Fragmentary, unabashed, erotic―“Lifting Belly” is a singular lesbian love poem from modernist Gertrude Stein (1874–1946) which lays bare desire and easy intimacy—now in a beautifully packaged edition. What is it when it’s upset. It isn’t in the room. Moonlight and darkness. Sleep and not sleep. We sleep every night. What was it. I said lifting belly. You didn’t say it. I said I mean lifting belly. Don’t misunderstand me. Do you. Do you lift everybody in that way. No. You are to say No. Lifting belly. How are you. Lifting belly how are you lifting belly. We like a fire and we don’t mind if it smokes. Do you. ―From “Lifting Belly” Each palm–size book in the Counterpoints series is meant to stay with you, whether safely in your pocket or long after you turn the last page. From short stories to essays to poems, these little books celebrate our most–beloved writers, whose work encapsulates the spirit of Counterpoint Press: cutting–edge, wide–ranging, and independent.

A gorgeous 9-month journal for a mother-to-be.

Karen Katz's bestselling "must have" book for babies is now available as an enhanced eBook! Little ones will be entertained and amused throughout this interactive experience. A touch of the screen makes flaps move, eyes wink, babies giggle, and more! A delightful audio narration is also included—making this a unique experience for every little one.

In an insightful and provocative juxtaposition, Margaret Dickie examines the poetry of three preeminent women writers_Gertrude Stein, Elizabeth Bishop, and Adrienne Rich_investigating the ways in which each attempts to forge a poetic voice capable of expr

How many kisses does a tired baby need to change her from crying into sleeping?

Masquerade is the most comprehensive anthology yet published of poetry by American gays, lesbians, bisexuals, and transgendered persons. It includes representative poems from more than 100 writers from pre-colonial times to the end of the Second World War. The anthology begins with selections of anonymous texts from the oral traditions of Hawaii and Native America, followed by voodoo chants and cowboy songs (with a few limericks thrown in for good measure). The selections are arranged by the year of the poet's birth and include samplings of poetry by a racially and ethnically diverse group of men and women. Contemporary readers will know the work of some of these poets, such as Gertrude Stein and Walt Whitman. Other poets, such as George Santayana and Adah Isaacs Menken, will be strangers to most. In all, these poets created a rich heritage of verse that has been for the most part masked throughout the history of American literature.

Using experimental style as a framework for close readings of writings produced by late twentieth-century North American women, Deborah Mix places Gertrude Stein at the center of a feminist and multicultural account of twentieth-century innovative writing. Her meticulously argued work maps literary affiliations that connect Stein to the work of Harryette Mullen, Daphne Marlatt, Betsy Warland, Lyn Hejinian, and Theresa Hak Kyung Cha. By distinguishing a vocabulary-which is flexible, evolving, and simultaneously individual and communal--from a lexicon-which is recorded, fixed, and carries the burden of masculine authority--Mix argues that Stein's experimentalism both enables and demands the complex responses of these authors. Arguing that these authors have received relatively little attention because of the difficulty in categorizing them, Mix brings the writing of women of color, lesbians, and collaborative writers into the discussion of experimental writing. Thus, rather than exploring conventional lines of influence, she departs from earlier scholarship by using Stein and her work as a lens through which to read the ways these authors have renegotiated tradition, authority, and innovation. Building on the tradition of experimental or avant-garde writing in the United States, Mix questions the politics of the canon and literary influence, offers close readings of previously neglected contemporary writers whose work doesn't fit within conventional categories, and by linking genres not typically associated with experimentalism-lyric, epic, and autobiography-challenges ongoing reevaluations of innovative writing.