{"title":"Awards and Honors","description":"","products":[{"product_id":"dog-road-woman","title":"Dog Road Woman","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Allison Hedge Coke\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 1, 1997 • 6 x 9 • 96 pages • 978-1-56689-061-8\u003c\/h5\u003e\n\u003ch4\u003eAutobiographical sketch of Hedge Coke presented in her debut collection of poems.\u003c\/h4\u003e\n\u003cp\u003eIn her debut collection of poems, which received the American Book Award in 1998, Allison Adelle Hedge Coke presents an autobiographical sketch of a contemporary life. These poems recount surviving diaspora, domestic violence, racism, and an extraordinary number of challenges. By drawing upon a variety of poetic and prosaic forms, Hedge Coke simulates and transforms the rhythms and sounds of her people. She weaves the shapes and patterns of her heritage into a magnificent tapestry of prayer, story, and song. \u003cem\u003eDog Road Woman\u003c\/em\u003e is a sublime presentation of the strength, beauty, and spirit of the nations.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAllison Adelle Hedge Coke is the author of the American Book Award-winning debut collection \u003cem\u003eDog Road Woman\u003c\/em\u003e and the memoir \u003cem\u003eRock, Ghost, Willow Deer\u003c\/em\u003e (University of Nebraska Press). Growing up in North Carolina, Canada, and throughout the Great Plains, Hedge Coke earned her MFA at Vermont College and joined the faculty of Northern Michigan University in January 2005.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eDog Road Woman\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003eWinner, American Book Award 1998 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst Finalist, Paterson Poetry Prize\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Hedge Coke’s dense narrative poems are crowded with memorable characters and situations. . . . She is a welcome new voice in American poetry.” \u003cstrong\u003e—Jessica Hagedorn\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Allison Hedge Coke is a skilled, spirited, young poet who is transforming and honing her social and personal experience and reflection to speak with the voice of a whole people.” \u003cstrong\u003e—Amiri Baraka\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“These are the songs of righteous anger and utter beauty.” \u003cstrong\u003e—Joy Harjo\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“These poems have so much to say that they can’t talk fast enough, and this poet is not afraid to speak the dangerous truth.” \u003cstrong\u003e—Linda Hogan\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707431310,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Dog-Road-Woman.jpg?v=1499210642"},{"product_id":"last-days","title":"Last Days","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eA novel by Brian Evenson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 9, 2016 • 5.5 x 8.25 • 240 Pages • 978-1-56689-416-6\u003c\/h5\u003e\n\u003ch4\u003e\n\u003cem\u003eLast Days\u003c\/em\u003e follows Kline, a man forcibly recruited to solve the murder of the leader of an underground amputation cult.\u003c\/h4\u003e\n\u003cp\u003eWhen Kline is kidnapped by a dark sect that believes amputation brings you closer to God, he’s tasked with uncovering who murdered their leader. Will he uncover the truth in time to save himself, take on the mantle of prophet, or destroy all he sees with a rain of biblical violence?\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePraised by Peter Straub for going “furthest out on the sheerest, least sheltered narrative precipice,” Brian Evenson is the recipient of three O. Henry Prizes and has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award. He is also the winner of the International Horror Guild Award and the American Library Association’s award for Best Horror Novel, and his work has been named in \u003cem\u003eTime Out New York’\u003c\/em\u003es top books.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please call (612) 338-0125 or email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of the ALA RUSA CODES The Reading List Award in Horror\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The clinical tone with which Evenson is able to traverse such situations, and the strange stark architecture of their world, makes even the most insidious or repulsive situations seem plausible, mathematical, nearby. Nothing is real, so everything is real.” \u003cstrong\u003e\u003cem\u003e—VICE \u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The deceptively simple prose keeps the book brisk and even gripping as its puzzles grow more craggy and complex. This is Evenson’s singular, Poe-like gift: He writes with intelligence and a steady hand, even when his characters decide to lop their own limbs off.” \u003cstrong\u003e\u003cem\u003e—Time Out New York\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eLast Days\u003c\/em\u003e] is a novel that must be read by fans of mysteries, noir, and horror if they want to have an idea of what those genres can be. . . . Brian Evenson is the kind of writer who should be rediscovered by every generation.” \u003cstrong\u003e\u003cem\u003e—Vol. 1 Brooklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eLast Days\u003c\/em\u003e . . . is a detective novel and a cult novel (in that it is about cults—though perhaps the other designation would work too) and a brutal horror novel and a fine work of minimalist literary fiction.” \u003cstrong\u003e\u003cem\u003e—Literary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson offers a distinctive spin on the private investigator genre, finding moments of horror and humor along the way.” \u003cem\u003e\u003cstrong\u003e—Signature\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707505422,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/LastDays-Web.jpg?v=1499210785"},{"product_id":"leaving-the-atocha-station","title":"Leaving the Atocha Station","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Ben Lerner\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eAugust 23, 2011 • 6 x 9 • 186 pages • 978-1-56689-274-2\u003c\/h5\u003e\n\u003ch4\u003eFrom a National Book Award finalist, this hilarious and profound first novel captures the experience of the young American abroad while exploring the possibilities of art and authenticity in our time.\u003c\/h4\u003e\n\u003cp\u003eAdam Gordon is a brilliant, if highly unreliable, young American poet on a prestigious fellowship in Madrid, struggling to establish his sense of self and his relationship to art. Instead of following the dictates of his fellowship, Adam’s “research” becomes a meditation on the possibility of the genuine in the arts and beyond: are his relationships with the people he meets in Spain as fraudulent as he fears his poems are? Is poetry an essential art form, or merely a screen for the reader’s projections? A witness to the 2004 Madrid train bombings and their aftermath, does he participate in historic events or merely watch them pass him by? \u003cbr\u003e\u003cbr\u003eIn prose that veers between the comic and tragic, the self-contemptuous and the inspired, \u003cem\u003eLeaving the Atocha Station\u003c\/em\u003e is a portrait of the artist as a young man in an age of Google searches, pharmaceuticals, and spectacle.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBen Lerner is the author of three books of poetry \u003cem\u003eThe Lichtenberg Figures, Angle of Yaw, and Mean Free Path.\u003c\/em\u003e Lerner has been a finalist for the National Book Award and the Northern California Book Award, a Fulbright Scholar in Spain, and the recipient of a 2010-2011 Howard Foundation Fellowship. In 2011 he became the first American to win the Preis der Stadt Münster für Internationale Poesie. He teaches in the writing program at Brooklyn College.\u003cbr\u003e\u003cbr\u003eHis debut novel \u003cem\u003eLeaving the Atocha Station\u003c\/em\u003e was named one of the best books of 2011 by the \u003cem\u003eWall Street Journal,\u003c\/em\u003e the \u003cem\u003eNew Yorker,\u003c\/em\u003e the \u003cem\u003eGuardian,\u003c\/em\u003e the \u003cem\u003eBoston Globe, New York Magazine,\u003c\/em\u003e and many others, and is a finalist for the \u003cem\u003eLos Angeles Times\u003c\/em\u003e Book Prize and the New York Public Library’s 2012 Young Lions Fiction Award.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please call (612) 338-0125 or email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eFinalist for the 2013 James Tait Black Prize in fiction\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRunner-Up for the 2013 Sami Rohr Prize for Jewish Literature\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWinner of the 2012 \u003ci\u003eBeliever\u003c\/i\u003e Book Award\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFinalist for the 2011 \u003ci\u003eLos Angeles Times\u003c\/i\u003e Book Prize (Art Seidenbaum Award for First Fiction)\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFinalist for the New York Public Library’s 2012 Young Lions Fiction Award\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eWall Street Journal\u003c\/i\u003e’s Top 10 Fiction of 2011”\u003cbr\u003e\u003ci\u003eNew Yorker\u003c\/i\u003e’s “Best of the Year in Culture 2011”\u003cbr\u003e\u003ci\u003eNewsweek\/Daily Beast\u003c\/i\u003e’s “Best of 2011”\u003cbr\u003e\u003ci\u003eBoston Globe\u003c\/i\u003e’s “Best of 2011”\u003cbr\u003e\u003ci\u003eThe Guardian\u003c\/i\u003e’s “Best Books of 2011”\u003cbr\u003e\u003ci\u003eShelf Unbound\u003c\/i\u003e’s “Top Ten of 2011”\u003cbr\u003e\u003ci\u003eNew Stateman\u003c\/i\u003e’s “Best Books of 2011”\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eHuffington Post\u003c\/i\u003e’s\u003ci\u003e \u003c\/i\u003e“Yet Another Year-End List”\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eWork in Progress\u003c\/i\u003e’s\u003ci\u003e \u003c\/i\u003e“FSG’s Favorite Book of 2012”\u003cbr\u003e\u003cem\u003eLiterary Hub\u003c\/em\u003e, “50 Best Contemporary Novels”\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“Ben Lerner’s remarkable first novel . . . is a bildungsroman and meditation and slacker tale fused by a precise, reflective and darkly comic voice. It is also a revealing study of what it's like to be a young American abroad. . . . Lerner is concerned with ineffability, but Adam Gordon (and the author) fight back with more than words. . . . The ultimate product of Gordon’s success is the novel itself.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eNew York Times Book Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“One of the funniest (and truest) novels I know of by a writer of his generation. . . . A dazzlingly good novel.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eNew York Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A subtle, sinuous, and very funny first novel . . . . \u003cem\u003eLeaving the Atocha Station\u003c\/em\u003e has a beguiling mixture of lightness and weight. There are wonderful sentences and jokes on almost every page. Lerner is attempting to capture something that most conventional novels, with their cumbersome caravans of plot and scene and ‘conflict,’ fail to do: the drift of thought, the unmomentous passage of undramatic life.” \u003cem\u003e\u003cstrong\u003e—New Yorker\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Flip, hip, smart, and very funny. . . . Reading it was unlike any other novel-reading experience I’ve had for a long time.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eMaureen Corrigan, NPR’s “Fresh Air with Terry Gross”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e is] hilarious and cracklingly intelligent, fully alive and original in every sentence, and abuzz with the feel of our late-late-modern moment.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eJonathan Franzen in the\u003ci\u003e Guardian’s\u003c\/i\u003e Books of the Year 2011\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A remarkable first novel. . . . Intensely and unusually brilliant.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eThe Guardian\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Utterly charming. Lerner’s self-hating, lying, overmedicated, brilliant fool of a hero is a memorable character, and his voice speaks with a music distinctly and hilariously all his own.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003ePaul Auster\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e is a marvelous novel, not least because of the magical way that it reverses the postmodernist spell, transmuting a fraudulent figure into a fully dimensional and compelling character.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eWall Street Journal\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“One of the strengths of \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e is how it absorbs these radical impulses without compromising narrative shape and speed. . . . More important, however, this blending—of perception and politics—comes right out of how Lerner sees the world in real life.” \u003cb\u003e\u003ci\u003e—Electric Literature\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Lerner’s prose, at once precise and swerving, propels the book in lieu of a plot and creates an experience of something [main character Adam] Gordon criticizes more heavily plotted books of failing to capture: ‘the texture of time as it passed, life’s white machine.’” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eDaily Beast\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“A noteworthy debut . . . . Lerner has fun with the interplay between the unreliable spoken word and subtleties in speech and body language, capturing the struggle of a young artist unsure of the meaning or value of his art. . . . Lerner succeeds in drawing out the problems inherent in art, expectation, and communication.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003ePublishers Weekly\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Ben Lerner’s first novel, coming on the heels of three outstanding poetry collections, is a darkly hilarious examination of just how self-conscious, miserable, and absurd one man can be. . . . Lerner’s writing is beautiful, funny, and revelatory.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eDeb Olin Unferth, \u003ci\u003eBookforum\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“ \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e is as much an apologia for poetry as it is a novel. Lerner’s ability to accomplish both projects at once is a marvel. His sense of narrative forward motion and his penchant for rumination are kept in constant competition with one another, so that neither is allowed to keep the upper hand for long. \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e is a novel for poets, liars, and equivocators—that is, for aspects of us all. It is also a poem, dedicated to the gulf between self and self–ego and alter ego, ‘true me’ and ‘false me,’ present self and outgrown past.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eOpen Letters Monthly\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“The first novel from Ben Lerner, a finalist for the National Book Award in poetry, explores with humor and depth what everyone assumes is OK to overlook. . . . Ben Lerner’s phrases meander, unconcerned tourists, taking exotic day trips to surprising clauses before returning to their familiar hostels of subject and predicate. . . . An honest, exciting account of what it’s like to be a fairly regular guy in fairly regular circumstances . . . [and] somehow it’s more incredible, and more modern a dilemma, than the explosives.” \u003cem\u003e\u003cstrong\u003e—\u003c\/strong\u003e\u003c\/em\u003e\u003cb\u003e\u003ci\u003eStar Tribune\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e is the kind of book that feels lived rather than composed—a post-MFA \u003ci\u003eThe Catcher in the Rye\u003c\/i\u003e for professional adolescents. When I finished reading the novel, I wanted to know what Gordon was up to and had to resist the urge to look for him on Facebook and Twitter, which is a shame. I could have given his résumé a boost with an endorsement on LinkedIn.” \u003cb\u003e\u003ci\u003e—San Diego CityBeat\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“I admire Ben’s poetry, but I love to death his new book, \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e. Ben Lerner’s novel . . . ‘chronicles the endemic disease of our time: the difficulty of feeling. . .’ A significant book.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eLos Angeles Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In his adroitly interiorized first novel . . . Lerner makes this tale of a nervous young artist abroad profoundly evocative by using his protagonist’s difficulties with Spanish, fear of creativity, and mental instability to cleverly, seductively, and hilariously investigate the nature of language and storytelling, veracity and fraud. As Adam’s private fears are dwarfed by terrorist train attacks, Lerner casts light on how we must constantly rework the narrative of our lives to survive and flourish.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eBooklist\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e is, among other things, a character-driven ‘page-turner’ and a concisely definitive study of the ‘actual’ versus the ‘virtual’ as applied to relationships, language, poetry, experience. It’s funny and affecting and as meticulous and ‘knowing’ in its execution of itself, I feel, as Ben’s poetry collections are.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eBeliever\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“What is the average person’s role in history? How can we live with our own fraudulence? Why should we make art, and what kind of art can we make now? To all these questions \u003cem\u003eAtocha Station\u003c\/em\u003e is an answer.” \u003cem\u003e\u003cstrong\u003e—Vulture\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Lerner, himself an Ivy League poet and National Book Award finalist who once spent time in Madrid on a prestigious fellowship, wrestles well with absence as an event. . . . The combination of tension and languor, grounded by sensual details, recalls Javier Marías.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eTime Out New York\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e] is remarkable for its ability to be simultaneously warm, ruminative, heart-breaking, and funny.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eShelf Unbound\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Perhaps it’s because there’s so much skepticism surrounding the novel-by-poet that, when it’s successful, it’s such a cause for celebration. Some prime examples of monumental novels by poets and about poets (but not just for poets) are Boris Pasternak’s \u003ci\u003eDoctor Zhivago,\u003c\/i\u003e Roberto Bolaño’s \u003ci\u003eThe Savage Detectives,\u003c\/i\u003e and Rainer Maria Rilke’s \u003ci\u003eThe Notebooks of Malte Laurids Brigge.\u003c\/i\u003e Now, let us celebrate another of their rank: Ben Lerner’s \u003ci\u003eLeaving the Atocha Station.\u003c\/i\u003e” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eJewish Daily Forward\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“An extraordinary novel about the intersections of art and reality in contemporary life.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eJohn Ashbery\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Acclaimed poet Ben Lerner’s first novel is a fascinating and often brilliant investigation of the distance (or the communication) between experience and art. . . . Rendering its subject from just about every angle, \u003cem\u003eLeaving the Atocha Station\u003c\/em\u003e becomes something close to highly self-aware, to something poetic.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eZyzzyva\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Last night I started Ben Lerner’s novel \u003cem\u003eLeaving the Atocha Station.\u003c\/em\u003e By page three it was clear I was either staying up all night or putting the novel away until the weekend. I’m still angry with myself for having slept.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eStacy Schiff\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eImpenetrable Screen\u003c\/em\u003e is at times quite poignant, and \u003cem\u003eAtocha Station\u003c\/em\u003e is canny and wickedly funny throughout. . . . These works too argue for themselves as achievements, talismanic keys attaining some degree of access to ‘life’s white machine’ and ‘desire’s buzz.’” \u003cb\u003e—\u003ci\u003eFull Stop\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The writing—fluid, sharp, and fast—pulls you along, rarely stumbling. Lerner understands human interaction with unusual clarity and for the egotistical Adam, every conversation is a sparring match. . . . The effect is striking and, unexpectedly comforting.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eIberosphere\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Linguistically, \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e is one of the most remarkable books I have read this year. Lerner is a poet, but this isn't a ‘poetic novel,’ by which I mean the kind of work where mellifluous description acts as a kind of literary toupee. Lerner’s poetry manifests itself in elegantly stilted grammar, in contradiction and self-cancellation, is painfully self-aware self-mirroring and especially in misunderstanding . . . The camber of Adam’s thoughts is conveyed with astonishing grace.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eScotsman\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“I did love this debut novel by a young poet . . . which takes place at the time of the 2004 Madrid subway bombings and channels W.G. Sebald in a way that’s far more interesting, for my money, than another Sebaldian homage published the same year.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003ePublishers Weekly\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“I was both amused and appalled by the anti-hero of Ben Lerner’s \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e.”\u003ci\u003e \u003c\/i\u003e\u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eThe Guardian\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“In his first novel, \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e\u003cem\u003e,\u003c\/em\u003e Lerner makes a kind of refined comedy out of his grad student narrator’s gnawing sense of his own inauthenticity.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eNew Statesman\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“The sharpest and funniest novel I read this year.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eDaily Mail\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“I really liked Ben Lerner’s \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e. . . . It is incredibly smart. It’s terrifying how smart this author is.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eMiami Herald\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“The prose is mesmerizing. . . . A fairly astonishing large achievement of poetic voice and diction.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eCircular Breathing\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“An impressively verisimilar account of ennui and alienation in . . . our post-9\/11 world.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eBookriot\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e gets to the heart of this fact of our existence. It captures the complex relationship we have with art, with faith, with love, and with life, and it does so with wit, honesty and grace.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eHuffPost\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e, an American-abroad novel by the poet Ben Lerner, reaches 'for what cannot be disclosed or confessed in narrative.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eNew York Times\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“The two achievements that push \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e into must-read territory are its antihero narrator and the almost kinetic nature of its prose. . . . The author fills the pages with an electric, commanding prose that turns into everything the reader needs.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eVerbicide\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“‘In my continued, mostly futile, campaign to offer various children, nieces and nephews an alternative to vampires and wizards,’ he wrote, ‘I’ll be giving . . . Ben Lerner’s smart, ruminating novel, \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e.’” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eNew York Times\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“That monster of overprivilege and overeducation ends up being genuinely sympathetic, and that a book that has serious questions to ask about the place of art in our virtually anesthetized world is consistently laugh-out-loud funny, are testaments to Ben Lerner’s dazzling prose, which switches effortlessly from deadpan to ironic to salty to tragic and back again.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eThe Millions, \u003c\/b\u003e\u003c\/i\u003e\u003cb\u003e“\u003c\/b\u003e\u003cstrong\u003eA Year in Reading: Paul Murray”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I \u003ci\u003eloved\u003c\/i\u003e Ben Lerner’s \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e. It fits into the category I like to call ‘the perfect little novel.’” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eBuzzFeed,\u003c\/b\u003e \u003c\/i\u003e\u003cstrong\u003e“The Best Books We Read in 2012”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Lerner is a multi-form talent who crosses genres, modes, and media to represent a leading edge of contemporary writing.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eContemporary Literature\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In \u003ci\u003eLeaving the Atocha Station\u003c\/i\u003e the light is at first humor, of which self-deprecation and compulsive lying are the materials. . . . Lerner suggests that hope lies in the excision of self-consciousness, a less partial view of oneself.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eLos Angeles Review of Books\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Indeed, we’ve often found ourselves at a loss to explain why this book is so wonderful. . . . Shields gets it: the book ‘chronicles the endemic disease of our time: the difficulty of feeling.’” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eFlavorwire\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707506190,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Leaving-Atocha-new-cover.jpeg?v=1513895225"},{"product_id":"shoulda-been-jimi-savannah","title":"Shoulda Been Jimi Savannah","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Patricia Smith\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMarch 27, 2012 • 6 x 9 • 116 pages • 978-1-56689-299-5\u003c\/h5\u003e\n\u003ch4\u003eNational Book Award finalist Patricia Smith chronicles the Great Migration through Motown music and Chicago streets.\u003c\/h4\u003e\n\u003cp\u003eIn her newest collection, National Book Award finalist Patricia Smith explores the second wave of the Great Migration. From her parents’ move from the South to Chicago to being raised as an “up North” child under the spell of Motown music, she captures the rampant romanticism of waiting and hoping and the dogged disappointment and damage of living under a delusion. Shifting from spoken word to free verse to traditional forms, she reveals “that soul beneath the vinyl.”\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePatricia Smith is the author of six volumes of poetry, including \u003cem\u003eShoulda Been Jimi Savannah,\u003c\/em\u003e winner of the 2013 Lenore Marshall Poetry Prize from the Academy of American Poets and the Phillis Wheatley Award from the Quarterly Black Review; \u003cem\u003eBlood Dazzler,\u003c\/em\u003e a finalist for the 2008 National Book Award and \u003cem\u003eTeahouse of the Almighty,\u003c\/em\u003e a National Poetry Series selection. Her work has appeared in \u003cem\u003eBest American Poetry, Best American Essays,\u003c\/em\u003e and \u003cem\u003eBest American Mystery Stories.\u003c\/em\u003e Professor for the City University of New York and a Cave Canem faculty member, she lives in New Jersey with her husband, Edgar Award–winning novelist Bruce DeSilva, and her dogs Brady and Rondo.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of the 2014 Rebekah Bobbitt National Prize for Poetry \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2013 Lenore Marshall Poetry Prize \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2013 Wheatley Book Award in Poetry \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFinalist for the 2013 William Carlos Williams Award\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Patricia Smith’s dazzling new book sings Chicago and Detroit, the midcentury migration of African American families northward (They say it’s better up there . . .), to cities both harsh and alluring, cities that offer and withhold, raise hopes and dash them at once. Above all, Smith turns her attention—her passion, her fierce sonic powers—to Motown, that aural mirage, the shimmering promises inherent in ‘every wall of horn, every slick choreographed \/ swivel . . .’ Here is one of our essential poets at the top of her form, bristling with energy and fire, praise and outrage. There’s no one like Patricia Smith, and her bold, necessary poems light up the American twentieth century in all its song and sorrow.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eMark Doty\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“From the Mississippi Delta to Chicago, these poems embody America. Patricia Smith is a formidably gifted poet (‘Motown Crown’ is stunning), yet perhaps her greatest gift is her openness—my heart is made larger when I live with any of her words, if only for awhile.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eNick Flynn\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“At her best Patricia Smith writes poems full of risk and courage, thick with pain and alive with insight and humor. At her best, Patricia Smith confronts memory with delight and alarm, and manages to find music in the abject and callow. At her best, Patricia Smith has discovered the necessary equation to make beautiful, memorable poems: she calls it ‘the crunch \/ of bone, suck of marrow.’ In \u003ci\u003eShoulda Been Jimi Savannah\u003c\/i\u003e\u003cem\u003e,\u003c\/em\u003e part elegy to things past, part epic poem of migration and the planting of roots, part anthem to Chicago, to family, to the deepest unspeakable secrets of a girl’s coming of age, Patricia Smith is at her best, and the gift she presents to us is truly, truly priceless.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eKwame Dawes\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Smith doesn’t clog up the end of the poem with an easy, insincere moral; she just tells her story and gets offstage, which is exactly the right thing to do.” \u003cb\u003e—\u003ci\u003eThe Stranger\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Patricia Smith is writing some of the best poetry in America today. Ms Smith’s new book, \u003ci\u003eShoulda Been Jimi Savannah\u003c\/i\u003e\u003cem\u003e,\u003c\/em\u003e is just beautiful—and like the America she embodies and represents—dangerously beautiful. \u003ci\u003eShoulda Been Jimi Savannah\u003c\/i\u003e is a stunning and transcendent work of art, despite, and perhaps because of, its pain. This book shines.” \u003cb\u003e—Sapphire\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Smith is a powerhouse poet. Her poems are as tightly constructed as masonry, yet they are quick-footed, spinning, singing, funny, and heartbreaking. . . . Smith’s immediate, deeply compassionate, magnificently detailed narrative poems of one young woman’s complicated coming-of-age embody the sorrows, outrage, and transcendence of race-bedeviled, music-redeemed twentieth-century America.” \u003cb\u003e—\u003ci\u003eBooklist\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“First of all, wow. This book is a treasure.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eCalifornia Journal of Women Writers\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eShoulda Been Jimi Savannah\u003c\/i\u003e is about the Great Migration, when a half million African Americans left the South and moved to Chicago between 1916 and 1970. [S]mith evokes parents and children in the new urban environment.” \u003cb\u003e—\u003ci\u003ePioneer Press\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eShoulda Been Jimi Savannah\u003c\/i\u003e] effortlessly moves between forms and regions.” \u003cb\u003e—\u003ci\u003eFlavorwire\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A whole-cloth remembrance, lament, and celebration that is not to be missed.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eColdfront\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Patricia Smith’s newest collection, \u003ci\u003eShoulda Been Jimi Savannah\u003c\/i\u003e\u003cem\u003e,\u003c\/em\u003e evokes a sense of history and self-awareness combined with precise storytelling and the most crafted verse. . . . In her current incarnation, we find one of the most authentic voice of Modern American Poetry.” \u003ci\u003e\u003cb\u003e—PANK\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“The people here are so vividly drawn that the reader is deep in their world by the fourth poem of the book, and what a rich, many-layered world Smith creates, full of passion, struggle, and a fierce and vivid surviving, behind which, all ‘swerve and pivot,’ all ‘languid, liquid, luscious’ is Motown. . . . Smith’s poems are their own powerful music.” \u003cb\u003e—\u003ci\u003eMead Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Welcome to a place of hopes and dreams punctured with rawness and pain. Patricia Smith’s autobiographical epic is cinematic in scale yet music box in intimacy. . . . Smith compresses culture ’til it peals like crystal—like singing light.” \u003cb\u003e—\u003ci\u003eBrooklyn Rail\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This is a wry collection of memories of growing up, learning to lie (to get out at night), learning to be sexy, learning to walk just so, learning to hide . . . and then, finally, learning to be proud of who and what she is.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eRALPH Mag\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Smith’s rhythms create a life-breath almost as potent as Motown’s beat itself. . . . [her] fresh diction is surprising enough to be almost a new language.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003e\u003cstrong\u003eR\u003c\/strong\u003eattle\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707649614,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Shoulda_Been_Jimi_Savannah.jpg?v=1515105257"},{"product_id":"comemadre","title":"Comemadre","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Roque Larraquy, translated by Heather Cleary\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJuly 10, 2018 • 5 x 7.75 • 152 pages • 978-1-56689-515-6\u003c\/h5\u003e\n\u003ch4\u003eLiterary Latin American \u003cem\u003eFlatliners:\u003c\/em\u003e a smart, engrossing, and darkly funny novel experimenting with where life and love begin and end.\u003c\/h4\u003e\n\u003cp\u003eOn the outskirts of Buenos Aires in 1907, Doctor Quintana pines for head nurse Menéndez while he and his colleagues embark on a grisly series of experiments to investigate the line between life and death. One hundred years later, a celebrated artist goes to extremes in search of aesthetic transformation, turning himself into an art object. How far are we willing to go, Larraquy asks, in pursuit of transcendence? The world of \u003cem\u003eComemadre\u003c\/em\u003e is full of vulgarity, excess, and farce: strange ants that form almost perfect circles, missing body parts, obsessive love affairs, and flesh-eating plants. Here the monstrous is not alien, but the consequence of our relentless pursuit of collective and personal progress.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eRoque Larraquy is an Argentinian writer, screenwriter, professor of narrative and audiovisual design, and the author of two books, \u003cem\u003eLa comemadre\u003c\/em\u003e and \u003cem\u003eInforme sobre ectoplasma animal\u003c\/em\u003e. \u003cem\u003eComemadre\u003c\/em\u003e will be his first book published in English.