BOOK SALE!

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

What role does a mother play in raising thoughtful, generous children? In her literary debut, internationally award-winning writer Courtney Zoffness considers what we inherit from generations past—biologically, culturally, spiritually—and what we pass on to our children. Spilt Milk is an intimate, bracing, and beautiful exploration of vulnerability and culpability. Zoffness relives her childhood anxiety disorder as she witnesses it manifest in her firstborn; endures brazen sexual advances by a student in her class; grapples with the implications of her young son’s cop obsession; and challenges her Jewish faith. Where is the line between privacy and secrecy? How do the stories we tell inform who we become? These powerful, dynamic essays herald a vital new voice.

Read excerpts from Spilt Milk courtesy of The Paris Review, Guernica, and Lit Hub.

Praise for Spilt Milk

“(K)eenly perceptive… masterful essays in a fresh, vulnerable voice readers will want to hear more of.”  
—Publishers Weekly (starred review)

“(M)oves back and forth through time with an elegant quickness that insightfully captures how the past shapes who we are and who we might become.” 
—Booklist (starred review)

“In her layered storytelling, (Zoffness) brings empathy to every situation and often finds empathy for herself along the way. Spilt Milk is a generous, warm debut from an already prizewinning writer.”
—Book Page (starred review)

“Each essay is just as thoughtful and smart and well-told as the last one — don’t miss this.
—Alma Magazine

“In Spilt Milk, Courtney Zoffness, with compassionate clarity, exposes herself—her worst fears, her best hopes—to expose her art.”
—The Masters Review

“A slim, tender collection of essays.”
—Good Morning America

“lyrical and brilliant in the way a jewel reveals many facets at different angles.”
—Jewish Boston

“A graceful debut.”
—Kirkus

“In this collection of essays, Courtney Zoffness tackles motherhood in a way that is simultaneously fresh and achingly relatable… Zoffness recreates tender, moving, and poetic moments that will etch their way into your brain and heart for a very long time. We should be so lucky to get more work from the young writer.”
—Apartment Therapy

“Searching and exquisitely-wrought.”
—Brevity Magazine

“I don’t know what I love the most about Courtney Zoffness’s Spilt Milk. The taut originality of the prose? The acuity of its insights? The daring vulnerability? There is so much I want to say about Spilt Milk, but honestly they’re all variations of This is fucking brilliant. Whatever you think this book is, it’s more. A debut writer this talented and skilled is an event in itself.”
—Mat Johnson, author of Pym

“Gentle, playful and laced with subtle wit, these essays are a welcome balm in an insane and un-gentle time.”
—Mary Gaitskill, author of This is Pleasure and Bad Behavior

“Spilt Milk contains the wisdom of a mother, the maturity of an older sister, and the wide-eyed wonder of a small child. It’s a magical gift of a collection.”
—Lisa Taddeo, author of Three Women

“In these ten musical, open-hearted essays, Courtney Zoffness establishes herself as one of our most soulful, clear-eyed narrators. A lucid dream of a book I wished would never end.”
—Elisa Albert, author of After Birth

“Wry and masterful—Spilt Milk examines the multiplicities of self and culture, asking the tough questions with remarkable concision. Courtney Zoffness is a writer of supernatural acuity and wit.”
—T Kira Madden, author of Long Live the Tribe of Fatherless Girls

“Spilt Milk is current, self-examining, honest, insightful, biting, and funny. Essentially, a perfect book.”
—Jesse Eisenberg, actor and playwright, author of Bream Gives me Hiccups and Other Stories

“Perhaps you have heard that being a mother of small children is hard, especially so right now, and finally, here is a book of essays that don’t cover up the messiness, the oddness, the love and the sadness and the worry all at once. Unsanitized and beautiful.”
—Emma Straub, author of All Adults Here and owner of Books Are Magic

“Courtney Zoffness’s collection is written with a fierce and sometimes funny honesty. Zoffness explores motherhood and daughterhood, and how these early attachments make us and unmake us, how they connect us to others—until they are us.”
—Tiphanie Yanique, author of Land of Love and Drowning

