In a heartbreaking yet hopeful collection of personal essays and prose poems, blending the confessional, political, and literary, Kai Cheng Thom dives deep into the questions that haunt social movements today. With the author's characteristic eloquence and honesty, I Hope We Choose Love proposes heartfelt solutions on the topics of violence, complicity, family, vengeance, and forgiveness.

An essential work that centers colonial and historical trauma in a framework for healing, Decolonizing Therapy illuminates that all therapy is—and always has been—inherently political. To better understand the mental health oppression and institutional violence that exists today, we must become familiar with the root of disembodiment from our histories, homelands, and healing practices. Only then will listeners see how colonial, historical, and intergenerational legacies have always played a role in the treatment of mental health.

In this collection of essays, Lambda Literary Award-winning writer and longtime activist and performance artist Leah Lakshmi Piepzna-Samarasinha explores the politics and realities of disability justice, a movement that centers the lives and leadership of sick and disabled queer, trans, Black, and brown people, with knowledge and gifts for all. Care Work is a mapping of access as radical love, a celebration of the work that sick and disabled queer/people of color are doing to find each other and to build power and community.

Idlewild is a tiny, artsy Quaker high school in lower Manhattan. Students call their teachers by their first names, there are no grades, and every day begins with 20 minutes of contemplative silence in the Meetinghouse. It is during one of those meetings that an airplane hits the Twin Towers. For two Idlewild outcasts, 9/11 serves as the first day of an intense 18-month friendship. Fay is prickly, aloof, and obsessed with gay men; Nell is shy, sensitive, and obsessed with Fay. The two of them bond and spend all their waking hours giddily parsing their environment for homoerotic subtext.

Pushing back against a consumerist, pleasure-centric somatics industry that privileges product over process, Abigail Rose Clarke reminds us that truly meaningful embodiment practice nurtures our relationships among self, nature, and community.

The Politics of Trauma offers somatics with a social analysis. This book is for therapists and social activists who understand that trauma healing is not just for individuals - and that social change is not just for movement builders. Just as health practitioners need to consider the societal factors underlying trauma, so too must activists understand the physical and mental impacts of trauma on their own lives and the lives of the communities with whom they organize. Trauma healing and social change are, at their best, interdependent.

Saints are not unattainable beings of stained glass or carved stone. “Saints are ordinary and human, doing things any person can learn to do,” teaches Lama Rod Owens. “Our era calls for saints who are from this time and place, who speak the language of this moment, and who integrate both social and spiritual liberation. I believe we all can and must become New Saints.” With The New Saints, Lama Rod shares a guidebook for becoming an effective agent of justice, peace, and change.

In this anthology, Black Queer Feminist editors Cara Page and Erica Woodland guide listeners through the history, legacies, and liberatory practices of healing justice—a political strategy of collective care and safety that intervenes on generational trauma from systemic violence and oppression. They call forth the ancestral medicines and healing practices that have sustained communities who have survived genocide and oppression, while radically imagining what comes next.

Shizuka Satomi made a deal with the devil: To escape damnation, she must entice seven other violin prodigies to trade their souls for success. She has already delivered six. When Katrina Nguyen, a young transgender runaway, catches Shizuka's ear with her wild talent, Shizuka can almost feel the curse lifting. She's found her final candidate. But in a donut shop off a bustling highway in the San Gabriel Valley, Shizuka meets Lan Tran, retired starship captain, interstellar refugee, and mother of four.

As a young femme in 1990s Manila, Geena Rocero heard, “Bakla, bakla!,” a taunt aimed at her feminine sway, whenever she left the tiny universe of her eskinita. Eventually, she found her place in trans pageants, the Philippines’ informal national sport. When her competitors mocked her as a “horse Barbie” due to her statuesque physique, tumbling hair, long neck, and dark skin, she leaned into the epithet. By seventeen, she was the Philippines’ highest-earning trans pageant queen.

Liz Baker and her three roommates work at the Nether Fields, a queer magazine in New York that’s on the verge of shutting down—until it’s bought at the last minute by two wealthy lesbians. Liz knows she’s lucky to still have a paycheck but it’s hard to feel grateful with minority investor Daria Fitzgerald slashing budgets, cancelling bagel Fridays, and password protecting the color printer to prevent “frivolous use.” When Liz overhears Daria scoffing at her listicles, she knows that it’s only a matter of time before her impulsive mouth gets herself fired.

Humans are a varied and divergent bunch with all manner of beliefs, morals, and bodies. Systems of oppression thrive off our inability to make peace with difference and injure the relationship we have with our own bodies. The Body Is Not an Apology offers radical self-love as the balm to heal the wounds inflicted by these violent systems. World-renowned activist and poet Sonya Renee Taylor invites us to reconnect with the radical origins of our minds and bodies and celebrate our collective, enduring strength.

Abandoned as an infant on the local veterinarian’s front porch, Pepper Rafferty was raised by two loving mothers, and now, at thirty-six is married to the stable, supportive Ike. She’s never told anyone that at fifteen she discovered the identity of her biological mother. That’s because her birth mother is Ula Frost, a reclusive painter famous for the outrageous claims that her portraits summon their subjects’ doppelgängers from parallel universes.

Irina obsessively takes explicit photographs of the average-looking men she persuades to model for her, scouted from the streets of Newcastle. Placed on sabbatical from her dead-end bar job, she is offered an exhibition at a fashionable London gallery, promising to revive her career in the art world and offering an escape from her rut of drugs, alcohol and extreme cinema. The news triggers a self-destructive tailspin, centred around Irina's relationship with her obsessive best friend and a shy young man from her local supermarket who has attracted her attention....

In just six years, ACT UP, New York, a broad and unlikely coalition of activists from all races, genders, sexualities, and backgrounds, changed the world. Armed with rancor, desperation, intelligence, and creativity, it took on the AIDS crisis with an indefatigable, ingenious, and multifaceted attack on the corporations, institutions, governments, and individuals who stood in the way of AIDS treatment for all. Let the Record Show is a revelatory exploration - and long-overdue reassessment - of the coalition’s inner workings, conflicts, achievements, and ultimate fracture.