\u003cbr\u003e\u003cbr\u003eHeather Cleary’s translations include César Rendueles’s \u003cem\u003eSociophobia,\u003c\/em\u003e Sergio Chejfec’s \u003cem\u003eThe Planets\u003c\/em\u003e and \u003cem\u003eThe Dark,\u003c\/em\u003e and a selection of Oliverio Girondo’s poetry for New Directions.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eLonglisted for the 2018 National Book Award for Translated Literature \u003cbr\u003eLonglisted for the Best Translated Book Award\u003cbr\u003e\u003cem\u003ePublishers Weekly,\u003c\/em\u003e Best Books of 2018 in Fiction\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Shuttling between B-movie horror and exceedingly dark comedy, the novel is somehow both genuinely scary and genuinely funny, sometimes on the same page—a wickedly entertaining ride.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003estarred review\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“Grotesque, outrageous, and insanely funny, [\u003cem\u003eComemadre\u003c\/em\u003e] has almost no equal in literature.” \u003cem\u003e\u003cstrong\u003e—BOMB\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Sad, funny, and pitch-perfect.” \u003cem\u003e\u003cstrong\u003e—World Literature Today\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The prose is distilled but rich—like dark chocolate.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Through his callous, narcissistic narrators, Larraquy interrogates the ethics of art and science, and the inhumanity we sanction in the name of intellectual achievement. Slyly funny and viscerally affecting, in a fluid translation by Heather Cleary, \u003cem\u003eComemadre\u003c\/em\u003e is the medicine-meets-art horror story of my dreams.” \u003cem\u003e\u003cstrong\u003e—Huffington Post\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The absurd is planted and buried throughout \u003cem\u003eComemadre,\u003c\/em\u003e creating a sense of constant doubt and uncertainty. The writing is sparse and evocative, even as it takes considerable risks. The effect accomplishes a great deal in short spaces.” \u003cem\u003e\u003cstrong\u003e—Full Stop \u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eComemadre\u003c\/em\u003e creates a full circle of the grotesqueries humans inflict upon one another in pursuit of immortality. . . . Read Larraquy to experience a strange waking dream from which there is no escape.” \u003cem\u003e\u003cstrong\u003e—Arkansas International\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“It’s a brief novel, but its impact is massive.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A mutilated novel about the art of mutilating bodies.” \u003cem\u003e\u003cstrong\u003e—Book Post\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In this dark, dense, surprisingly short debut novel by the Argentinian author, we’re confronted with enough grotesqueries to fill a couple Terry Gilliam films and, more importantly, with the idea that the only real monsters are those that are formed out of our own ambition.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Comemadre is a powerful critique of our administered, bureaucratic world, full of petty men wielding power with impunity.” \u003cstrong\u003e\u003cem\u003e—Three Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Layered without growing dense, the book is crisply comic, scenes punctuated like punchlines. That it all happens within a mere 130 pages is a sort of magic trick—the dizzying kind where a body gets sawed in half.” \u003cem\u003e\u003cstrong\u003e—The A.V. Club\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reading Roque Larraquy’s excellent and twisted novel \u003cem\u003eComemadre\u003c\/em\u003e is an exercise in duality: mind and body, present and past, science and art.” \u003cem\u003e\u003cstrong\u003e—New Letters\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A deeply unnerving and morbidly fascinating novel.” \u003cem\u003e\u003cstrong\u003e—Booklist\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Larraquy ventures into the gothic here, only to push beyond it into an even more disquieting realm of obsession, transformation, and the monstrous unknown.”\u003cem\u003e\u003cstrong\u003e —Words Without Borders\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Funny, grotesque and smart.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e“The gruesome content is handled with an absurdist touch.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“A concise family saga by way of Dennis Cooper by way of a stress nightmare; it’s also eminently readable.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eComemadre\u003c\/em\u003e] spins old unreliable narrator techniques into a freshly comic and grotesque examination of the various ways that we try to justify the unjustifiable.” \u003cem\u003e\u003cstrong\u003e—Barrelhouse\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eComemadre\u003c\/em\u003e has wit in excess, spilling out over the pages, like an army of red ants, or the pools beneath a guillotine.” \u003cem\u003e\u003cstrong\u003e—Fanzine\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A masterpiece in regards to dark comedy.” \u003cem\u003e\u003cstrong\u003e—Call Me [Brackets]\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A strange, wild story-slash-philosophical-meander along the lines of art, life, love, and death.” \u003cem\u003e\u003cstrong\u003e—Remezcla\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“One of the most bizarre, darkly comic and fascinating books that I’ve read this year.” \u003cem\u003e\u003cstrong\u003e—Beyond the Epilogue\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“I love \u003cem\u003eComemadre.\u003c\/em\u003e But here I am, days after reading, still asking myself what kind of book it is. Is it humor? Horror? Is it about art? Science? Philosophy? One thing is certain: it is just the kind of book that you’ll want to recommend to your friends over and over again, and here I am, still doing it!”\u003cem\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e—Samanta Schweblin\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Like a beloved B movie, this is the campy horror show all my fellow sickos have been waiting for.” \u003cstrong\u003e—Keaton Patterson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Larraquy has written a perfect novel: spare, urgent, funny, original, and infused with wonderfully subtle grace. I neglected my domestic duties to devour it.” \u003cstrong\u003e—Elisa Albert\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Moving from a sanatorium at the beginning of the twentieth century in which the doctors decide to use their patients as fodder for a deadly experiment, to an artist at the beginning of the twenty-first who pushes the fleshy manipulations of Chris Burden and Damien Hurst to a new extreme, \u003cem\u003eComemadre\u003c\/em\u003e is a raucous and irreverent philosophical meditation on the relationship of the body to science and to art. Walking a line between parody and critique, this is a grotesquely funny and powerful book.” \u003cstrong\u003e—Brian Evenson\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eComemadre\u003c\/em\u003e is one of the wildest and most disturbing novels I’ve read. With a language that dissects the world while describing it, Roque Larraquy constructs a dark fable about the annihilation of the body, about perversions of art and science. Heather Cleary’s magnificent translation does justice to this extravagant gem—composed like a Hieronymus Bosch diptych that sets us before the monsters of unleashed reason.” \u003cstrong\u003e—Daniel Saldaña París\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eComemadre\u003c\/em\u003e is a sensory experience: images repeat, ‘confession’ has a smell, and obsession feels palpable. The two narrative threads within this wildly strange and perversely humorous novel map the expansive life of the mind, the drive to make a mark on history, and the impact of transgressions in art and science. If a Dalí painting could speak, it would tell us this violently charming tale of ants marching in perfect circles and bodies pushed beyond the limits of the possible.” \u003cstrong\u003e—Elizabeth Willis, Avid Bookshop\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“I’m not entirely sure what the fuck just happened, but, whatever you might say about Roque Larraquy’s \u003cem\u003eComemadre,\u003c\/em\u003e you sure as hell will have \u003cem\u003esomething\u003c\/em\u003e to say. A dizzying, macabre, yet ultimately deliriously delicious tale of medical testing, decapitations, botanically-born flesh-eating larvae, unrequited love, deformities, and extreme art, \u003cem\u003eComemadre\u003c\/em\u003e won’t soon be easily forgotten (if ever it is). Larraquy, an Argentinean screenwriter who has also penned two books (\u003cem\u003eComemadre\u003c\/em\u003e being the first translated into English), is whirlwindishly creative and evidently possessed of a prodigious, if darkly tinged, imagination.\u003cbr\u003e\u003cbr\u003eTwo distinct narratives, ultimately linked yet set 102 years apart, combine to grotesque and lasting effect. Larraquy writes fantastically and, however unlikely it may seem given its obsessive subjects, with considerable humor. The same unsettling, disquieting feeling one might be left with after engaging, say, Georges Bataille’s \u003cem\u003eThe Story of the Eye\u003c\/em\u003e or fellow Argentinean author Samanta Schweblin’s \u003cem\u003eFever Dream\u003c\/em\u003e is present in spades. \u003cem\u003eComemadre\u003c\/em\u003e never flinches, however much its readers inevitably must. \u003cem\u003eComemadre\u003c\/em\u003e lures, bedevils, and ultimately enamors—distending reality (and decency) in the process. Feral fiction at its finest, Larraquy’s Comemadre is beach reading if you inexplicably find yourself marooned with Piggy, Jack, Ralph, and the rest of Golding’s deserted island boys.” \u003cstrong\u003e—Jeremy Garber, Powell’s Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Part horror, part dark comedy, part philosophy.” \u003cstrong\u003e—Unabridged Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Roque Larraquy:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Who the devil is this Roque Larraquy? His first book seems like an artifact written with four hands—amid laughter and hidden from everyone—by Jorge Luis Borges and Witold Gombrowicz. Or maybe not Gombrowicz, but Virgilio Piñera. Or maybe not Borges, but Villiers de L’Isle-Adam adapted by Paul Valéry (did you know Valéry spent his youth digging up skulls to make calculations?). What is certain is that this truly magnificent novel exudes intelligence, humor, cynicism, cruelty. Cold passion with unsettling—and unexpectedly moving—effects.” \u003cstrong\u003e—Ignacio Echevarría\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In spite of having all the necessary ingredients for a historical novel (the clinic, sordid and suburban; the positivist, anthropometric delusions), it’s not a historical novel; in spite of possessing, at first glance, the traits that generally mark ‘realistic fiction,’ (the cross between conceptual art, spectacle, and biopolitics; the gray areas of death, sickness and animalism as thresholds of humanity), something in its tone subjects the reality to a process of distancing treating it as a foreign body—alien—neither completely alive nor completely dead.” \u003cstrong\u003e—Diego Peller, \u003cem\u003eBazar Americano\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Larraquy spent seven years writing his first book . . . and another three passed before the appearance of his second. We don’t know how long it will take him to publish his next one, but we intuit that there will be a third and a fourth, because in what we’ve seen of his work up to now there is a discernible literary project—a project that’s difficult to define, for which terms like ‘story,’ ‘novel,’ or ‘poetry’ are insufficient.”\u003cstrong\u003e —Maximiliano Tomas\u003cem\u003e, La Nación\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2293514043416,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895156_FC.jpg?v=1511373806"},{"product_id":"not-here","title":"Not Here","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Justin Phillip Reed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 8, 2018 • 6 x 9 • 112 pages • 978-1-56689-514-9\u003c\/h5\u003e\n\u003ch4\u003eIntricate, intimate, difficult, and confrontational poems that push at the boundaries of selfhood, skin, culture, sexuality, and blood.\u003c\/h4\u003e\n\u003cp\u003e\u003cem\u003eIndecency\u003c\/em\u003e is boldly and carefully executed and perfectly ragged. In these poems, Justin Phillip Reed experiments with language to explore inequity and injustice and to critique and lament the culture of white supremacy and the dominant social order. Political and personal, tender, daring, and insightful—the author unpacks his intimacies, weaponizing poetry to take on masculinity, sexuality, exploitation, and the prison industrial complex and unmask all the failures of the structures into which society sorts us.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eJustin Phillip Reed is an American poet living in St. Louis. His work appears in \u003ci\u003eAfrican American Review, Best American Essays, Callaloo, The Kenyon Review, Obsidian, \u003c\/i\u003eand elsewhere. He holds a BA in creative writing from Tusculum College and an MFA in poetry from Washington University in St. Louis. The author of the chapbook \u003ci\u003eA History of Flamboyance\u003c\/i\u003e (YesYes Books 2016), he has received fellowships from the Cave Canem Foundation and the Conversation Literary Festival. Reed currently organizes the St. Louis community-based poetry workshop series Most Folks At Work. He was born and raised in South Carolina.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eRecipient of a 2019 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2018 National Book Award for Poetry \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the Lambda Literary Award in Gay Poetry\u003cbr\u003eFinalist for the 2019 Kate Tufts Discovery Award\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eBCALA 2019 Honor Best Poetry Award winner\u003cbr\u003eLibrary Journal, “Best Books 2018”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Reed’s visceral and teasingly cerebral debut probes black identity, sexuality, and violence and is inseparably personal and political. He displays a searing sense of injustice about dehumanizing systems, and his speakers evoke the quotidian with formidable eloquence . . .” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“[Reed’s] poems take up the body in desire and violence, and they do so by thrusting the reader into a stark visceral encounter with their material.” \u003cem\u003e\u003cstrong\u003e—The New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Raw, nervy, reverberant, densely packed language whose import simply can’t be reduced to easy explanation . . . One-of-a-kind brilliant.” \u003cem\u003e\u003cstrong\u003e—Library Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eIndecency\u003c\/em\u003e made me stand up and applaud.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reed’s poems are formally inventive, especially when he works in concrete ways on the page. . . . The reader winds up in a new place without realizing they were being moved there.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A poignant, searing book.” \u003cstrong\u003e\u003cem\u003e—Entertainment Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Rich with musical echoes and sonic ironies.” \u003cem\u003e\u003cstrong\u003e—Vulture\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reed’s wit and formal experimentation, quicksilver and luminous, shows the world as it is, while detailing how the very people that society most devalues, demeans, and seeks to destroy are its true visionaries.” \u003cem\u003e\u003cstrong\u003e—The Adroit Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reed wrestles with finding the language to convey the pain of that double oppression and still manages to create terrible beauty.” \u003cem\u003e\u003cstrong\u003e—Signature\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reed’s love of language is ever-present in his joyful play with words throughout his poetry.” \u003cem\u003e\u003cstrong\u003e—The Root\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In his debut poetry collection, \u003cem\u003eIndecency,\u003c\/em\u003e [Reed] wrestles with self-perception, intimacy, and placement.” \u003cem\u003e\u003cstrong\u003e—St. Louis Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“An unflinching exploration of power, race, sexuality, gender, the personal and the political.” \u003cem\u003e\u003cstrong\u003e—Vox\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Political and personal, tender, daring, and insightful―the author unpacks his intimacies, weaponizing poetry to take on masculinity, sexuality, exploitation, and the prison industrial complex and unmask all the failures of the structures into which society sorts us.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“As we grapple with issues of equity and inclusion, insights that Reed invokes are essential. They expose a treacherous legacy, an inheritance we all must own.”\u003cem\u003e\u003cstrong\u003e —The Manitou Messenger\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Within the containment of mostly invented forms, Justin Phillip Reed’s \u003cem\u003eIndecency\u003c\/em\u003e is the ‘carnal weight’ I’ve longed for in poetry. It’s the guttural dream of utterance that strokes and pokes the body. Reed’s deft craft is so rare, so precise, and driven by language whose surface is texture like teeth, that it seems like freed speech into the ache of repressive histories, white gazes, and uninvited invasions. Violence in Reed’s hands is no longer a thing somewhere out there but is inside the heart, as close as any black desire. \u003cem\u003eIndecency\u003c\/em\u003e is the new duende. It is like no other book I’ve read; Reed is an extraordinary talent.” \u003cstrong\u003e—Dawn Lundy Martin\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“In this gorgeous first collection, there is no separation of sound from the language it travels in, from the body that produces it, from the experience that evokes it. Justin Phillip Reed achieves an impressive unity of form and content, never obscuring meaning in its varied violences inside the poems’ luxuriant unfolding—the ‘absent-present’ rich with tough phantoms and the fragile living, and underneath: an unwillingness to buckle under unwanted and unasked-for burdens. In conversation with Frank O’Hara and Dawn Lundy Martin, with Michael Brown and Ezell Ford, with Ralph Ellison and Harryette Mullen, with the named and unnamed populace who understand sufferance but also resilience, pain but also sweetness, \u003cem\u003eIndecency\u003c\/em\u003e is a refusal of pretense, a celebration of possibilities within human complexity—and the hard-earned freedom inextricable from the public and private histories from which it is wrought.” \u003cstrong\u003e—Khadijah Queen\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Don’t avert: Justin Phillip Reed demands we witness that who’s missing was taken, who fell was dropped, and who died was murdered. Witness, too, that who done it will claim everything but responsibility. That obscenity drives the poet to fracture language into the exquisite shrapnel of lyric paroxysms, leaves a ‘body \/ . . . deboned of its irony.’ That indecency triggered these devastating poems. Fuck what they claim; here’s what Reed has seen.” \u003cstrong\u003e—Douglas Kearney\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“It would be a mistake, in heeding Reed's outrage and his sense of urgency (and heed it we should) to hurry past the beauty in these poems, of which there is plenty to be found: potent word play, intricate rhyme, and stray lines like ‘a smeared sweet on his cheek in the parenthesis of a grin’ or ‘the dense streets clapped into a quick-descended stillness.’”\u003cstrong\u003e \u003cem\u003e—Assignment\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003ePraise for Justin Phillip Reed:\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“More than their beauty, what the poems of \u003cem\u003eA History of Flamboyance\u003c\/em\u003e flaunt is their insistence, a restless and, finally, necessary intellectual rigor that demands as much from the reader as it will delight and trouble her. But don’t be tricked in thinking these are consequently too-stiffened poems, lacking blood. There’s blood moving in every line of Reed’s poems, and there’s nerve, which is only to say that here is also honest if sometimes painful feeling, vulnerability articulated with power. If these poems are confessions, then Reed’s many formal interventions mean to break up, down or apart, reveal and revise, perhaps, the performance of those confessions, an effort to expose their inner makings, motives, our histories, these ‘constructed rituals’ of shame and desire. I’d say this fits a mind that seems at turns insatiable, wanting more of our world and of the poem; at other times more reserved, wanting less; but at all times is a mind nevertheless committed to the poem’s queerest possibility, evoking its many traditions just as it disrupts or rewrites them. So these poems teach me. Justin Phillip Reed is a productive new voice in contemporary poetry, ‘rose up like a hard new fact,’ and one that feels in every way as irrefutable.” \u003cstrong\u003e—Rickey Laurentiis\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“To be re-born inside these poems of chasm is a rigor not quietly undertaken. Justin Phillip Reed undoes the sonnet’s deep organization with the violent abandon of a boy become object in the stink of rapture. A ripping of form occurs. A cataclysm of self. And what do we find in these body ruins? I, for one, hear the hunt of masculine desire beating through—familiar, a known place—calling like a rustling of trees in night’s black thought. These poems at once trouble this bringing forth and grieve the ‘softness’ become ‘satchel.’ Indeed, how do we ever re-gather ourselves? When I read these poems by Reed, I’m left energized, bereft, and altered. They will forever live in my imagination.” \u003cstrong\u003e—Dawn Lundy Martin\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2296177262616,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895095_FC.jpg?v=1511376096"},{"product_id":"indecency","title":"Indecency","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Justin Phillip Reed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 8, 2018 • 6 x 9 • 112 pages • 978-1-56689-514-9\u003c\/h5\u003e\n\u003ch4\u003eIntricate, intimate, difficult, and confrontational poems that push at the boundaries of selfhood, skin, culture, sexuality, and blood.\u003c\/h4\u003e\n\u003cp\u003e\u003cem\u003eIndecency\u003c\/em\u003e is boldly and carefully executed and perfectly ragged. In these poems, Justin Phillip Reed experiments with language to explore inequity and injustice and to critique and lament the culture of white supremacy and the dominant social order. Political and personal, tender, daring, and insightful—the author unpacks his intimacies, weaponizing poetry to take on masculinity, sexuality, exploitation, and the prison industrial complex and unmask all the failures of the structures into which society sorts us.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eJustin Phillip Reed is an American poet living in St. Louis. His work appears in \u003ci\u003eAfrican American Review, Best American Essays, Callaloo, The Kenyon Review, Obsidian, \u003c\/i\u003eand elsewhere. He holds a BA in creative writing from Tusculum College and an MFA in poetry from Washington University in St. Louis. The author of the chapbook \u003ci\u003eA History of Flamboyance\u003c\/i\u003e (YesYes Books 2016), he has received fellowships from the Cave Canem Foundation and the Conversation Literary Festival. Reed currently organizes the St. Louis community-based poetry workshop series Most Folks At Work. He was born and raised in South Carolina.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eRecipient of a 2019 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2018 National Book Award for Poetry \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the Lambda Literary Award in Gay Poetry\u003cbr\u003eFinalist for the 2019 Kate Tufts Discovery Award\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eBCALA 2019 Honor Best Poetry Award winner\u003cbr\u003eLibrary Journal, “Best Books 2018”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Reed’s visceral and teasingly cerebral debut probes black identity, sexuality, and violence and is inseparably personal and political. He displays a searing sense of injustice about dehumanizing systems, and his speakers evoke the quotidian with formidable eloquence . . .” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“[Reed’s] poems take up the body in desire and violence, and they do so by thrusting the reader into a stark visceral encounter with their material.” \u003cem\u003e\u003cstrong\u003e—The New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Raw, nervy, reverberant, densely packed language whose import simply can’t be reduced to easy explanation . . . One-of-a-kind brilliant.” \u003cem\u003e\u003cstrong\u003e—Library Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eIndecency\u003c\/em\u003e made me stand up and applaud.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reed’s poems are formally inventive, especially when he works in concrete ways on the page. . . . The reader winds up in a new place without realizing they were being moved there.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A poignant, searing book.” \u003cstrong\u003e\u003cem\u003e—Entertainment Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Rich with musical echoes and sonic ironies.” \u003cem\u003e\u003cstrong\u003e—Vulture\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reed’s wit and formal experimentation, quicksilver and luminous, shows the world as it is, while detailing how the very people that society most devalues, demeans, and seeks to destroy are its true visionaries.” \u003cem\u003e\u003cstrong\u003e—The Adroit Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reed wrestles with finding the language to convey the pain of that double oppression and still manages to create terrible beauty.” \u003cem\u003e\u003cstrong\u003e—Signature\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reed’s love of language is ever-present in his joyful play with words throughout his poetry.” \u003cem\u003e\u003cstrong\u003e—The Root\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In his debut poetry collection, \u003cem\u003eIndecency,\u003c\/em\u003e [Reed] wrestles with self-perception, intimacy, and placement.” \u003cem\u003e\u003cstrong\u003e—St. Louis Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“An unflinching exploration of power, race, sexuality, gender, the personal and the political.” \u003cem\u003e\u003cstrong\u003e—Vox\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Political and personal, tender, daring, and insightful―the author unpacks his intimacies, weaponizing poetry to take on masculinity, sexuality, exploitation, and the prison industrial complex and unmask all the failures of the structures into which society sorts us.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“As we grapple with issues of equity and inclusion, insights that Reed invokes are essential. They expose a treacherous legacy, an inheritance we all must own.”\u003cem\u003e\u003cstrong\u003e —The Manitou Messenger\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Within the containment of mostly invented forms, Justin Phillip Reed’s \u003cem\u003eIndecency\u003c\/em\u003e is the ‘carnal weight’ I’ve longed for in poetry. It’s the guttural dream of utterance that strokes and pokes the body. Reed’s deft craft is so rare, so precise, and driven by language whose surface is texture like teeth, that it seems like freed speech into the ache of repressive histories, white gazes, and uninvited invasions. Violence in Reed’s hands is no longer a thing somewhere out there but is inside the heart, as close as any black desire. \u003cem\u003eIndecency\u003c\/em\u003e is the new duende. It is like no other book I’ve read; Reed is an extraordinary talent.” \u003cstrong\u003e—Dawn Lundy Martin\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“In this gorgeous first collection, there is no separation of sound from the language it travels in, from the body that produces it, from the experience that evokes it. Justin Phillip Reed achieves an impressive unity of form and content, never obscuring meaning in its varied violences inside the poems’ luxuriant unfolding—the ‘absent-present’ rich with tough phantoms and the fragile living, and underneath: an unwillingness to buckle under unwanted and unasked-for burdens. In conversation with Frank O’Hara and Dawn Lundy Martin, with Michael Brown and Ezell Ford, with Ralph Ellison and Harryette Mullen, with the named and unnamed populace who understand sufferance but also resilience, pain but also sweetness, \u003cem\u003eIndecency\u003c\/em\u003e is a refusal of pretense, a celebration of possibilities within human complexity—and the hard-earned freedom inextricable from the public and private histories from which it is wrought.” \u003cstrong\u003e—Khadijah Queen\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Don’t avert: Justin Phillip Reed demands we witness that who’s missing was taken, who fell was dropped, and who died was murdered. Witness, too, that who done it will claim everything but responsibility. That obscenity drives the poet to fracture language into the exquisite shrapnel of lyric paroxysms, leaves a ‘body \/ . . . deboned of its irony.’ That indecency triggered these devastating poems. Fuck what they claim; here’s what Reed has seen.” \u003cstrong\u003e—Douglas Kearney\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“It would be a mistake, in heeding Reed's outrage and his sense of urgency (and heed it we should) to hurry past the beauty in these poems, of which there is plenty to be found: potent word play, intricate rhyme, and stray lines like ‘a smeared sweet on his cheek in the parenthesis of a grin’ or ‘the dense streets clapped into a quick-descended stillness.’”\u003cstrong\u003e \u003cem\u003e—Assignment\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003ePraise for Justin Phillip Reed:\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“More than their beauty, what the poems of \u003cem\u003eA History of Flamboyance\u003c\/em\u003e flaunt is their insistence, a restless and, finally, necessary intellectual rigor that demands as much from the reader as it will delight and trouble her. But don’t be tricked in thinking these are consequently too-stiffened poems, lacking blood. There’s blood moving in every line of Reed’s poems, and there’s nerve, which is only to say that here is also honest if sometimes painful feeling, vulnerability articulated with power. If these poems are confessions, then Reed’s many formal interventions mean to break up, down or apart, reveal and revise, perhaps, the performance of those confessions, an effort to expose their inner makings, motives, our histories, these ‘constructed rituals’ of shame and desire. I’d say this fits a mind that seems at turns insatiable, wanting more of our world and of the poem; at other times more reserved, wanting less; but at all times is a mind nevertheless committed to the poem’s queerest possibility, evoking its many traditions just as it disrupts or rewrites them. So these poems teach me. Justin Phillip Reed is a productive new voice in contemporary poetry, ‘rose up like a hard new fact,’ and one that feels in every way as irrefutable.” \u003cstrong\u003e—Rickey Laurentiis\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“To be re-born inside these poems of chasm is a rigor not quietly undertaken. Justin Phillip Reed undoes the sonnet’s deep organization with the violent abandon of a boy become object in the stink of rapture. A ripping of form occurs. A cataclysm of self. And what do we find in these body ruins? I, for one, hear the hunt of masculine desire beating through—familiar, a known place—calling like a rustling of trees in night’s black thought. These poems at once trouble this bringing forth and grieve the ‘softness’ become ‘satchel.’ Indeed, how do we ever re-gather ourselves? When I read these poems by Reed, I’m left energized, bereft, and altered. They will forever live in my imagination.” \u003cstrong\u003e—Dawn Lundy Martin\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2296821874712,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895149_FC_d772138b-8e7e-4105-a39b-a7dfa411e894.jpg?v=1542401058"},{"product_id":"tell-me-how-it-ends","title":"Tell Me How It Ends","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eAn essay by Valeria Luiselli\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 4, 2017 • 5 x 7.75 • 136 pages • 978-1-56689-495-1\u003c\/h5\u003e\n\u003ch4\u003eA damning confrontation between the American dream and the reality of undocumented children seeking a new life in the U.S.\u003c\/h4\u003e\n\u003cp\u003eStructured around the forty questions Luiselli translates and asks undocumented Latin American children facing deportation, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e humanizes these young migrants and highlights the contradiction between the idea of America as a fiction for immigrants and the reality of racism and fear—both here and back home.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eValeria Lui\u003cmeta charset=\"utf-8\"\u003eselli was born Mexico City in 1983 and grew up in South Africa. A novelist (\u003cem\u003eThe Story of My Teeth\u003c\/em\u003e and \u003cem\u003eFaces in the Crowd\u003c\/em\u003e) and essayist (\u003cem\u003eSidewalks\u003c\/em\u003e), her work has been translated into many languages and has appeared in publications including the \u003cem\u003eNew York Times,\u003c\/em\u003e the \u003cem\u003eNew Yorker,\u003c\/em\u003e \u003cem\u003eGranta,\u003c\/em\u003e and \u003cem\u003eMcSweeney’s\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Acc\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eess Improvement Grant administered by \u003c\/span\u003e\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003c\/span\u003e\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e.\u003c\/span\u003e\n\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003cbr\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cstrong\u003e \u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e \u003c\/strong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of an American Book Award \u003cbr\u003eFinalist for the Kirkus Prize in Nonfiction\u003cbr\u003eFinalist for the National Book Critics Circle Award in Criticism\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eListed in \u003cem\u003eThe Guardian's\u003c\/em\u003e “100 Best Books of the 21st Century”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAwarded a 2019 MacArthur Fellowship\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“As in her hallucinatory and inventive fiction, Luiselli proves her skill as a storyteller while grappling with her own questions of nationalism.” \u003cem\u003e\u003cstrong\u003e—The New Yorker\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Luiselli’s awareness of a story’s ability to restrict informs the book’s judicious use of these children’s lives, as well as its quietly brilliant structure as a series of responses to the questionnaire, which Luiselli describes as a reflection of ‘a colder, more cynical and brutal reality.’ . . . The account that emerges has no fixed origin, and the crisis, as Luiselli wisely points out, belongs not to any specific country or countries but to all of us living in this corner of the world.” \u003cem\u003e\u003cstrong\u003e—New York Times Sunday Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cbr\u003e“Luiselli effectively humanizes the plights of those who have been demonized or who have been reduced to faceless numbers. . . . A powerful call to action and to empathy.