“These bright, knowing essays spill over with intelligence and wit. Courtney Zoffness traces the dizzying conflict faced by parents—the daily ricochet between burden and joy—and, with a sharply lyric voice, discovers hidden connections between this domestic struggle and the larger cultural and political winds shifting around us.”
—Ben Marcus, author of Notes from the Fog

“On one level, Spilt Milk is an extraordinary exploration of the connections, small and large; real and imagined, between childhood and parenthood. On another level, it’s irrefutable proof that Courtney Zoffness is a wondrous calculus of a prose writer: keen, inventive, candid, open-hearted, not to mention one helluva stylist.”

—Mitchell S. Jackson, author of Survival Math

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

Rerun Era is a captivating, propulsive memoir about growing up in the environmentally and economically devastated rural flatlands of Oklahoma, the entwinement of personal memory and the memory of popular culture, and a family thrown into trial by lost love and illness that found common ground in the television.

Told from the magnetic perspective of Joanna Howard’s past selves from the late ‘70s and early ‘80s, Rerun Era circles the fascinating psyches of her part-Cherokee teamster truck-driving father, her women’s libber mother, and her skateboarder, rodeo bull-riding teenage brother. Illuminating to our rural American present, and the way popular culture portrays the rural American past, Rerun Era perfectly captures the irony of growing up in rural America in the midst of nationalistic fantasies of small town local sheriffs and saloon girls, which manifested the urban cowboy, wild west theme-parks, and The Beverly Hillbillies.

Written in stunning, lyric prose, Rerun Era gives humanity, perspective, humor, and depth to an often invisible part of this country, and firmly establishes Howard as an urgent and necessary voice in American letters.

Praise for Rerun Era

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

In August in Rio Seco, California, the ground is too hard to bury a body. But Glorette Picard is dead, and across the canal, out in the orange groves, they’ll gather shovels and pickaxes and soak the dirt until they can lay her coffin down. First, someone needs to find her son Victor, who memorizes SAT words to avoid the guys selling rock, and someone needs to tell her uncle Enrique, who will be the one to hunt down her killer, and someone needs to brush out her perfect crown of hair and paint her cracked toenails. As the residents of this dry-creek town prepare to bury their own, it becomes clear that Glorette’s life and death are deeply entangled with the dark history of the city and the untouchable beauty that, finally, killed her.

Check out a preview of the book & real-life stories and images that inspired the novel!

Praise for Between Heaven and Here:

“It is only the rarest of novels that cry for a sequel, the most unusual of stories that at once satisfies and leaves the reader aching for more. Susan Straight’s remarkable Take One Candle Light A Room is such a novel. And she has satisfied our desires in Between Heaven and Here, a magnificent novel, that manages to be at once unflinchingly real and transcendently beautiful. Susan Straight is one of the very best American writers. If you haven’t read her, you’re in for a delight and an awakening. If you have, then you’re probably as thrilled as I am that she has taken us back to Rio Seco.”
—Ayelet Waldman

“Susan Straight finds LA’s secret heart in Between Heaven and Here and with a sleight of hand only the masters have, she creates an alley, a neighborhood, a history that is as rich and tragic as any Shakespearean tale.”
—Walter Mosley

“Straight employs glorious language and a riveting eye for detail to create a fully realized, totally believable world.”
—Kirkus (Starred Review)

“The mysterious murder of a hooker kicks off this exquisitely wrought final installment (after Take One Candle Light a Room) of Straight’s trilogy, set in fictional Rio Seco, California. When Glorette Picard’s longtime admirer, Sidney, discovers her body in a shopping cart in an alley behind a taquería, he fears the wrath or indifference of the police, and so claims her corpse as his responsibility, setting of a storm of consequences. Left behind to weather the world on his own is Glorette’s young son, Victor, who memorizes SAT vocabulary words to drown out the crack dealers, and her uncle Enrique, who takes it upon himself to avenge her death. Straight plunges readers into a whirlwind of dialects, drugs, derelict homes, and delinquent locals as she weaves together the story of Glorette’s life and death, while addressing weighty and timely issues like race, language, and the socioeconomically disenfranchised. Straight deftly avoids clichés and easy outs, and her refusal to vilify or sanctify the numerous members of her cast allows the experiences of each to resonate powerfully.”
—Publishers Weekly (Starred Review)

