ten Napel, Richard de Nooy, Joost Oomen, Jamal Ouariachi, Iduna Paalman, Gustaaf Peek, Elvis Peeters, Froukje van der Ploeg, Marja Pruis, Julius Reynders, Hannah Roels, Astrid H. Roemer, Martin Rombouts, Daniël Rovers, Alfred Schaffer, Marijke Schermer, Koen Sels, Vamba Sherif, Frank Siera, Louise Souvagie, Yentl van Stokkum, Florence Tonk, Elfie Tromp, Joost Vandecasteele, Dominique van Varsseveld, Annelies Verbeke, Peter Verhelst, Wytske Versteeg, Daniël Vis, Dirk Vis, Sven Vitse, Maria Vlaar, Marwin Vos, Nadia de Vries, Niña Weijers, Han van Wieringen, Romy Day Winkel, Maartje Wortel, Pete Wu, Kira Wuck, Mia You, and Ivo Victoria

In 1979, JEB self-published her first book, Eye to Eye: Portraits of Lesbians. In a work that was revolutionary for its era, JEB made photographs of lesbians from different ages and backgrounds in their everyday lives—working, playing, raising families, and striving to remake their worlds. The photographs were accompanied by writings from acclaimed authors including Audre Lorde, Adrienne Rich, Joan Nestle, and others. Various women pictured in the book also shared their personal stories. Eye to Eye signaled a radical new way of seeing, moving lesbian lives from the margins to the center, and reversing a history of invisibility. More than just a book, it was an affirmation of the existence of lesbians that helped to propel a political movement. Reprinted for the first time in forty years, Eye to Eye is a faithful reproduction of a work that still resonates today. This edition features additional essays from artist and writer Tee A. Corinne, former World Cup soccer player Lori Lindsey, and photographer Lola Flash.

Launched in New York City, in 1992, the Lesbian Avengers rejected the picket line and ordinary demo for media-savvy, nonviolent direct action.

They were superheroes arriving "to make the world safe for baby dykes everywhere;" warriors with capes and shields doing a line dance; dykes "Lusting for Power," pushing a giant bed float down Sixth Avenue in New York (with lesbians on it); nationally-ambitious Avengers eating fire in front of a hostile White House; lovers reuniting a statue of Alice B. Toklas with Gertrude Stein, then waltzing in the snow in Bryant Park. And homos who shamelessly chanted, "Ten percent is not enough, recruit, recruit, recruit."

Originally published in 1993, Homocom edition 2021