A Queer Abolitionist History: The Women’s House of Detention by Hugh Ryan

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Since the days of lesbian pulp fiction, Greenwich Village has been seen as a gay hub, a refuge for queer people from all over the country. In this book, Hugh Ryan shows that part of the reason for that is because from the 1920s to 70s, it held The Women’s House of Detention, a jail/prison for women and transmasculine people, and many of the people held there were queer.

At first glance, this seems like a narrow focus typical of a very academic book. But as each chapter looks at the prison through the decades, we see how this is a microcosm of broad social issues at the time. The story of The Women’s House of Detention is the story of LGBTQ liberation, and it also illustrates how prison abolition is a necessity.

In the introduction, the author explains how he began this research believing prisons need serious reform, but after seeing how prison reform over the decades in The Women’s House of Detention has only ever resulted in larger prisons with more people packed into them, he now believes abolition is the way forward. The prison was first built with smaller cells so that prisoners would have more privacy, each with their own cell–and then years later, they started keeping multiple people in each. A hospital was added–and then years later, it was gutted to make room for more cells. Then a hospital was reinstated. Then it was gutted again. Any attempts at reform always deteriorated with time.

Each chapter looks at a few of the queer people imprisoned during that decade, telling their stories–at least, what we know of them. It’s a fascinating look into the horrors of the criminal justice system, past and present, as well as the no-win situations these people were put in. Many of them return multiple times, because once they had a criminal record, they had no legal means of making money.

Since each chapter focuses on personal stories as a window into the lives of queer women and transmasculine people during that time period in New York, it makes this accessible and readable. We also get a look into queer communities in each decade, including how the people in The Women’s House of Detention participated in Stonewall and previous protests, even if few people saw or heard about it.

The Women’s House of Detention itself is a complicated place for many of the people imprisoned there: the conditions were horrible, but they also found a queer community there.

I haven’t read as much queer history as I would like, but this is one of my favourite books I’ve read on the topic, and I highly recommend it. The discussion about prison abolition versus reform is relevant to the conversations we’re having today, and seeing a timeline of how this push and pull has played out over a 50-year time period is helpful background. Both for the personal stories and the overall message, you should definitely pick this one up.

A Cute Yuri Romance for Cat Lovers: My Cute Little Kitten Vol. 1 by Milk Morinaga

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Six years ago (!!), I read Girl Friends by Milk Morinaga, a yuri manga series I’d heard recommended endlessly. I was happy to find that not only was it a cute story about schoolgirls falling in love–what I expected from yuri manga at the time–but it also took their relationship seriously. So when I saw Milk Morinaga had a new yuri manga series with adult main characters, I had to pick it up. And I was not disappointed.

First of all, yes. This is adorable, as you’d expect from the title and cover. Rena and Yuna are roommates that started living together in college and never stopped. Rena is in love with Yuna, but has never told her. When Yuna brings home a stray kitten and wants to move to a pet-friendly apartment together to raise it, Rena confesses her feelings, unable to keep this up any longer. But Yuna’s reaction isn’t what she expected.

Yuna is a fascinating character. She seems to take Rena’s declaration of love very matter-of-factly, and immediately declares she will provide for their new little family (kitten and all). Yuna is happy that Rena seems to like her back, but she’s also confused. As we get to know Yuna more, we see how deeply insecure she is, and how she desperately thinks she has to earn affection–she’s more concerned with making Rena happy than examining her own thoughts and desires.

With most manga volumes, I feel like I’ve gotten just a taste of the story—each volume feels more like a chapter. This one covered a lot of ground in just volume one, though, and I’m looking forward to seeing these two stumble through their relationship and learning how to communicate with each other in the next volumes.

A Not-So-Magic Sapphic YA Romance: Improbable Magic for Cynical Witches by Kate Scelsa

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Content warnings: homophobia (from antagonists), drug abuse (marijuana, alcohol)

My experience with Improbable Magic for Cynical Witches stems from a core misunderstanding about what this book is. The summary explains that Eleanor doesn’t believe in magic, but her life will be changed by mysterious forces, that magic will arrive. It’s tagged as ‘fantasy’ on Goodreads.