“And yet, in a novel set in a world in which people are too often stripped of dignity, Straight has accomplished the larger act of ennobling her characters. She sees them clearly and gives them a striking presence on the page.”
—New York Times

“Straight, a 2001 National Book Award finalist for Highwire Moon, has the ability to create straightforward contemporary voices, no pun intended. She does not subscribe to the maximalist school of over-the-top characters, yet she can still dramatize the complex, jagged nature of American culture today. ”
—The Daily Beast

“Despite the tragedies that befall them, Straight’s characters still recognize the splendor of the natural world, from the pepper trees behind the taqueria to the orange blossoms in the alley scenting the midnight air… Straight’s group portrait of this community ought to be recognized as a national artistic treasure. Her focus on this singular place magnifies the hopes and disappointments of so many Americans, so many humans on earth.”
—The Boston Globe

“Susan Straight has remarkable range as a writer. Her voice can be elegant in the rhythms and vocabulary of her narrative, yet also blunt and raw in dialogue… Her work is so intensely alive in its movement, action, and in the speech of her characters that reading it is almost like being caught in the center of a storm: exhausting but exhilarating at the same time.”
—The Rumpus

“How can a novel that is essentially the story of a dead prostitute prove so uplifting? It must be some kind of black magic that only Susan Straight can work… And by the end of this gorgeous and heart-wrenching novel, this family will be your people, too.”
—The Dallas Morning Star News

“A thoroughly engrossing novel, one that operates powerfully in the empty, lonely gaps between people.”
—ForeWord Reviews

“Straight’s writing pulls the reader into a world that is both surreal and yet inescapably concrete, ugly and beautiful all at once. She binds the multifaceted perspectives together into a narrative that is fragmented but still very much whole.”
—BUSTLE

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

In Vicky Swanky Is a Beauty, Diane Williams lays bare the urgency and weariness that shape our lives in stories honed sharper than ever. With sentences auguring revelation and explosion, Williams's unsettling stories—a cryptic meeting between neighbors, a woman's sexual worries, a graveside discussion, a chimney on fire—are narrated with razor-sharp tongues and naked, uproarious irreverence.

These fifty stories hum with tension, each one so taut that it threatens to snap and send the whole thing sprawling—the mess and desire, the absurdity and hilarity, the bruises and bleeding, the blushes and disappointments and secrets. An audacious, unruly tour de force, Vicky Swanky Is a Beauty cements Diane Williams' position as one of the best practitioners of the short form in literature today.

Praise for Diane Williams:

"Let's hear it for the magnificent Diane Williams, one the wittiest and most exacting writers of our time. Her fictions are fervid endorsements of terrible, joyous life. But that’s not quite right, because like all great literature, they are life. Well, you figure it out. All I know is that this book is an amazement, composed with a stricture that guarantees splendor."
—Sam Lipsyte

"Diane Williams is one of the true living heroes of the American avant-garde. Her fiction makes very familiar things very, very weird."
—Jonathan Franzen

"She is one of the very few contemporary prose writers who seem to be doing something independent, energetic, heartfelt."
—Lydia Davis

"The uncanny has met its ideal delivery system: the stories of Diane Williams."
—Ben Marcus

"These stories are the Giacometti walking man, the Cornell box, that extraordinary object born out of a genius for expressing the inner murmur of the mind. Each page is like throwing open the window in an electrical storm—strange sky, air full of voltage, and inside, a square of brave. Diane Williams is hilarious, brilliant, eccentric, powerful, and, luckily, ours."
—Deb Olin Unferth

"Vicky Swanky is a Beauty and Diane Williams is a genius. She is also a hero who 'resurrect(s) glee' in the face off with mortality. Her stories are sensationally complex; sorrow and hilarity, melancholy and wonder mingle, rendering this surpassingly winning collection, her seventh, quite extraordinary."
—Christine Schutt