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“These days, the whole world, including our politics, is being shaped by migration. Few people explore the nuances of this reality more skillfully than Valeria Luiselli, a strikingly gifted 33-year-old Mexican writer who knows the migratory experience first-hand. . . . Luiselli takes us inside the grand dream of migration, offering the valuable reminder that exceedingly few immigrants abandon their past and brave death to come to America for dark or nasty reasons. They come as an expression of hope.” \u003cstrong\u003e—NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is a vital document for understanding the crisis that immigrants to the U.S. are facing, and a call to action for those who find this situation appalling.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e draws from Luiselli’s experience working as an interpreter for child migrants and is structured around the questionnaire she would guide them through. The contrast between the intimacy of their experiences and the impersonality of the system they’ve been thrown into illuminates the horrors of our immigration system.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e \u2028\u2028“Valeria Luiselli’s latest book, \u003cem\u003eTell Me How It Ends: An Essay in 40 Questions,\u003c\/em\u003e is unsparing in its portrayal of vulnerability and determination.” \u003cem\u003e\u003cstrong\u003e—Rolling Stone\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“This moving, intimate narrative about the migration of children from Central America is based in part on the author’s experience as a volunteer court translator.” \u003cem\u003e\u003cstrong\u003e—New York Times Sunday Book Review \u2028\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a remarkable little work that, through its narrow lens, says more about the country than books ten times its size.” \u003cem\u003e\u003cstrong\u003e—GQ\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“With anger and lucidity, Luiselli depicts the nightmares these children are forced to flee in Guatemala, El Salvador and Honduras, as well as the destructive ignorance and bigotry that awaits them in America. . . . With a beguiling mixture of compassion and intellectual rigor, she gives her readers the chance to look.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“So true and moving that it filled me with hopeless hope.” \u003cem\u003e\u003cstrong\u003e—The Guardian\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a book of staggering emotional power and an incitement to deep shame.” \u003cem\u003e\u003cstrong\u003e—Harper’s\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Mexico-born author Valeria Luiselli has written a slim and moving book on her time working as an interpreter for child refugees making their cases, in court, to remain in the United States. The book, \u003cem\u003eTell Me How It Ends: An Essay in Forty Questions,\u003c\/em\u003e both broadens our understanding of these children and narrows in on our contradictory reception of them. Luiselli . . . interrogates the American conscience as she questions these children. In doing so, she guides us towards, as she puts it, ‘understanding the unthinkable.’” \u003cem\u003e\u003cstrong\u003e—The Nation\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“‘\u003cem\u003eTell Me How It Ends\u003c\/em\u003e’ is all the more moving because Luiselli is so honest about the difficulties of writing these stories . . . What does activist writing, writing that wants to make a real difference, look like?” \u003cem\u003e\u003cstrong\u003e—The New Yorker\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The children [Luiselli] works with are fighting to stay in United States, hoping to escape poverty and violence in their homelands. Their stories are artfully and sparingly captured in this slim book, in which Luiselli recounts the 40 questions she asks each child facing deportation.” \u003cstrong\u003e—MPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u2028\u2028“In this compelling, devastating book, Luiselli documents the huge injustices done to the children by both the American and Mexican governments, and by the public who treat them as ‘illegal aliens’, rather than as what they truly are: refugees of war.” \u003cem\u003e\u003cstrong\u003e—The Guardian\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a slight book with a big impact. . . . It is long-form reporting, as well as a kind of memoir—and finally, in its coda, written after Trump’s election, it becomes a call to action.” \u003cem\u003e\u003cstrong\u003e—Financial Times\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Luiselli’s prose is always lush and astute, but this long essay, which borrows its framework from questions on the cold, bureaucratic work sheets with which she became so familiar (for example, ‘Did anything happen on your trip to the U.S. that scared or hurt you?’), is teeming with urgency. . . . In this slim volume about the spectacular failure of the American Dream, she tells the stories of the unnamed children she’s encountered and their fears and desires, as well as her own family’s immigration story.” \u003cem\u003e\u003cstrong\u003e—Vulture\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“[I]t might just be the most important book you read this year.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Based on Luiselli's time working as a translator and interviewer for undocumented children, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a gut-wrenching and necessary read.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s account of discussions with undocumented children from Latin America facing deportation from the U.S. is a vital book.” \u003cstrong\u003e\u003cem\u003e—Vol. 1 Booklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The tone of [\u003cem\u003eTell Me How It Ends\u003c\/em\u003e] is one of profound and committed anger, flawlessly documented, and Luiselli makes a clear and layered case for citizen activism, weaving facts with true emotion as she shapes the narrative.” \u003cem\u003e\u003cstrong\u003e—Miami Rail\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u2028\u2028“Translating language, experience, bodies across space and time, thought and culture—Luiselli wants us to join in this work. \u003cem\u003eTell Me How It Ends\u003c\/em\u003e calls for a wholesale reimagining of both the forces that have shaped contemporary immigration into the United States as well as the way many Americans, disconnected from fact, picture it. It calls, moreover, for action.” \u003cem\u003e\u003cstrong\u003e—Brooklyn Magazine\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s account of discussions with undocumented children from Latin America facing deportation from the U.S. is a vital book.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“This essay, besides its aesthetic value, is a bold political statement and writing in the service of social activism.” \u003cem\u003e\u003cstrong\u003e—Latin American Literature Today\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Luiselli’s book—an empathetic, personal, and rightfully indignant account of the asylum-seeking process—describes how these migrants have faced anything but an open door.” \u003cem\u003e\u003cstrong\u003e—In These Times\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a very short book that looks at migration as a source of hope, as well as a technical, bureaucratic process that eats up people (and children) caught in the trauma of trying to navigate it.” \u003cem\u003e\u003cstrong\u003e—GQ\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s so-called essay is more than a memoir; it’s more than a report on an emergency, though it fulfills that role ably as well. In attempting to thread its way through the incoherence of both the refugee children’s traumatic journeys and the U.S. immigration system as a whole, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e reveals, ultimately, the burdens of narrative coherence.” \u003cem\u003e\u003cstrong\u003e—Carolina Quarterly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eTell Me How it Ends: An Essay in Forty Questions\u003c\/em\u003e [Luiselli] combines the skills of a journalist who has a sharp eye for significant details with a novelist’s empathy.” \u003cem\u003e\u003cstrong\u003e—Times Literary Supplement\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eTell Me How It Ends\u003c\/em\u003e] is written from a transnational perspective, and all the more lucid for it.” \u003cem\u003e\u003cstrong\u003e—The Intercept\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A powerful indictment of American immigration policy, [\u003cem\u003eTell Me How It Ends\u003c\/em\u003e] examines a system that has failed child refugees in particular.” \u003cem\u003e\u003cstrong\u003e—Financial Times\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Sharp and compelling, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e demands that [these children] be seen.” \u003cem\u003e\u003cstrong\u003e—World Literature Today\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How it Ends\u003c\/em\u003e is the kind of reading experience that rips your heart out. . . . Luiselli has already demonstrated she’s one of the most powerful young voices in fiction, and with this book she has done the same in the realm of nonfiction. Simply put, this is required reading.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e itself is also a sharp, useful narrative, a ‘telling better.’ It can be pressed into hands, recommended, and it will open wallets and drive people into the streets to protest.” \u003cem\u003e\u003cstrong\u003e—Remezcla\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“A gut-wrenching and necessary read.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends: An Essay in Forty Questions\u003c\/em\u003e is at once a deft exposition on the injustices of immigration law, the long, bullying history of U.S.-Central American relations, and the obstacles and politics of translation.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u2028\u2028\u003cbr\u003e\u003cbr\u003e“In the age of Trump, the call to bring ‘anger and clarity’ to writing refutes the idea that literature is a guilty, escapist indulgence. Tell Me How It Ends insists that artists take action, and its message is clear: we are all deeply implicated in the plight faced by these children.” \u003cem\u003e\u003cstrong\u003e—Paste\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a damning but deeply humane indictment of the narratives with which we’ve built America, both the stories we keep hidden and those we use to justify our cruelty. The experiences of the children Luiselli interviews demand that we complicate our own roles in the immigration crisis’s continent-wide affect; we can’t rewrite what these children have been through, but we must pursue more compassionate, more just stories of our own.” \u003cem\u003e\u003cstrong\u003e—The Riveter\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is intimate, heartbreaking, and revealing—and I am convinced the country would be a better place if everyone were required to read it.” \u003cem\u003e\u003cstrong\u003e—Shondaland\u003c\/strong\u003e\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e“Luiselli masterfully blends journalism, auto\/biography, and political history into a compelling and cohesive narrative. . . . Luiselli uses the personal to get political but smartly sidesteps identity politics to focus on policy instead, thus enabling a broader coalition around immigration in general. Writing clear-eyed, she guides the reader through court proceedings and critiques the language of the law and media (‘the word “illegal” prevails over “undocumented” and the term “immigrant” over “refugee.”’), without losing sight of her subject: undocumented children.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This essential book humanizes these young migrants, highlights the contradictions of the American Dream, and explores the fear and racism so prevalent for the people who try to make the U.S. their home.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This noble instinct probably feels familiar to the many writers who, since the American political crisis began with the election of Donald J. Trump, have been turning their work outward to looming racial, economic, and environmental injustices. But what Luiselli accomplishes, in her volunteer work and in \u003cem\u003eTell Me How It Ends,\u003c\/em\u003e is quite a bit more pointed: a transformation of consciousness.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e tells the story of [Luiselli’s] experience working as a translator, and is a searing indictment of the systems and attitudes that inform the policing of our borders.” \u003cem\u003e\u003cstrong\u003e—Dissent\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In perhaps the most important book of 2017, Luiselli tells the story of her time volunteering as an interpreter for undocumented children fleeing violence in Central and South America seeking residency in the United States. Luiselli tries to change the way we talk about immigration, especially from our Southern neighbors, by exploring our complicity in the crises that turned these people into refugees and reminding us that quite often, when we’re talking about ‘illegal aliens’ and ‘undocumented immigrants,’ or whatever other term someone might try to scare us with, we’re talking about children.” \u003cem\u003e\u003cstrong\u003e—Writer’s Bone\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is the best first book to read about the immigration crisis; if, like Luiselli, you come to the issue with nothing but questions, there is not a better hundred pages for you to read. . . . As the interpreter struggles to bridge the gap between the law and the experiences of children too young to fully understand what has happened to them—and, often, too traumatized to fully explain it—she tells a story without an ending, only a question, only a hope, and only a prayer: to arrive.” \u003cem\u003e\u003cstrong\u003e—Bookwitty\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book serves as another wake up call, and, even more importantly, a call to action. . . .  It’s another step forward in the strange struggle of our modern age, or maybe it’s any age, the humanizing of humans. The very least we can all do is hear these stories. Read this book.” \u003cem\u003e\u003cstrong\u003e—Proximity Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s book . . . becomes worthy of inclusion in a great American (and international) canon of writing about migration.” \u003cem\u003e\u003cstrong\u003e—Texas Observer\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eTell Me How It Ends: An Essay in Forty Questions\u003c\/em\u003e Mexican author Valeria Luiselli assumes a role not only as a ‘resident alien’ or interpreter but, more importantly, as a storyteller. She relays the crisis of undocumented youth so we might examine their present struggles and link them to our own inexplicable past.” \u003cem\u003e\u003cstrong\u003e—Houston Chronicle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eTell Me How It Ends\u003c\/em\u003e] fearlessly delves into the heavy-handed reality of racism that often goes unspoken both in their home country and in America.” \u003cem\u003e\u003cstrong\u003e—The Riveter Newsletter\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a book that turns numbers back into people.” \u003cem\u003e\u003cstrong\u003e—In Order of Importance\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Thorough, vulnerable, and compassionate, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e offers deep inspection on what may be perceived as a ‘long-resolved issue.’ Luiselli writes to keep our eyes open.” \u003cem\u003e\u003cstrong\u003e—Ploughshares\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli has woven an essential moral text for an age of migration.” \u003cem\u003e\u003cstrong\u003e—Vulture\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“It is time for the rest of us to ask our own set of questions about what we expect from our government when it comes to protecting the welfare of vulnerable children. With the help of Tell Me How It Ends, we have more insight than ever into what those questions should be.” \u003cem\u003e\u003cstrong\u003e—Signature\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Language, and the political weight it carries, is at the heart of this book.” \u003cem\u003e\u003cstrong\u003e—Bookwitty\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Like her other works of fiction, \u003cem\u003eThe Story of My Teeth\u003c\/em\u003e and \u003cem\u003eFaces in the Crowd,\u003c\/em\u003e and her essay collection \u003cem\u003eSidewalks, Tell Me How It Ends\u003c\/em\u003e is an experimental foray, this time into what in other hands mind be a straightforward piece of journalism. Because she was so close to the stories of these children, speaking directly to them, she captured their voices and their experience with more empathy than any fact or statistic.” \u003cem\u003e\u003cstrong\u003e—THE Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book shoves aside over-intellectualization of border and immigration policy and reminds us of the damn hard and harrowing realities of the children who come into the US from Central America and Mexico every day, what they faced in the cities they left and what they face when they get here. Luiselli is a sharp, searing writer. She packs a lot of power. Be prepared to cry. Read it, read it, read it and then share it.” \u003cem\u003e\u003cstrong\u003e—Texas Book Festival\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e leaves the question of its title urgently unanswered, and lights a fire under the reader to get them involved.” \u003cstrong\u003e\u003cem\u003e—Remezcla\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In this world of unending crisis, Luiselli’s book is an important testament to the people and children buried within the numbers and histories and politics, and through her compassionate observations she reminds us of their unassailable humanity.” \u003cem\u003e\u003cstrong\u003e—Drunken Boat\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Using the essay form to interrogate the question of citizenship, Luiselli’s \u003cem\u003eTell Me How It Ends\u003c\/em\u003e reminds us that as long as we’re a nation who defines itself by saying who doesn’t belong, we’ll ask the more complicated question of who does.” \u003cem\u003e\u003cstrong\u003e—Critical Mass\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Books like \u003cem\u003eTell Me How It Ends\u003c\/em\u003e are like dew on a spiderweb, revealing the often forgotten and sometimes ignored threads of humanity that connect us all.” \u003cstrong\u003e—Josh Cook, Porter Square Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In the warrens of New York City’s federal immigration court, an adolescent boy from Honduras confronts a thoroughly confused immigration bureaucracy with the help of his translator, who is the author of this book. He is just one of thousands of immigrant children longing for permanence in this country, but we get to see him up close. With Valeria Luiselli as our guide, we navigate the corridors of a system that tries and fails to reconcile America’s long-standing welcome of the poor, the terrorized, and the adventurous with its current fear and mistrust of immigrants. In the frightening year of 2017 this is a most necessary book, and a unique one, from a writer whose clear-eyed intelligence and marvelous literary imagination make every one of her narratives a compelling read.” \u003cstrong\u003e—Alma Guillermoprieto\u003c\/strong\u003e   \u003cbr\u003e\u003cbr\u003e“Compelling and urgent, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e gives a face and a name to the hundreds of thousands who have committed the innocent crime of geography: being born in a certain time and place. The bureaucratic labyrinth of immigration, the dangers of searching for a better life, all of this and more is contained in this brief and profound work. \u003cem\u003eTell Me How It Ends\u003c\/em\u003e is not just relevant, it’s essential.” \u003cstrong\u003e—Mark Haber, Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In the hours Valeria Luiselli spends at the immigration courts in NYC, her duty is to listen to children tell her stories about their scars and how they got them. Like a morbid game show, the children’s answers determine their fate. The grand prize? Permanent citizenship, if all goes well. The alternative? Deportation. Bonus: due to the volume of cases, the standard intake form forgives only those who have the most gruesome traumas, wounds that they can show—and of course, the language to speak about them. Part treatise, part memoir, part call-to-action, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e inspires not through a stiff stance of authority, but with the curiosity and humility Luiselli has long since established. It may not cure your panic, but it sure as hell won’t feed it.” \u003cstrong\u003e—Annalia Luna, Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003cem\u003eTell Me How It Ends\u003c\/em\u003e is an important reminder that words matter. The questions we ask of others are built upon a foundation of assumptions about the past and expectations for the future. Appealing to the language of the United States’ fraught immigration policy, Luiselli exposes the cracks in this foundation. Herself an immigrant, she highlights the human cost of its brokenness, as well as the hope that it (rather than walls) might be rebuilt.” \u003cstrong\u003e—Brad Johnson, Diesel Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“With gifted prose and a compassionate but penetrating gaze, Luiselli personalizes the ongoing plight of Latin American child migrants in the United States. Her own immersion as a translator informs a trenchant first-hand account of the labyrinthine legal processes and inevitable bureaucratic indifference faced by undocumented youth. Humane yet often horrifying, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e offers a compelling, intimate look at a continuing crisis—and its ongoing cost in an age of increasing urgency.” \u003cstrong\u003e—Jeremy Garber, Powell’s Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is a timely take on one of the most pressing humanitarian crises of the 21st century. Without a doubt the most essential read of the year, this slight book can do some real good in the world. Luiselli is a badass.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Luiselli’s] account of time spent helping refugees interpret the bureaucratic labyrinth of the American immigration system is eye-opening and life-altering.” \u003cstrong\u003e—Island Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s extended essay on her volunteer work translating for child immigrants confronts with compassion and honesty the problem of the North American refugee crisis. It’s a rare thing: a book everyone should read.” \u003cstrong\u003e—Stephen Sparks, Point Reyes Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘Tell me how it ends,’ the young daughter says to the mother. Valeria Luiselli uses this query, said of the heartbreaking, infuriating situation involving ‘undocumented’ Central American children and the legal system they encounter here that she movingly chronicles in this powerful essay. She helps call to question where we as people, as a people, are with innocent children, who or what is ‘alien,’ even the business of who is American, given that she casts this as a connective scenario, with what happens in Tegucigalpa being related to what happens in Hempstead, New York. In this we are all Americans, finally. Imagine being put into court systems without the language to speak, much less the adult language of law. And while this essay is brilliant for exactly what it depicts, it helps open larger questions, which we’re ever more on the precipice of now, of where all of this will go, how all of this might end. Is this a story, or is this beyond a story? Valeria Luiselli is one of those brave and eloquent enough to help us see.” \u003cstrong\u003e—Rick Simonson, Elliott Bay Book Company\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003cem\u003eTell Me How It Ends\u003c\/em\u003e helped me see the crisis undocumented immigrants, especially children coming from Mexico and Central America, are facing in our country in much the same way Michelle Alexander’s The New Jim Crow helped me see how slavery’s legacy is being perpetuated in the mass incarceration of black Americans. As someone who has read every one of Luiselli’s books, I expected her writing here to be erudite and elegant, and it is, of course it is, but what I did not expect was for her writing to be this immediate and this personal. I did not expect to be hit this hard emotionally, to feel every fear and every longing in the deepest part of who I am. I can’t remember the last time I read something and had this kind of physical reaction. I felt this book in the tug behind my eyes, in these hands shaking, in this heart beating too quickly. This is a work I will share with everyone I know. This is something every American needs to face, and to feel.” \u003cstrong\u003e—Kenneth Coble, King’s Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“From violence on the road, the perilous border trek, to the perplexingly abstract questions they're forced to answer, this book provides a quick and incredibly powerful insight into the intimate lives of those directly affected by our immigration policies.” —\u003cstrong\u003e\u003cem\u003eHeauxs\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Deeply researched, personal, and written in distilled, gorgeous prose that demands to be read, \u003cem\u003eTell Me How it Ends\u003c\/em\u003e captures the great injustices that come from trying to lump complex lives and circumstances into a single political issue.” —\u003cstrong\u003e\u003cem\u003ePortland Mercury\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In an essay as bracing as it is searing, the incomparable Valeria Luiselli explores the 2014 immigration crisis. Luiselli writes with a clarity that underscores the nightmarish conditions and nonsensical bureaucracy undocumented children face on their passage to America and toward U.S. citizenship. \u003cem\u003eTell Me How It Ends\u003c\/em\u003e evokes empathy as it educates. It is a vital contribution to the body of post-Trump work being published in early 2017.” \u003cstrong\u003e—Katharine Solheim, Unabridged Books\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Luiselli places a mirror in front of our collective soul.” \u003cem\u003e\u003cstrong\u003e—Latino Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Tell Me How It Ends braids the author’s personal experience with child refugees with the history and politics of how they came here and why.” —\u003cstrong\u003e\u003cem\u003ePloughshares Blog\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\"Based on Luiselli's time working as a translator and interviewer for undocumented children, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a gut-wrenching and necessary read.\"\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2753968570392,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Luiselli_TellMeHow_9781566894951.jpg?v=1513873116"},{"product_id":"spectra","title":"Spectra","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Ashley Toliver\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 18, 2018 • 6 x 9 • 80 pages • 978-1-56689-526-2\u003c\/h5\u003e\n\u003ch4\u003eGenerous, penetrating, relentlessly sonic poems that record the creative potential of the body and the boundaries of the self.\u003c\/h4\u003e\n\u003cp\u003e\u003cstrong\u003eFrom \u003cem\u003eSpectra\u003c\/em\u003e:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDear night possessor: your funeral barge rocked tight in the fisting water makes small winter melodies. The light ends a pattern we learned to stupefy by motion or admitting away. A statutory list puts the blame on the hour. You move as I move, whistling measures in salted grass, patient and guarded processions. At night, the line is a current to wade through: older names sifting past the flotsam, the water rising up to here. \u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAshley Toliver is the author of the chapbook \u003ci\u003eIdeal Machine\u003c\/i\u003e. Her work has been supported by fellowships from Oregon Literary Arts, Cave Canem, and the Academy of American Poets. She received her MFA from Brown University in 2013.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please call (612) 338-0125 or email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eSpectra\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eFinalist for the 2020 Kate Tufts Discovery Award\u003cbr\u003eFinalist for the 2020 Oregon Book Awards\u003cbr\u003eFinalist for the 2019 Believer Book Award in Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Testing the bounds of relationships and identity, Toliver displays her linguistic gifts in poems that resist egotism and startle with their intimacy.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eA powerful first book . . . a worthwhile collection.” \u003cem\u003e\u003cstrong\u003e—Massachusetts Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book embodies the tenderness with which we can, inside and above our own vulnerabilities and flaws, choose to observe our inevitable corporeal selves.” \u003cem\u003e\u003cstrong\u003e—Tarpaulin Sky\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Ashley Toliver’s collection pushes at the elastic boundaries of the self, the domestic and natural worlds, revealing a porousness that could serve us well as an ethic rooted in connection.” \u003cem\u003e\u003cstrong\u003e—Little Infinite\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Like hands running over a strange surface in a dark room, the language of Ashley Toliver’s mesmerizing debut collection, \u003cem\u003eSpectra,\u003c\/em\u003e is constantly \u003cem\u003esearching\u003c\/em\u003e—the phrases, logics, and images coalescing only to disperse and transmogrify: ‘I say to the dark \/ \u003cem\u003elook \u003c\/em\u003e\/\u003cem\u003e everything is turning \u003c\/em\u003e\/\u003cem\u003e into everything else\u003c\/em\u003e \/ moth shuttled inside \/ an empty glass \/ paper slid over the mouth.’ In ‘Housekeeping,’ the linked series of prose poems that run through the first half of the book, the poems take on a dioramic quality, tableaux vivants marrying the domestic interiors of a life with the natural world. Toliver’s innovative, open forms and imploring phrases accommodate the linked intricacies of mothering and loss. While reading \u003cem\u003eSpectra\u003c\/em\u003e I was reminded that feeling one’s way through the unknown can itself become a kind of unparalleled knowing.” \u003cstrong\u003e—Claudia Rankine\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Here is a book full of careful attention to what has been called the natural world, how it begins in the poet’s own body, ravels into a house, a marriage, and extends out into the continents. Like those of Bishop’s mapmakers, Ashley Toliver’s colors are ‘more delicate than the historians.’ They are also certain, meticulous, and—it must be said—just absolutely beautiful. Reading \u003cem\u003eSpectra\u003c\/em\u003e makes me feel like Toliver has stitched a new constellation into my mind; she has written that much dark, that much light.” \u003cstrong\u003e—Heather Christle, author of \u003cem\u003eHeliopause\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12093538893900,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Spectra2.jpg?v=1527192749"},{"product_id":"time-is-the-thing-a-body-moves-through","title":"Time Is the Thing a Body Moves Through","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eAn essay by T Fleischmann\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 4, 2019 • 5 x 7.75 • 176 pages • 978-1-56689-547-7\u003c\/h5\u003e\n\u003ch4\u003eW.G. Sebald meets Maggie Nelson in an autobiographical narrative of embodiment, visual art, history, and loss.\u003c\/h4\u003e\n\u003cp\u003eHow do the bodies we inhabit affect our relationship with art? How does art affect our relationship to our bodies? T Fleischmann uses Felix Gonzalez-Torres’s artworks—piles of candy, stacks of paper, puzzles—as a path through questions of love and loss, violence and rejuvenation, gender and sexuality. From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eT Fleischmann is the author of \u003cem\u003eSyzygy, Beauty\u003c\/em\u003e and the curator of \u003cem\u003eBody Forms: Queerness and the Essay.\u003c\/em\u003e A nonfiction editor at \u003cem\u003eDIAGRAM\u003c\/em\u003e and contributing editor at \u003cem\u003eEssay Daily,\u003c\/em\u003e they have published critical and creative work in journals such as the \u003cem\u003eLos Angeles Review of Books, Fourth Genre, Gulf Coast,\u003c\/em\u003e and others, as well as in the anthologies \u003cem\u003eBending Genre, How We Speak to One Another, Little Boxes,\u003c\/em\u003e and \u003cem\u003eFeminisms in Motion.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eTime Is the Thing a Body Moves Through\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cb data-mce-fragment=\"1\"\u003eWinner of the 2019 Lambda Literary Award for Transgender Nonfiction\u003c\/b\u003e\u003cbr\u003eFinalist for the 2019 Big Other Book Award in Nonfiction\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Both provocatively and evocatively written, the book illuminates the process of becoming.” \u003cstrong\u003e\u003cem\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“A perceptive and compassionate narrative that beautifully breaks with the limits of genre and gender.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\"Fleischmann is not only staking out but literally inventing a territory of their own.\" \u003cstrong\u003e\u003cem\u003e—Los Angeles Times\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“This is a book about paying attention and sometimes failing to, about showing the ways in which attention, no matter how well focused, can be or feel insufficient. Fleischmann is not wringing their hands but instead leaning into the world, constantly pressing at the corners of language . . . Watchful of its context and position, this book is able to pose increasingly interesting, urgent, and difficult questions. It holds us accountable to the world.” \u003cem\u003e\u003cstrong\u003e—The Paris Review Daily\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Fleischmann excels at the integration of art and memoir . . . their theory of identity suffuses the book on every level, a framework that shows that the ability to exist in an uninscribed space is an exercise in resilience and progress.” \u003cem\u003e\u003cstrong\u003e—The Nation\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“I\u003cspan data-mce-fragment=\"1\"\u003en the tradition of the prose magicians W.G. Sebald or Ben Lerner (imagine if those two were somehow non-binary and joyfully slutty). . . . I'm of the belief that Fleischmann is, like many great writers, ahead of their time—I will go so far as to bet that in 10 years, another generation of writers will be pointing to \u003c\/span\u003e\u003ci data-stringify-type=\"italic\" data-mce-fragment=\"1\"\u003eTime\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e as one of the most formative books of our era.” \u003cstrong\u003e—Torrey Peters\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e“Fleischmann’s path through self-expression, gender fluidity, and self-understanding is well worth our attention.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A meditation on relationships, place, proximity and distance, belonging, community, gender, politics, the body and, well, love, and all the things that can mean, braided with digressive, descriptive passages about the work of Cuban-born American artist Felix Gonzalez-Torres.” \u003cem\u003e\u003cstrong\u003e—Frieze\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The story of the author's own exploration of queerness and identity, this is an all-too-important book at a time when LGBTQIA+ rights are at risk of regression.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Meditative, beautiful, and revolutionary.” \u003cem\u003e\u003cstrong\u003e—Book Riot\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“With this book-length essay, T Fleischmann has given us a truly unique work. . . . Poetic, powerful, and subversive.” \u003cstrong\u003e\u003cem\u003e—Ms. Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Chicago-based writer T Fleischmann melds personal narrative and art criticism in a poetically titled, genre-defying work. Mining the interactive art of Felix Gonzalez-Torres, this book-length essay explores power, desire, gender fluidity and subverting limitations.