The magic is of the subtle and metaphorical variety. This is a realistic, contemporary romance. (Which is fine, if that’s what you’re into.)

It’s the story of Eleanor, a high school dropout with a broken heart and an ailing mother, and how she is drawn in by a new group of friends—and especially by Pix, a new romantic interest. As Eleanor gets more and more involved with Pix and her coven, she develops the courage to face her past.

Eleanor’s emotional struggles are portrayed realistically. When she first moved to town, she was taken in by bright, popular Chloe, who became her best friend and lover… and then got tired of her and dropped her. I can attest that it felt devastatingly realistic. Kate Scelsa deftly portrays the devastating impact of a vulnerable young person being emotionally used.

All the more serious themes are integrated artfully. Homophobic villains contrast with a loving, supportive parent, albeit one with her own struggles. Eleanor’s unhealthy pot habit is consistent. That I found particularly interesting. She smokes to deal with her unhappiness, and though it is drug abuse, it’s never treated as addiction. To me, that’s a positive: yes, Eleanor uses as an emotional support, but this is treated as an aspect of trauma rather than presented with anti-drug scaremongering.

Personally, I didn’t like this book overall. I expected real magic and I don’t enjoy realistic stories. But that’s my own bias and an issue of ambiguous language; I can recognize that the writing is nuanced and the story is tender. For fans of realistic YA romance and recovery from the mundane devastations of high school life, give it a try.

Maggie reviews A Restless Truth by Freya Marske

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Last year, I was delighted by A Marvellous Light, a gay murder mystery/romance in which Robin, a newly-made Baronet, is appointed to the wrong government office and is accidently drawn into the hidden world of magical society when shadowy forces think he knows more than he does. With a curse mark creeping up his arm and no clue how magic works, Robin must work with his liaison, Edwin Courcey, to unravel the conspiracy he’s been plunged into and save England’s magic. It was a delightful book, and now Freya Marske is back for round two in A Restless Truth with Robin’s sister Maud, who is determined to play her role in the events started in the previous book and not let her brother down. With England’s magic at stake, Maud must prove herself and also take her own turn with romance.

Sent to America to escort an elderly lady who knows a piece of the puzzle back to England, Maud instead finds herself embroiled in murder, mystery, and mayhem on the high seas. Not a magician herself, Maud recruits allies to her cause, including Violet Debenham, a newly-minted heiress returning to England from a scandalous stage career, and Lord Hawthorne, a disaffected nobleman who has given up his magic but can’t escape being entangled in this mystery. Maud is reliant on them for magical spells and knowledge, but her wits, stubbornness, and audacity are her own, and she’s not about get off the boat in England without a success to bring to her brother.

This book was a fun romp from beginning to end. Maud is smart and daring, and her instant attraction to Violet is a surprise to both of them. I started laughing at her “Wait…girls are an option?” moment. Violet joins Maud’s quest to begin with mostly because it seems like it will be fun, but soon she finds herself with more feelings than she expected and wanting to live up to Maud’s expectations. The fact that they are on an ocean liner creates a semi-protected bubble where they can explore their feelings without too much dodging of society. I also greatly enjoyed that, while Violet is the more jaded and experienced half of the pair, Maud is the one who takes the lead the most often. It is Maud’s force of personality that pulls together their little investigative band, and I really enjoyed her as a character. Together with the escalating danger of the murder mystery, I had a great time.

In conclusion, you’ll probably want to pick up the first book, A Marvellous Light, before you read A Restless Truth so that you are familiar with the conspiracy that Maud is caught up in. But as a murder mystery on an ocean liner, this book was a high stakes adventure from beginning to end.  It’s a fun and charming read, and I love Freya Marske’s historical magical society.  I do rec them as a read to brighten any week.