"'Vicky Swanky' is Williams at her best, shaking us awake again to the persistent strangeness of human life."
—Jenny Hendrix, The Boston Globe

"The shorts in Diane Williams's Vicky Swanky Is a Beauty (McSweeney's) emit an unsettling brilliance, becoming, on repeated readings, even stranger and more revelatory."
—Vanity Fair 

“To read these delightful stories is simply to drop in on random encounters as they are occurring—tense, awkward, jokey, fraught.”
—The San Francisco Chronicle

“Even without the cameo appearances by the character ‘Diane Williams,’ it’s unlikely that anyone who’s attempted to tease apart a handful of Williams’s stories will forget her linguistic precision, the ways she whittles sentences into solid gems, or her wonderfully strange way of seeing.”
—The Millions

“There is also the pleasure of Williams’s sentences…dense and different. They pop. They’re part of what makes Vicky Swanky Is a Beauty so enjoyable.”
—ZYZZYVA

“Dark, strange and revelatory”
—Time Out New York

“Equal parts satisfying, mysterious, thoughtful, and quick.”
—Publishers Weekly

“Williams’s steadfast devotion to keep experimenting has yielded another highly entertaining collection that defies any contrary urge to settle down.”
—The National

“In Vicky Swanky Is a Beauty, we are reminded that Diane Williams is a brilliant writer and that there is absolutely nothing preordained in this world, which is sometimes a truly great thing.”
—Bomb

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

In his debut essay collection, award-winning poet Jaswinder Bolina meditates on “how race,” as he puts it, “becomes metaphysical”: the cumulative toll of the microaggressions and macro-pressures lurking in the academic market, on the literary circuit, in the dating pool, and on the sidewalks of any given U.S. city. Training a keenly thoughtful lens on questions that are never fully abstract―about immigration and assimilation and class, about the political utility of art, about what it means to belong to a language and a nation that brand you as other―Of Color is a bold, expansive, and finally optimistic diagnosis of present-day America.

Praise for Of Color

“(T)hese companionable essays squeeze one’s arm with the firm, fraternal pressure of a trustworthy adviser.”
—Ron Slate, On the Sea Wall

“An excellent collection any year, but it feels particularly necessary in 2020.”
—Hippocampus Magazine

“Eminently readable… entrusts us with an honest conversation that we all should be having with each other.”
—Ploughshares

“Jaswinder Bolina’s insightful, raw and honest collection of brilliant essays illuminate the joys and pains of being a specific person Of Color and through his unique lens we also come to understand the universal ongoing story of America.”
—Wajahat Ali, author of The Domestic Crusaders and contributor to CNN and the New York Times

“Lyrically intelligent, exceptionally alert… A crucial addition to the growing canon of works about race in contemporary America.”
—Sarah Manguso, author of Ongoingness and 300 Arguments

“(M)oves from the polemic to the personal with the candidness and flair of a rollicking dinner conversation.”
—Aisha Sabatini Sloan, author of Dreaming of Ramadi in Detroit

“(A) powerful and wise collection of essays, one that will make reverberations into how we look at this country in the future.”
—Cathy Park Hong, author of Engine Empire and Minor Feelings

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

The Abridged History of Rainfall is a finalist for the National Book Award.
Jay Hopler’s second collection, a mourning song for his father, is an elegy of uproar, a careening hymn to disaster and its aftermath. In lyric poems by turns droll and desolate, Hopler documents the struggle to live in the face of great loss, a task that sends him ranging through Florida’s torrid subtropics, the mountains of the American West, the streets of Rome, and the Umbrian countryside. Vivid, dynamic, unrestrained: The Abridged History of Rainfall is a festival of glowing saints and fighting cocks, of firebombs and birdsong.

