The much anticipate Batman / Deadpool crossover comic is now available. Crossovers between these two historic powerhouse rivals have been rare and the last one was over twenty years ago. As the title suggests, the main feature this time has Batman teaming up with Deadpool to resolve a "metafictional threat" from Cassandra Nova, the Marvel Comics supervillain and dark psychic reflection (mummudrai) of Professor Charles Xavier. (You may recall that Cassandra was the primary baddie in the recent Deadpool & Wolverine film.)

There are smaller team ups as well. Dr. Strange partnering with John Constantine; Nightwing / Dick Grayson and Laura Kinney / Wolverine; Harley Quinn and the Hulk; and Static and Ms. Marvel. All of the storylines are very different in content and tone, varying from weird to whimsical, humorous to somber. The artwork employs the talents from both DC and Marvel and also varies greatly so the book will offer something for everyone — although I personally enjoyed some stories more than others. The Nightwing  / Wolverine team up was especially fun for me, as it reunited two of my favorite Nightwing creators: Tom Taylor and Bruno Redondo. 

The crossovers were published jointly by Marvel and DC and feature a variety of alternate covers. Check your local comic book stores for a copy as the DC version was released earlier this week. 

RELATED FEATURES: Batman Collection | Nightwing Collection | Comics Collections

HERE BE SPOILERS!

Batman: Hush first appeared in Batman issues #608 to #619 between 2002 and 2003. Written by Jeph Loeb and brought to life through the dynamic artwork of legendary DC artist Jim Lee, this story arc stands as one of the most celebrated entries in the Batman anthology. It weaves an intricate tale about Bruce Wayne's past and present, blurring the lines between heroism and villainy. The story does more than just pit Batman against the usual suspects — it challenges the very foundations of Bruce's life and morality.

The story begins with Bruce as Batman pursuing Catwoman (Selena Kyle) after she steals the ransom money meant to free a kidnapped boy. Going up against Catwoman, his on-again-off-again nemesis/love interest/person he just can't quit, is perhaps representative of the overarching theme of Batman: Hush. The story is a landscape of trust and betrayal, depicting Batman's allies and adversaries in shades of gray until even The Dark Knight is unsure who he can trust and who he cannot. During the chase, Batman fractures his skull when his grappling line is mysteriously cut. To treat this life-threatening injury, Alfred Pennyworth follows Bruce's instructions and calls upon the expertise of Dr. Thomas "Tommy" Elliot, a childhood friend. 

Both Bruce and Tommy have similar privileged backgrounds, and both inherited their vast family fortunes at a young age after the tragic deaths of their parents. While Bruce cultivated a public image as an aging playboy to hide his secret identity, Tommy rose to public prominence as a gifted neurosurgeon. Tommy's expertise saves Bruce's life, but their unexpected reunion conjures memories of a complex past filled with unresolved issues and hidden resentments.

It is ultimately revealed that it was Riddler who used the Lazarus Pit to cure himself of a deadly disease when Tommy Elliot was unable to help him. But immersion in the Pit's magical waters had an unexpected side-effect: it provided The Riddler with an epiphany about Batman's true identity. Sharing the revelation with Tommy, the two villains plotted together to bring down their common enemy by manipulating friends and foes alike. 

In many ways, Tommy Elliott represents the antithesis of Bruce Wayne — personifying a path Bruce might have taken had he grown up in an abusive and manipulative environment and been afforded the same wealth and resources. Where Bruce channels his resources and trauma to fight for justice, Tommy capitalizes on his intelligence and wealth to enact revenge. 

(And if you're wondering about the inclusion of Jason Todd, well, his subplot in Batman: Hush was later retconned  in the "Under the Red Hood" by Paul Dini and Dustin Nguyen. See Jason Todd's Empty Grave for more on this.)

​In a nutshell, Batman: Hush is a masterclass in storytelling, blending action, mystery, and character depth. It's a must-read for capturing the essence of Batman's enduring appeal—his resilience, his humanity, and the never-ending battle against the darkness, both external and internal. If there’s one deficit, it’s simply that the plot is often over-complex with too many characters plays a role. Frankly, a simpler plot would’ve move along better. That being said, I give major kudos to Jeph Loeb for really embracing the “Batman as detective” concept. The book does play out like a master whodunit, complete with red herrings and enough clues that the reader can probably figure it out on their own if they’re paying attention. It’s no wonder why Batman: Hush remains one of the most iconic comic series of all time.