Sam reviews Other Ever Afters by Melanie Gillman

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If you spend much time on Tumblr—and who doesn’t, these days—there’s a good chance you’ve seen at least one of Melanie Gillman’s gay fairy tale 24-hour comics. They’re well-loved on the microblogging social media, and for good reason. With simple but beautiful panels, an enchanting storybook feel, and a tender heart at the center of all of them, it’s hard not to stop and read each all over again whenever they pop up on the dashboard. You can go read all four 24-hour comics on Gillman’s personal Tumblr (including my favorite, “Hsthete”), but you can also find them in their recently published anthology Other Ever Afters.

As a proper graphic novel anthology, Other Ever Afters adds three new fairy tale comics to the four Gillman was already known for. The additions match in tone and style quite well, and it was a delight seeing the originals existing outside of a computer screen. It’s a beautiful book, hefty in the hand and bursting with color. The stories themselves are sugar-sweet romances, chaste but decidedly queer. A quiet longing runs through many of them, a sense of things being not quite right—seeing this familiar queer dilemma resolve with a fairy tale’s characteristic turn comes with a slight subversive thrill and a good deal of warm fuzzies each time. The addition of an illustrated introduction and epilogue was a particularly nice touch, one which I think pulls the entire book together in a wonderful way.

Other Ever Afters is the perfect kind of graphic novel to own, to have at disposal any time you’d like to read a short, sweet, queer fairy tale romance. Even if you have no plans to buy it though, I’d recommend checking out a copy from your local library, just for the experience of reading these stories in print for the first time.

Samantha Lavender is a lesbian library assistant on the west coast, making ends meet with a creative writing degree and her wonderful butch partner. She spends her spare time playing and designing tabletop roleplaying games. You can follow her @LavenderSam on tumblr.

Til reviews The Gathering Dark edited by Tori Bovalino

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The Gathering Dark is a collection of folk horror short stories. I went into this book expecting the folk horror short stories. The queerness of those stories came as a delightful surprise. I will own outright that whether or not this counts as a sapphic read is debatable.  To me, it does. Out of ten stories, five feature explicitly queer main characters, four of whom are girls. In this review, I will only be addressing those four stories—though the others are solid reads for fans of horror.

The identities and situations are as much a mix as the stories. There’s a character who self-identifies as bi, others who are attracted to other girls and don’t feel the need for definition. Love saves. Love haunts. Love finds itself excluded in favor of a gruesome murder/kidnapping. The book delivers exactly what a short story collection should: varied experiences under a shared theme. Intentionally, that theme is horror. Coincidentally, another theme is queerness.

As with most anthologies, the quality varies. I enjoyed some stories more than others.

Erika Waters’ “Stay” employed the unseen to a haunting and unsettling degree. I still can’t get the implication out of my head.

Hannah Whitten’s “One-Lane Bridge” tapped into the raw rage that serves as both salvation and destruction to far too many girls. It definitely was for me!

And Tori Bovalino’s “Loved by All, Save One” embodied both the fear of a home invasion thriller and the all-too-potent feeling of trauma that might be inherited or ingrained from being a woman in a world and genre that sees female bodies as ripe only for exploitation. (I love horror, but I’m well aware it took a long time to acknowledge girls as anything other than penetrable objects.)

While I felt less connected to Allison Saft’s “Ghost on the Shore”, I can see the appeal in a horror story built around a need that seems fated be, eternally, unrecognized.

I recommend The Gathering Dark to readers looking for a diverse, sapphic, spooky collection. That’s not a mix we often see executed well, and this book was a pleasant surprise!

Susan reviews Alone in Space by Tillie Walden

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Alone in Space is a collection of short comics and standalone pieces by Tillie Walden. Some of the pieces have already been released as graphic novels, so they might be familiar to you already.

