How is the pre-Stonewall generation aging? What can the Stonewall generation expect?Combining personal experience and original research, this fascinating collection explores the practical and psychological issues of aging for lesbian, gay, bisexual, and transgender individuals. Midlife and Aging in Gay America provides highlights from the SAGE 2000 National Conference on the personal, psychological, and economic issues related to growing older as a member of a sexual minority. Midlife and Aging in Gay America delivers reports from a national conference on urgent issues, including: health care concerns retirement plans intergenerational romances lifestyle issues caregiving grief and loss

200th Anniversary Edition
Incidents in the Life of a Slave Girl
Harriet Jacobs Writing as Linda Brent
""It has been painful to me, in many ways, to recall the dreary years I passed in bondage. I would gladly forget them if I could. Yet the retrospection is not altogether without solace; for with these gloomy recollections come tender memories of my good old grandmother, like light fleecy clouds floating over a dark and troubled sea.""
One of the most memorable slave narratives, Harriet Jacobs's "Incidents in the Life of a Slave Girl "illustrates the overarching evil and pervasive depravity of the institution of slavery. In great and painful detail, Jacobs describes her life as a Southern slave, the exploitation that haunted her daily life, her abuse by her master, the involvement she sought with another white man in order to escape her master, and her determination to win freedom for herself and her children. From her seven years of hiding in a garret that was three feet high, to her harrowing escape north to a reunion with her children and freedom, Jacobs's "Incidents in the Life of a Slave Girl" remains an outstanding example of one woman's extraordinary courage in the face of almost unbeatable odds, as well as one of the most significant testimonials in American history.

This stunning second collection engages the "disciplines" associated with regimes of powers and sadomasochism. The work interrogates the social and linguistic space between regimes of power enacted on the body, and thereby the soul.

Good Stock had its origins in a libretto Lundy Martin wrote for the Whitney Biennial, and are arranged in a way reminiscent of a song cycle, offering a different context for considering the poetry, and an exciting formal construct for the ideas in play. The poems speak to contemporary conversations about race, voice, bodies, and justice in ways that bend and break easy narratives, making the challenges of this moment alive. Lundy Martin is an activist and has long been engaged with creating structures to support black writers. At Pittsburgh, she is a cofounder and codirector for the Center for African American Poetry and Poetics, which gives her work on behalf of poets a new platform and prominence. Lundy Martin's work is perfect for the CHP list and fits in with other writers like Anna Moschavokis and Anne Waldman—she's an immensely serious avant-garde writer whose concerns are deeply rooted in the material suffering of the world.

Dawn Lundy Martin's work is neither language poetry, which rejects the speaking subject, nor strictly lyric, which embraces the speaking ""I."" It might best be described as poetry where, in the words of Juliana Spahr, ""the lyric meets language"" - both an investigation into the opacity of language and the expression of a passionate speaker who struggles to speak meaningfully.Martin's poems bend the form into something new, seeking a way to approach the horrific and its effect on the psyche more fully than might be possible in the worn groove of the traditional lyric. Her formal inventiveness is balanced by a firm grounding in bodily experience and in the amazing capacity of language to expand itself in Martin's hands. She explodes any pretense at a world where words mean exactly what we want them to mean and never more nor less. The poems are neither gentle nor easy, but they make a powerful case that neither gentleness nor easiness is appropriate in the attempt to contend with the trauma and violence that are an inescapable part of human history and human experience. Martin's book acknowledges the difficulty but not the impossibility of utterance in trauma's wake, and it ventures into the unimaginable at many levels, from the personal to the cultural.