OTHER EDITIONS OF HUSH, PART 1: Batman: Hush (New Edition, 2019) , Batman: Hush: DC Compact Comics Edition, Batman: Hush 20th Anniversary Edition, Absolute Batman: Use (New Edition), Batman: The Hush Saga Omnibus

Damian's resentment towards Dick, whom he perceives as both a usurper and the "favored son," increases the tension. But despite their differences, the duo manages to work effectively, with only Comissioner Gordon and a few top members of the Gotham City Police Department suspecting that the man behind the mask may not be the original. Their initial mission involves capturing Mister Toad, a drug dealer who ominously promises revenge as they haul him off to jail. Soon after, there's an attack on the GCP headquarters by the Circus of the Strange, a group of criminals with grotesque deformities, led by Professor Pyg. Many officers are killed, due partly to Damian's rash behavior.

Although Morrison's book often feels muddled by numerous subplots and too many minor characters, it shines when Dick attempts to mentor a defiant Damian, with Alfred playing the role as confidante and counselor. This is reminiscent of Alfred's relationship with Bruce, and it's enjoyable to watch Dick struggle on how to get through to Damian — especially since most things come very easily to Dick. The story certainly contributes to the evolving Batman Family dynamics, but the introduction of Jason Todd feels like a missed opportunity. When Dick reaches out to the former Robin and encourages him to give up his murderous ways, he's rebuffed. 

"I tried really hard to be what Batman wants me to be... which was you," he tells Dick. "But his world... this dirty, twisted, cruel and ugly dungheap had... other plans for me." 

Honestly, I wanted more from Jason when he goes up against two other Robins for the first time — certainly more than just self-pity. 
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As for Damian, his recklessness results in a high body count, but it may also serve as a catalyst for growth. Damian doesn't like or trust Jason, but they do have one thing in common: a philosophical disagreement with Batman's no-kill rule. But when Damian gets the extreme violence he seems to crave, he's the one lying on the ground bleeding. Will the injury be enough to temper his hubris? 

​Overall, Batman & Robin: Batman Reborn, Volume 1, offers engaging insights into the Batman Family dynamic, though it may not be the most cohesive story in the Batman universe. Volume 2 was released in September 2025 and details on it can be found in the call out box below. 

RELATED: Batman Collection | Damian Wayne Collection | Nightwing Collection | Red Hood Collection | Jason Todd's Empty Grave | Nightwing, Batman and Adoption Problems | 

It doesn't seem like thirty years is very long, and in the greater scheme of time, it is barely a hashmark on the cosmic calendar. But a different sense of time seems to apply to pop culture, which by definition is one of humankind's more transitory constructions. Whether it's a book, a song, movie or television show, pop culture has a tendency to age quickly and, for those who follow such things, become the focus for sentimentality almost immediately. Into this strange void in time and space falls the relatively new phenomenon of "science fiction archeology."

Okay, that's a term I totally invented so don't go to your local community college looking to major in this field, you geeks. Let me explain... To me, "science fiction archaeology" is something beyond the fanboy obsession with acquiring irrelevant and moldy movie props often at the cost of tens of thousands of dollars — you know, like almost anything you might find on icollector.com. It now involves an element of tourism, and yes, finding artifacts left behind by production companies decades ago because the prop handlers had no conception that some discarded rubber would mean anything to anyone ever. I first became familiar with the idea of "science fiction archeology" about two decades ago when I read an article in a fan magazine about the props and movie locations left behind in the Tunisian desert after the filming of Star Wars Episode IV. It turned out that remnants from the Lars homestead, Ben Kenobi's home and even those curious dinosaur-like bones C-3PO wandered passed were all still lying there in the hot desert sun... and some adventuring uber-fan had the wherewithal to photograph, document and write about them. This fascination with aging artifacts from a galaxy far, far away eventually culminated into a thriving tourist industry for Tunisia, a country few Americans could even locate on a map.