“The End of Summer”

A royal family and their servants lock themselves away to survive three years of unending winter ahead of them, and the entire family unravels at the seams… I’m not gonna lie to you, I don’t get this one. I understand what is happening, I get all of the individual threads and events, but not the point that it’s building to. And I expect that to a certain extent with Tillie Walden’s work! She’s very good at stories where internal conflict is externalised into a fantastical landscape! I’m quite happy to let them wash over me and figure out the meaning once I’ve got the full picture. But I’ve read The End of Summer three times now and I still can’t tell you what it’s about.

All that said: the art and composition is fascinating. The backgrounds are detailed and intricate, the figures are rougher. The amount of space the cold, swooping architecture takes up on any given page compared to the characters really enhances the loneliness and isolation of the story! And it means that the contrast when the characters are constrained to smaller spaces or places with more texture or a hyper-specific close-up really stands out. I can’t work out if the characters being so much rougher than the objects was an intentional part of the storytelling – a way to show their impermanence or self-destruction, maybe? – but thanks to that I found it hard to tell the characters apart visually. It’s definitely a story that I’ve pondered over, as you might be able to tell. I think I like it on a technical level; I can definitely appreciate it as a demonstration of skill. But on an emotional level, it left me cold…

WAIT, NO, THAT PUN WAS NOT INTENTIONAL —

“I Love This Part”

I’ve been wanting to revisit my review of “I Love This Part” for a while now. It was my first ever review for the Lesbrary, waaaay way back in 2016, and at the time an unhappy ending for queer characters felt like a betrayal of trust. (If anyone else remembers the conversations about dead lesbians in media we were having that year: it made an impression!) Seven years later, I’ve read a lot more media with happy queer characters, so I can better live with the sad ones. I’ve read more of Tillie Walden’s work, so I recognise a lot more about the themes and logic behind her narratives. And with that perspective, I feel like I was unfair about “I Love This Part”. Characters ripping themselves apart on their own internalised homophobia? Still not my preference! But now I can appreciate what the narrative is doing and accept that it’s just not for me, rather than it being a fatal flaw in the work.

This is still a great visualisation of how a relationship can make you feel like the only ones who matter, still a short introduction to Tillie Walden’s style of surreality. It’s just not one that I’m the target audience for, and that’s fine.

“A City Inside”

I’ve also “A City Inside” before, and I’m going to stand by that initial review. It’s full of quiet and melancholy and hope, and I’d definitely recommend it on its own.


The rest of the book is mostly one or two page comics. Some of them are assignments from her studies at the Center for Cartoon Studies, some of them are posters or art pieces. (It blows my mind that Tillie Walden is willing to share the comics she made when she was a teenager. Respect for that courage!) Generally the art and the composition is really good – even the stuff from when Tillie Walden was a teen, what the hell – and it’s really cool to see elements from her later works taking root in these pieces. The limited colour pallettes are often a stand-out piece in her art, so seeing where they started sparked joy for me.

I will say that I had a harder time wrapping my head around some of these stories. They’re all visually striking, and the stories about teens and children feel realistic in their voices! Just some of them need a bit more thinking about. I will say that “Lars and Nemo” and “What It’s Like to be Gay at an All Girls Middle School” are my favourites of the short comics. “Lars and Nemo” shows the protagonist of “The End of Summer” meeting his giant riding cat (!!!), which is obviously great. As for “What It’s Like to be Gay at an All Girls Middle School”: I too went to an all-girls secondary school, so this was uncomfortably familiar! I was surprised by how frankly Tillie Walden showed using heteronormativity as a cudgel to pass under the radar, despite having read Spinning and knowing how upfront she is in her autobiographical works.

Long story short, Alone in Space is a very technically accomplished anthology that’s a great snapshot of how Tillie Walden’s art and storytelling has evolved over her career. If you want to see her short works in context, or if you’ve read On a Sunbeam and want to know what her other stories are like, this is a really convenient collection! But tonally most of the stories are bleak, so be aware of that before you go in.

[Caution warnings: abuse, bullying, confinement, mental illness, terminal illness, murder, suicide, child death, animal death, homophobia, off-screen rape and incest]

Susan is a queer crafter moonlighting as a library assistant. She can usually be found as a contributing editor for Hugo-winning media blog Smart Bitches Trashy Books, or just bringing the tweets and shouting on twitter.