Praise for The Abridged History of Rainfall:

“By these poems, your faith will be shattered and restored, restored and wondrously shattered again.”
—Craig Morgan Teicher

“This is a major work of art. Hopler’s vision and voice, both painfully complex because of how much of the world he allows to attach to him, to stake its claim on him, teach us we are in the presence of lasting, inimitable poems. No one writes like Hopler. And no one ever will.”
—Katie Ford

“In his second collection of poetry, Jay Hopler’s incredible ear and inventiveness with poetic from return full throttle. Even as they engage grief and loss, the poems here are funny and sardonic, not afraid to wear their feelings on their sleeves; they’re a tonic.”
—Dana Levin

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

On the top floor of a small desert hospital, an unlikely piano prodigy lies in a coma, attended to by his gruff, helpless father. Outside the clinic, a motley vigil assembles beneath a reluctant New Mexico winter—all watched by a disconsolate wolf on his nightly rounds. To some the boy is a novelty, to others a religion. And above them, a would-be angel sits captive in a holding cell of the afterlife, finishing the work he began on Earth, writing the songs that could free him.

A Million Heavens brings John Brandon’s deadpan humor and hard-won empathy to a new realm of gritty surrealism—a surprising and exciting turn from one of the best young novelists of our time.

For the McSweeney’s Books Preview of A Million Heavens, check out the Tendency. And the McSweeney’s Author Q and A is right this way.

Check out John Brandon’s interview on the Rumpus celebrating the paperback release of A Million Heavens.

Listed as one of 2012’s most anticipated books by The Millions

Praise for A Million Heavens:

“John Brandon’s novels are choral compositions in the voice of marginal Americans… At his best, which he’s at with some frequency here, he writes in a crackling way about small hopes and larger despair. He gravitates to the kind of regional misfits who drew Flannery O’Connor’s eye, and his dialogue is snappy and eccentric, like a combination of two masters of the craft, Elmore Leonard and Charles Portis. [His] strengths—assured prose, well-timed wisecracks and a convincing crew of pilgrims just waiting for directions—are quickly becoming Mr. Brandon’s trademarks.”
—The New York Times

“[John Brandon] deftly renders a desert wilderness where human hearts are compelled to seek isolation from the pains of the world, but tend to find connectedness despite themselves.”
—Publishers Weekly

“A surreal exploration of the origin of inspiration, of what connects humans to each other and to their surroundings. …Brandon’s gift for conjuring a powerful sense of place has never been stronger as the high-desert sands invade every nook and cranny of the lives of his characters.”
—Booklist

“Brandon deftly orients his readers to the level of his characters by perfectly evoking the everyday emotions, urges, and annoyances that are relatable despite the uncommon situations they are born of.”
—ZYZZYVA

“‘A Million Heavens,’ [is] a book that practically shouts from the rooftops its refusal to put on airs, its desire to strip down the prose and get out of its own way. Brandon’s unadorned style and disdain for anything ‘fancy’ belie what a good (and sometimes fancy) writer he is, as well as how much he loves playing with the reader’s expectations, interrupting and upending traditional elements of the novel even as he claims to want to be the deliverer rather than the composer.”
—Atlanta Journal-Constitution

“Wondrous… More than once I handed A Million Heavens to a friend and watched the rhythms compel him or her into the thickness of a paragraph, then onto the next page…. I had to stop reading to actually pace, marveling at what one writer can imagine, what a novel is capable of holding.”
—Charles Bock New York Times Book Review

“A theologically engaged book, salted with hope, as well as blistering insight.”—The Plain Dealer “Something of a genre-buster: in alternating beats a bittersweet comedy about the law of inertia and a plaintive serial-killer thriller on the laws of the wild. … The crisscrossing roads of A Million Heavens bustle with luminous prose that carries only good news for lovers of original fiction.”
—The Boston Globe

Lady Murasaki’s Tale of Genji has delighted readers for more than 1,000 years and inspired writers to create numerous parodies. Artists have responded with a rich parallel tradition illustrating the courtly intrigues, love affairs and shifting alliances of the epic novel, as well as its retellings. This lavishly illustrated volume explores interpretations of the original story and its spinoffs by Japanese master printmakers such as Kunisada, as well as Hiroshige, Suzuki Harunobu and Chobunsai Eishi, bringing the characters to life in dazzling woodblock prints from the peerless collection of the Museum of Fine Arts, Boston.
With insightful commentary from a leading Japanese print scholar, this book invites readers to explore the colorful world of The Tale of Genjiand its visual afterlife.

