LGBTQ+
"Changers should appeal to a broad demographic. Teenagers, after all, are the world's leading experts on trying on, and then promptly discarding, new identities." --New York Times Book Review
When we last saw Oryon Small he was kidnapped and locked in a basement, his best friend Chase dying in his arms. In Book Three of the groundbreaking Changers series, Oryon awakens as Kim Cruz, an Asian American girl whose body looks nothing like she expected or desired.
Where Changers Book One: Drew dealt primarily with issues of gender and bias, and Changers Book Two: Oryon explored issues concerning race and bigotry, Changers Book Three: Kim tackles the thorny, less straightforward subjects of body shaming, self-esteem, grief, mental illness, and how the expectations of the outside world can't help but color the way we see ourselves.
Kim--smart, funny, and finally fed up with the cards she's been dealt--is finding out that friends change, love doesn't always mean forever, and growing up means living your truth, even if it isn't pretty.
"This is an excellent sequel . . . . This installment raises the stakes, making the story not just about physical and emotional transformation, but about survival." --School Library Journal
"Oryon's winning and witty narrative voice is consistently engaging . . . Oryon is African-American, and much of what he observes is about race . . . raises thought-provoking questions." --Kirkus Reviews
Part of Akashic's Black Sheep YA imprint.
Changers Book Two: Oryon in the four-part Changers Series for young adults finds our hero Ethan/Drew on the eve of her second metamorphosis--into Oryon, a skinny African American skater boy with more swagger than he knows what to do with. Enter a mess of trouble from the Changers Council, the closed-minded Abiders, the Radical Changers (RaChas), and his best friend Audrey--at least she was his best friend when Oryon was Drew--and now, it's complicated.
But that's life (and life, and life, and life) for Changers, an ancient race of humans who must live out each year of high school as a completely different person. Before next summer, Oryon will learn what it means to be truly loved, scared spitless, and at the center of a burgeoning national culture war. Most of all, he will learn again how much the eyes of the world try to shape you into what they see--and how only when you resist do you clearly begin to see yourself.
Crooked Letter i offers a collection of first-person nonfiction narratives that reflect the distinct 'coming out' experiences of a complex cross-section of gay, lesbian, and transgendered Southerners from all walks of life and at different stages in their lives.
There is the Appalachian widower who, following the death of his wife, decides it's time to tell his church community. There is the young man who left his hometown as a girl, returning hesitant but hopeful for his grandmother's love. There is the adolescent girl who refuses to surrender her soul to Jesus because she is not yet certain of her own beliefs. There is the well-mannered Southern gentleman who hopes his blueberries and biscuits will help ease the awkwardness of coming out to his elderly neighbor. There are the ones who survived the frequent bar raids, arrests, and beatings. But, there is also the first kiss, and the first love. The experiences represented here pivot around a central theme--finally finding language to understand one's identity, and then discovering we were never the only ones. Revealing a vibrant cross-section of Southerners, the writers of these narratives have in common the experience of being Southern and different, but determined against all odds.
In 1850s Manhattan, 18-year-old Georgiana Cartwright witnesses the downfall of her father, a renowned actor who disgraces himself performing under the influence. When he deserts the family, Georgie is expected to save the day by marrying well. But she aspires to the stage, hoping to earn an independent living like her idol, the great actress Charlotte Cushman.
Hired as a supporting actress for a prominent theater company, Georgie launches her career with the help of a trio of young friends, including Clementine, a budding scribe determined to make her mark on the literary landscape--and to win Georgie's heart. Early reviews garner Georgie the promise of a bright future, but then unwanted sexual advances from within the company threaten to derail her career.
Following Cushman's lead, Georgie regains her footing in "breeches roles" parts written for men but performed by women. A thrilling gender-bending turn in a Shakespearean role boosts her confidence--until her harasser renews his efforts. Will she be able to vanquish him and find success and love on her own terms?
A Chicago Public Library Best Book of the Year
Although imagined as a queer subcultural practice, drag seems to be everywhere we look: from AI filters on TikTok to brunchtime entertainment, from state legislations to political rallies. Yet as drag enters the mainstream--largely due to the intense, global popularity of reality TV competition RuPaul's Drag Race--some kinds of gender-based performance fall out of the purview of what we (could) call drag.
Decolonize Drag details the ways that gender is used as a form of colonial governance to eliminate various types of expression, and tracks how contemporary drag, including that on Drag Race, both replicates and disrupts these institutional hierarchies. This book focuses on several gender performers that resist and laugh at colonial projects through their aesthetic practices. It also features the voice of Khubchandani's drag alter ego, judgmental South Asian aunty LaWhore Vagistan. From the firsthand perspective of a drag artist, LaWhore describes encounters with depoliticized versions of drag that leave her disappointed and perplexed, and prompts Khubchandani for context and analysis.
Their dynamic sets the tone for the book, investigating how drag--and gender more broadly--has been privatized and delimited so that it's only available to certain people. Decolonize Drag argues for more abundance in and access to fashioning gender, and considers how drag changes meaning and efficacy as it shifts across geographies.