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“It is this spirit of generosity that makes Fleischmann’s book so luminous—a generosity towards the queer body and its existence, a generosity towards the work of activism, a recognition both of the work that needs to be done and the work that is being done.” \u003cem\u003e\u003cstrong\u003e—Longreads\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The long, sprawling essay bends prose and language to seek both intimacy and the alive body.” \u003cstrong\u003e\u003cem\u003e—The Brooklyn Rail\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“\u003cspan color=\"#000000\" style=\"color: #000000;\"\u003e\u003cspan\u003eExpansive. . . . Fleischmann's stories transcend \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003ethe singular, giving the reader space to reflect on their own body, their own art.” \u003cem\u003e\u003cstrong\u003e—Columbia Journal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e“Interspersing frank personal narrative with lyrical, line-broken passages from an unfinished meditation on Felix Gonzalez-Torres, Fleischmann offers up pearls, pills, candies, and miniature portraits of their friends and lovers in acts of generosity that are self-questioning but never self-doubting. Rather, it’s the notion of a unified self itself that splits and spills across these pages with honesty, empathy, and often stunning delicacy.” \u003cstrong\u003e—Barbara Browning\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“By turns blunt, confrontational, eloquent, exciting, original, and somewhat indescribable.” \u003cstrong\u003e\u003cem\u003e—The Gay \u0026amp; Lesbian Review\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“T Fleischmann's new book explores art and relationships with a perceptive eye and beautiful prose.” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Fleischmann blends their own experiences with the art of Felix González-Torres to meditate on loss, violence, love and gender.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Fleischmann’s book is also generous in its refusal to wrap up or resolve, leaving a wealth of inquiries to be pursued, an endless supply of thoughts feeding thoughts.” \u003cem\u003e\u003cstrong\u003e—The Arkansas International\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“What Fleischmann finds here are possibilities for making and living away from the ‘reification of identity’ through González-Torres’s art, searching out what the artist had described as ‘the uninscribed.’” \u003cem\u003e\u003cstrong\u003e—The Expanded Field\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“To eat the candy; it’s candy from \u003cem\u003e“Untitled” (Portrait of Ross in L.A.),\u003c\/em\u003e Felix Gonzalez-Torres’s ‘spill’ of wrapped sweets selected and arranged by the curator of the art museum in which it is displayed. In \u003cem\u003eTime Is the Thing a Body Moves Through,\u003c\/em\u003e this moment is protracted. It becomes both duration, the thing that varies time or stops it, and also a block of sensations that might be received by the reader and discharged by their own capacity to taste it too: ‘The candy was very sweet, and it was melting.’ T Fleischmann has written a book like this, one that is ‘spilled and gestured’ between radical others of many kinds. Is this love? Is this ‘the only chance to make of it an object’? Is this what it’s like to be here at all? To write ‘all words of life.’ And how intimate that is. A form of social privacy. Fleischmann: ‘But maybe that’s okay. Even when imagining takes us away, it still begins with what’s already here.’ Yes. It feels like that. It does.” \u003cstrong\u003e—Bhanu Kapil\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003ePraise for T Fleischmann \u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“How to describe the indescribable might as well be the title of this blurb, if we titled blurbs, since like any good essay, cowgirl, or wandering ghost, T Fleischmann’s \u003cem\u003eSyzygy, Beauty\u003c\/em\u003e is electric and resists being fenced in. Sometimes solid, sometimes not, like magma or the household magic of corn starch and water, Fleischmann works and perforates the spaces between body and nobody; desire, declaration, and dream; whiskey, sex, and subjectivity; art, ecstasy, and surface tension. Spectral and spectacular, \u003cem\u003eSyzygy, Beauty\u003c\/em\u003e will haunt you in a way you’ll remember.” \u003cstrong\u003e—Ander Monson\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“T Fleischmann’s \u003cem\u003eSyzygy, Beauty\u003c\/em\u003e shimmers with confidence as it tours the surreal chaos of gender, art, and desire. Its declarative sentences—seductive, abject, caustic, moving, informative, and utterly inventive—herald a new world, one in which we are blessedly ‘here with outfits like strings of light and no future.’ I hail its weirdness, its ‘armpit frankess,’ its indelible portrait of occulted relation, and above all, its impeccable music.” \u003cstrong\u003e—Maggie Nelson\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Let me say first that T Fleischmann’s writing helps us see ourselves. Helping us see clearer what has been muddled in our lives is marvelous, and is the best possible endowment of strength. What better substance? Gluing fur to logic’ as T writes. ‘There is imagination in truth,’ and while T brands this an essay I sense it as poetry because I live through poetry. Whatever you call it, you too will be transfigured. Those who say reading a book changes nothing have been wasting their time reading the wrong things. Do you also know someone who says so? Send them this one.” \u003cstrong\u003e—CA Conrad, author of \u003cem\u003eThe Book of Frank\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“A complex, tightly wound (and wounded) cri de coeur that is simultaneously accessible and intensely, cryptically personal.” \u003cstrong\u003e\u003cem\u003e—Star Tribune\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eSyzygy, Beauty,\u003c\/em\u003e T Fleischmann re-imagines the essay, creating a spare little book that reads like a collection of prose poems. Moving between anecdote and observation, fantasy and memory, it traces the story of a relationship—or does it? For Fleischmann, ambiguity is the point, and the more we read, the more the lines here blur. ‘By describing something,’ [they write], ‘we place it at a distance.’” \u003cstrong\u003e—\u003cem\u003eLos Angeles Times\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12937262301261,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895477_FC.jpg?v=1538581440"},{"product_id":"exiles-of-eden","title":"Exiles of Eden","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Ladan Osman\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 7, 2019 • 6 x 9 • 96 pages • 978-1-56689-544-6\u003c\/h5\u003e\n\u003ch4\u003ePoems steeped in the Somali tradition refract the streets of Ferguson, the halls of Guantánamo, and the fields near Abu Ghraib through the myth of Adam and Eve to ask: What does it mean to be a refugee?\u003c\/h4\u003e\n\u003cp\u003e\u003cem\u003eExiles of Eden\u003c\/em\u003e looks at the origin story of Adam, Eve, and their exile from the Garden of Eden, exploring displacement and alienation from its mythological origins to the present. \u003cspan style=\"font-weight: 400;\"\u003eIn this formally experimental collection steeped in Somali narrative tradition,\u003c\/span\u003e Osman gives voice to the experiences and traumas of displaced people over multiple generations. The characters in these poems encounter exile’s strangeness while processing the profoundly isolating experience of knowing that once you are sent out of Eden, you can’t go back.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eLadan Osman, Somali-born poet and essayist, is the author of \u003cem\u003eThe Kitchen-Dweller’s Testimony\u003c\/em\u003e (University of Nebraska Press 2015), winner of the Sillerman First Book Prize, and the chapbook \u003cem\u003eOrdinary Heaven,\u003c\/em\u003e which appeared in the box set \u003cem\u003eSeven New Generation African Poets\u003c\/em\u003e (Slapering Hol Press 2014).\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eExiles of Eden\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of a 2021 Whiting Award\u003cbr\u003eWinner of the 2020 Hurston\/Wright Legacy Award for Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Ladan Osman's dazzling and incisive poetry creates vibrant connections between generations of women, between the self and history, and between our bodies and the natural world.” \u003cstrong\u003e—Whiting Awards Judges' Citation\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A generous, rooted, and humbly adamant quest for agency.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A stellar collection . . .  in this political moment charged with so much frustration and sorrow, Exiles of Eden offers the triumph we all need.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eWorld Literature Today\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Osman delivers an incredibly urgent call to action against founding narratives that are so prevalent in American society, and which are poisonous to women and people of color.” \u003cstrong\u003e\u003cem\u003e—Africa is a Country\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Exile here is a daily longing, a gift and curse of an outsider eye, an experience that grapples with the word ‘relative’ in all its meanings.” \u003cem\u003e\u003cstrong\u003e—The Adirondack Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Ladan Osman has an abundance of talent, and she is one of a kind. There is informed wisdom to her poetry, which, on top of being moving, inspires the reader with positive thinking. A wonderful collection.” \u003cstrong\u003e—Nuruddin Farah\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Ladan Osman is a poet of wonder and inquiry. Her wonder is muscular and thorough, and requires an inventory of the known, a charting of what is lost, and the incantation of desire. In her second full-length collection,\u003cem\u003e Exiles of Eden, \u003c\/em\u003eeven the presumed paradisial qualities of the garden before the fall are called into question. The marriage, the homelands, the underworlds that exile Osman’s speakers must be named, circumscribed, and if possible, released, or if not, borne along the curves of the body. Exile demands ‘better myths,’ demands letting go of ‘our half-life,’ that her speakers ‘may . . . make so many things.’ Here there is pain and music and thirst and the refusal to bend into a narrative these women have not shaped for themselves.” \u003cstrong\u003e—Donika Kelly\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Ladan Osman is one of the most alive minds in poetry today. Under her supreme gaze, the ordinary is allowed safe passage into strangeness and the surreal is domesticated without losing its innate chaos. Whether with the pen or with the lens, everything is lifted to a higher, fantastic dimension in the frame of Osman’s looking. \u003cem\u003eExiles of Eden \u003c\/em\u003escares me. It’s that good. I didn’t know you could do with language what Osman does, but thank the gods she did.” \u003cstrong\u003e—Danez Smith \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Pain is not located in an identifiable muscle only, but in a person, a relationship, all to a living. Ladan Osman can identify the physical muscles of an emotion as well as the pain come of the lack of its exercise: the lack of a sister’s companionship, missing a mother, missing the love in a marriage. The pain of not belonging becomes more than the place. She does the remarkable thing of detailing pain as places of departure, from a marriage, from a country. Places of departure from justice, from morality, from humanity itself follow. The book concludes in a ceremony of restoration well worth witnessing. Her journey will show itself to have been toward a necessary insight. Not the most painless route, but an excellent book of poems.” \u003cstrong\u003e—Ed Roberson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Ladan Osman\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In a world that too often plugs its ears to voices it thinks unworthy, Osman shows that it’s actually more inappropriate to be decorous.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“True visionary poets are very rare. Ladan Osman is one. What she sees is extraordinary, and needful.” \u003cstrong\u003e—Brigit Pegeen Kelly\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Osman is a worldly and acutely sensitive writer who knows how to reach right through the sequined veil of fashion and put her hand squarely on the reader’s heart, with frank and candid expression, with unaffected wonder.” \u003cstrong\u003e—Ted Kooser\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Osman is a warrior poet, and she is dangerous because she is especially gifted and disciplined about her craft.” \u003cstrong\u003e—Kwame Dawes\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12937302278221,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895446_FC.jpg?v=1544563176"},{"product_id":"song-for-the-unraveling-of-the-world","title":"Song for the Unraveling of the World","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eStories by Brian Evenson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 11, 2019 • 5.5 x 8.25 • 240 pages • 978-1-56689-548-4\u003c\/h5\u003e\n\u003ch4\u003eFrom a modern master of the form, a new short story collection that dexterously walks the tightrope between literary fiction, sci-fi, and horror.\u003c\/h4\u003e\n\u003cp\u003eA newborn’s absent face appears on the back of someone else’s head, a filmmaker goes to gruesome lengths to achieve the silence he’s after for his final scene, and a therapist begins, impossibly, to appear in a troubled patient’s room late at night. In these stories of doubt, delusion, and paranoia, no belief, no claim to objectivity, is immune to the distortions of human perception. Here, self-deception is a means of justifying our most inhuman impulses—whether we know it or not.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBrian Evenson is the recipient of three O. Henry Prizes and has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award. He is also the winner of the International Horror Guild Award and the American Library Association’s award for Best Horror Novel, and his work has been named in \u003cem\u003eTime Out New York’\u003c\/em\u003es top books.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1500, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of the 2019 Shirley Jackson Award for a single-author collection\u003cbr\u003eFinalist for the 2019\u003cem\u003e\u003cspan\u003e Los Angeles Times \u003c\/span\u003e\u003c\/em\u003eRay Bradbury Prize for Science Fiction, Fantasy \u0026amp; Speculative Fiction\u003cbr\u003eFinalist for the 2019\u003cem\u003e Big Other \u003c\/em\u003eBook Award for Fiction\u003cem\u003e\u003cbr\u003eNew York Times,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e“Best Horror Fiction”\u003cem\u003e\u003cbr\u003eWashington Post,\u003c\/em\u003e “Best Horror Fiction of the Year”\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eNPR\u003c\/em\u003e, “Best Books of 2019”\u003cbr\u003e\u003cem\u003eEntropy\u003c\/em\u003e, “Best of 2019”\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“These stories are carefully calibrated exercises in ambiguity in which Evenson (\u003cem\u003eWindeye\u003c\/em\u003e) leaves it unclear how much of the off-kilterness exists outside of the deep-seated pathologies that motivate his characters.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s little nightmares are deftly crafted, stylistically daring, and surprisingly emotional.” \u003cstrong\u003e\u003cem\u003e—Kirkus Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Missing persons, paranoia and psychosis . . . the kind of writer who leads you into the labyrinth, then abandons you there. It’s hard to believe a guy can be so frightening, so consistently.” \u003cstrong\u003e\u003cem\u003e—The New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson is one of our best living writers—regardless of genre . . . \u003cem\u003eSong\u003c\/em\u003e is a skillfully crafted, cleverly executed, and extremely entertaining collection.” \u003cstrong\u003e\u003cem\u003e—NPR\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson renders the world as a place of infinite and paralyzing delusion. . . . In an Evenson story, a house isn’t inescapable because of its lack of doors and windows; it’s inescapable because it was built by an impressionable mind.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Review of Books\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson is one of my favorite living horror writers, and this collection is him at his eerie and disquieting best.” \u003cstrong\u003e—Carmen Maria Machado\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson lures readers into each twisted tale by starting not at the beginning, but somewhere else, creating a sense of disorientation and unease. As each tale unspools and each surreal world clarifies into a malformed sort of logic, the creeps set firmly in. Readers of literary horror will not want to miss this one.” \u003cem\u003e\u003cstrong\u003e—Library Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“You’ve heard of ‘postmodern’ stories—well, Evenson’s stories are post-\u003cem\u003eeverything.\u003c\/em\u003e They are post-human, post-reason, post-apocalyptic. . . . in an Evenson story, there are two horrible things that can happen to you. You can either fail to survive, or survive.” \u003cem\u003e\u003cstrong\u003e—The New York Times\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Enigmatic, superbly rendered slices of fear, uncertainty and paranoia.” \u003cem\u003e\u003cstrong\u003e—Washington Post\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cspan\u003eTaut, troubling short stories in which the danger seems to always lurk just out of view or beyond definition . . . a worthy introduction to a prolific writer who deserves many more readers.\u003c\/span\u003e\u003cspan\u003e” \u003cstrong\u003e\u003cem\u003e—NPR\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e“Evenson is our most impressive explorer of the cracks in things that let in not the light, as Leonard Cohen would have it, but fever, chaos, and darkness.” \u003cstrong\u003e\u003cem\u003e—Vulture\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"[A] collection of short stories that deal with art, paranoia and the dark urges that haunt even the most normal people.\" \u003cstrong\u003e\u003cem\u003e—Los Angeles Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s uncanny but accessible fiction can remind you of Edgar Allan Poe or ‘The Twilight Zone’ . . . an inspired, thoroughly entertaining book.” \u003cstrong\u003e\u003cem\u003e—Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’m not convinced Brian Evenson is entirely human. His literary horror fiction is just too good, too immersive, and too alien for a mere mortal. This book has everything one comes to expect from Evenson—brief glimpses of dark worlds where no one is completely sure where they are, who they are, or what is real.” \u003cem\u003e\u003cstrong\u003e—The A. V. Club\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson at his most intense and discomfiting ... he makes our skin rise and crawl with the intimation that all, although outwardly normal, is certainly not. Why else are we paying attention so closely?” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eSong\u003c\/em\u003e puts Evenson’s staggering ventriloquism on display, incorporating elements of science fiction, horror, fantasy, translation, poetry, and myth, often within a single story.” \u003cem\u003e\u003cstrong\u003e—Epiphany\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Evenson’s] latest collection offers readers a fantastic overview of his strengths as a writer, from tales of bizarre obsessions to forays into nightmarish bodies and worlds.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson recalls Poe, as he finds the most frightening way to open another box of horrors.” \u003cstrong\u003e—\u003cem\u003eBrooklyn Rail\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“These are stories to tell in the dark for adults, ones that creep up your spine in the middle of the night, urging you to turn the light on again just one more time, lest something be watching you.” \u003cem\u003e\u003cstrong\u003e—The Michigan Daily\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“With this story collection, Evenson shows why he’s one of the best in that growing field of modern horror masters.” \u003cem\u003e\u003cstrong\u003e—Inside Hook\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\"Evenson’s latest collection, \u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e, is more unassailable proof of why this consummate writers’ writer deserves a much larger readership to scare senseless.\" \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mind-blowing, soul-wrecking literature of the highest order, the result of plain old damn good storytelling by an artist at the pinnacle of his career.” \u003cem\u003e\u003cstrong\u003e—Ink Heist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\"Evenson understands both the precision of language and the gut-level appeal of the grindhouse, and the best of his work skates along the border between the two, combining aspects of both. . . . [A] perfect introduction to Evenson’s work for those who are looking to experience it for the first time.” \u003cem\u003e\u003cstrong\u003e—Tor\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eSong for the Unraveling of the World,\u003c\/em\u003e Brian Evenson explores what it’s like to be unsettled in one’s own home and skin. . . . Evenson leaves readers feeling most disturbed and empathetic.” \u003cem\u003e\u003cstrong\u003e—The Arkansas International\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Terrifying, full of paranoia and delusion and at the same time haunting and beautiful.” \u003cstrong\u003e\u003cem\u003e—The Bibliophile Librarian\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson walks the literary vs genre tightrope, uses minimalist prose to great effect, and has a sharp eye for application of conventions.” \u003cstrong\u003e—\u003cem\u003eSignal Horizon\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“To read Evenson is to be privy to a precise, vivid, brilliant unpicking of the everyday—and its others.” \u003cstrong\u003e—China Miéville\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson goes to great lengths to undermine, to deterritorialize, to estrange us from our linguistic and ontological habitats. He breaks the iron grip of realism and peels back the monstrous underbelly of life.” \u003cstrong\u003e—\u003cem\u003eBlack Warrior Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson’s bold and unique short fictions—equal parts surrealism, ontology, and dread—consistently lead the reader to truly shocking discoveries that are as disturbing as they are oddly beautiful. \u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e is a map of our paranoia- and anxiety-riddled, existentially challenged, pre-apocalyptic times.” \u003cstrong\u003e—Paul Tremblay\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e is a book of many things. Above all, it serves as a litmus test of how the reader, and how they see the species.” \u003cstrong\u003e—\u003cem\u003eThe Big Smoke\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u0026lt;“[Evenson's stories] take us into intriguing if uncomfortable spaces where we’ve never been. Evenson’s stories can’t quite be said to occupy the genres that they play with, but genres occupy the stories, and he ties them into elegant little knots.” \u003cem\u003e\u003cstrong\u003e—Locus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e is a truly and deeply amazing collection of horror that has every right to be shelved in the same section of the bookstore as Clive Barker and David Foster Wallace, Ursula Leguin and Louise Erdrich. He is that freaking good.\" \u003cem\u003e\u003cstrong\u003e—Postcards from a Dying World\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003ePraise for Brian Evenson\u003cbr\u003e\u003cbr\u003e“Evenson’s fiction is equal parts obsessive, experimental, and violent. It can be soul-shaking.” \u003cstrong\u003e\u003cem\u003e—The New Yorker\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Some of the stories here evoke Kafka, some Poe, some Beckett, some Roald Dahl, and one, a demonic teddy-bear chiller called ‘BearHeart™,’ even Stephen King, but Evenson’s deadpan style always estranges them a bit from their models: He tells his odd tales oddly, as if his mouth were dry and the words won’t come out right.” \u003cstrong\u003e\u003cem\u003e—The New York Times Sunday Book Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s stories, small masterworks of literary horror, are elegantly tense. They operate in psychological territory, never relying on grossness or slasher silliness to convey their scariness. . . . For the Stephen King fan in the house: an author as capable, if a touch less prolific.” \u003cstrong\u003e\u003cem\u003e—Kirkus Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Admirers of Evenson (\u003cem\u003eWindeye; Altmann’s Tongue\u003c\/em\u003e) applaud the edge he maintains between the unexplained and the intimate. This latest collection continues to explore that line, and for how much is left obscured, an eerie emotional echo remains. . . . Evenson’s journey along the boundaries of short fiction make for an eye-opening dissection of the form.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“You never realize how deep his fiction has wormed its way into your brain until hours, days, even weeks later, when you’re lying in the dark and Evenson’s images come flooding back, unbidden. \u003cem\u003eA Collapse of Horses\u003c\/em\u003e will stay with you for a long time . . . whether you want it to or not.” \u003cstrong\u003e\u003cem\u003e—Chicago Review of Books\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“While each piece in \u003cem\u003eA Collapse of Horses\u003c\/em\u003e stands alone as a tale that combines 'literary' and 'horror' elements in novel ways that blur genre distinctions, the collection intensifies as recurring motifs flow through the various narratives, settings, and fictional psyches: bodily and mental disintegration, the ambiguities of human physicality and consciousness, and the permeable borders between self and other.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eA Collapse of Horses\u003c\/em\u003e is a perennially dusty, dark, haunted house of atmospheric dilemmas whose plots continually reverse a reader's expectations.” \u003cstrong\u003e\u003cem\u003e—The Collagist\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Evenson is interested in philosophy and semiotics, the impossibility of ever truly knowing or naming the world, and our fundamental, helpless dependence on what our senses tell us. . . . . [His stories] are a wonderful feat of the uncanny.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12937348120653,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895484_FC.jpg?v=1538582961"},{"product_id":"the-remainder","title":"The Remainder","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eA novel by Alia Trabucco Zerán, translated by Sophie Hughes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eAugust 6, 2019 • 5 x 7.75 • 240 pages • 978-1-56689-550-7\u003c\/h5\u003e\n\u003ch4\u003eA coffin, a camera, a bottle of pisco: three friends embark on a road trip through the Andes to confront a history they can neither remember nor forget.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFelipe and Iquela, two young friends in modern day Santiago, live in the legacy of Chile’s dictatorship. Felipe prowls the streets counting dead bodies real and imagined, aspiring to a perfect number that might offer closure. Iquela and Paloma, an old acquaintance from Iquela’s childhood, search for a way to reconcile their fragile lives with their parents’ violent militant past. The body of Paloma’s mother gets lost in transit, sending the three on a pisco-fueled journey up the cordillera as they confront the pain that stretches across generations. \u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAlia Trabucco Zerán was born in Chile in 1983. She holds an MFA in creative writing in Spanish from New York University and a PhD in Latin American Studies from University College London. \u003ci\u003eLa Resta\u003c\/i\u003e (\u003ci\u003eThe Remainder\u003c\/i\u003e) was chosen by \u003ci\u003eEl País\u003c\/i\u003e as one of its top ten debuts of 2015 and was granted a Best Literary Work Award from the Chilean Council for the Arts. She is also the author of \u003ci\u003eLas homicidas,\u003c\/i\u003e a non-fiction book about women who kill.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSophie Hughes is an award-winning translator from Spanish. She has been the recipient of an American PEN\/Heim Translation Fund grant, and in 2018 she was announced as one of the Arts Foundation 25th anniversary fellows for her contribution to the field of literary translation.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Remainder\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eKirkus,\u003c\/em\u003e “Best Fiction of 2019”\u003cbr\u003e\u003cem\u003eKirkus,\u003c\/em\u003e “Best Fiction in Translation of 2019”\u003cbr\u003eShortlisted for the 2019 Man Booker International Prize\u003cbr\u003e\u003cem\u003eVanity\u003c\/em\u003e \u003cem\u003eFair,\u003c\/em\u003e “Best Books of 2019”\u003cbr\u003e\u003cem\u003eEntropy,\u003c\/em\u003e “Best of 2019”\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A lyrical evocation of Chile’s lost generation, trying ever more desperately to escape their parents’ political shadow.”\u003cstrong\u003e—Man Booker International Judges\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"This novel is vividly rooted in Chile, yet the quests at its heart—to witness and survive suffering, to put an intractable past to rest—are universally resonant.\" \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A centrifugal story of death, history, and mathematics . . . a debut that leaves the reader wanting more.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“You could call \u003cem\u003eThe Remainder\u003c\/em\u003e a literary kaleidoscope: look at it one way and you see how the past lays a crippling hand on the generation that follows political catastrophe; shift the focus and you’re plunged into a darkly comic road trip with a hungover trio in an empty hearse chasing a lost coffin across the Andes\u003cem\u003e cordillera.\u003c\/em\u003e” \u003cem\u003e\u003cstrong\u003e—The Spectator\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“While writers such as Pedro Lemebel and José Donoso have explored the regime’s impact on those who lived through it, Zerán is concerned with the next generation. Felipe, Iquela and Paloma are the children of ex-militants, attempting to “unremember” the past in Chile’s haunted capital, Santiago.” \u003cem\u003e\u003cstrong\u003e—TIME\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The second-generation trauma narrative gets a Chilean spin in Zerán’s intense novel of interior monologues, which is Faulknerian in themes, structure, and style.” \u003cstrong\u003e\u003cem\u003e—Vulture\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“A mesmerizing, roaming look at intergenerational trauma, told in a specific and surreal style that shimmers and shifts on the page and in the mind.” \u003cstrong\u003e\u003cem\u003e—Nylon\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Truly stunning, full of deft turns of phrase. . . . shines especially bright when unwinding Felipe’s melodic monologues.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Times\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Deeply compelling.” \u003cem\u003e\u003cstrong\u003e—The Guardian\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A haunted novel, awash with sinister and elegiac moods. It stands as a testament to the way the past can unsettle us.” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Neither the characters nor the narrative ever deal directly with the historic events themselves, but rather with the fallout – the photographs, vocabulary, places and people left behind as remnants. Zerán seamlessly alternates between the voices of Iquela and Felipe, highlighting the opposing and gendered ways they have reacted to the circumstances of their childhood.” \u003cem\u003e\u003cstrong\u003e—The Times Literary Supplement\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Trabucco Zerán urges readers to value subtext just as much as the ‘official’ narrative . . . a smart, vivid, and richly layered story.” \u003cem\u003e\u003cstrong\u003e—The Adroit Journal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Alia Trabucco Zerán’s writing is gorgeous: she captures the courage, vulnerability, and suffering of her characters beautifully.” \u003cem\u003e\u003cstrong\u003e—Book Riot\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Intense and haunting, \u003cem\u003eThe Remainder\u003c\/em\u003e is a startling reckoning with the history of violence.” \u003cem\u003e\u003cstrong\u003e—Book Riot\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“This is a powerful debut.” \u003cstrong\u003e\u003cem\u003e—Ms. Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\"The Remainder\u003c\/em\u003e tells us very little about Chile under Pinochet; but everything about what it is like to grow up in the shadow of other people’s unhappiness.” \u003cem\u003e\u003cstrong\u003e—The Big Issue\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A highly recommended debut from one of the most exciting new voices in contemporary Latin American literature.” \u003cem\u003e\u003cstrong\u003e—Morning Star\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Fusing the personal and the political, Zerán aims to capture the legacy of Chile’s bloodshed.” \u003cem\u003e\u003cstrong\u003e—The Irish Times\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“A perfect companion book to last year’s \u003cem\u003eEmpty Set,\u003c\/em\u003e another sparse and brilliant Latin American novel with an experimental structure from the same publisher.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Both a road trip and a countdown . . . fast-paced and gripping.” \u003cem\u003e\u003cstrong\u003e—Librairie Drawn \u0026amp; Quarterly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eThe Remainder\u003c\/em\u003e is a bold literary approach to a national tragedy, which marks a growing desire to confront Chile’s recent history directly, acknowledging those ‘hard truths’.” \u003cem\u003e\u003cstrong\u003e—minor literature[s]\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eThe Remainder\u003c\/em\u003e controls a remarkable range of registers (it is, by turns, lyrical, elegiac, sensual, funny, tragic). The author, like her characters, is obsessed with words, those ‘cracks in language’ that house our particular ways of understanding things. This novel is sure to endure.” —\u003cstrong\u003eEdmundo Paz Soldán\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A powerful, impressive novel, dotted with scenes that are as unique as they are unforgettable.” \u003cstrong\u003e—Lina Meruane\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A fundamental book about what it means to mourn the past, about the remainders of a history that refuses to be forgotten. This is the debut we all wish we had written. A spirited, brave, urgent book, capable of weaving the political and the poetic.” \u003cstrong\u003e—Carlos Fonseca\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A Chilean road trip reveals new ways to think about historical memory.” \u003cstrong\u003e—Alba Lara, \u003cem\u003eIowa Literaria\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Remainder\u003c\/em\u003e redefines the political novel. . . . The voices in \u003cem\u003eThe Remainder\u003c\/em\u003e are some of the most powerful to have come out of Latin America in the last year.” \u003cstrong\u003e—Bárbara Pérez, “Granta en Español, 5 years later,” Instrucciones de Uso\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“The sharpest, most incisive reprieve from novels dealing with the dictatorship by writers like Bolaño, Marín, Cerda y Varas.” \u003cstrong\u003e—Rodrigo Pinto, \u003cem\u003eEl Mercurio\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“One of the best publications of 2015.”