Compiled in 2001 to commemorate the passing of an era, Hatred of Capitalism brings together highlights of Semiotext(e)'s most beloved and prescient works. Semiotext(e)'s three-decade history mirrors the history of American thought. Founded by French theor
Fourteen-year-old Trisha Driscoll is a gender-blurring, self-described loner whose family expects nothing of her. While her mother lies on the couch in a hypochondriac haze and her sister aspires to be on The Real World, Trisha struggles to find her own p
While many recent books have thoughtfully examined the plight of the working poor in America, none of the authors of these books is able to claim a working-class background, and there are associated methodological and ethical concerns raised when most of
In this gritty, confessional memoir, Michelle Tea takes the reader back to the city of her childhood: Chelsea, Massachusetts—a place where time and hope are spent on things not getting any worse. Tea’s girlhood is shaped by the rough fabric of the nei
"Passionate Mistakes" helped catapult the nascent queer girl culture of San Francisco's Mission district to the world. The novel charts the turbulent adventures of one girl in America as she moves from Boston's teenage goth world to whoring in New Age Tuc
“Tea writes with a raw-hearted, wry but wide-eyed ebullience, rendering dyke bohemia with intense, gritty, glittering romanticism.”—The San Francisco Bay GuardianBefore penning her contemporary classic Valencia, Tea wrote wonderfully honest narrativ
Michelle Tea, a favorite on the spoken-word scene and beloved in literary circles for books such as Valencia, Chelsea Whistle and most recently Rose of No Man's Land, has gathered new work by twenty-two of the most outstanding emerging voices in queer gir
Valencia is the fast-paced account of one girl's search for love and high times in the drama-filled dyke world of San Francisco's Mission District. Through a string of narrative moments, Tea records a year lived in a world of girls: there's knife-wielding
Thirty-seven writers. One rule. Each story must be told in the first person. In this nice fat collection of original stories, some of the most daring writers on the American literary scene take up that slim little word 'I' and use it to poke around the da