Rachel reviews The World Cannot Give by Tara Isabella Burton

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Described as a cross between Donna Tartt’s The Secret History and Patricia Highsmith’s The Price of Salt, Tara Isabella Burton’s novel The World Cannot Give (2022) is a dark, Gothic, and powerful meditation on the dangers of desire and the consequences of ambition. 

The novel follows Laura Stearns as she arrives at St. Dunstan’s Academy in Maine, a prestigious school on the coast that her favourite novelist, Sebastian Webster, whose book All Before Them has inspired her move across the country. Webster died at nineteen fighting in the Spanish Civil War and Laura idolizes him, believing that her time at the school will replicate the events of the novel. And indeed, Laura finds some of the intensity she is looking for among the school’s very exclusive chapel choir, led by the compelling, charismatic, and somewhat neurotic Virginia Strauss. 

Laura is immediately drawn to Virginia because of her similar devotion to Simon Webster, and Virginia is a born-again Christian, fanatical about her faith and her rigorous routine, including the miles she runs every morning. Virginia demands excellence from herself and the members of the choir. When Virginia brings Laura into the fold, sharing with her the rituals and routines of the choir/cult, Laura feels like she’s entered into a world heavy with meaning. But soon, things begin to fall apart as Virginia’s authority is challenged by various actors at the school, and Virginia’s demands get more and more outlandish before Laura must make a choice between following Virginia or saving herself. 

Overall, this book was enormously compelling and is perfect for fans of queer Gothic literature. I haven’t seen a lot of press around this book, but it really is perfect for fans of The Secret History and lesbian pulp. The intensity and power between characters in this novel left me unable to put this book down. The relationship between Virginia and Laura changes from hot to cold minute to minute, and Virginia’s pathology is so compelling. 

The setting alone is captivating. An elite boarding school on the edge of the sea, the novel strikes a balance between this bizarrely intense group of high school students who are surrounded by decades of history. The twists and turns of this novel continued to surprise me, and I was on the edge of my seat until the very end. The end of this novel caught me off guard in the best way. 

For anyone interested in queer Gothic mystery and intrigue, The World Cannot Give is a must-read!

Please add The World Cannot Give to your TBR on Goodreads.

Rachel Friars is a writer and academic living in Canada, dividing her time between Ontario and New Brunswick. When she’s not writing short fiction, she’s reading every lesbian novel she can find. Rachel holds two degrees in English literature and is currently pursuing a PhD in nineteenth-century lesbian literature and history. 

You can find Rachel on Twitter @RachelMFriars or on Goodreads @Rachel Friars.

Susannah reviews Helen House by Kayla Kumari Upadhyaya

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Kayla Kumari Upadhyaya came onto my radar via her essays and pop culture criticism on Autostraddle (where she is Managing Editor) and Catapult, among other outlets. Whether reviewing a Netflix mixology competition series or espousing a joint bookshelf system with her girlfriend, each of Kumari’s pieces reads like a fiercely accurate anthropological study of queer culture, but from your funny best friend. So when I learned that she was writing a novelette, I purchased a copy for my library and added my name to the top of the hold list.

Helen House is a curiosity of a book, from its square binding, to its pamphlet-sized length (66 pages), to its sparse Victorian-ish cover design and fever dream illustrations. Billed as a queer ghost story, Helen House begins quietly and unassumingly. The book’s unnamed narrator is preparing to meet her girlfriend Amber’s parents for the first time after a year of dating. The narrator is a graduate student, Amber a librarian. They met on a dating app. On their second date, between bites of clam linguine, the narrator revealed to Amber that her sister Luci had died in a car accident several years earlier, at the age of thirty-two. The narrator confesses (to the reader only) that she’s turned to her hyperactive sex drive as a coping mechanism in the wake of Luci’s death. But, surprising even herself, she stays with Amber, choosing “the safe confines of a committed relationship” over “scouring campus for women to lose [herself] in.”