\u003cstrong\u003e—Patricia Espinosa, \u003cem\u003eLas Últimas Noticias\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Like all of Sophie’s works, the translation is superb. . . . \u003cspan face=\"arial, sans-serif\"\u003eHer translations feel essential but not labored over. Passionate readers of translated works know the confidence that comes with seeing a familiar name as the translator; Sophie is one of those.” \u003cstrong\u003e—Mark Haber, Brazos Bookstore\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e“\u003cspan style=\"font-weight: 400;\"\u003eZerán’s formidable command of two distinct styles throughout the novel (translated beautifully by Sophie Hughes), her ability to plumb the depths of generational trauma and her ability to engage with and deconstruct the concept of collective memory propels \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Remainder\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e to the status of masterpiece.” \u003cem\u003e\u003cstrong\u003e—Paperback Paris\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12937390948429,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895507_FC_89e4a017-872f-453c-bfd4-c209212f8600.jpg?v=1557252324"},{"product_id":"when-death-takes-something-from-you-give-it-back","title":"When Death Takes Something from You Give It Back: Carl's Book","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA memoir by Naja Marie Aidt, translated by Denise Newman\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eHardcover: September 3, 2019 • 5 x 7.75 • 152 pages • 978-1-56689-560-6\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003c\/h5\u003e\n\u003ch5 style=\"text-align: center;\"\u003ePaperback: April 6, 2021 • 5 x 7.75 • 152 pages • 978-1-56689-593-4\u003c\/h5\u003e\n\u003ch4\u003eAn unflinchingly raw and lyrical exploration of a mother’s grief and how it transforms her relationship to time, reality, and language.\u003c\/h4\u003e\n\u003cp\u003eIn March 2015, Naja Marie Aidt’s twenty-five-year-old son, Carl, died in a tragic accident. \u003cem\u003eWhen Death Takes Something from You Give It Back\u003c\/em\u003e chronicles the few first years after that devastating phone call. It is at once a sober account of life after losing a child and an exploration of the language of poetry, loss, and love.\u003c\/p\u003e\n\u003cp\u003eIntensely moving, \u003cem\u003eWhen Death Takes Something from You Give It Back \u003c\/em\u003eexplores what it is to be a family, what it is to love and lose, and what it is to treasure life in spite of death’s indomitable resolve.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eNaja Marie Aidt was born in Greenland and raised in Copenhagen. She is the author of eleven collections of poetry, a novel, and three short story collections, including \u003cem\u003eBaboon,\u003c\/em\u003e which won the 2008 Nordic Council Literature Prize, Scandinavia’s highest literary honor. Her work has been translated into sixteen languages.\u003c\/p\u003e\n\u003cp\u003eDenise Newman is a translator and poet who has published four collections of poetry. She has translated two books by Denmark’s Inger Christensen. Her translation of Naja Marie Aidt’s short story collection \u003cem\u003eBaboon \u003c\/em\u003ewon the 2015 PEN Translation Prize.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eWhen Death Takes Something from You Give It Back\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script\n$(document).ready(function() {\n$('.text').jTruncate({\nlength: 1000, \/* The number of characters to display before truncating. *\/\n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link.\nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link.\nellipsisText: \"...\", \/\/ The text to append to the truncated portion.\n});\n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eFinalist for the 2019 Kirkus Prize in Nonfiction\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eLonglisted for the 2019 National Book Award in Translated Literature\u003cbr\u003eLonglisted for the 2020 PEN Translation Award\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eLiterary Hub\u003c\/em\u003e “Favorite Books of the Year”\u003cbr\u003e\u003cem\u003eLiterary Hub \u003c\/em\u003e“Best Memoirs of the Decade”\u003cbr\u003e\u003cem\u003eChicago Tribune,\u003c\/em\u003e “10 Books to Read This Summer”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"This book is an alchemical feat, giving shape to the most profound sense of absence. A stirring, inventive masterpiece of heartbreak.\" \u003cem\u003e\u003cstrong\u003e—Kirkus, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"A stunning evocation of life. . . . Aidt’s memoir is like broken glass, the shattered pieces singular in their form but each glistening, ready to cut.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"This remarkable memoir is easily one of the best of any kind published in the last decade…Watching Aidt pull it off is akin to watching Philippe Petit walk a tight-rope between the Twin Towers.\" \u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Literary Hub, \"\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Ten Best Memoirs of the Decade\"\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"This book does more than just plumb the depths of our emotions, it also serves as an affirmation: of family, of love, and of life.\"\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e—Nylon\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“\u003cspan data-mce-fragment=\"1\"\u003eAidt’s collage\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. . . . is artful and is only seemingly frantic. Beneath the surface lies a highly controlled text that aims to bring her son to life on the page, and thus allow herself to move on with her own life.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eBookforum\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“\u003c\/em\u003eTo read this book is to commune with Aidt and with suffering itself, a testament to Denise Newman’s dedicated and emotive work in translating it from the original Danish.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This beautiful, exquisitely made memoir is Didion 4.0. . . . a meditation on time and the way our narration of what happens during life sieves through a slippery gear—our selves—how consciousness is the sound of trying to get it turning again.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“An undoubtedly beautiful artistic achievement. . . . a triumph of honesty in self-expression, complete and unmitigated.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e —Ploughshares\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“A powerful and emotionally intense account of dealing with trauma, the struggle to find the right words to express the anguish of grief and finding the strength to move on after a tragic loss of a loved one.” \u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—TranslatedLit\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“A wild, sad howl for an unimaginable loss. A howl that comes from deep inside the heart of grief.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eEuropeNow\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eA beautifully fragmented and hope-filled book about embracing love and death.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eBookRiot\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/em\u003e“Devastating, angry, challenging, fragmented and filled with the beautiful hope that the love we have for people continues into the world even after they’re gone.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eCulture Fly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“A brutal but also beautiful meditation on death that combines family archives and a chorus of literary voices, and with them composes an indelible ode to life.” \u003cstrong data-mce-fragment=\"1\"\u003e—Valeria Luiselli, \u003cem data-mce-fragment=\"1\"\u003eGQ\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“\u003cspan data-mce-fragment=\"1\"\u003eNaja Marie Aidt’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eWhen\u003c\/i\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eDeath Takes Something from You Give It Back\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a lamentation, it’s a dirge, it’s a celebration. It's the story of the death of the author's son Carl at age 25. It's the story of his life and it's the story of the aftermath, and reading it, I’ve never read anything close to how beautiful and terrifying this book is about grief and about befores and afters.” \u003cstrong data-mce-fragment=\"1\"\u003e—John Freeman\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“Extraordinary. It is about death, but I can think of few books which have such life. It shows us what love is.” \u003cstrong data-mce-fragment=\"1\"\u003e—Max Porter\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/strong\u003e“There is no one quite like Naja Marie Aidt. She’s comparable only to things like sequoias, whale song, desert thunderstorms, or wolves. The depth of her emotional world and the diaphanous, often brutal clarity with which she understands the human soul beckon us to pause, breathe, think. Here, she takes us on a journey into death and loss, and then thrusts us back out—back into life—more awake, more ready to embrace it as it comes.” \u003cstrong data-mce-fragment=\"1\"\u003e—Valeria Luiselli\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e“\u003cem data-mce-fragment=\"1\"\u003eWhen Death Takes Something from You Give it Back\u003c\/em\u003e is a letter from a journey through a lake of fire. Aidt manages the emotionally impossible, sharing with the reader something of what it is to lose a child. A radiant book.” \u003cstrong data-mce-fragment=\"1\"\u003e—Rivka Galchen\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e“Naja Marie Aidt is, without a doubt, one of the finest living writers in Scandinavia. Always interesting. Always intelligent. Playful, precise, and passionate. A writer’s writer—one of the few I wait for and read the moment she’s got something new. And then there’s \u003cem data-mce-fragment=\"1\"\u003eCarl’s Book\u003c\/em\u003e: a heartbreaking masterpiece about unimaginable loss, resilience, and love. I wish with all my heart that Naja Marie Aidt never had to write this book—a memoir from the inside of grief—and at the same time I am deeply grateful that she did. It is devastating, wise, precise, and beautiful. Sometimes a work of art makes you impatient: you want to share it with everyone. You call people (call them, knock on their doors, buy the book and put it in their mailboxes) and tell them to read it immediately. \u003cem data-mce-fragment=\"1\"\u003eCarl’s Book\u003c\/em\u003e evokes that kind of urgency.”  \u003cstrong data-mce-fragment=\"1\"\u003e—Linn Ullmann, author of \u003cem data-mce-fragment=\"1\"\u003eUnquiet\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“One of the best books ever written about sorrow in Danish literary history, if you ask me. It’s heartbreaking in its description of horror, trauma and loss, but it’s also beautiful, courageous, poetic, and unforgettable.” \u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDorthe Nors,\u003c\/strong\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e Five Books\u003c\/strong\u003e\u003c\/em\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e“This book absolutely haunted me. I was entirely unable to put it down. Carl's book, his story, his life, will stay with me for a long time. Aidt's writing on grief, boundless sorrow, sadness, and pain reminded me that death comes to us all and that there is no universal path to overcoming loss. No amount of courage nor strength that can lead us back to being whole. Just one foot in front of the other. Every day.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Matt Keliher, Subtext Books\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e“Naja Marie Aidt's unflinching memoir of loss explores the irreducibility of death and time's elastic qualities when reshaped by grief. As much a primer on the literature of mourning as it is a gutting exploration in its own right, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eWhen Death Takes Something from You Give It Back \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003elays bare the urgency intrinsic to the projects of being human and making art. Be brave: read \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eCarl's Book \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eand be first shattered, then, transformed.”\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e —Katharine Solheim, Pilsen Community Books\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eE\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003explores relentlessly the boundaries of language's capacity to hold and be held by loss, and (remarkably) the turning towards wonder that Aidt pursues in its wake\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. . . . \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eHybridizing memoir, criticism, and lyric poetry into a form unlike anything I've read before, Aidt turns the full-body, languagelessness of pain and sorrow into the very medium of her book: that which the brilliance and bone-deep awe of her writing emerges from.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003e\u003c\/em\u003eBradley Trumpfheller, Brookline Booksmith\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e“\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eJust as the mind reconstructs the traumatic events in memories, the narrative constructs meaning through repetition, borrowed fragments, flashbacks…These memories, like dried flowers, collected and assembled, carry Carl’s spirit, preserved for eternity.\" \u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Words Without Borders\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e“Naja Marie Aidt’s shattering elegy about her grown son’s death is a modern Greek tragedy—and a relentless account of grief’s deepest reality.” \u003cem\u003e\u003cstrong\u003e—Weekendavisen\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Naja Marie Aidt’s book on the loss of her son is a genuine and unbearable masterwork. . . . [Her writing] about death, grief and the indescribable consequences make up this incredibly good book. I wish Aidt never had to write about this endless nightmare, indeed, one of its most important points is that grief never goes away. And yet, we now have a book without illusions, a merciless and insistent depiction of how deeply death reaches into the body and soul. Aidt has rendered a convincing reconstruction of the depths of grief.” \u003cem\u003e\u003cstrong\u003e—Jyllands-Posten\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“An immense work of art . . . an extremely beautiful and shockingly sorrowful work and a declaration of love’s communality. One of the most painful and paradoxically one of the most beautiful books I have ever read.” \u003cem\u003e\u003cstrong\u003e—Kristeligt Dagblad\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Naja Marie Aidt has written incredibly and incredibly well about losing her child.” \u003cem\u003e\u003cstrong\u003e—Politiken\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A necessary book, which leaves the reader deeply moved. The first thing one wants to say after reading Naja Marie Aidt’s book is ‘thank you.’ Thank you for giving terror a language . . . You have here a book that was written out of necessity, and you are sucked into that necessity as you read. Deeply moving.” \u003cem\u003e\u003cstrong\u003e—Information\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Raw, beautiful reading and enormous literature. . . . a rewarding work on death, language, love and the companionship that makes it possible to survive such deep sorrow.” \u003cem\u003e\u003cstrong\u003e—Børsen\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Painful poetry and important prose, which everyone should read. . . . Read Carl’s Book right away. It’s important, unique and completely indispensable.” \u003cem\u003e\u003cstrong\u003e—Nordjyske Stiftstidende\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Naja Marie Aidt\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Precise and evocative, often inspiring a strange balance between curiosity and anxiety in the reader. . . . [Aidt] inspires readers to read between the lines.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Naja Marie Aidt’s stories ask not only what could be hiding beneath the surface of our otherwise calm lives, but what has been hiding there all along. They are odd and surprising, and refreshing in that they offer no conclusions. She is the writer of dark secrets.” \u003cstrong\u003e—Sarah Gerard, author of \u003cem\u003eBinary Star\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“The strength of Aidt and her admirable translator Denise Newman . . . comes through the book’s steadfast gaze into the shadows of life. . . . Undoubtedly one of the most intelligent writers of the contemporary literary world, Aidt is also clearly one of the most compassionate—and therefore one of the most important—voices in fiction.”\u003cstrong\u003e\u003cem\u003e —Music \u0026amp; Literature\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Hardcover","offer_id":21263896969293,"sku":"","price":22.95,"currency_code":"USD","in_stock":true},{"title":"Paperback","offer_id":33003564564557,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895934_FC_3de50928-9a9a-4d48-9136-3ad84fef6975.jpg?v=1617663818"},{"product_id":"reinhardts-garden","title":"Reinhardt's Garden","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eA novel by Mark Haber\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 1, 2019 • 5 x 7.75 • 168 pages • 978-1-56689-562-0\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch4\u003eIn this delightfully dense, fast-paced comedy with notes of László Krasznahorkai and Saul Bellow, Jacov and his scribe cross continents in search of the legendary prophet of melancholic philosophy.\u003c\/h4\u003e\n\u003cp\u003eAt the turn of the twentieth century, as he composes a treatise on melancholy, Jacov Reinhardt sets off from his small Croatian village in search of his hero and unwitting mentor, Emiliano Gomez Carrasquilla, who is rumored to have disappeared into the South American jungle—“not lost, mind you, but retired.” Jacov’s narcissistic preoccupation with melancholy consumes him, and as he desperately recounts the myth of his journey to his trusted but ailing scribe, hope for an encounter with the lost philosopher who holds the key to Jacov’s obsession seems increasingly unlikely.\u003cbr\u003e\u003cbr\u003eFrom Croatia to Germany, Hungary to Russia, and finally to the Americas, Jacov and his companions grapple with the limits of art, colonialism, and escapism in this antic debut where dark satire and skewed history converge.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eMark Haber was born in Washington, D.C. and grew up in Florida. His debut novel, \u003cem\u003eReinhardt’s Garden\u003c\/em\u003e (2019, Coffee House Press), was longlisted for the PEN\/Hemingway Award. His second novel, \u003cem\u003eSaint Sebastian’s Abyss\u003c\/em\u003e (2022, Coffee House Press), was named a best book of 2022 by the New York Public Library and \u003cem\u003eLiterary Hub\u003c\/em\u003e. Mark's fiction has appeared in \u003cem\u003eGuernica\u003c\/em\u003e, \u003cem\u003eSouthwest Review\u003c\/em\u003e, and \u003cem\u003eAir\/Light\u003c\/em\u003e, among others. Mark lives in Minneapolis.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eReinhardt's Garden\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eLonglisted for the 2020 PEN\/Hemingway Award for a Debut Novel\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003eThe Millions, “\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003eMost Anticipated of 2019”\u003cbr\u003e\u003cem\u003eTexas Observer\u003c\/em\u003e\u003cem\u003e, \u003c\/em\u003e“Best Texas Books of the Decade”\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Evokes Gertrude Stein, contemporary European and South American writers like Matthias Énard, Roberto Bolaño, and César Aira, with the Quixotic atmosphere of Werner Herzog films like Fitzcarraldo. . . . A strange but lavishly imagined tale of a hard-to-describe feeling.” \u003cstrong\u003e\u003cem\u003e—Kirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An exhilarating fever dream about the search for the secret of melancholy. . . . Haber’s dizzying vision dextrously leads readers right into the melancholic heart of darkness.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“\u003cem\u003eHeart of Darkness\u003c\/em\u003e viewed in a fun house mirror.” \u003cstrong\u003e—\u003cem\u003eLibrary Journal\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Haber, who has been called 'one of the most influential yet low-key of tastemakers in the book world,' is about to raise it up a level with the debut of his novel.” \u003cstrong\u003e\u003cem\u003e—The Millions\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“An enchanting story of satirical wit, dark humor, and luminous creativity. . . . an exhilarating grand adventure of passion, obsession and lunacy.”\u003cem\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003e—The Literary Review\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“\u003cspan\u003eOutstanding . . . the descent into the heart of darkness at the very core of modernity.\u003c\/span\u003e” \u003cstrong\u003e—\u003cem\u003eBOMB Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Hilarious and thrilling. . . . this novel may look like something new, but it reads like that timeless treat, a rollicking good yarn.” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The cynicism of Haber’s book is tempered with a sweetness that gives it a lovely balance.…an innovative piece of fiction.” \u003cstrong\u003e—\u003cem\u003eHouston Chronicle\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan style=\"color: #000000; font-family: arial, sans-serif;\" color=\"#000000\" face=\"arial, sans-serif\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\"\u003e“\u003c\/span\u003eAn absurdist delight, a grand adventure of passion and lunacy, a brilliant book about melancholy that is anything but doleful.”\u003c\/span\u003e\u003cspan id=\"m_-5607673906367238582gmail-m_5863609431365409110gmail-docs-internal-guid-21cadafa-7fff-0091-f663-063c24fcf2ac\"\u003e\u003cstrong\u003e—\u003cem\u003eTexas Monthly\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e“There is a strange, beautiful aesthetic in the spun thread of tightly, smoothly laminated prose. . . . to accomplish this art in narration, and Haber has, is masterful, touching on genius.” \u003cem\u003e\u003cstrong\u003e—Lone Star Literary Life\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e“\u003cspan\u003eEvery time I try to talk about fellow Texas  bookseller Mark Haber’s debut novel,\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eReinhardt’s Garden\u003c\/em\u003e\u003cspan\u003e, I always find myself saying different, rambling things about it. Written in one long paragraph, this feels more like a long, frantic piano piece, or like cutting through the jungle with a machete, and I recommend it to fearless readers everywhere.” \u003cstrong\u003e—Fernando A. Flores\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e“In prose as sure as a poison-laced dart, Mark Haber takes the reader on a delirious journey to the heart of melancholy.” \u003cstrong\u003e—Sjón\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Jacov Reinhardt and his faithful assistant roam South America in a quixotic search for the essence of melancholy—an enterprise that makes Werner Herzog’s Fitzcarraldo, their rough contemporary, come off as a levelheaded pragmatist. To follow Reinhardt, fueled by amounts of cocaine not even Sigmund Freud could have managed, is to walk into a fascinating literary maze that spans from Ulrich Schmidl’s chronicles to the decadent movements in turn-of-the-century Europe and Latin America. Melancholy has never felt more euphoric than in Mark Haber’s breathless paragraph-long novel.” \u003cstrong\u003e—Hernan Diaz\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“An adventurous journey into the country of melancholy. A fascinating dissection of human vulnerability.” \u003cstrong\u003e—Guadalupe Nettel\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eReinhardt’s Garden\u003c\/em\u003e is one of those perfect books that looks small and exotic and melancholic from the outside but, once in, is immense and exultant in the best possible way. Think \u003cem\u003eAmulet \u003c\/em\u003eby Roberto Bolaño, think \u003cem\u003eNightwood \u003c\/em\u003eby Djuna Barnes, think \u003cem\u003eTrain Dreams\u003c\/em\u003e by Denis Johnson, think \u003cem\u003eWide Sargasso Sea\u003c\/em\u003e by Jean Rhys, think \u003cem\u003eZama\u003c\/em\u003e by Antonio Di Benedetto, think \u003cem\u003eThe Loser\u003c\/em\u003e by Thomas Bernhard. Think.” \u003cstrong\u003e—Rodrigo Fresán\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It’s official: Mark Haber’s novel about melancholy is a laugh riot. Narrated by the devoted assistant of pseudo-intellectual Jacov Reinhardt, the reader follows along for their increasingly misbegotten, cocaine-fueled adventures across Europe and South America. Told in one long, feverish paragraph with sentences that surprise at nearly every turn, Reinhardt’s Garden is a gorgeous, joyful, tiny epic. I loved it, and more importantly it got me out of yet another reading rut. Preorder this bad boy from an indie bookstore or Coffee House Press please!” \u003cstrong\u003e—Annie Metcalf, Magers and Quinn Booksellers\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Mark Haber\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Mark Haber’s] infinite, fast-paced energy is transparent in the way these stories are constructed. There is no room for awkward silence or meaningless descriptions; everything fits as in a well-told joke that builds on its own momentum. His prose maintains not only a rhythm that seems like a continued punch-line but when it finally arrives at a safe landing place it delivers a terrible reality: the absurdity of failure in his characters’ conditions of possibility tells us way more than what we expected. It is humbling and depressing, all at once.” \u003cstrong\u003e—Bruno Ríos, \u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eArgonáutica\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":21263959294029,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895620_FC.jpg?v=1551211426"},{"product_id":"i-hotel-reissue","title":"I Hotel (Tenth Anniversary Edition)","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eA novel by Karen Tei Yamashita, introduction by Jessica Hagedorn\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 8, 2019 • 6 x 9 • 648 pages • 978-1-56689-545-3\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch4\u003eAn epic journey through one of America’s most transformative decades via the stories of the activists, laborers, and students who shaped it.\u003c\/h4\u003e\n\u003cp\u003eDazzling and ambitious, this multivoiced fusion of prose, playwriting, graphic art, and philosophy spins an epic tale of America’s struggle for civil rights as it played out in San Francisco near the end of the 1960s. As Karen Tei Yamashita’s motley cast of students, laborers, artists, revolutionaries, and provocateurs make their way through the history of the day, they become caught in a riptide of politics and passion, clashing ideologies, and personal turmoil.\u003cbr\u003e\u003cbr\u003eThe tenth anniversary edition of this National Book Award finalist brings the joys and struggles of the I Hotel to a whole new generation of readers, historians, and activists.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaren Tei Yamashita is the author of \u003cem\u003eLetters to Memory, Through the Arc of the Rain Forest, Brazil-Maru, Tropic of Orange, Circle K Cycles,\u003c\/em\u003e National Book Award finalist \u003cem\u003eI Hotel,\u003c\/em\u003e and \u003cem\u003eAnime Wong.\u003c\/em\u003e She has been a U.S. Artists Ford Foundation Fellow and co-holder of the University of California Presidential Chair for Feminist Critical Race and Ethnic Studies. She is Professor Emeritus of Literature and Creative Writing at the University of California, Santa Cruz.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eI Hotel\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e2010 National Book Award Finalist\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e2011 American Book Award Winner\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e2010 California Book Award Winner\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e2011 Asian American Literary Award Fiction Finalist\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e2011 Asian American Literary Award Members’ Choice Winner\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e2011 Asian\/Pacific American Library Association (APALA) Book Award Winner in Adult Fiction\u003cbr\u003e\u003cem\u003eEntropy\u003c\/em\u003e, “Best of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Stunningly complete. . . . Yamashita accomplishes a dynamic feat of mimesis by throwing together achingly personal stories of lovers, old men, and orphaned children; able synopses of historical events and social upheaval . . . This powerful, deeply felt, and impeccably researched fiction is irresistibly evocative.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly,\u003c\/em\u003e starred review \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Exuberant, irreverent, passionately researched . . . Yamashita’s colossal novel of the dawn of Asian American culture is the literary equivalent of an intricate and vibrant street mural depicting a clamorous and righteous era of protest and creativity.”\u003cstrong\u003e \u003cem\u003e—Booklist, \u003c\/em\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cspan class=\"il\"\u003eThe\u003c\/span\u003e\u003cspan\u003e extraordinary testimony of a revolutionary past. . . . \u003cem\u003eI Hotel\u003c\/em\u003e is crammed with detail, with real-life pamphlets, speeches, quotes, and news reports humming and crackling in \u003c\/span\u003e\u003cspan class=\"il\"\u003ethe\u003c\/span\u003e\u003cspan\u003e background. \u003c\/span\u003e\u003cspan class=\"il\"\u003eThe\u003c\/span\u003e\u003cspan\u003e whole thing makes for an astonishing, and carefully structured, collage of both local and global movement.” \u003cstrong\u003e\u003cem\u003e—The Nation\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e“\u003cem\u003eI Hotel\u003c\/em\u003e is a brilliant, vibrantly written exploration of politics, identity, radicalism, and activism. Fusing and bending styles, Yamashita’s prose sweeps the reader along with the same manifestos-at-midnight energy that drove the massive cultural changes of the ’60s and ’70s. Over the years since I first read it,\u003cem\u003e I Hotel\u003c\/em\u003e has grown in importance to me as a reader, as a bookseller, as a writer, and as a citizen. It is an absolute masterpiece of twenty-first century American literature.” \u003cstrong\u003e—Josh Cook\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eI Hote\u003c\/em\u003el is] one of my favorite books of all time.” \u003cstrong\u003e—Jeff VanderMeer\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eI Hotel \u003c\/em\u003eis an explosive site, a profound metaphor and jazzy, epic novel rolled into one. Karen Tei Yamashita chronicles the colliding arts and social movements in the Bay Area of the wayward ’70s with fierce intelligence, humor, and empathy.” \u003cstrong\u003e—Jessica Hagedorn\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“If you were there in 1970s San Francisco, then this book is about you. At some point in reading \u003cem\u003eI Hotel, \u003c\/em\u003eI lost all objectivity. I wept, I laughed, I read silently while moving my lips. And I read the last twelve pages again and again as if an ancestor had written them.” \u003cstrong\u003e—Shawn Wong\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A multiform swirl of a novel about a decade in the life of San Francisco’s Chinatown and, by extension, the Asian experience in America. . . . With delightful plays of voice and structure, this is literary fiction at an adventurous, experimental high point.” \u003cstrong\u003e\u003cem\u003e—Kirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is an ambitious epic novel. . . . Stylistically innovative, vertiginous, and sweeping, this novel achieves a miraculous blend of fact and fiction and animates an epoch when individuals tried in vain to dissolve their personalities in the rhetoric of revolutionary idealism.” \u003cstrong\u003e—2010 National Book Award Judges’ Citation\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is such a wonderful book. If you read Thomas Pynchon or you read David Foster Wallace, or any of those post-modern novels, this is the book you need to read.” \u003cstrong\u003e\u003cem\u003e—MPR News\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“As original as it is political, as hilarious as it is heartbreaking, \u003cem\u003eI Hotel\u003c\/em\u003e is the result of a decade of research and writing that included more than 150 personal interviews. . . . [and] will be dog-eared and underlined and assigned to college reading lists for generations. . . . In the end, the way \u003cem\u003eI Hotel\u003c\/em\u003e accounts for the Asian American movement is both sweet and sour. And for all the losses Yamashita records, there are, we know, great achievements as well. High among them is this beautiful book.” \u003cstrong\u003e\u003cem\u003e—Washington Post Book World\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Brilliant. . . . [Yamashita’s] ambition is achieved with efficiency, showmanship and wit. . . . A surgically deft depiction of the political entwined with the personal. . . . Yamashita’s book recalls what art is for: ‘To resist death and dementia . . . To kiss . . . you good-bye, leaving the indelible spit of our DNA on still moist lips. Sweet. Sour. Salty. Bitter.’ In other words, \u003cem\u003eI Hotel  \u003c\/em\u003e’s complex taste lingers and haunts, like something alive.” \u003cstrong\u003e\u003cem\u003e—Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Yamashita captures the fiery righteousness—and self-righteousness—of the civil-rights movement. . . . The complexity of the era that led to the birth of Asian America. It’s a glorious tone poem, a rich reminder of the multicultural, multifaceted past from which our city grows.” \u003cstrong\u003e\u003cem\u003e—San Francisco Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It’s a stylistically wild ride, but it’s smart, funny and entrancing.” \u003cstrong\u003e—Michael Schaub, NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The breadth of \u003cem\u003eI Hotel  \u003c\/em\u003e’s embrace is encyclopedic and its effect is kaleidoscopic. It wants to inform and dazzle us on the confusions and conclusions on the question of culture and assimilation.” \u003cstrong\u003e\u003cem\u003e—Chicago Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Yamashita’s] novel is breathtaking in its scope and its energy and innovation make it a good fit with the exciting and transformative time period that it covers. . . . \u003cem\u003eI Hotel \u003c\/em\u003edemonstrates how complicated and finally irreducible history is—the many voices and perspectives it comprises, the divergent and winding paths it takes, the way it confounds conventional narrative. Yamashita celebrates this complexity, and she’s such a deft storyteller that you’ll end up celebrating it with her.” \u003cstrong\u003e\u003cem\u003e—Women’s Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Magnificent. . . . Intriguing.” \u003cstrong\u003e\u003cem\u003e—Library Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eI Hotel\u003c\/em\u003e is an amazing literary accomplishment and one of the most pleasurable reading experiences I have ever had. I believe it stands on the same plane of accomplishment as Roberto Bolaño’s \u003cem\u003eSavage Detectives\u003c\/em\u003e and Edward P. Jones’s \u003cem\u003eThe Known World\u003c\/em\u003e—an amazing literary accomplishment and a brave and bold act of publishing.” \u003cstrong\u003e—Paul Yamazaki, City Lights Booksellers\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eI Hotel\u003c\/em\u003e by Karen Tei Yamashita is the kind of book that changed the way I think about what books are capable of. It’s a people’s history, an activist’s archive, a remembrance of time and place, and a powerful reminder that our assumptions about literature ought to be upended from time to time. It is not hyperbole to assert that \u003cem\u003eI Hotel\u003c\/em\u003e is unlike anything I have ever read. One of the most challenging and rewarding books, and an all-time favorite of mine.” \u003cstrong\u003e—Matt Keliher, Subtext Books\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eI Hotel \u003c\/em\u003eis at once heartrending and hilarious, both political and personal. And perhaps most thankfully, the writing is wicked smart without a drop of pretentiousness. Filled with pages that take big risks, \u003cem\u003eI Hotel\u003c\/em\u003e opens up new possibilities, not just for Asian American literature but also for contemporary fiction in general.” \u003cstrong\u003e—Nami Mun, \u003c\/strong\u003e\u003cstrong\u003eAsian American Literary Awards Judges’ Citation\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Huge, messy, and frantically fun, \u003cem\u003eI Hotel \u003c\/em\u003eoffers a very believable panorama of life at this time. . . . The portraits of these early generation Asian Americans . . . are quite moving and conveyed without sentimentality. It’s an impressive accomplishment from an author who continues to push the boundaries of innovative fiction.” \u003cstrong\u003e\u003cem\u003e—Rain Taxi\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“One of the the things that is so amazing about Karen Tei Yamashita’s most recent novel, \u003cem\u003eI Hotel,\u003c\/em\u003e is that she not only retrieves the sad beauty of a particularly fraught period of a particularly squalid community—Asian Americans in San Francisco during the 1960s-70s—but that she does so in a way that is also exhilarating, celebratory. . . . Which is why we need novels like \u003cem\u003eI Hotel\u003c\/em\u003e: to patiently help the world remember itself.” \u003cstrong\u003e\u003cem\u003e—American Book Review\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eI Hotel\u003c\/em\u003e is arguably the best book published on Asian American literary history.” \u003cstrong\u003e\u003cem\u003e—The International Examiner\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":21263970631757,"sku":"","price":21.