Into this atmosphere comes what may be the end-all-be-all archaeological (or at least archival) look at the first of these films: The Making of Star Wars: The Definitive Story Behind the Original Film, The Making of Star Wars: The Empire Strikes Back, The Making of Star Wars: Return of the Jedi. All three books were written by the late J.W. Rinzler, who was an executive at Lucasfilm Productions, a film historian and author who specialized in books about the behind the scenes of blockbuster movies . The latter title was just released this past October, and like its predecessor, has the fingerprints of George Lucas all over it. Lucas in a smart man in many, many respects. But when it comes to marketing, he may actually be some kind of crazy genius. He's certainly not oblivious to the fanaticism that surrounds his creation or how it can make true believers spend weeks traveling around the Tunisian wastelands just so they can take a photo of a hole in the ground where Mark Hamill once stood and stared into the sunset. He knew that thousands would pore over the pages of these books (as I did) in rapt awe of the anecdotes and never-before-seen photos of sets, costumes, effects and actors. And he knew that, while we did so, a strange aching dreaminess would sweep through us. In fact, I doubt if these books would have had quite the same appeal had they been released in 1980 when, by pop culture standards, Episode IV and V would have been young. Lucas understands that the passage of time, and with it the increase in sentimentality, gives even old Star Wars a new lease on life.

Considering the amount of detail in all the books, one might be tempted to refer to them as dissertations on the first three Star Wars films. But they are neither dry nor ponderous as you might expect from dissertations, nor are they solely about about how a costume was created or a makeup effect applied — the usual things that are written about science fiction. In fact, and much to my surprise, some of Rinzler's most intriguing parts are about doing business in 1970s Hollywood, where Lucas was often seen as an impetuous upstart by the establishment. Science fiction films that preceded Episode IV were typically slow-paced with heavy, cynical themes that often made them painful to watch. Lucas's concept, of creating a space opera that was heavily derivative of classical mythology, was expected to result in a "little summer movie." Pondering just how wrong the Hollywood execs were and how much they underestimated the human need for heroes and the vanquishing of evil is one of the most satisfying aspects of the books. And if you get tired of reading these 300+ page tomes, just wander through the voluminous photos, some so clear and sharp that you'd swear they had been taken yesterday. You will find your mind wandering, and maybe you will come away wondering what other bits of Star Wars legend are still lying undiscovered in some distant jungle, on an ice floe or in a dusty warehouse.

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The young man, though devoid of memory, is haunted by trauma and bears the physical scars of an explosion. DNA testing reveals the startling truth: this lost soul is none other than Jason Todd. Talia, defying her father's wishes, decides to rehabilitate Jason and immerses him in the Lazarus Pit, a mystical pool famed for its restorative powers. While the Pit revives Jason's memories, it also rekindles his trauma and resentment, particularly towards Bruce Wayne, who failed to avenge him by killing The Joker and has since replaced him with a new Robin, Tim Drake.

Driven by vengeance, Jason returns to Gotham, intending to blow up the Batmobile with his adoptive father inside. Yet, at the last moment, he cannot bring himself to kill Batman, opting instead for a more personal confrontation. He vows to Talia that he will face Batman and end his life with his own hands. Concerned by his growing instability, Talia fears she has unleashed a psychopath.

To prepare for his revenge, Jason infiltrates an international terrorist group, not to join their ranks, but to learn and refine his skills. His moral compass, though twisted, remains intact as he annihilates the terrorists upon discovering their involvement in human trafficking. He spends the next few years dismantling criminal organizations worldwide unti he ultimately decides to confront The Joker, the architect of his death, now free from incarceration. Yet, as he stands on the precipice of revenge, ready to immolate The Joker, Jason steps back. He confides in Talia that the conflict transcends mere revenge; it's a complex web entangling him, The Joker, and Batman. The story culminates with Jason embracing his Red Hood persona, setting the stage for Under the Red Hood.

Red Hood: The Lost Days is a masterful exploration of Jason Todd's trauma and the psychological intricacies that define his character. Judd Winick delves into the depths of Jason's psyche, unearthing the turbulent emotions and moral dilemmas that were often overlooked in earlier tales. Jason's hesitance to kill Batman, alongside his eradication of mobsters and terrorists, reveals a deeply ingrained moral code, though warped by his suffering.

His anguish is a tapestry of PTSD, a troubled childhood, resentment towards his adoptive father, jealousy over Tim Drake, and Talia's manipulative influence. The decision to portray Jason and Talia's relationship as sexual was an odd choice on Winick's part, considering the age disparity between the two, Talia's previously "motherly" affection for Jason, and her recurring relationship with his father. It raises questions — was it a further way to manipulate Jason?  Was it an expression of sympathy for the troubled Jason — or some form of revenge against Bruce for whom she has very complicated feelings? Whatever the case, it felt unnecessary.