When, two weeks before their visit to Amber’s parents, Amber reveals that she’d also had a sister, Helen, who died at the age of four, the mood shifts. “There’s something I haven’t told you,” Amber announces, interrupting their makeout session. “My parents are going to talk about it when you see them,” she warns. They proceed with their plans anyway, driving upstate to Amber’s childhood A-frame home, where her parents cheerfully meet them in the driveway. Pam and Arnold are the epitome of normy upper middle class. They serve a wholesome pheasant dinner with red wine. They play cribbage and ask their daughter’s girlfriend about her studies. Their rustic New England home is decorated with lakeside life tchotchkes. “Dinner was normal until it wasn’t,” the narrator foretells.

What follows is a slow-burning progression of odd details and tense dinner table exchanges, all leading to the inevitable reveal of what lies beneath the surface of this seemingly placid family. Surprisingly, the book’s succinctness enhances its suspense—as 66 pages dwindle to 30, 15, 10, it’s hard not to fear what might jump out at you from the next paragraph. Readers will find themselves guessing what the hell is going on in this otherwise familiar-feeling story of modern love, making the eerie bits feel all the more haunting. Recommended for fans of Carmen Maria Machado, Kelly Link, Megan Milks, and Lydia Conklin.

Content warnings: death, grief, trauma, sex addiction

Nat reviews Legends and Lattes by Travis Baldree

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I must confess that I’d seen the cover of Legends and Lattes pop up a number of times and thought to myself, eh, too much of a high fantasy book for my tastes. Well, I should know better by now than write off a book based on genre, and I finally gave it a shot after my wife enthusiastically recommended it. If I could leave only a single comment it would be that this book is PRECIOUS. Is there anything more wholesome than a bone crushing, mercenary orc with a heart of gold just looking to get on the straight and narrow and live a quiet, simple life? How about that misunderstood orc finding a new group of loyal, steadfast friends and maybe even love along the way? Did you love Brian Jacques’s Mattimeo when you were a kid? How do you feel about cinnamon rolls? This is the book equivalent of a fresh-from-the oven baked good. 

After years of life on the road, Viv decides to cash out on her wandering, mercenary ways and settle down. Her dream is to open a coffee shop, a risky endeavor considering no one outside of her chosen city of Thune has even heard of coffee. We follow Viv as she embarks on a new adventure, literally hanging up her sword as she takes a different sort of risk. While this is generally considered a low stakes book, I would argue these are at least medium stakes, as the coffee shop is Viv’s dream. While that may not be life or death, it means the world to her. 

In some ways reading this novel feels a bit like playing a RPG in a magical realm with an epic storyline. Watching Viv gradually build her dream cafe, acquiring a motley cast of friends along the way, all while encountering enemies and perhaps stumbling on a surprising ally –  there is a video game-like quality to the way the story unfolds and it’s not surprising that Baldree has a background in game development. 

We are on a journey that feels almost as rewarding to the reader as it does to our book’s hero. 

Of course, Viv can’t live out her dream on big ideas alone – she needs a carpenter, a barista, and perhaps a baker. And most importantly, she needs customers. Viv’s first hire is Tandri, a succubus who’s saddled with an unjust reputation for “manipulating” people, especially men. I love the dynamic between Viv and Tandri as they remind each other not to give into prejudice and assumption. As their business relationship strengthens, so does their personal bond. While there’s a very strong romantic element to this book, most of the conflict is centered around Viv working to attain her goals and becoming a new version of herself. The momentum comes from her personal development and internal struggles, rather than solely on her budding relationship with Tandri. 

A fun fact about this book is that Travis Baldree started writing it for NANOWRIMO in 2021 and self published it in 2022. This is his debut novel, and it met with enough success that it was picked up by trad publisher Tor only a few months later! The backstory of the book is even warm and fuzzy! 2020 2021 2022 2023 is off to a rough start, so why not read more warm and squishy books to pad those rough edges?