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/IHOTELoutline_adb7a038-944a-41af-bca8-e377d2032211.jpg?v=1553181678"},{"product_id":"the-intangibles","title":"The Intangibles","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Elaine Equi\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eNovember 12, 2019 • 6 x 9 • 112 pages • 978-1-56689-564-4\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch4\u003eA witty, inventive, and wry exploration of life—above and beyond the algorithm.\u003c\/h4\u003e\n\u003cp\u003eEqui’s poems insist that despite the fact that most of our everyday reality has been rendered accountable and computable, there is still a region of experience that escapes our GPS-mapped consciousness—an intangible realm where poetry is still possible.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eElaine Equi's witty, aphoristic, and innovative work has become nationally and internationally known. Her book, \u003cem\u003eRipple Effect: New \u0026amp; Selected Poems,\u003c\/em\u003e was a finalist for the L.A. Times Book Award and shortlisted for the Griffin Poetry Prize. Among her other titles are \u003cem\u003eSentences and Rain, Surface Tension, Decoy, Voice-Over,\u003c\/em\u003e which won the San Francisco State University Poetry Award, and \u003cem\u003eThe Cloud of Knowable Things.\u003c\/em\u003e She teaches at New York University and in the MFA Program at The New School.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Intangibles\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eFinalist for the 2019 Big Other Book Award in Poetry\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003eHyperallergic,\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e Favorite Poetry Collections of 2019\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“[E]nchanting…These poems suggest people should enjoy the fun of language while it lasts”\u003cem\u003e\u003cstrong\u003e —Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cspan\u003eAlways count on Elaine Equi’s nimble gymnastics to flip the ordinary around and create something rich and strange . . . These poems do not wear their brooding hearts on their sleeves but rather flirt and banter, drawing us close before revealing their ruminative complexities.” \u003cstrong\u003e—Albert Mobilio, \u003cem\u003eHyperallergic\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e“Elaine Equi is curious about where we’re headed. What do we have in common after all—a brand, a mini-series? It’s the intangibles that fascinate, whether morphing through robotics, noticing the new ‘featurelessness of things’ with citizens staring into their palms, or finding ourselves stalked by a hologram. It’s the mystery of our ever-weirder world where the machines dream us. Amusement was the beneficent state Frank O’Hara recommended and in a post-post-reality it’s what Equi has in quantum leaps, in her Zen-ish DNA. This is a book for now and for the future, a panacea and antidote to the fear of the inane unknown. Equi’s elegant control of line, image, percolating observation is always a taut surprise. I feel better already. Inside these subtle poems, complete little universes, there’s never a dull moment.” \u003cstrong\u003e—Anne Waldman \u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Elaine Equi’s perfect pitch sends her wry voice in directions no other contemporary poet knows how to visit. She trims a narrative to its mad essence; she winnows lyric into a shape more giddy than aphorism, more delirious than koan. Reality, in Equi’s eyes, is pleasantly disrupted by words—\u003cem\u003eher\u003c\/em\u003e words, which are regular citizens of their sentences but also strangers to all normative modes of behavior. Read \u003cem\u003eThe Intangibles\u003c\/em\u003e for the tangible joy these generous epistles give.” \u003cstrong\u003e—Wayne Koestenbaum\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“If Emily Dickinson were alive today, her name would be Elaine Equi. Each of these poem gems is a secret; to know them, simply read them.”\u003cstrong\u003e —Bob Holman \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Elaine Equi\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Whether celebrating clones or revising Led Zeppelin, Equi melds verse with aphorism, wisdom with wicked playfulness.\" \u003cem\u003e\u003cstrong\u003e—Entertainment Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“These poems, brief as they sometimes are, simply-stated as they almost always are, open up a ground, a web, of the conscious and subconscious dailiness we all experience but rarely self-examine or seek to understand.” \u003cem\u003e\u003cstrong\u003e—New York Journal of Books\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“There is a lot of fake poetry out there. Equi is real. She changes the way you look at things. You cannot fake the authenticity that informs even the most casual of her observations.” \u003cstrong\u003e—David Lehman\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Her spare wit has always bent toward meaning, even as it pokes and pries and resists the clichés and the customs that conversation, prose fiction, and more conventional poetry bring.” \u003cstrong\u003e—Stephanie Burt \u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":21264024338509,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/INTANGIBLESoutline_3549e0e8-78cd-4214-bfa9-c8204e641286.jpg?v=1553181907"},{"product_id":"ornamental","title":"Ornamental","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Juan Cardenas, translated by Lizzie Davis\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 2, 2020 • 5 x 7.75 • 144 pages • 978-1-56689-580-4\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003eThe lives of a doctor, his wife, and his patient collide, laying bare the political and personal narratives they have carefully constructed for themselves.\u003c\/h3\u003e\n\u003cp\u003eA doctor recruits volunteers for the trial of a new recreational drug that exclusively affects women. Among them is “number 4,” who becomes emotionally involved with first the scientist, then his wife, a well-known visual artist in the midst of a creative crisis. The scientist is oblivious to the atrocities his new drug will bring to the city; his wife is oblivious to the superfluousness of the objects she has committed her life to exhibiting in galleries and museums. Number 4’s presence pierces the couple’s complacency, gradually undoing the many certainties they’ve accumulated in their lives of ease.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eJuan Cárdenas (1978) is a Colombian art critic, curator, translator, and author of the novels \u003cem\u003eZumbido\u003c\/em\u003e (451 Editores, 2010; Periférica, 2017), \u003cem\u003eLos estratos\u003c\/em\u003e (Periférica, 2013), \u003cem\u003eOrnamento\u003c\/em\u003e (Periférica, 2015), \u003cem\u003eTú y yo, una novelita rusa\u003c\/em\u003e (Cajón de sastre, 2016) and \u003cem\u003eEl diablo de las provincias\u003c\/em\u003e (Periférica, 2017). He is also the author of the short story collection \u003cem\u003eCarreras delictivas\u003c\/em\u003e (451 Editores, 2008). He has translated the works of such writers as William Faulkner, Thomas Wolfe, Gordon Lish, David Ohle, J. M. Machado de Assis, and Eça de Queirós. In 2014, his novel \u003cem\u003eLos estratos\u003c\/em\u003e received the Otras Voces Otros Ámbitos Prize. In May 2017, he was named one of the thirty-nine best Latin American writers under the age of thirty-nine by the Hay Festival in Bogotá. Cárdenas currently coordinates the masters program in creative writing at the Caro y Cuervo Institute in Bogotá, where he works as a professor and researcher.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLizzie Davis is a translator from Spanish to English and editor at Coffee House Press. Her recent projects include works by Pilar Fraile Amador, Daniela Tarazona, and Elena Medel, and her co-translation of Medel's \u003c\/span\u003e\u003ci\u003eLas maravillas\u003c\/i\u003e\u003cspan\u003e with Thomas Bunstead is forthcoming from Pushkin Press. She has received fellowships from the Omi International Arts Center and the Breadloaf Translators' Conference in support of her translations.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eOrnamental\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eFinalist for the 2021 PEN Translation Award\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“With pitch-black comedy, \u003cem\u003eOrnamental,\u003c\/em\u003e nimbly translated by Lizzie Davis, channels the ways that egomaniacs in science and art—in any field—rise to the top, up the pyramid of capitalism. . . . [T]he rhythm of Cárdenas’s writing compels and reassures, as if driven by the very humanity the lab has helped suppress.” \u003cstrong\u003e—Nathan Scott McNamara, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[A] work of subtlety and restraint. . . . What makes \u003cem\u003eOrnamental\u003c\/em\u003e so deeply affecting, however, is not that its pages come together to form a beautiful work of exterior art—though it does—but its ability to cast unease on our interior worlds. . . . Brilliantly executed and cleverly translated, \u003cem\u003eOrnamental\u003c\/em\u003e leaves us with a fresh understanding of the creation of art and the nature of meaning-making.” \u003cstrong\u003e—Dashiel Carrera, \u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In his thrilling novel \u003cem\u003eOrnamental\u003c\/em\u003e, Colombian art critic, translator, curator, and renowned author Juan Cárdenas masterfully tells the tale of the junction of an experimenting doctor, his wife, and his subsidized voluntary narcotic patient. . . . [E]xpertly translated by seasoned editor Lizzie Davis.” \u003cstrong\u003e—Ellie Simon, \u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In spare and economical prose, Cárdenas sketches a highly stratified world, where drugs link high society and neighborhoods that are 'a single crush of old houses and ruins'. . . . the overall effect offers both thrills and chills.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[An] absurdist critique of class inequality. . . . Cárdenas also dabbles in art criticism and curation and uses that knowledge to acidic effect in a social drama that borders on the phantasmagorical. . . . with captivating moments.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“\u003c\/span\u003eThis is the first of Cárdenas’s novels to be translated into English, with hopefully more to come, as he’s a supremely talented and original writer. \u003cem\u003eOrnamental\u003c\/em\u003e is a strange, dystopian tale about medical trials, in which a doctor studies women addicted to a mysterious recreational drug. Drugs will sadly always be associated with Colombia, but Cardenas’s surreal examination of addiction and compulsion is a unique and necessary contribution to the conversation.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e”\u003c\/span\u003e \u003cstrong\u003e—Julianne Pachico, \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eThe Guardian\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[A]n exhilarating, slippery narrative where the reader knows much truth can be found, if only they can figure out how to decipher it. . . .Cárdenas’s prose is economical yet lyrical; many of his images are veritable objets d’art. . . . Lizzie Davis has done a spectacular job rendering Cárdenas’s novel in English.” \u003cstrong\u003e—Gillian Esquivia-Cohen, \u003cem\u003eKenyon Review\u003c\/em\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“\u003c\/span\u003eA pointed critique of late capitalism incarnated in today’s manipulative pharmaceutical industry, of rapid modernization in postcolonial contexts, and of facile arts. [\u003cem\u003eOrnamental\u003c\/em\u003e] showcases the impact of economic exploitation on the human body and desire, and probes the complicity of arts, architecture, philosophy, and language in capitalism’s crooked dynamics. \u003cmeta charset=\"utf-8\"\u003eI read translated literature to connect with my linguistic others, to get out of my skin, and see the world through the eyes of those I may never meet otherwise. Cárdenas’s novel and Davis’s translation did just that for me. Davis has masterfully rewritten Cárdenas’s novel in English.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e”\u003c\/span\u003e \u003cstrong\u003e—Sevinç Türkkan, \u003cem\u003eHopscotch Translation\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Cardenas’s narrative style hangs on outlines and sketches that give the short novel an allegorical heft surprising for its slimness. . . .It’s in the unexpected reversal of focus, from the researcher to Number 4, from the moneyed to the impoverished, that \u003cem\u003eOrnamental\u003c\/em\u003e commits its boldest act and reminds us of the people sacrificed and ignored by the progress of science.” \u003cstrong\u003e—Sebastian Sarti, \u003cem\u003eCleveland Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This blow-me-over novel, set in a post-narco-baroque Colombia that could be anywhere, begins with a medical study of women committed to ingesting, in exchange for payment, an experimental and addictive recreational drug. Their dreams go strange, serving as a kind of litmus which registers lurid abscesses in a class-and-youth-obsessed society and in what we mistook to be the women’s ordinary lives. Soon, prophetic graffiti appears on walls around the city. Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities—someone ‘threatening pain with extortion,’ someone ‘signing imagined telegrams of dried monkey meat,’ the night recovering, at last, ‘its vulgarity’—don’t give us any pause. And translator Lizzie Davis is the next generation’s Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish.” \u003cstrong\u003e—Forrest Gander\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed.” \u003cstrong\u003e—Alia Trabucco Zerán\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Cárdenas understands the great possibilities available to literary minimalism, taking advantage of them linguistically as well as politically, in careful strokes of theme and plot. A stunning novel about the entitlement of both the pharmaceutical industry and the art world, but also about desire, addiction, excess, and a security team made of spider monkeys. Perhaps the most damning fictional portrait of late capitalism I have ever read, at once absurd and startlingly relevant, \u003cem\u003eOrnamental\u003c\/em\u003e is a subtle and beautifully written nightmare.” \u003cstrong\u003e—Brian Evenson \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003ePraise for Juan Cárdenas\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eOrnamento\u003c\/em\u003e is a novel dense in ideas, witty in style, and close to prophetic in its condemnations.” \u003cstrong\u003e—Nadal Suau, \u003cem\u003eEl Cultural\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A novel of high density—in terms of ideas, plot, and language—\u003cem\u003eOrnamento\u003c\/em\u003e confirms that Juan Cárdenas is one of the most interesting writers working in the Spanish language today.” \u003cstrong\u003e—Daniel Saldaña París, \u003cem\u003eTierra Adentro\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Juan Cárdenas has conceived a maddeningly delightful, genuinely literary novel.” \u003cstrong\u003e—José de María Romero, \u003cem\u003eRevista de Letras\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The novels of Juan Cárdenas suggest that at times we can come close to understanding the terror of history.” \u003cstrong\u003e—Edmundo Paz Soldán, \u003cem\u003eEl boomeran(g)\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Rich in the lyricism and democratic polyphonies that constitute some of the best Latin American literature. Juan Cárdenas’s prose couldn’t be further from predictable literary language.” \u003cstrong\u003e—Marta Sanz, \u003cem\u003eEl confidencial\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“With this story, Cárdenas achieves, once again, a detailed description of the Latin American panorama, not by mentioning places or countries, but via the accents and attitudes of his characters.” \u003cstrong\u003e\u003cem\u003e—\u003c\/em\u003eVerónica Figueroa\u003cem\u003e, \u003c\/em\u003e\u003cem\u003eEl País\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The atmosphere of the novel ratchets up its unease by degrees, echoed by the dogs, whose initial unsettling barks become the terrifying howls of chained beasts.” \u003cstrong\u003e—Teresa Lezcano, \u003cem\u003eSur\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The works of Juan Cárdenas are disturbing and provocative.” \u003cstrong\u003e—Catalina Holguín Jaramillo, \u003cem\u003eRevista Arcadia\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":29363900743757,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895804_FC.jpg?v=1571423612"},{"product_id":"pink-mountain-on-locust-island","title":"Pink Mountain on Locust Island","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Jamie Marina Lau\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 8, 2020 • 5 x 7.75 • 248 pages • 978-1-56689-594-1\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch4\u003eBlending digital fever dream and hard-boiled noir in bursts of claustrophobic prose, \u003cem\u003ePink Mountain\u003c\/em\u003e on Locust Island follows a teenager and her maybe-boyfriend into the seedy corners of the art world.\u003c\/h4\u003e\n\u003cp\u003eFifteen-year-old Monk drifts through a monotonous existence in a grimy Chinatown apartment with her “grumpy brown couch” of a dad, until she meets high school senior Santa Coy (santacoyshotsauce@gmail.com). For a moment, it looks like he might be her boyfriend. But when Monk’s dad becomes obsessed with Santa Coy’s artwork, Monk finds herself shunted to the sidelines as her father and the object of her affections begin to hatch a scheme of their own. To keep up, Monk must navigate a combustible cocktail of odd assignments, peculiar places, and murky underworld connections.\u003c\/p\u003e\n\u003cp\u003eIn Jamie Marina Lau’s debut novel, shortlisted for Australia’s prestigious Stella Prize when she was nineteen years old, hazily surreal vignettes conjure a multifaceted world of philosophical angst and lackadaisical violence.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eJamie Marina Lau is a multidisciplinary artist and the author of \u003cem\u003ePink Mountain on Locust Island.\u003c\/em\u003e With explorations focusing on language, Lau's work meditates on a landscape exploring the dis-location of culture and space. Her second novel will be published with Hachette and W\u0026amp;N in 2021. More info: \u003c\/span\u003e\u003ca href=\"http:\/\/www.jm-lau.com\/\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/www.jm-lau.com\u0026amp;source=gmail\u0026amp;ust=1601653330632000\u0026amp;usg=AFQjCNFeG1LFlcnBn-nj8buqxQiZdbhqLg\" target=\"_blank\"\u003ewww.jm-lau.com\u003c\/a\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003ePink Mountain on Locust Island\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eRefinery29\u003c\/em\u003e, “Best Fall Books 2020”\u003cbr\u003e\u003cem\u003ePaperback Paris\u003c\/em\u003e, “Best New Books”\u003cbr\u003eShortlisted for the 2019 Stella Prize\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eShortlisted for the 2019 New South Wales Premier Literary Awards\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eShortlisted for the 2018 Readings Prize for New Australian Fiction\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eShortlisted for the Australia Literature Society Gold Medal\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In Australian writer Lau’s perceptive debut, an angsty teen misunderstands the actions and intentions of those around her. . . . This inventive work satisfies in its blending of teenage ennui and a fragmented noir aesthetic.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“In this hallucinatory, impressionistic novel by a 23-year-old Australian writer, a girl’s involvement with an artist opens up a world preoccupied by money and drugs. . . . [H]yperassociative, impressively strange.”\u003cstrong\u003e\u003cem\u003e—Kirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Strange and raucous. . . . [I]t's pretty perfect that one of the best novels about art and scams and art scams that I've read in a while is also a high-school novel, because. . . . the two milieus aren't that different at all; they're all about illusion and pretense and a desperate desire to belong. Lau captures all this with a chaotic, instantly addictive style and canny insights into the motivations that drive people to do some very dark things.” \u003cstrong\u003e—Kristin Iversen, \u003cem\u003eRefinery29\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[A] rapturous inversion of boy-meets-girl; a narrative that unfurls with prescience in surrealist vignettes, laced with cosmic specificities.” \u003cstrong\u003e—Gauraa Shekhar, \u003cem\u003eMaudlin House\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Written as a rambunctious collection of mostly linear journal entries, Monk is completely an unreliable narrator. However, she’s also a very believable one. Clearly her perception may be skewed by adolescent myopia and naiveté, but I can’t help to be enamored with her sincerity and authenticity. . . . Calling to mind a heady combination of Rian Johnson’s \u003cem\u003eBrick\u003c\/em\u003e, \u003cem\u003eThe Virgin Suicides\u003c\/em\u003e, and \u003cem\u003eOn Such a Full Sea\u003c\/em\u003e by Chang-Rae Lee, this book captures your attention then pulls you headlong into the action.” \u003cstrong\u003e—Adam P. Newton, \u003cem\u003eBearded Gentlemen Music\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A simmering novel of art and crime told in the voice of an infectious and dourly charismatic young narrator. For all of Monk's rebellious charm, for all her ironic distance, for all her teenage angst, she tells a story of innocence and naiveté that ultimately reveals the wide gap between what adults promise their children and what adults actually deliver. Lau's narrative voice walks a fine edge between irony and earnestness, creating an unforgettable character who turns a mundane, maybe even maudlin, tale of crime into a fresh, vibrant story of adolescent awakening.” \u003cstrong\u003e—Josh Cook, Porter Square Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This novel is a strange peninsula of tender and splintered and waterlogged prose. I want to bottle it and put it on my mantle and dare every guest to take a sip.” \u003cstrong\u003e—Hilary Leichter\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Bouncing with the violence of everyday banality, \u003cem\u003ePink Mountain on Locust\u003c\/em\u003e understands how the malaise of youth can turn the humdrum into the magical. Not Magical Realism or anything like that, but the sparkle of each unoriginal moment. The way the lumped-upon-lumpness of life becomes a rhythm to set ones watch to and, within this predictable everydayness, build a fully and uniquely original alternate reality. Jaime Marina Lau has the poetic third eye and she walks between worlds. Weird AF, but in that good way.” \u003cstrong\u003e—Nikki Darling\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Visceral, restless, and edgy, while soulful and contemplative of exactly what Asian American diasporas are going through right now (“Stop looking at me with those contaminated eyes”), \u003cem\u003ePink Mountain on Locust Island\u003c\/em\u003e will grab you with its originality and vivid imagery and, like such classics as \u003cem\u003eDogeaters\u003c\/em\u003e (Jessica Hagedorn) and \u003cem\u003eBone\u003c\/em\u003e (Fae Myenne Ng), juxtaposes frenetic energy against the claustrophobia of class and tradition. I loved this book, read it in a day, could not put it down. Episodic, startling, young, this is a must read. The language is indeed elastic, and lovely.” \u003cstrong\u003e—Chaya Buvaneswar\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePink Mountain on Locust Island \u003c\/em\u003eis written in prose that, like its fifteen year old protagonist, is surly, chaotic, compulsively attentive, and full of tender desperation. Plot takes a back seat to raw sensation and atmospherics. Queasily cinematic, as if Wong Kar-Wai and Agnes Varda took an acid trip together, shot through with flashes of sly, pitch perfect humor.” \u003cstrong\u003e—Mimi Lok\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[A] deliciously disjointed novel . . . [with] fizzingly short chapters and an ultra-contemporary plot that seems tailor-made to appeal to distracted digital natives.” \u003cem\u003e\u003cstrong\u003e—ELLE Australia\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book is like nothing you have ever read before – a kaleidoscope of colours, smells and fragments of life observed by a teenager in a Chinatown somewhere in an unknown city. . . . Lau’s dizzying prose is like a series of crazy neon-lit performance art as she dissects, with extraordinary effervescence, Monk’s teenage angst, her struggles to fit in with her school friends, their parents, her father and her unhappily married sister.” \u003cstrong\u003e—Stella Prize Citation\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":32215627792461,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895941_FC.jpg?v=1585780438"},{"product_id":"homes","title":"HOMES","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Moheb Soliman\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 8, 2021 • 6 x 9 • 112 pages • 978-1-56689-609-2\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eHuron, Ontario, Michigan, Erie, Superior: \u003ci\u003eHOMES\u003c\/i\u003e. Moheb Soliman traces the coast of the Great Lakes with postmodern poems, exploring the natural world, the experience of belonging, and the formation of identity along borders.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eMoheb Soliman’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eHOMES\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e maps the shoreline of the Great Lakes from the rocky North Shore of Minnesota to the Thousand Islands of eastern Ontario. This poetic travelogue offers an intimate perspective on an immigrant experience as Soliman drives his Corolla past exquisite vistas and abandoned mines, through tourist towns and midwestern suburbs, seeking to inhabit an entire region as home. Against the backdrop of environmental destruction and a history of colonial oppression, the vitality of Soliman’s language brings a bold ecopoetic lens to bear on the relationship between transience and belonging in the world’s largest, most porous borderland\u003c\/span\u003e.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eMoheb Soliman is an interdisciplinary poet from Egypt and the Midwest. He has presented writing, performance, installation, and video work at diverse literary, art, and public spaces in the US and Canada with support from the Banff Centre, Pillsbury House, the Joyce Foundation, and Tulsa Artist Fellowship. Moheb has degrees from The New School and the University of Toronto and lives in Minneapolis, Minnesota, where he was the program director for the Arab American literary journal and arts organization Mizna\u003c\/span\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eHOMES\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eFinalist for the 2022 Minnesota Book Award for Poetry \u003cbr\u003eFinalist for the 2021 Heartland Booksellers Award for Poetry\u003cbr\u003eFinalist for the 2021 Big Other Book Award for Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eChicago Tribune, \u003c\/em\u003e“10 Books to Read This Summer”\u003cem\u003e\u003cbr\u003eEcotone,\u003c\/em\u003e “Most Anticipated Spring Books”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In a time of environmental catastrophe and colonial destruction, Soliman's sly and shifting poems suggest that moving between various homes makes more sense than trying to construct a static place of complete belongingness.” \u003cstrong\u003e—Elizabeth Hoover, \u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Phrases are broken apart, and often, beautiful and evocative double readings are created. . . . There’s an understanding that connecting dots between ideas, words, or sounds on a page is much like charting a course on a map—there’s usually more than one way to get somewhere, and our attention is masterfully directed.” \u003cb\u003e—Will Russo, \u003ci\u003eGreat Lakes Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Moheb Soliman’s \u003cem\u003eHOMES\u003c\/em\u003e is a fascinating study in the differences between place and destiny—‘It was a port that sank,’ he writes, ‘not a freighter.’ Through the collection we visit places to travel, places to live, places to escape. Other times, it’s a vacancy we’re visiting. ‘You do not arrive,’ one poem states, ‘The place arrives.’ Such vertiginous wandering at once illuminates and troubles the eponymous idea of home. Soliman’s wild, expansive leaping—geographic and psychic—is worth the price of admission alone; the rush of it, the verve. But ultimately what excites me most about this collection is its affirmation that for some of us, there is only one place, one home: the one inside our own mind.” \u003cstrong\u003e—Kaveh Akbar\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Hummingbird cakes, trumpets. \u003cem\u003eHOMES\u003c\/em\u003e is a border-crossing, rivering lake escape with exhilarating contemplations and investigations in Great Lakes worlds. The intellectual shape of the work is steeped in borderlands, waters (rivers have mouths, lakes have bodies), branches of endemic life and peopled descendancies. The physical read is choreographed in visual formations with caesura streams pooling, stilling sound and harboring leaps to slashed out to punctuate fractals. Madeline Island, Thunder Bay, Lake Champlain, Molson, Sleeman beer. Rich with mollusks, with diasporic mollusky sand. With lakes and lakes that swallow lakes. With wild road and brimming river voyaging, up alongside otters, ice, massive tankers, while wolfing white doughnuts down—these poems bring us malleable leads from othering crises, give us passage and dream world solution. This is a scintillating, scorching read of seeing, knowing, passing through, and homing, where Moheb Soliman casts the good spell, and we are bound to it.” \u003cstrong\u003e—Allison Adelle Hedge Coke\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eHOMES\u003c\/em\u003e is a meditation on, and a prayer for, the natural world through the body of the Great Lakes. With remarkable infiltrative urban imagination, Moheb Soliman is the echo of what can’t be unseen: the domineering, wild life of humans over wildlife. Between a pea and a peacock, recreation and re-creation, in a nuclear canoe toward a lakefront suite, this is the Anthropocene: ‘To be the one the world speaks for \/ Without first having to be endangered \/ I am the recycling and the garbage.’ This spectacular book is as inventive and daring as it is tender and piercing—in syncopated lyric like a genetic sequence, a spliced analog for elegy.” \u003cstrong\u003e—Fady Joudah\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":33003291115597,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896092._FC.jpg?v=1599835699"},{"product_id":"jawbone","title":"Jawbone","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Mónica Ojeda, trans. Sarah Booker\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 8, 2022 • 5.5 x 8.25 • 272 pages • 978-1-56689-621-4\u003c\/h5\u003e\n\u003ch4\u003e“Was desire something like being possessed by a nightmare?”\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eFernanda and Annelise are so close they are practically sisters: a double image, inseparable. So how does Fernanda end up bound on the floor of a deserted cabin, held hostage by one of her teachers and estranged from Annelise?\u003cbr\u003e\u003cbr\u003eWhen Fernanda, Annelise, and their friends from the Delta Bilingual Academy convene after school, Annelise leads them in thrilling but increasingly dangerous rituals to a rhinestoned, Dior-scented, drag-queen god of her own invention. Even more perilous is the secret Annelise and Fernanda share, rooted in a dare in which violence meets love. Meanwhile, their literature teacher Miss Clara, who is obsessed with imitating her dead mother, struggles to preserve her deteriorating sanity. Each day she edges nearer to a total break with reality.\u003cbr\u003e\u003cbr\u003eInterweaving pop culture references and horror concepts drawn from Herman Melville, H. P. Lovecraft, and anonymous “creepypastas,” \u003cem\u003eJawbone\u003c\/em\u003e is an ominous, multivocal novel that explores the terror inherent in the pure potentiality of adolescence and the fine line between desire and fear.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eMónica Ojeda (Ecuador, 1988) is the author of the novels\u003cem\u003e La desfiguración Silva\u003c\/em\u003e (Premio Alba Narrativa, 2014), \u003cem\u003eNefando\u003c\/em\u003e (Candaya, 2016), and \u003cem\u003eMandíbula\u003c\/em\u003e (Candaya, 2018), as well as the poetry collections \u003cem\u003eEl ciclo de las piedras\u003c\/em\u003e (Rastro de la Iguana, 2015) and \u003cem\u003eHistoria de la leche\u003c\/em\u003e (Candaya, 2020). Her stories have been published in the anthology \u003cem\u003eEmergencias: Doce cuentos iberoamericanos\u003c\/em\u003e (Candaya, 2014) and the collections \u003cem\u003eCaninos\u003c\/em\u003e (Editorial Turbina, 2017) and \u003cem\u003eLas voladoras\u003c\/em\u003e (Páginas de Espuma, 2020). In 2017, she was included on the Bógota39 list of the best thirty-nine Latin American writers under forty, and in 2019, she received the Prince Claus Next Generation Award in honor of her outstanding literary achievements.\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eSarah Booker (North Carolina, 1989) is a doctoral candidate at the University of North Carolina at Chapel Hill with a focus on contemporary Latin American narrative and translation studies. She is a literary translator working from Spanish to English and has translated, among others, Cristina Rivera Garza’s \u003cem\u003eThe Iliac Crest\u003c\/em\u003e (Feminist Press, 2017; And Other Stories, 2018) and \u003cem\u003eGrieving: Dispatches from a Wounded Country\u003c\/em\u003e (Feminist Press, 2020) and Mónica Ojeda’s \u003cem\u003eJawbone\u003c\/em\u003e (Coffee House Press, 2021). Her translations have also been published in journals such as the \u003cem\u003eParis Review, Asymptote, Latin American Literature Today, 3:am magazine, Nashville Review, MAKE,\u003c\/em\u003e and \u003cem\u003eTranslation Review.