“Woodsqueer” is sometimes used to describe the mindset of a person who has taken to the wild for an extended period of time. Gretchen Legler is no stranger to life away from the rapid-fire pace of the twenty-first century, which can often lead to a kind of stir-craziness. Woodsqueer chronicles her experiences intentionally focusing on not just making a living but making a life—in this case, an agrarian one more in tune with the earth on eighty acres in backwoods Maine. Building a home with her partner, Ruth, on their farm means learning to live with solitude, endless trees, and the wild animals the couple come to welcome as family. Whether trying to outsmart their goats, calculating how much firewood they need for the winter, or bartering with neighbors for goods and services, they hone life skills brought with them (carpentry, tracking and hunting wild game) and other skills they learn along the way (animal husbandry, vegetable gardening, woodcutting). Legler’s story is at times humbling and grueling, but it is also amusing. A homage to agrarian American life echoing the back-to-the-land movement popularized in the mid-twentieth century, Woodsqueer reminds us of the benefits of living close to the land. Legler unapologetically considers what we have lost in America, in less than a century—individually and collectively—as a result of our urban, mass-produced, technology-driven lifestyles. Illustrated with rustic pen-and-ink illustrations, Woodsqueer shows the value of a solitary sojourn and both the pathway to and possibilities for making a sustainable, meaningful life on the land. The result, for Legler and her partner, is an evolution of their humanity as they become more physically, emotionally, and even spiritually connected to their land and each other in a complex ecosystem ruled by the changing seasons.

All the Powerful Invisible Things is an eloquent memoir of self-discovery and a chronicle of outdoor life. Refusing “impoverished ideas of passion,” Gretchen Legler writes about the complexities of being a woman who fishes and hunts, as well as about the more intimate terrain of family and sexuality. The result is a unique literary confluence filled with the ineffable graces of the natural world. She writes: “I used to hate being a woman. When I was young, I believed I was a boy. Throughout college I never knew what it was like to touch a woman, to kiss a woman, to have a woman as a friend. All of my friends were men. I am thirty years old now, and I feel alone. I am not a man. Knowing this is like an earthquake. Just now all the lies are starting to unfold. I don’t blend in as well or as easily as I used to. I refuse to stay on either side of the line.” Like many women, Legler finds that her presence identifies the unmarked boundaries of where she is and is not welcome, learning when it is advantageous to pass as male and when it is better to disappear into the woods and trees around her. This contrasts sharply with her experience of nature as a source of spiritual sustenance, a space of unparalleled freedom where she can lose herself in something larger. Twenty-five years after it was first published, All the Powerful Invisible Things remains a highwater mark for women writing about the outdoors and is one of the few works to tackle the intricacies of gender identity and sexuality with transcendental aplomb.

"McMurdo Station, Antarctica, is home to eighty-mile-per-hour winds, minus seventy degree temperatures, and months of near-total darkness. Sent to Antarctica as an observer, Gretchen Legler tells the story of her season spent at McMurdo Station. Populated by people from all walks of life - bankers, MBAs, therapists, carpenters, scientists, laborers, and military brass - the individuals that Legler meets have gone to Antarctica to escape everything from parking tickets to angry spouses. Hoping to get away from the complexities of her own life, Legler arrives at McMurdo Station with the intention of researching the landscape; what she finds, instead, is a zany population of people." "Part sociological study, part historiography, and part love story, On the Ice is an exploration of one of the most unexplored places on earth and the people who are drawn to it."--BOOK JACKET.

Alex Gino, the Lambda Literary Award-winning author of Melissa, is back with another sensitive tale based on increasingly relevant social justice issues. Jilly thinks she's figured out how life works. But when her sister, Emma, is born deaf, she realizes how much she still has to learn. The world is going to treat Jilly, who is white and hearing, differently from Emma, just as it will treat them both differently from their Black cousins. A big fantasy reader, Jilly makes a connection online with another fantasy fan, Derek, who is a Deaf, Black ASL user. She goes to Derek for help with Emma but doesn't always know the best way or time to ask for it. As she and Derek meet in person, have some really fun conversations, and become friends, Jilly makes some mistakes . . . but comes to understand that it's up to her, not Derek to figure out how to do better next time--especially when she wants to be there for Derek the most. Within a world where kids like Derek and Emma aren't assured the same freedom or safety as kids like Jilly, Jilly is starting to learn all the things she doesn't know--and by doing that, she's also working to discover how to support her family and her friends. With You Don’t Know Everything, Jilly P!, award-winning author Alex Gino uses their trademark humor, heart, and humanity to show readers how being open to difference can make you a better person, and how being open to change can make you change in the best possible ways.

A New York Times bestseller: “The funniest writer in America” takes on the global economy (The Wall Street Journal). In this book, renowned political humorist P. J. O’Rourke, author of Parliament of Whores and How the Hell Did This Happen? leads us on a hysterical whirlwind world tour from the “good capitalism” of Wall Street to the “bad socialism” of Cuba in search of the answer to an age-old question: “Why do some places prosper and thrive, while others just suck?” With stops in Albania, Sweden, Hong Kong, Moscow, and Tanzania, O’Rourke takes a look at the complexities of economics with a big dose of the incomparable wit that has made him one of today’s most refreshing commentators. “O’Rourke has done the unthinkable: he’s made money funny.” —Forbes FYI “[O’Rourke is] witty, smart and—though he hides it under a tough coat of cynicism—a fine reporter . . . Delightful.” —The New York Times Book Review

Shudder-To-Think, Pennsylvania, has been on fire for years. The coal mines beneath it are long since abandoned. The woods are full of rabbits with human eyes, a deer woman who stalks hungry girls, and swaths of skinless men. And the people in Shudder-to-Think? Well, they’re not doing so well either. When El and Octavia wake up in a movie theater with no memory of the last few hours of their lives, the two teenage dirtbags begin a surreal and terrifying journey to discover the truth about the strange town that they call home. Like so many women in Shudder-to-Think before them, all they have is a void where the truth once was. But as time passes, El finds herself needing to know more about what has happened, while Octavia wants nothing more than to forget the forgetting. Can these two teens reconcile their differences before the horrible things lurking beneath their town emerge and swallow them whole? Collects The Low, Low Woods #1-6.

An Indigenous artist blends the aesthetics of punk rock with the traditional spiritual practices of the women in her lineage in this bold, contemporary journey to reclaim her heritage and unleash her power and voice while searching for a permanent home Sasha taqʷšəblu LaPointe has always longed for a sense of home. When she was a child, her family moved around frequently, often staying in barely habitable church attics and trailers, dangerous places for young Sasha. With little more to guide her than a passion for the thriving punk scene of the Pacific Northwest and a desire to live up to the responsibility of being the namesake of her beloved great-grandmother—a linguist who helped preserve her Indigenous language of Lushootseed—Sasha throws herself headlong into the world, determined to build a better future for herself and her people. Set against a backdrop of the breathtaking beauty of Coast Salish ancestral land and imbued with the universal spirit of punk, Red Paint is ultimately a story of the ways we learn to find our true selves while fighting for our right to claim a place of our own. Examining what it means to be vulnerable in love and in art, Sasha offers up an unblinking reckoning with personal traumas amplified by the collective historical traumas of colonialism and genocide that continue to haunt native peoples. Red Paint is an intersectional autobiography of lineage, resilience, and, above all, the ability to heal.