In the final analysis, this book stands as one of my favorite Jason Todd stories, as it provides a profound insight into his emotional and psychological landscape. The narrative primarily exists outside the traditional "Batman universe," making it distinctly Jason's story. Batman's presence, when it appears, is mostly through flashbacks, reinforcing focus on Jason's journey.
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The dark and emotive artwork complements Jason's tumultuous path and his internal struggle. What's more, Red Hood: The Lost Days not only solidifies the Red Hood character but lays the groundwork for Jason's eventual redemption and reintegration into the Batman Family.

RELATED FEATURES: Red Hood Collection | Batman Collection | Nightwing, Batman and Adoption Problems | Tim Drake Collection | Jason Todd's Empty Grave | When Jason Todd Helped Save Superman | Nightwing Collection

What If It's Us is a LGBTQ teen novel about two boys who have a chance encounter on the streets of New York City and spend the rest of their summer obsessing over each other. It's also a bit of a cautionary tale about the pitfalls of dating your friends... as by the end of the book all the characters are hooking up more freely than Rachel, Ross, Joey, Phoebe, Chandler and Monica. And yes, this causes problems.

The main characters are Arthur and Ben. Arthur's just in the city for the summer, doing an internship at his mother's high-powered law firm. He does very little work as he's more interested in Instagram stalking his friends back home, trying to score tickets for the HAMILTON Broadway Show, and checking out cute guys. While making a coffee run for the law firm, he runs into Ben on the street. Slightly older and much more experienced, Ben's on his way to the post office to mail off a box of belongings to his ex-boyfriend, Hudson. Arthur strikes up a conversation, but before he can ask for the stranger's name and contact info, Ben vanishes. The only clue Arthur has to his identity is a crumpled up mailing label with Hudson's name on it.

Both guys regret not learning more about the other, but Arthur takes it upon himself to begin a 21st century style investigation via social networking and web-stalking. Against the odds, he manages to locate Ben. But their reunion is still fraught with difficulties. Ben's not quite over Hudson... and Arthur's insecure and jealous. Plus, the clock is running out and Arthur will soon have to return home to Georgia.

The book is co-written by Becky Albertalli and Adam Silvera. The writing style, with each author assuming the voice of one of the characters, reminded me of Will Grayson, Will Grayson. Frankly however, I think it was done more effectively in that book than this one. While the two voices are distinct and nicely rendered, there's a lot of repetition of plot which slows down the action. Also, Arthur's whininess and obsession with pop culture becomes tiresome after a while. The latter issue even seems like fan-pandering. While putting constant modern day references, tons of emojis, teen slang, etc. into a book might connect with youth reading it in 2018, it will definitely date the book in the years to come. 

Overall, I enjoyed the book but the love story was the least interesting part for me. The first third of the novel, before the boys know who the other person was, is actually more intriguing. We've all had those chance encounters with others that seem to have promise but are then cut short. And our ignorance about who the other person actually is allows us to build our own stories about them. Romantic Arthur fantasizes that Ben will be a knight in shining armor who will heroically rescue him from his lingering virginity. Ben wonders if Arthur will the be "true love" he's been looking for but seems to keep sabotaging. While the quest for each other isn't enough to maintain the drama for the entirety of the novel, finding each other just kind of reinforces how incompatible they actually are yet I don't feel the book really addressed this. Instead, we get a "everything's OK" ending that really does feel like a FRIENDS episode. 

I liked Abertalli's Simon vs. the Homo Sapien Agenda much more, and I liked Silvera's voice for Ben more than Albertalli's voice for Arthur. But, that being said, What If It's Us is still a fun rom-com-style ride. 

RELATED: LGBTQ Book Collection | LGBTQ YA Collection on Bookshop.org

The animated shows of the 1980s were memorable... but not always for the best reasons. Whether they were part of early morning Saturday television — a veritable "prime time" for viewing for millions of American children — or syndicated shows that aired after school, animated television was a pop culture staple throughout the decade.  