In his latest book, the great American fashion photographer Arthur Elgort presents photographs of women that he has taken throughout his career, in homage to their power, their beauty, their joy and their strength. Depicting a variety of subjects, from young ballerinas at the Vaganova Academy of Russian Ballet in St. Petersburg to snapshots of fashion’s most influential women, this collection portrays many aspects of femininity across generations. Designed in the style of his classic 1994 book Arthur Elgort’s Models Manual (by the same designer, Steve Hiett), and printed on sumptuous matte paper with a vinyl cover, this book combines text and photographs in one seamless flow, deploying a rich range of color with graphic snap. Featured here are idols such as supermodels Gia Carangi, Cindy Crawford, Karen Elson, Linda Evangelista and Christy Turlington, and legendary editors such as Franca Sozzani, the former editor-in-chief of Vogue Italia, and Polly Allen Mellen, a former editor at Vogue, Harper's Bazaar and Allure.

Arthur Elgort (born 1940) studied painting at Hunter College but quickly transitioned to photography, finding painting too slow and solitary. Elgort attributes much of his spontaneous and liberated style to his lifelong love of music and dance, especially jazz and ballet. In his long career he has worked on many major advertising campaigns, including for Chanel, Valentino and Yves Saint Laurent, shot countless fashion spreads and published several books; his most recent publication is Jazz (2018).

A book about costume jewelry and its creative intersections with Italian excellence, Diva! presents 200 Italian fashion jewels from the Dolce Vita of the 1950s to the Prêt-à-Porter of the 1980s, from the minimalism of the 1990s to the neobaroque of the new millennium, telling a typically Italian story—one that combines creativity and manufacturing, craft and industry, art and technology, beauty and innovation.
Designers include: Enzo Pirozzi, Agalma Medusae di Giovanna Micali, Verde Alfieri, Algares di Alba Gallizia, Anna e Alex, Aonie, Rosalba Balsamo, Barbara Biffoli, Giulia Boccafogli, Bea Bongiasca, Mario Bottiglieri, Valentina Brugnatelli, Ca&Lou, Maria Calderara, Ida Callegaro, Fabio Cammarata, Barbara Cardamone, CARDILLO_design, MW di Maria Jennifer Carew, Elisabetta Carozzi, Monica Castiglioni, Rossella Catapano, Vittorio Ceccoli, Cristina Chiari, Sandra Di Giacinto Design, Sandra Dipinto and Eandare di Lucilla Giovanninetti.

The iconic black-and-white photographs of Hamburg-born photographer Frank Habicht (born 1938) reflect the spirit of the Swinging Sixties in London. In the 1960s, the conservative postwar years in England gave way to a period of upheaval, with a younger generation dreaming of an unconstrained life, one full of free love, peace and harmony. On the streets of the British capital, Habicht began photographing the profound social and political changes that were underway.

Habicht, who has lived in New Zealand since 1981, has produced photographs for many international magazines and newspapers, such as the Guardian, Die Welt, Camera Magazine and Twen. His photographs were recently exhibited at the Barbican in London, and he has made portraits of music and film greats such as Mick Jagger and the Rolling Stones, Jane Birkin, Christopher Lee and Vanessa Redgrave.

Frank Habicht: As It Was collects Habicht’s photos from the 1960s in an opulent book. A unique collection of images of the swinging, groovy, hippie and psychedelic ‘60s in London, it offers an eye-opening contribution to the history of a country that is currently undergoing yet more social transformation.