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eJawbone\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eFinalist for the 2022 National Book Award for Translated Literature\u003cbr\u003eFinalist for the 2023 Lambda Literary Award in Lesbian Fiction\u003cbr\u003eLonglisted for the 2023 PEN Translation Prize\u003cem\u003e\u003cbr\u003eThe New York Times,\u003c\/em\u003e “New Books in Translation”\u003cbr\u003e\u003cem\u003eThe A.V. Club,\u003c\/em\u003e “Books to Read in February”\u003cbr\u003e\u003cem\u003eWords Without Borders,\u003c\/em\u003e “Most Anticipated”\u003cbr\u003eFebruary Indie Next List\u003cbr\u003e\u003cem\u003eLitReactor,\u003c\/em\u003e “2022 Horror You Do Not Want to Miss”\u003cbr\u003e\u003ci data-mce-fragment=\"1\"\u003eMs. Magazine, \u003c\/i\u003e“Favorite Books of 2022”\u003cbr\u003e\u003cem\u003eLatinx in Publishing,\u003c\/em\u003e “Most Anticipated 2022 Latinx Books”\u003cbr\u003eRiffraff Bookstore, “Favorites of 2022”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This bodily, propulsive narrative re-envisions mainstays of the Latin American novel for a 21st-century feminist sensibility based in Internet creepypastas, true crime, and women’s autonomy. Expertly characterizing her protagonists while providing an engrossing, compelling story, Mónica Ojeda has hewn out her own version of contemporary gothic set in Ecuadorian culture. Sarah Booker’s fluid translation admirably attends to the book’s many complicated voices, situations, and registers.” \u003cstrong\u003e—Judges’ Citation, 2022 National Book Award in Translated Literature\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Strange, twisted . . . . Ojeda, who was named one of Granta’s best young Spanish-language novelists, writes with a polyphonic verve, agilely translated by Booker. Her language, like adolescence itself, is unruly and excessive, full of dramatic shifts and capable of both beauty and horror.” \u003cstrong\u003e—Anderson Tepper, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Six girls in a private Catholic high school in Ecuador turn to the occult in Mónica Ojeda’s macabre English-language debut novel, \u003cem\u003eJawbone\u003c\/em\u003e. The girls’ ringleader, Annelise, entertains her friends with tales of a made-up deity and eggs them on with strange dares. Soon enough, she and her friend Fernanda are falling in love, raising the stakes of Annelise’s fabricated creepypasta. Ojeda has drawn comparisons to Shirley Jackson, H.P. Lovecraft, and Edgar Allen Poe.” \u003cem\u003e\u003cstrong\u003e—The A.V. Club\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eJawbone \u003c\/em\u003edepicts the process of becoming a woman as the ultimate horror story. . . . With terrifying ease, Ojeda illustrates how womanhood is characterized by dualities: fearful and feared, desired and desiring.” \u003cstrong\u003e—Morgan Graham,\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e Chicago Review of Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Rife with gothic body horror and the darkness of the jungle and within ourselves. . . . Ojeda is a strikingly singular voice, combining basic teen angst with stark madness and the power of teen girls to push back in a world that tries to make them powerless.” \u003cstrong\u003e—Yvonne C. Garrett,\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e The Brooklyn Rail\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Delectable. . . . There are echoes of Lovecraft and Shirley Jackson at play, but the vision is ultimately Ojeda’s own—delicious in how it seduces and disturbs the reader as the girls rely on horror both as entertainment and as a way of staving off the actual terrors of growing up. This is creepy good fun.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Edgar Allan Poe meets a few of the mean girls. . . . Mother-daughter relationships slide under Ojeda’s microscope, sharing space with the teacher-student dynamic and deities as objects in an exploration of power and sexuality during adolescence. . . . Every good horror story needs a victim; Ojeda’s monsters and victims wear the same faces.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eJawbone \u003c\/em\u003edistinguishes itself through fevered brilliance. . . . Like the strange bloom of a corpse flower, the novel evokes life, death, and a vortex of twisted beauty.” \u003cstrong\u003e—Meg Nola, \u003cem\u003eForeword Reviews, \u003c\/em\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A wild, dirty, surreal, creepy narrative. . . . This novel, which explores the interstices between genres, shows what can happen when a writer digs deep into language while looking for darkness, for the unexplainable, for blood. . . . A dynamic, engrossing reading experience.” \u003cstrong\u003e—Gabino Iglesias, \u003cem\u003eSouthwest Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mónica Ojeda is one of the most powerful and provocative voices in Latin American literature today. Her influences span from H.P. Lovecraft to Stephen King’s \u003ci\u003eCarrie,\u003c\/i\u003e to anonymous internet horror legends called ‘creepypastas.’ In her novel \u003ci\u003eJawbone, \u003c\/i\u003eOjeda explores the darkest aspects of women’s relationships in the suffocating atmosphere of an Opus Dei school for girls in Ecuador. In her multivocal and lyrical prose, Ojeda demonstrates the pernicious ways that violence against women can be exercised and reveals how victims can be transformed into perpetrators.”\u003cb\u003e —Rose Bialer, \u003ci\u003eAsymptote\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Sometimes a meditation on horror storytelling in all of its forms and sometimes a full-blown example of it. . . . Annelise (and, by proxy, Ojeda) are onto something about the primal appeal of horror literature; what Ojeda seems to be doing here, in part, is pushing that theory to its limits, and learning just how unsettling that can be.” \u003cstrong\u003e—Tobias Carroll, \u003cem\u003eOn the Seawall\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It might be the most harrowing novel I’ve read in a decade. . . . As an example of top-grade horror (and frankly top-grade literature), there’s very little that will be published this year, or any year, that will surpass this devastating novel.” \u003cstrong\u003e—Ian Mond, \u003cem\u003eLocus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Hits the sweet spot of novels under 300 pages. . . . And we always need more translated horror.” \u003cstrong\u003e—Sadie Hartmann, \u003cem\u003eLitReactor\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The horror exists in, and is generated by, a delicious but unsettling uncertainty of self and non-self whereupon realities are created and cast off. . . . Ojeda’s poetic craft shines through \u003cem\u003eJawbone\u003c\/em\u003e’s prose. It’s a deeply visual book in which seemingly transparent images introduced early on are lacquered over with layers of meaning as the story progresses, building a patina of dread.” \u003cstrong\u003e—Annabella Farmer, \u003cem\u003eSanta Fe Reporter\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dark academy meets existential horror in this scintillating and unsettling novel of friendship, adolescence, and ‘inquietude.’ When a group of friends find an abandoned building, their most charismatic member slowly escalates their afternoons of scary stories and dares into a secret society of dangerous rituals and potentially deadly consequences. The characters are entrancing, the ideas are insightful, and the prose itself is thrilling.” \u003cstrong\u003e—Josh Cook, Porter Square Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mónica Ojeda is fearless in her approach to both themes and style. She deals with horror and desire like few others, with a beauty so extreme that it sometimes leaves you gasping. In \u003cem\u003eJawbone,\u003c\/em\u003e an elite Catholic school becomes the stage for nightmares fueled by obsession, creepypastas, and teenagers crazed by hormones and horror movies. But in the end, the novel is about Mónica’s primary concerns: sexuality, violence, and how a story about the damaged and the lost can be told with such beauty and relentlessness. She scares me, and she amazes me, and I think she is one of the most important writers working in Spanish today.” \u003cstrong\u003e—Mariana Enríquez\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eJawbone\u003c\/em\u003e is a dark fairy tale in which a group of girls become adults on their own, taking blood oaths with cruelty, torture, and vengeance. This book summons the evil spirits that surround all adolescence, and they’re made to speak straight into our ears. As chilling as it is necessary, like all of Ojeda’s work.” \u003cstrong\u003e—María Fernanda Ampuero\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Mónica Ojeda has at her disposal the most enviable combination I can imagine, and she has it in spades: a lucid mind, an exacting language, and a wild heart.”\u003cstrong\u003e \u003cstrong\u003e—Andrés Barba\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39286846586957,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Jawbonemedallion.png?v=1674492000"},{"product_id":"look-at-this-blue","title":"Look at This Blue","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Allison Adelle Hedge Coke\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMarch 29, 2022 • 6 x 9 • 168 pages • 978-1-56689-620-7\u003c\/h5\u003e\n\u003ch4\u003eInterweaving elegy, indictment, and hope into a love letter to California,\u003cem\u003e Look at This Blue\u003c\/em\u003e examines America’s genocidal past and present to warn of a future threatened by mass extinction and climate peril.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eTruths about what we have lost and have yet to lose permeate this book-length poem by American Book Award winner and Fulbright scholar Allison Adelle Hedge Coke. An assemblage of historical record and lyric fragments, these poems form a taxonomy of threatened lives—human, plant, and animal—in a century marked by climate emergency. \u003cem\u003eLook at This Blue\u003c\/em\u003e insists upon a reckoning with and redress of America’s continuing violence toward Earth and its peoples, as Hedge Coke’s cataloguing of loss crescendos into resistance. \u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAllison Adelle Hedge Coke, a Fulbright scholar, First Jade Nurtured SiHui Female International Poetry Award recipient, recent Dan and Maggie Inouye Distinguished Chair in Democratic Ideals, and U.S. Library of Congress Witter Bynner fellow, has written seven books of poetry, one book of nonfiction, and a play. Following former fieldworker retraining in Santa Paula and Ventura in the mid-1980s, she began teaching, and she is now a distinguished professor of creative writing at the University of California, Riverside. \u003cbr\u003e\u003cbr\u003eHedge Coke is the editor of ten anthologies and has served as an editor and guest editor for several magazines and journals, most recently \u003cem\u003eWorld Literature Today.\u003c\/em\u003e The social media hashtag #poempromptsforthepandemic hosts hundreds of original prompts she crafted as public outreach during the COVID-19 pandemic. A career community advocate and organizer, she most recently directed UCR’s Writers Week, the Along the Chaparral\/Pūowaina project, and the Sandhill Crane Migration Retreat and Festival. \u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eLook at This Blue\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eFinalist for the 2022 National Book Award for Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2023 Thomas Wolfe Prize \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2022 Emory Elliott Book Award\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eFinalist for the 2023 Firecracker Award\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eFinalist for the 2023 ASLE Creative Book Award\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAn \u003cem\u003eAustralian Book Review\u003c\/em\u003e Best Book of the Year 2022\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e“Hedge Coke examines the blue of extinction, the blue of the last butterflies, the blue of arson, howls of species gone, the last note of Ishi and his people. The speaker’s blue spirals of compassion and action, flora and fauna endangered, the blue of facts, lists, documents, missionization of First Peoples propel us through the poem, commit us to zig-zagging across stanzas of lives lost. A contesting poetics of many voices, \u003cem\u003eLook at This Blue\u003c\/em\u003e is a timely and necessary book.” \u003cstrong\u003e—Judges’ Citation for the 2022 National Book Awards\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An impressive lyrical accounting of California’s biodiversity that also serves as a preemptive elegy for these plants, animals, and human beings, given the current climate crisis. . . . A hypnotic assembly of discordant parts. As it bears witness to the wonders of one continental coast, \u003cem\u003eLook at This Blue\u003c\/em\u003e asks us all to face our world together.” \u003cstrong\u003e—Diego Báez, Poetry Foundation\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Its reportage and proximity to history reminded me of Aracelis Girmay’s \u003cem\u003eThe Black Maria,\u003c\/em\u003e of Collier Nogues’s \u003cem\u003eThe Ground I Stand on Is Not My Ground,\u003c\/em\u003e of Layli Long Soldier’s \u003cem\u003eWhereas,\u003c\/em\u003e and of Claudia Rankine’s incomparable \u003cem\u003eCitizen: An American Lyric.\u003c\/em\u003e I wouldn’t be the first to hear the voluminous and ecstatic witness of Whitman in Hedge Coke’s work, either. . . . Music is one of Hedge Coke’s great gifts. Smart, subtle, texturous.” \u003cstrong\u003e—Emily Vizzo, \u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What Hedge Coke provides readers in the pages that follow is the lightning rod. Her long poem slips in and out of images of violence against the land, specifically California, the flora and fauna and many immigrants and indigenous peoples of that land, the poor and cast out and overlooked and neglected and abused of that land, ever aware of the undercurrents that connect each transgression. While I’ve grown suspicious that one can give voice to the voiceless without doing further violence, these lines are not acts of ventriloquism, nor even quiet moments of witn\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39286853173325,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/LATBfinalmedal.jpg?v=1674491865"},{"product_id":"brown-neon","title":"Brown Neon","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eEssays by Raquel Gutiérrez\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 7, 2022 • 5 x 7.75 • 232 pages • 978-1-56689-637-5\u003c\/h5\u003e\n\u003ch4\u003eA meditation on southwestern terrains, intergenerational queer dynamics, and surveilled brown artists that crosses physical and conceptual borders. \u003c\/h4\u003e\n\u003cp\u003ePart butch memoir, part ekphrastic travel diary, part queer family tree, Raquel Gutiérrez’s debut essay collection \u003ci\u003eBrown Neon\u003c\/i\u003e gleans insight from the sediment of land and relationships. For Gutiérrez, terrain is essential to understanding that no story, no matter how personal, is separate from the space where it unfolds. Whether contemplating the value of adobe as both vernacular architecture and commodified art object, highlighting the feminist wounding and transphobic apparitions haunting the multi-generational lesbian social fabric, or recalling a failed romance, Gutiérrez traverses complex questions of gender, class, identity, and citizenship with curiosity and nuance.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eRaquel Gutiérrez is an arts critic, writer, poet, and educator. Born and raised in Los Angeles, Gutiérrez credits the queer and feminist diy, post-punk zine culture of the 1990s, plus Los Angeles County and Getty paid arts internships, for introducing her\/them to the various vibrant art and music scenes and communities throughout Southern California. Gutiérrez is a 2021 recipient of the Rabkin Prize in Arts Journalism and a 2017 recipient of the Andy Warhol Foundation Arts Writers Grant. She is\/They are faculty for Oregon State University–Cascades’ Low Residency MFA in Creative Writing. Gutiérrez calls Tucson, Arizona, home.\u003c\/p\u003e\n\u003ch3\u003ePraise for \u003cem\u003eBrown Neon\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eFinalist for the 2023 Lambda Literary Award in Lesbian Memoir\/Biography\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWinner of the 2023 Publishing Triangle Judy Grahn Award for Lesbian Nonfiction\u003c\/b\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eThe New Yorker, \u003c\/em\u003e“Best Books of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eVogue, \u003c\/em\u003e“12 New Queer Books to Read This Summer”\u003cem\u003e\u003cbr\u003eThe Millions,\u003c\/em\u003e “Most Anticipated”\u003cbr\u003e\u003cb\u003e\u003ci\u003eOprah Daily, \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e“Must-Read Books by Latinx Authors”\u003c\/b\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eTODAY,\u003c\/em\u003e “18 Most Anticipated Latino Books of 2022”\u003cbr\u003e\u003cem\u003eSPIN,\u003c\/em\u003e “Favorite Titles of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eElectric Literature,\u003c\/em\u003e “Most Anticipated LGBTQ Books of 2022”\u003cbr\u003e\u003cem\u003eHyperallergic,\u003c\/em\u003e “Best Art Books of 2022”\u003cbr\u003e\u003cem\u003eMs. Magazine,\u003c\/em\u003e “Favorite Books of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eLatinx in Publishing,\u003c\/em\u003e “Most Anticipated 2022 Latinx Books”\u003cbr\u003e\u003cem\u003eBustle,\u003c\/em\u003e “Most Anticipated Books of 2022”\u003cbr\u003e\u003cem\u003eLatino Stories,\u003c\/em\u003e “Best New Latinx Authors of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In these essays by a poet, arts writer, and self-identified ‘queer brown butch,’ encounters in Los Angeles and the Southwest with aging punks, border activists, lesbian legends, and others give rise to explorations of Latinx identity, cultural resistance, and the role of art. . . . The landscape cannot be separated from its history of violence, and there is no desert vista ‘that doesn’t have the uncanny attached to it.’” \u003cstrong\u003e\u003cem\u003e—The New Yorker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Singular and inimitable . . . focusing much of the collection on the physical land that has alternately sustained, commodified, and criminalized so many modes of being.” \u003cstrong\u003e—Emma Specter, \u003cem\u003eVogue\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An essay can’t listen, but these come close, leaving room for questions left unanswered and realities left unlived. . . . Ambitious in scope and narrative structure, perhaps most impressive is the way in which [Gutiérrez] conquers such disparate terrain . . . to reveal how much connection we all share. There is no way to separate the political from the personal, no wall that could keep us from bleeding into one another. By blurring these lines, Gutiérrez invites us to consider how walls and borders are illusory, arbitrary, and restrictive. Freedom, alternatively, is something in motion.” \u003cstrong\u003e—Rachel León, \u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Ferrets out the subterranean forces that fuel relationships with ourselves, with others, and with the land that marks our identity. Whether it is creating a cartography of queerness through family lineage and propinquity or digging through the layers of sorrow, love, and trauma to uncover the true borders and frontiers of our identity, each essay offers a unique consciousness at work.” \u003cstrong\u003e—Ernesto Mestre-Reed,\u003cem\u003e Oprah Daily\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In shapeshifting ekphrastic essays about collisions of fascism with aesthetics, Raquel Gutiérrez maps their own queer Latinx identity with intergenerational historicity, equal parts punk and poetic. A versatile political thinker whose twin backgrounds in arts criticism and zinesterism inform this blazing collection of prose, Gutiérrez shines bright light on the brutal injustice of borders, and elucidates the uncanny violence inherent to desert land art. . . . Dazzling.” \u003cstrong\u003e—Sadie Dupuis, \u003cem\u003eSPIN\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Poet Gutiérrez meditates on geography, gender, creativity, and love in her lyrical debut collection. . . . Written with energy, critical acumen, and raw emotion, this is as memorable as it is original.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“How do we map the terrains of love, land, and art? Gutiérrez engages these questions through stories of the borders that bind and those that break. . . . A bold and brave debut collection from an intriguing new literary voice. A probing, tender reckoning with space, place, and identity.” \u003cstrong\u003e—\u003cem\u003eKirkus\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“While art undergirds much of the collection, this is largely an exploration of Donna Haraway’s notion of ‘oddkin’—cultural\/social\/emotional family through, in Gutiérrez’s case, queerness, art-making, Latinx identity, and the Southwest. The relationships she fosters and interrogates, as carefully as she does physical structures and art production, are what drive these essays.”\u003cstrong\u003e —Diana Arterian,\u003cem\u003e Literary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Ranging from memoir to criticism to travelogue. . . . By exploring the places where stories are set, Gutiérrez reveals more about who’s in them.” \u003cstrong\u003e—Nick Moran, \u003cem\u003eThe Millions\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“With wit, curiosity, and compassion, Gutiérrez analyzes the real, material dangers caused by these made-up borders between us while also scrutinizing their existence. . . . Gutiérrez skillfully maps the realities, struggles, and joys of queer, Latinx, artistic life in the Southwest U.S. while also calling all readers to deconstruct the borders and boundaries that plague their own communities.” \u003cstrong\u003e—Stef Rubino, \u003cem\u003eAutostraddle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A tribute to the power of art to provoke and challenge its viewers, the essays of \u003cem\u003eBrown Neon\u003c\/em\u003e are timely and affecting as they consider the nuances of queer Latinx life in the American Southwest.” \u003cstrong\u003e—Rebecca Hussey, \u003cem\u003eForeword Reviews\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“A wonderful collection of essays. . . . [Gutiérrez’s] prose is fresh, it feels personal. . . . Her multifaceted mindscape comes through on every page.” \u003cstrong\u003e—Hrag Vartanian, \u003cem\u003eHyperallergic\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Thoughtfully tackles questions of gender, sexuality, and performance.” \u003cstrong\u003e—K.W. Colyard,\u003cem\u003e Bustle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eBrown Neon \u003c\/em\u003eis a work of Latinx mysticism. With beauty, and unmistakable care for person and place, Raquel Gutiérrez maps life’s butchest, sweetest, and saddest mysteries.” \u003cstrong\u003e—Myriam Gurba\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eBrown Neon\u003c\/em\u003e emerges as an instant foundational text, and Raquel Gutiérrez as a leading critic, witness, and visionary not only of the queer, brown Southwest, but our current American nightmare. Gutiérrez’s essays illuminate an otherwise ignored history of pivotal brown aesthetics that have changed the way some of us create and approach art. Beyond essential.”\u003cstrong\u003e —Fernando A. Flores\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Raquel Gutiérrez has crafted, in these inspired and astonishing essays, an unforgettably affecting voice that recounts parables of brown life in the arts. In narratives that describe the intergenerational landscape of queer cultural memory and self-ecologies of Latinx innovation within the current U.S. political economy, Gutiérrez dazzles. Sentences here excite and punctuate as they convey the historical losses and embodied gains comprising all those energies that animate artists, activists, and storytellers alike to ‘sing in similar and simultaneous registers of scarcity and plethora.’”\u003cstrong\u003e —Roberto Tejada\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39546415939661,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896375_FC.jpg?v=1636500760"},{"product_id":"the-wet-hex","title":"The Wet Hex","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Sun Yung Shin\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 14, 2022 • 6 x 9 • 120 Pages • 978-1-56689-638-2\u003c\/h5\u003e\n\u003ch4\u003eSun Yung Shin calls her readers into the unknown now-future of the human species, an underworld museum of births, deaths, evolutions, and extinctions.\u003c\/h4\u003e\n\u003cp\u003ePersonal and environmental violations form the backdrop against which Sun Yung Shin examines questions of grievability, violence, and responsibility in \u003ci\u003eThe Wet Hex\u003c\/i\u003e. Incorporating sources such as her own archival immigration documents, Ovid’s \u003ci\u003eMetamorphoses,\u003c\/i\u003e Christopher Columbus’s journals, and traditional Korean burial rituals, Shin explores the ways that lives are weighed and bartered. Smashing the hierarchies of god and humanity, heaven and hell, in favor of indigenous Korean shamanism and animism, \u003ci\u003eThe Wet Hex\u003c\/i\u003e layers an apocalyptic revision of nineteenth-century imagery of the sublime over the present, conjuring a reality at once beautiful and terrible.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSun Yung Shin is a Korean-born poet, writer, collaborative artist, and bodyworker. She\/they lives in Minneapolis.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Wet Hex\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eWinner of the 2023 Midland Authors Award for Poetry\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eFinalist for the 2023 Minnesota Book Award for Poetry\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e“Revelatory. . . . Formally inventive. . . . These poems also project us into the future, using the past as a resource to create materials for survival.” \u003cstrong\u003e—Elizabeth Hoover, \u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Enthralling and fantastical. . . . [Shin] begs us to consider what equality looks like for all living things and how that might include the dead, engaging the spiritual, the mythical, and the animal world. While reaching into a variety of realms, from shamanism and funerary rites to the climate crisis and the inheritance of language, Shin’s writing is tight and seamless.” \u003cstrong\u003e—Katya Buresh, \u003cem\u003eBOMB Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“There are many marvels to unpack in \u003cem\u003eThe Wet Hex\u003c\/em\u003e. . . . Shin’s lines glimmer and pop as they scrutinize the passage of time and the importance of legacy.”\u003cstrong\u003e —Diego Báez, Poetry Foundation\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“At the apex of necropolitical (eco)catastrophe, myth, (ancestrally) collaborative, \u0026amp; cross-genre poetics, \u003cem\u003eThe Wet Hex\u003c\/em\u003e is a project only the magic of a collective-minded poetics can hold.”\u003cstrong\u003e —George Abraham, \u003cem\u003eTriQuarterly\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Brilliant, personal, candid, emotionally resonant, fantastic and sensational, mythical and mystical and musical, technically-sharp, lyrical, and attentive to the details in languages. . . . For quite a while there, I forgot to think and felt my way through instead—guided by an expert, open.” \u003cstrong\u003e—Michael Kleber-Diggs,\u003cem\u003e Poetry Daily\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Wet Hex,\u003c\/em\u003e born out of the frugal feline year of Korean myths, modernizes and bewitches us with her transfixed vertical, etymological discourse on everything beguiling: fate, moth, white, shaman, casket, box, moon, flower, death. ‘Grief is a heated iron comb,’ which Sun Yung Shin uses to biblically curl your pelagic feline form into gaze, debt, heritage, and threshold. Sun Yung Shin is an enchantress. Sun Yung Shin is oil, resin, feather. Sun Yung Shin is a lexical, chthonic tiger, enraptured specimen of poetic inheritance, roaring from her Minnesota wilderness into the uninhabited, forgiving, concerted retelling of Baridegi’s heroism. Her spellbound language takes us through the hypnotic collaborative corridor between her sequential text and Jinny Yu drawings and profoundly translates its gender muteness into ‘bark, seed, root, horn, organ, petal, oil, tea, tincture,’ obedient materials of healing and transformation. \u003cem\u003eThe Wet Hex\u003c\/em\u003e opens like a mountain, closes its glory with ‘eros of self-sufficiency,’ and is capable of turning the barren woman in you into a virgin or two stones.”\u003cstrong\u003e —Vi Khi Nao\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eThe Wet Hex\u003c\/em\u003e is a worthy monument to this Holocene Epoch. Using images, allusions, and truths that are mystical, metaphorical, empirical, and personal, Sun Yung Shin prevails here as a daughter, and as a mother; these poems transcend our earthly realm like shadow children. Shin is a writer of profound skill and authentic presence. \u003cem\u003eThe Wet Hex\u003c\/em\u003e is canorous, masterful, and utterly unique. It builds on her stellar body of work to advance what's possible in poetry and art.”\u003cstrong\u003e —Michael Kleber-Diggs\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Drop everything! Sun Yung Shin’s new book has arrived: a rich biomythography, a feminist epic, a pilgrimage to the underworld. With tigers, wolves, lost ancestors, and sky, she stages encounters with death, afterbirth and afterlife, haunting\/hunting. Who is the animal? What does the orphan dream? How does an abandoned princess raise the dead? Read these poems to find out. Here spells are cast. The hex drips wet. The castaways come home.”\u003cstrong\u003e —Gabrielle Civil\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eThe Wet Hex\u003c\/em\u003e is a brilliant achievement seeking liberation for girls, women, orphans, and castaways. The poems interrogate violence in a haunting, gorgeous spell of lyric alchemy that only Sun Yung Shin can create. Shin ‘let[s] the wolves out of [her] mouth’ and charts a map for ‘the fallen, the wandering, the abandoned.’ Once again, she proves that she is a poet ahead of the curve, an intellectual and innovative wonder. This is one of my favorite poets. This is the most powerful book of poems I’ve read in years.”\u003cstrong\u003e —Lee Herrick\u003cbr\u003e\u003cbr\u003ePraise for \u003cem\u003eUnbearable Splendor\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eWinner of the 2017 Minnesota Book Award for Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cb\u003eFinalist for the 2017 PEN America Poetry Award\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The splendor on display in Shin’s book consists of an incredibly compact use of commanding and vibrant language which coheres into work that feels restless and deft, as cerebral as it is emotional.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like a lean, mean, efficient literary machine, Sun Yung Shin’s \u003cem\u003eUnbearable Splendor \u003c\/em\u003euses its hybrid nature to arrive on bookshelves as something very true, heartbreaking, and, ultimately, unbearably human.” \u003cstrong\u003e\u003cem\u003e—Chicago Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“One of the primary concerns of this book is the self; paradoxically, Sun Yung Shin is able to explore this theme with both a microscope and a telescope, and the result is a heady, multidimensional and multi-textured read.” \u003cem\u003e\u003cstrong\u003e—The Corresponder\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“It is a blessing that Sun Yung Shin has written a great deal of sound into \u003cem\u003eUnbearable Splendor\u003c\/em\u003e, because we have not heard or seen or read anything like this before, a truly unique, essential, and original collection.” \u003cem\u003e\u003cstrong\u003e—NewPages\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“These constant reminders of surreal wonderment do their work like little ice picks, chipping away at the grand event of colonized hurt. The results are small, perceptible feelings you could almost hold in your hand.” \u003cstrong\u003e\u003cem\u003e—Waxwing\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“As a book, \u003cem\u003eUnbearable Splendor\u003c\/em\u003e works on multiple levels. On perhaps its most obvious, superficial level, it’s a text full of beautiful, haunting, lyrical language and interconnected themes that wind in and out of each other to weave a coherent fabric of many strands. Under that surface, though, lives a veritable dissertation (with plenty of angles that the reader can research) on otherness and transgression, and in turn, on how what or who that is other, or what or who that transgresses, problematizes the existence of the one who observes.” \u003cstrong\u003e\u003cem\u003e—Drunken Boat\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In poems traversing that canny valley between verse and prose, Shin draws on cinema, technology, mythology, sci fi, autobiography and folklore to unlock the titular emotion: the unbearableness of the labyrinth, the splendor of being a machine—a hybrid, a replicant, an orphan.” \u003cstrong\u003e\u003cem\u003e—The Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“From this investigation of cloning, cyborgs, surrogacy, and adoption, Shin weaves a narrative of language and history that represents a striking new way of understanding identity.” \u003cstrong\u003e\u003cem\u003e—Lantern Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In a striking interweaving of poetry and essay, etymologies brush up against adoption certificates, and quotations jostle with myths. . . . Shin’s resistance to offering a definitive answer allows her to make connections that are sometimes dizzying, often lyrical, and always thought provoking.” \u003cstrong\u003e\u003cem\u003e—The Missing Slate\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Sun Yung Shin’s explorations are honest and unrestrained and show an enormous amount of skill. In spite of the gravity of the issues at hand, \u003cem\u003eUnbearable Splendor \u003c\/em\u003ecomes from a writer at play, and she never lets us forget how much pleasure there is to be found in language.” \u003cstrong\u003e\u003cem\u003e—Front Porch Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eUnbearable Splendor\u003c\/em\u003e] is a project of reclamation of one’s own humanity.” \u003cstrong\u003e\u003cem\u003e—Jacket2\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“While unabashedly scholarly, \u003cem\u003eUnbearable Splendor\u003c\/em\u003e is heartbreaking.” \u003cstrong\u003e\u003cem\u003e—Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Shin’s poetry is as cerebral as it is beautiful, exploring the personal experiences of race, immigration, and gender alongside academic investigations of religion and science, philosophy and art.” \u003cstrong\u003e\u003cem\u003e—Bustle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In Sun Yung Shin’s gifted hands, cyborgs become the mechanism by which to examine the self, humanity, and the individual’s place in an automated world.” \u003cstrong\u003e\u003cem\u003e—Signature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“At once sensual, philosophical, mind-bending in its juxtapositions, Shin’s exploration of what we take for granted—bodies, labels, time, and what it means to be human—crosses many intellectual landscapes at once. . . . \u003cem\u003eUnbearable Splendor\u003c\/em\u003e is a liminal book, but one that invites the reader to cross all its boundaries.