The animation was hand-produced, making it appear primitive by today’s standards, but also giving it a charmingly crude aesthetic. Often shows served as marketing tie-ins to toy lines, with Transformers and He-Man and the Masters of the Universe being prime examples. As such, storylines were as much about selling action figures as they were about entertaining young audiences and unfolded with simple, formulaic plots that were both familiar and comforting. And perhaps their simplicity was part of their appeal? After all, it didn't take much effort to follow your favorite shows each week — and there was never any ambiguity as to who was going to come out on top. No matter what dastardly scheme Mumm-ra came up with, we always knew Lion-O and the other ThunderCats were going to save the day. 

Invariably, the heroes of 80s animation were children, teenagers or very young adults and were usually pitted against adult villains. With a heavy emphasis on action, adventure, and fantasy, these shows left an indelible mark on an entire generation, shaping childhoods with their imaginative worlds and ultimately influencing movies, television, comics and books up to the present day. 

In fact, of all the ridiculousness that came out of the 80s, these franchises had remarkable staying power. (Consider the live-action Masters of the Universe movie currently under production and starring Nicholas Galitzine!) This is even more remarkable if you consider that most of these shows were only on the air for a few years! Yet today, I can't walk into a bookstore or comic book store without easily finding some rehash of a show I first watched 40+ years ago. As such, I thought it would be fun to collect some of the more current book and graphic novel titles together. 

RELATED FEATURES: Pop Culture Contributions of the 1990s  |  The Golden Age of Movie Novelizations  |  Writing the 1980s Arcade Experience  |  The Timelessness of Serial Storytelling | Gatchaman Returns... Again

I have always been fascinated by the creative process of making movies, video games and television shows. Whether they’re live-action or animated, I will spend hours watching videos and reading about concept and production design, especially for science fiction and fantasy projects. 

Some of this may be my interest in art. Still, just as much may stem from the era I grew up in — the 1970s and 80s — when science fiction and fantasy began to break out of the previous eras of low-budget productions with goofy costumes, poor special effects, and papier-mache sets. If there were any notable progenitors for all this, it was probably the original Star Trek (1966-1969) and Stanley Kubrick’s 1968 film 2001: A Space Odyssey. Both demonstrated that science fiction could be sophisticated, mature, and thought-provoking. Both explored themes dealing with social change, environmental concerns, and the complexities of human nature. And both took their art design and production values more seriously, striving to create (more) distinct and believable narratives about the human exploration of space. While Star Trek’s artistic design, in particular, may look dated to modern eyes, in 1966, it raised the bar for television production values despite the limited budget of a weekly series. The very design of the U.S.S. Enterprise — a dramatic and intentional departure from the cigars-with-fins spacecraft of the previous decades — made the vessel one of the most recognizable in popular culture.

From this point, there was no turning back. Audiences might still have to endure a bad script or poor acting, but they would not endure bad production design as patiently. For example, to this day, my son is more wildly critical of a science fiction show or movie that looks bad than one that is bad… This is perhaps why we’ve never seen eye-to-eye on which Star Wars movies are the superior product. 

If you also appreciate the art of production design, I have curated some of the best books that capture the process, from concept sketches to fabrication and everything in between. 

RELATED FEATURES: Did Moonraker Forecast Our Future in Space? | Welcome to the Jundland Wastes | Workshop of Wonders | Paradise on Middle Earth | Redemption for Star Wars (Redux) | My Most Forbidden Book | 

Ten years ago, the Marvel Cinematic Universe was still new. Interesting. Exciting. Tenuous.

By March 2015, the MCU holy trinity had been established consisting of Iron Man, Thor and Captain America. But within the mix of their stories , which spanned generations and galaxies, there were numerous supporting characters who were just as fascinating. One of the best was Peggy Carter, played by Hayley Atwell. 

Introduced in Captain America: The First Avenger (2011), Peggy was an agent for the top-secret Allied intelligence agency, the Strategic Scientific Reserve (SSR). She was central to Project Rebirth, an experiment to create American super soldiers which ultimately transformed Steve Rogers (Chris Evans) into Captain America. Not only did Peggy champion Steve for the experiment, she ultimately became his friend, his love interest and — through the intricacies of time travel and storytelling I won't recount here — his wife and mother of his children.  

But at first, it looked like Peggy's character was one and done. After all,  Steve is presumed lost and killed at the end of The First Avenger and Marvel fans presumed that was the last they'd see of Peggy, too. But fate intervened in 2013 with a short film called Marvel One-Shot: Agent Carter. The film was a glimpse into Peggy's life after the war as she wrestled with her grief and being a woman in the male dominated espionage game. The One-Shot became so popular that it was turned into a weekly television series called Agent Carter in 2015. 