Daniel Nicoletta (born 1954) has been a leading chronicler of the LGBT civil rights movement in San Francisco over the last 40 years. This is the first book dedicated to his powerful photographs documenting the journey of the burgeoning lesbian-gay-bisexual-transgender mecca that was San Francisco in the 1970s through to the present. Nicoletta is best known for his iconic images of Harvey Milk, one of the world’s first openly gay elected officials, who was assassinated by a homophobic colleague in 1978. Nicoletta portrayed glittering drag queens, the alternative theater world and the steadfast bravery of same-sex couples trying to live their lives amid often adverse cultural sea changes. Today, Nicoletta continues to document the reverberations of Milk’s legacy. He serves as a key point person for LGBT civil rights and Milk-related research. In 2014, one of Nicoletta’s photographs was used on a US Harvey Milk Forever stamp. LGBT: San Francisco is an essential gay history and a stunning photographic work that is not to be missed.

In the 1990s, queer youth, outcasts and artists flocked to San Francisco to experiment with art, self-expression, style and gender and to find community. Rent was affordable, paving the way for queer bars, clubs, tattoo shops, galleries, cafés, bookstores and women-owned businesses to emerge. A new wave of feminism embraced gender fluidity, and butch/femme culture flourished. The Mission district was the center of this queer cultural renaissance, and the feeling of community there was palpable.
Chloe Sherman was both a member of this community and an ardent visual chronicler.

Her documentary photographic work on 35mm film stems from a commitment to capturing the vibrancy, tenderness, individuality, resilience and joy within this subculture that was derided by mainstream society. Distilling the spirit of the time, her debut monograph is a candid portrait of a vibrant era that connects current and future generations to the pulse of San Francisco at a pivotal chapter in queer history.

Chloe Sherman (born 1969) arrived in San Francisco in 1991 and earned her BFA in Photography at the San Francisco Art Institute. Her work has been exhibited internationally and featured in magazines such as Rolling Stone and Interview.

Covering 30 years of sculptures, paintings, works on paper, large-scale wall drawings, installations and site-specific works, this book presents the art of Gary Simmons, one of the most respected artists of his generation. Since the late 1980s, Simmons has played a key role in situating questions of race, class and gender identity within art discourse. He is notable for combining pop-cultural imagery with conceptual artistic strategies to expose and analyze histories of racism inscribed in US visual culture. Over the course of his career, Simmons has revealed traces of these histories in the fields of sports, cinema, literature, music, and architecture and urbanism while drawing on popular genres such as hip-hop, horror and science fiction. His approach is cool and unflinching in its interrogation of historical and cultural narratives, yet the results consistently deliver a strong emotional charge. This publication offers readers the opportunity to gain a holistic understanding of the complex, profoundly moving work of this influential artist.

Gary Simmons was born in 1964 in New York City, where he was raised. Today he lives and works in Los Angeles. He received a BFA in 1988 from the School of Visual Arts, New York, and an MFA in 1990 from the California Institute of the Arts, Valencia; he also studied at Hunter College, New York. He has received numerous awards, including the Studio Museum in Harlem Joyce Alexander Wein Prize (2013), the George Gund Foundation USA Gund Fellowship (2007) and the National Endowment for the Arts Interarts Grant (1990).

The saturation of our social landscape by photographs and photographers is apparent from any public point of view. Photography is arguably the most democratic of mediums, even more accessible today across culture and class than language. In some regards, this has been Lee Friedlander’s most enduring subject—the way that average citizens interact with the world by making pictures of it, as well as how those pictures and the pictures constructed for advertising or political purposes define the public space.
In Lee Friedlander: The People’s Pictures we see photographs spanning six decades, most of the geographic United States and parts of Western Europe and Asia. These pictures are uniquely Friedlander photographs: as much about what’s in front of the camera as they are about the photographer’s lifelong redefining of the medium. Like his exploration of words, letters and numbers in the social landscape, these photographs of photography’s street presence seem inevitable to Friedlander’s vast visual orchestration of what our society looks like. But make no mistake, Friedlander’s photographs are not objective documents; they are intentional, authored, playful, intelligent creations made through his unprecedented collaboration with time and place.
Lee Friedlander (born 1934) has published more than 50 monographs since 1969, and has exhibited extensively around the world for the past five decades, including a major retrospective at the Museum of Modern Art, New York, in 2005. Friedlander lives in New York.