Although the show was praised for its snappy dialogue and astute character development, it only lasted two seasons due to low ratings. One particularly baffling review called the show "fascinating but boring."  But really, I think Agent Carter was probably ahead of its time. Having a female-led period piece  that dealt with issues such as feminism, race, grief and sexism within the framework of Cold War espionage tinged with science fiction was probably pretty challenging for American audiences ten years ago. This is especially true when you consider that Peggy had no super powers whatsoever. Her strength came from intelligence, ingenuity and creativity. Hell, in one episode she took out a goon twice her size by weaponizing a stapler!

Sigh.

Regardless, Peggy Carter remains a fan favorite in the MCU and has even found new life as "Captain Carter" in some of the franchise's alternate universes. So, in honor of Peggy, Marvel's greatest non-super superhero, I'm presenting a collection of books, videos and collectables about her — or characters and stories similar to hers.

Stay calm and carry on!

Can you believe it's been a decade since not-so-openly gay Simon Spier made the choice — one way or another — to exit the closet? While coming out stories are nothing new, Becky Albertalli's best-seller Simon vs. the Homo Sapiens Agenda created a YA sensation which led to a theatrical version called Love, Simon; and a three-season television show spin-off called Love, Victor. 

You can celebrate the ten-year anniversary of the book with a stunning DELUXE LIMITED PAPERBACK EDITION from HarperCollins, while supplies last. This 400 page edition includes gorgeous specs, making the package as beautiful as the read, and features new bonus content from Becky herself, including emails between Simon and Blue and Oreo recipes from Simon! ORDER HERE.

​If you haven't had the pleasure of reading the book, I'm posting my original review from 2016 below: 

I’ve had the opportunity to review a few books featuring LGBTQ youth which, as you might expect, have ranged from bad to excellent. Some young adult authors are clearly adding gay characters to their books because, I surmise, they feel it’s expected by modern teen and Millennial readers who are historically open-minded on the subject. While tokenism is annoying, it appears to be a waning trend as more and more YA authors like John Green, David Levithan, Maggie Stiefvater and Stephen Chbosky provide us with authentic LGBTQ characters. Now you can add Becky Albertalli happily, gleefully to this list.  

​Albertalli’s Simon vs the Homo Sapiens Agenda is perhaps more accurately a gay romance than a coming out story. The titular character is a 16-year-old high school student who has largely come to terms with his sexuality but is still dragging his feet about coming clean with friends and family. In fact, the only person he’s shared his sexuality with is an unknown classmate nicknamed “Blue” whom he met through his school’s Tumblr page and communicates with entirely through Gmail. The honest missives he shares with Blue are slowly giving Simon more confidence, even though their relationship is inherently dishonest. After all, it's a romance which exists only in a virtual world where people can be anyone they want or anyone you want them to be. Both boys are reluctant to break this spell by revealing themselves to the other.

Yet their carefully cultivated secrecy is endangered when a schoolmate named Martin accidentally intercepts their email exchanges and blackmails Simon into helping him win over a female classmate. When this arrangement doesn’t go as planned, Martin outs Simon on the same Tumblr page where he and Blue met. Rather than caving to this attempted humiliation, Simon owns the truth and with his gay identity now revealed, becomes even more determined to meet Blue in person.

If I have one big criticism of this book, it’s that Simon’s very public outing does not result in any substantial trauma. Although there are a handful of homophobic incidents following the revelation, Simon’s family, friends and teachers are overwhelmingly supportive. While I have no problem showing gay teens receiving the moral and emotional support they deserve, Albertalli notes on multiple occasions that the book’s setting of the Deep South is perhaps not the best place for a young man to come out.  But since Simon doesn’t seem to have any real fear of being ostracized, and in fact doesn’t experience any serious prejudice, Simon vs the Homo Sapiens Agenda sends some mixed signals on this particular subject.

Regardless, the book is proudly optimistic and ultimately resolves itself as a sweet story about a boy’s first love. For gay teens struggling to find themselves, whether they live in the Deep South or not, it’s important for them to have hope through the written word. In this respect, Simon vs the Homo Sapiens Agenda fits the bill nicely.

​RELATED: My Books  |  LGBTQ Collection