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eInternational Examiner\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Unlike your more ‘vanilla’ essay collections, this work uses poetic building blocks to slowly reveal the existentialist heart, a very impressive result as the personal connection is palpable.” \u003cem\u003e—\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eMessenger’s Booker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’ve long thought that Sun Yung Shin is writing some of the most powerful poetry around.” \u003cstrong\u003e\u003cem\u003e—Eileen Verbs Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“To graph the immigrant, the exile and ‘pseudo-exile,’ as ‘a kind of star.’ To perform childhood. ‘Descent upon descent.’ To write on ‘[p]aper soaked in milk.’ \u003cem\u003eUnbearable Splendor\u003c\/em\u003e is a book like this, that is this: the opposite or near-far of home. What is the difference between a guest and a ghost? What will you feed them in turn? I was profoundly moved by the questions and deep bits of feeling in this gorgeous, sensing work, and am honored to write in support of its extraordinary and brilliant writer, Sun Yung Shin.” \u003cstrong\u003e—Bhanu Kapil\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eUnbearable Splendor,\u003c\/em\u003e Sun Yung Shin sticks a pin directly into the heart of who we are to reveal that a person is a mystery without beginning or end, borders or documents, complicated by robotics and astrophysics, arrivals and departures, myth and rewriting. A person is divided into multiple, complicated selves, as various and complex as the forms and approaches she employs in these poetic essays. To read Shin’s work is to marvel at a rosebud’s concealed and silent core and to slowly witness its elegant blooming. It is a delicate and majestic show.” \u003cstrong\u003e—Jenny Boully\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Unbearable Splendor\u003c\/em\u003e is a dazzling collage of biophysical metamorphoses, wherein the ‘I’ atomizes into multiple and self-replicating new mythologies of what constitutes an authentic being. ‘I didn’t know I wasn’t human. My past was invented, implanted, and accepted. I’m more real than you are because I know I’m not real.’ In our vast expanse, where ‘every species is transitional,’ Shin’s lyricism, erudition, and tonal command of loss and indignation harmonize into a singular nucleus that hums and pulsates through each of these wondrous poetic meditations.” \u003cstrong\u003e—Ed Bok Lee\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Into the fertile and ever-growing landscape of essay-poem hybrids comes Sun Yung Shin’s striking exploration of identity, imitation, and home. From the uncanny valley to the minotaur’s labyrinth, Shin brings an unflagging intelligence and tremendous formal dexterity to bear on what makes us human and what makes us monstrous—we so often fall somewhere in between.” \u003cstrong\u003e—Mairead Small Staid, Literati Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In examining her own search of identity, Shin masterfully uses the likes of Antigone, Korean history, cyborgs, black holes, clones to bridge this ‘Uncanny Valley.’ This is brilliantly done and is often as mind-bending as it is heart-wrenching.” \u003cstrong\u003e—Unabridged Bookstore\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Like a dream intent on processing one’s daily struggles in the most abstract of ways, \u003cem\u003eUnbearable Splendor\u003c\/em\u003e kneads and stretches the boundaries between fiction and nonfiction, realism and SF, with the experience of a Korean orphan-turned-American immigrant being central to the experiment.” \u003cstrong\u003e\u003cem\u003e—Strange Horizons\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39546423902285,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896382_FC.jpg?v=1636502990"},{"product_id":"till-the-wheels-fall-off","title":"Till the Wheels Fall Off","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eA novel by Brad Zellar\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJuly 12, 2022 • 5.5 x 8.25 • 328 Pages • 978-1-56689-639-9\u003c\/h5\u003e\n\u003ch4\u003eFrom roller rinks and record players to coin-operated condom dispensers and small-town mobsters, \u003cem\u003eTill the Wheels Fall Off\u003c\/em\u003e is a novel about an unconventional childhood among the pleasures and privations of the pre-digital era.\u003c\/h4\u003e\n\u003cp\u003eIt’s the late 1980s, and Matthew Carnap is awake most nights, afflicted by a potent combination of insomnia and undiagnosed ADHD. Sometimes he gazes out his bedroom window into the dark; sometimes he wanders the streets of his small southern Minnesota town. But more often than not, he crosses the hall into his stepfather Russ’s roller rink to spend the sleepless hours lost in music. Russ’s record collection is as eclectic as it is extensive, and he and Matthew bond over discovering new tunes and spinning perfect skate mixes. Then Matthew’s mother divorces Russ; they move; the roller rink closes; the twenty-first century arrives. Years later, an isolated, restless Matthew moves back to his hometown. From an unusual apartment in the pressbox of the high school football stadium, he searches his memories, looking for something that might reconnect him with Russ.\u003c\/p\u003e\n\u003cp\u003eWith humor and empathy, Brad Zellar (\u003cem\u003eHouse of Coates\u003c\/em\u003e) returns with a discursive, lo-fi novel about rural Midwestern life, nostalgia, neurodiversity, masculinity, and family—with a built-in soundtrack. \u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBrad Zellar has worked as a writer and editor for daily and weekly newspapers, as well as for regional and national magazines. A former senior editor at \u003ci\u003eCity Pages, The Rake,\u003c\/i\u003e and \u003ci\u003eUtne Reader,\u003c\/i\u003e Zellar is also the author of \u003ci\u003eSuburban World: The Norling Photos, Conductors of the Moving World, House of Coates, \u003c\/i\u003eand \u003ci\u003eDriftless.\u003c\/i\u003e He has frequently collaborated with the photographer Alec Soth, and together they produced seven editions of \u003ci\u003eThe LBM Dispatch,\u003c\/i\u003e chronicling American community life in the twenty-first century. Zellar’s work has been featured in the \u003ci\u003eNew York Times Magazine, The Believer, Paris Review, Vice, Guernica, Aperture,\u003c\/i\u003e and Russian \u003ci\u003eEsquire.\u003c\/i\u003e He spent fifteen years working in bookstores and was a co-owner of Rag \u0026amp; Bone Books in Minneapolis. He currently lives in Saint Paul.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eTill the Wheels Fall Off\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cb\u003eFinalist for the 2023 Minnesota Book Award for Novel and Short Story\u003c\/b\u003e\u003cem\u003e\u003cbr\u003eThe Philadelphia Inquirer,\u003c\/em\u003e “Best New Books to Read in July”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This tender, circuitous novel is a lesson in dedicated music listening, but also in how music brings together two remote individuals in unexpected ways. . . . A beautiful, captivating novel of memory, connection, and music.” \u003cstrong\u003e—S. Kirk Walsh, \u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“More than a mere nostalgia trip, Brad Zellar’s contemplative, quietly powerful new novel considers the tiny utopias that come from nowhere and dissipate unceremoniously in our pasts.” \u003cstrong\u003e—Patrick Rapa, \u003cem\u003eThe Philadelphia Inquirer\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Thoughtful, insightful, well-crafted, and just plain pleasurable. . . . It’s steeped in the stuff of nostalgia: music, roller rinks, and small towns, and how they exert their pull on a certain sensibility. But there’s no glib Nick Hornby schtick here, and no sad sack demands for sympathy—just an honest look at a certain kind of masculinity, the bonds it creates, and the limitations it draws.” \u003cstrong\u003e—Keith Harris, \u003cem\u003eRacket\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A thoughtful meditation on the intersections of analog and digital. . . . Zellar’s lyrical descriptions of music and roller-skating are consistently effective. This affectionate and endearing trip down memory lane is sure to resonate with readers.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like a more rueful, meditative \u003cem\u003eHigh Fidelity\u003c\/em\u003e. . . . Music, for a lonely child of late-20th-century America, becomes not merely a backdrop or soundtrack, but the thread along which one strings a life. Can a book that's languidly paced and discursive also be a joy? Yes.” \u003cstrong\u003e—\u003cem\u003eKirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like listening to a favorite album at different times in your life, the novel offers the alternating effects of revelation and affirmation when life’s pivotal moments require a soundtrack, and Zellar is a master at both.” \u003cstrong\u003e—Frank Randall, \u003cem\u003eRain Taxi Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The writing is hypnotic and memorable. Its imagery is stunning, and its descriptions are evocative. . . . An affecting, introspective novel that embraces the beauty of memory and the power of resilience.” \u003cb\u003e—Peter Dabbene, \u003ci\u003eForeword Reviews\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Life's a gas when your step-dad owns a roller rink, right? This bittersweet novel hops between our hero’s small town 1980s, the wasteland of his 20s at the dawn of the millennium, his return to what is left of his roots, and the memories and mystery he left behind. A touching, lonely, hazy, and wistful look at family, music, roller-skating, and what it really means to go home again.” \u003cstrong\u003e—Seth Tucker, Carmichael's Bookstore (Louisville, KY)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like a Gen X Larry McMurtry, Brad Zellar takes us on a tour of forgotten America and finds truth and beauty in the least likely of places. \u003cem\u003eTill the Wheels Fall Off\u003c\/em\u003e isn't a ghost story, but after reading it, it's hard to shake the feeling that you've been spending time with a spirit we forgot about long ago.” \u003cstrong\u003e—Jason Diamond\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“In the same way favorite songs transport us to different places and parts of our past, so too does this beautiful, beguiling book. I read it in gulps, as eager to hear the next album spinning in the skating rink as I was to see its players marvel at the unsolvable riddle of life. Zellar is a sorcerer and a saint, and the characters he sends careening around this novel are mystical and strange and set in my craw like another of those melodies from my youth. Which is to say, I’ll never forget this book.” \u003cstrong\u003e—Peter Geye\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I loved \u003cem\u003eTill the Wheels Fall Off\u003c\/em\u003e! It is sure to be one of my favorites from this year. I loved all of the small-town dynamics; Zellar captures the decline of smaller towns, but by the end it feels hopeful. The most amazing thing is how Zellar writes about music and nostalgia: not only the way a particular song makes you feel, but how it can connect you to a particular point in the past. Russ is one of my favorite characters that I have read recently, absolutely original. \u003cem\u003eTill the Wheels Fall Off\u003c\/em\u003e is a love letter to roller rinks, music, and growing up.”\u003cstrong\u003e —Hunter Gillum, Beaverdale Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for \u003cem\u003eHouse of Coates\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Transfixing. . . . A haunting change of pace.” \u003cstrong\u003e—\u003cem\u003eThe \u003c\/em\u003e\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eNew York Times\u003c\/b\u003e \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“An interesting, well-executed book. Ultimately, it’s less a narrative about Lester than it is a prose poem about loners and losers, the many Lesters who ‘never entirely disappear as adults, even if you still persist in not seeing them.’” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003ePublishers Weekly\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“A poetic attempt not to fully form a life but only to capture moments of memory and objects of counterintuitive beauty. . . . The prose is crisp and thoughtful and well-matched to the photos that show the side of America to which even most Americans never give a second thought.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eKirkus\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“An enigmatic, innovative, and deadpan novel. . . . What [Zellar and Soth have] mined here falls somewhere in between W. G. Sebald’s photograph-strewn novels and Carson McCullers’s small-town freaks and loners: the result is an unaccountably strange and liberating narrative.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eVogue\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eHouse of Coates\u003c\/i\u003e can only be described as a personal truth of sorts, one wrapped in artistic mystery and pierced with startling photographs . . . Zellar’s prose encapsulating Lester’s life so well, that it won't matter if he is made of flesh and blood or not, for you will feel he is undeniably real, with no need for further research.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eThe Intentional\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“A kind of case study of human drift.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eStar Tribune\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“This collaboration between writer Brad Zellar and photographer Alec Soth . . . captures in 133 pages the essence of those who live on the edges of society.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003ePioneer Press\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“A standout. . . . Exquisitely written.” \u003cb\u003e—\u003ci\u003eBook Riot\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The book is really as much about the place as it is about Lester . . . and both story and photos describe a connection among them that’s almost spiritual. . . . This is a truly, deeply Minnesotan story, and one well worth spending some time with.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eMNArtists.org\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“You’ll be swept away by \u003cem\u003eHouse of Coates.\u003c\/em\u003e . . . The best picture book ever for adults?” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eDonna Trump\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Brad Zellar makes intriguing and vital observations on types of character traits that defy cultural assumptions and stereotypes of masculinity. Combining vivid writing with photographs by Alec Soth, the novel becomes an enlivened testament to our complicated associations and relationships with the world and each other.” \u003cb\u003e\u003ci\u003e—TJ Eckleburg Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Gentle and unsparing in equal measure.” \u003cb\u003e\u003ci\u003e—Bustle\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A beautiful object, both for readers of fiction and for people who like Alec’s photography who are also interested in artists’ books.” \u003cb\u003e\u003ci\u003e—OZY\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A very handsome paperback edition. . . . A new afterword wraps the whole mystery of Lester beautifully.” \u003cb\u003e\u003ci\u003e—MinnPost\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Loneliness . . . with a seedy flavor, a weatherworn feel, both angrier and more subdued, totally frank and intimate, but also silent and empty. What’s truly amazing about this book, having just described it in such terms, is that it strikes some very familiar chord without seeming cliché or archetypal or borrowed.” \u003cb\u003e\u003ci\u003e—Nomadic Press\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39546584334413,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896399_FC.jpg?v=1636516980"},{"product_id":"bilbao-new-york-bilbao","title":"Bilbao–New York–Bilbao","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Kirmen Uribe, translated by \u003cspan data-mce-fragment=\"1\"\u003eElizabeth Macklin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 4, 2022 • 5.5 x 7 • 256 pages • 978-1-56689-649-8\u003c\/h5\u003e\n\u003ch4\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eOn a transatlantic flight between Bilbao and New York City, a fictional version of Kirmen Uribe recalls three generations of family history—the inspiration for the novel he wants to write—and ponders how the sea has shaped their stories.\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eThe day he knew he was going to die, our narrator’s grandfather took his daughter-in-law to the Fine Arts Museum in Bilbao, the de facto capital of the Basque region of northern Spain, to show her a painting with ties to their family. Years later, her son Kirmen traces those ties back through the decades, knotting together moments from early twentieth-century art history with the stories of his ancestors’ fishing adventures—and tragedies—in the North Atlantic Ocean. Elegant, fluid storytelling is punctuated by scenes from Kirmen’s flight, from security line to airport bar to jet cabin, and reflections on the creative writing process.\u003c\/p\u003e\n\u003cp\u003eThis original and compelling novel earned debut author Kirmen Uribe the prestigious National Prize for Literature in Spain in 2009. Exquisitely translated from Basque to English by Elizabeth Macklin, \u003cem\u003eBilbao–New York–Bilbao\u003c\/em\u003e skillfully captures the intersections of many journeys: past and present, physical and artistic, complete and still unfolding.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBilbao–New York–Bilbao\u003c\/i\u003e is the second book commissioned for the Spatial Species series, edited by Youmna Chlala and Ken Chen. The series investigates the ways we activate space through language. In the tradition of Georges Perec’s \u003cem\u003eAn Attempt at Exhausting a Place in Paris,\u003c\/em\u003e\u003ci\u003e \u003c\/i\u003eSpatial Species titles are pocket-sized editions, each keenly focused on place. Instead of tourist spots and public squares, we encounter unmarked, noncanonical spaces: edges, alleyways, diasporic traces. Such intimate journeying requires experiments in language and genre, moving travelogue, fiction, or memoir into something closer to eating, drinking, and dreaming.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKirmen Uribe writes in Basque. He is one of the most relevant and widely translated writers of his generation in Spain. He has written two collections of poems and four novels. Uribe won Spain's National Prize for Literature for his first novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBilbao–New York–Bilbao\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. His works have appeared in the \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew Yorker \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e the\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Paris Review, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eamong many other journals. He was selected for the Iowa International Writers Program in 2017 and was awarded the New York Public Library Cullman Center Fellowship for 2018–2019. He is now based in New York City, where he teaches Creative Writing at New York University.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eElizabeth Macklin is the author of the poetry collections \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eA Woman Kneeling in the Big City \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eYou’ve Just Been Told\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e. A 1994 Guggenheim Fellow in Poetry, she received, in 1998, an Amy Lowell Poetry Travelling Scholarship, which allowed her to spend a year in the Basque Country, beginning studies in Euskara. Her translation of Kirmen Uribe’s first poetry book, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eMeanwhile Take My Hand,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e was published in 2007. In addition to \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eBilbao–New York–Bilbao,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e she has translated numerous multimedia works in which Uribe has been involved. In the Basque Country she is a member of Zart Cultural Center.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for Bilbao–New York–Bilbao\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e“A seamlessly digressive meditation on a writer’s family and Spanish history. . . . Uribe’s transfixing Sebaldian anecdotes take the reader down a series of rabbit holes and end up piecing together a memorable family portrait. It adds up to a powerful work of autofiction.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The transmission of memory—cultural, regional, and personal—relies on storytelling, and as such, Uribe’s storytelling often takes on the flavour of myth.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e —Asymptote\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Kirmen Uribe\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Uribe has succeeded in realizing what is surely an ambition for many writers: a book that combines family, romances and literature, anchored deeply in a spoken culture but also in bookishness—and all without a single note of self-congratulation.” \u003cstrong\u003e—\u003cem\u003eTimes Literary Supplement\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Uribe's literature deepens its roots in the Basque Country, but it's completely universal.”\u003cem\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003e —Harvard Book Review\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“[Uribe’s] works enlighten the path for memory.”\u003cem\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003e —Los Angeles Times Book Review\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39546952712269,"sku":"","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896498_FC.jpg?v=1647999617"},{"product_id":"alive-at-the-end-of-the-world","title":"Alive at the End of the World","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Saeed Jones\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 13, 2022 • 5.5 x 8.25 • 104 pages • 978-1-56689-651-1\u003c\/h5\u003e\n\u003ch4\u003ePierced by grief and charged with history, this new poetry collection from the award-winning author of \u003ci\u003ePrelude to Bruise \u003c\/i\u003eand \u003ci\u003eHow We Fight for Our Lives \u003c\/i\u003econfronts our everyday apocalypses.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn haunted poems glinting with laughter, Saeed Jones explores the public and private betrayals of life as we know it. With verve, wit, and elegant craft, Jones strips away American artifice in order to reveal the intimate grief of a mourning son and the collective grief bearing down on all of us. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDrawing from memoir, fiction, and persona, Jones confronts the everyday perils of white supremacy with a finely tuned poetic ear, identifying moments that seem routine even as they open chasms of hurt. Viewing himself as an unreliable narrator, Jones looks outward to understand what’s within, bringing forth cultural icons like Little Richard, Paul Mooney, Aretha Franklin and Diahann Carroll to illuminate how long and how perilously we’ve been living on top of fault lines. As these poems seek ways to love and survive through America’s existential threats, Jones ushers his readers toward the realization that the end of the world is already here—and the apocalypse is a state of being.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSaeed Jones was born in Memphis, Tennessee, and grew up in Lewisville, Texas. His work has appeared in the \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew Yorker, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ethe \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York Times, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGQ, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand he has been featured on public radio programs including NPR’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFresh Air, Pop Culture Happy Hour, It’s Been A Minute with Sam Sanders, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAll Things Considered.\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e He lives in Columbus, Ohio, with his dog, Caesar, and tweets @TheFerocity.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cb\u003ePraise for \u003cem\u003eAlive at the End of the World\u003c\/em\u003e\u003c\/b\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of the 2023 Anisfield-Wolf Book Award in Poetry\u003cbr\u003eFinalist for the 2023 Lambda Literary Award in Gay Poetry\u003cbr\u003eFinalist for the Publishing Triangle 2023 Thom Gunn Award for Gay Poetry\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003eThe New Yorker, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e“Best Books of 2022”\u003cbr\u003eNPR, “Best Books of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003ePublishers Weekly,\u003c\/em\u003e “Best Books of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cb\u003eAmerican Library Association, “2023 Notable Book”\u003c\/b\u003e\u003cem\u003e\u003cbr\u003eOprah Daily,\u003c\/em\u003e “Best Memoirs of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBook Riot,\u003c\/em\u003e “Best Poetry Collections in 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eElectric Literature,\u003c\/em\u003e “Favorite Poetry Collections of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTor.com, “Best Books of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eChicago Review of Books,\u003c\/em\u003e “Must-Read September Books”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBoston Magazine,\u003c\/em\u003e “25 Books Boston Booksellers Are Looking Forward to This Fall”\u003cbr\u003e\u003cem\u003eThem,\u003c\/em\u003e “Favorite Books of 2022” \u003cbr\u003eRiffraff Bookstore, “Favorites of 2022”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The potent latest from Jones excoriates an American present that refuses to learn from its past or correct for a possibly disastrous future. A kaleidoscope of grief and anger mixes with the poet’s wit, giving these timely poems a striking directness. . . . This penetrating collection shows Jones at his poetic best.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones’s latest is yet another masterly work, though sung in a distinctly different tenor. . . . [His] most free-flowing work yet, a centripetal collection where rage and pain and weariness swirl and coalesce with stunning emotional and conceptual clarity, yet so intimate it feels bled from the author’s very veins.” \u003cstrong\u003e—\u003cem\u003eLibrary Journal,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones unravels and reconfigures language like he’s untying a knot, then rethreads the strands in a delicate new construction. . . . Jones writes in the space between wreckage and resilience. He offers a calibrated reckoning with his own grief, cradled in ambiguity—and we wait, holding our breath, to see what is tendered next.”\u003cstrong\u003e —Erin Overbey, \u003cem\u003eThe New Yorker\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Personal and universal, full of grief and sadness but also packed with hope and humor, stylish and entertaining but also profound and touching. The work of Saeed Jones has always been those things, but perhaps never as much as it is in this poetry collection. We knew great work would come from the pandemic, and mixed with his own life, experiences and losses, Jones has delivered what we all knew was coming: beautiful, shining work about the darkness that often envelops us.” \u003cstrong\u003e—Gabino Iglesias, NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“As he did in his memoir and his previous poetry collection, Jones here whips up a dizzying blend of humor, vulnerability and astute social observation to map his place in the world.” \u003cem\u003e\u003cstrong\u003e—The New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A serious argument for community and the rebellion of joy. I love [“Alive at the End of the World”] for how it shows us the importance of defending our right to pleasure.”\u003cstrong\u003e —United States Poet Laureate Ada Limón, NPR’s \u003cem\u003eThe Slowdown\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“The beauty of Jones’s poems lies in the way they approach death through the pleasures of being alive, deploying a redemptive levity or an acerbic conviviality to lend shape to catastrophe. . . . Passionate and entertaining, Jones’s book etches with fire the ‘alive’ in its title.” \u003cstrong\u003e—David Woo, Poetry Foundation\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A powerful poetry collection about the public and private betrayals of life as we know it. Jones digs deep into personal and collective histories of grief to confront the perils of white supremacy and the cracked ideological foundation that the United States sits on.” \u003cstrong\u003e—\u003cem\u003eChicago Review of Books\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“A poetic onslaught of raw emotion—in the best kind of way. . . . Full of powerful moments, each composed of carefully curated words set against a backdrop of the repeated refrain that this is the end of the world. This book feels absolutely necessary right now.” \u003cstrong\u003e—Anne Mai Yee Jansen, \u003cem\u003eBook Riot\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones reaffirms his place as one of the most talented living poets writing in English with this collection, demonstrating an ever-evolving mastery of language and a distinct eye for structural balance. . . . \u003cem\u003eAlive at the End of the World\u003c\/em\u003e is filled with poems that will stop readers in their tracks. Jones puts his signature wit and humor on full display, as well as his brilliant economy of language. . . . A tour de force.“ \u003cstrong\u003e—Ronnie K. Stephens, \u003cem\u003eThe Poetry Question\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Swims in the ocean of personal and collective grief brought on by many small and large apocalypses. [Jones’s] glimmering words bring wit and ferocity to the page.” \u003cstrong\u003e—Sarah Neilson, \u003cem\u003eShondaland\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Grief is part of its warp and woof, and the ghosts are more present than past. . . . This one benefits from being read cover to cover.” \u003cstrong\u003e—\u003cem\u003eLas Vegas Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saeed Jones is a treasure. . . . This latest poetry collection is a love song to artists and to Blackness, an elegy and a eulogy and a reckoning with America.” \u003cem\u003e\u003cstrong\u003e—Them\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A cultural sage. . . . Yes, grieve, Jones asserts. Yet, to be alive at the end of the world means that perhaps while we stand before a globe on fire, we can become like Prometheus in protest. We can take that fire, make it a new sun, for a new Black queer Earth.” \u003cstrong\u003e—Kashif Andrew Graham, \u003cem\u003eChapter 16\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A cohesive blend of free verse poetry, prose, and narrative elements that speak both to his personal history and the history of Black oppression. . . . As raw as it is masterful.” \u003cstrong\u003e—Aiden J. Bowers, \u003cem\u003eThe Harvard Crimson\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A vital and commanding sophomore poetry collection from one of America's most engaging poets. Essential reading.”\u003cstrong\u003e —Danny Caine, Raven Book Store\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“[Jones] doesn’t disappoint in his newest book of poetry that tackles current topics, grief, and Black legends. It’s all here.”\u003cstrong\u003e —Christina Pascucci-Ciampa, All She Wrote Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for \u003cem\u003eHow We Fight for Our Lives\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cb\u003eWinner of the 2019 Kirkus Prize for Nonfiction\u003cbr\u003eWinner of the 2019 Lambda Literary Award for Gay Memoir\/Biography\u003cbr\u003eWinner of the 2020 Stonewall Book Award–Israel Fishman Nonfiction Award\u003cbr\u003eWinner of the 2020 Randy Shilts Award for Gay Nonfiction\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eOne of the best books of the year as selected by the\u003ci\u003e New York Times;\u003c\/i\u003e the\u003ci\u003e Washington Post;\u003c\/i\u003e NPR; \u003ci\u003eTime;\u003c\/i\u003e the\u003ci\u003e New Yorker;\u003c\/i\u003e NBC’s\u003ci\u003e Today Show; O, The Oprah Magazine;\u003c\/i\u003e \u003ci\u003eEntertainment Weekly; Harper’s Bazaar; Elle; Marie Claire; BuzzFeed;\u003c\/i\u003e \u003ci\u003eGoodreads;\u003c\/i\u003e and many more.\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“[A] devastating memoir. . . . Jones is fascinated by power (who has it, how and why we deploy it), but he seems equally interested in tenderness and frailty. We wound and save one another, we try our best, we leave too much unsaid. . . . A moving, bracingly honest memoir that reads like fevered poetry.” \u003cb\u003e—Benoit Denizet-Lewis, \u003cem\u003eThe \u003c\/em\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003eNew York Times\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“A raw and eloquent memoir. . . . At once explicitly raunchy, mean, nuanced, loving and melancholy. It's sometimes hard to read and harder to put down.” \u003cb\u003e—Maureen Corrigan, NPR\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“Urgent, immediate, matter of fact. . . . The prose in Saeed Jones’s memoir \u003ci\u003eHow We Fight for Our Lives\u003c\/i\u003e shines with a poet’s desire to give intellections the force of sense impressions.” \u003cb\u003e—Katy Waldman, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe New Yorker\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“A luminous, clear-eyed excavation of how we learn to define ourselves. . . . A radiant memoir that meditates on the many ways we belong to each other and the many ways we are released.” \u003cb\u003e—Ada Limón, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eSan Francisco Chronicle\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“An outstanding memoir that somehow manages a perfect balance between love and violence, hope and hostility, transformation and resentment. . . . More importantly, it's a narrative that cements Jones as a new literary star—and a book that will give many an injection of hope.” \u003cb\u003e\u003ci\u003e—\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eGabino Iglesias, NPR\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“Jones’ explosive and poetic memoir traces his coming-of-age as a black, queer, and Southern man in vignettes that heartbreakingly and rigorously explore the beauty of love, the weight of trauma, and the power of resilience.” —\u003cb\u003e\u003ci\u003eEntertainment Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“There are moments of devastating ugliness and moments of ecstatic joy . . . infused with an emotional energy that only authenticity can provide.” \u003cb\u003e—Michael Kleber-Diggs, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eStar Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“[This] memoir marks the emergence of a major literary voice . . . written with masterful control of both style and material.” \u003cb\u003e—\u003ci\u003eKirkus, \u003c\/i\u003estarred review \u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“Powerful. . . . Jones is a remarkable, unflinching storyteller, and his book is a rewarding page-turner.” \u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly, \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003estarred review\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“\u003ci\u003eHow We Fight for Our Lives\u003c\/i\u003e is a primer in how to keep kicking, in how to stay afloat. . . . Thank god we get to be part of that world with Saeed Jones’ writing in it.”\u003cb\u003e —D. Gilson, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLambda Literary\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“Jones’ evocative prose has a layered effect, immersing readers in his state of mind, where gorgeous turns of phrase create some distance from his more painful memories. . . . There is enough turmoil and poetry and determination in it to fill whole bookshelves.”\u003cstrong\u003e \u003cem\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe A.V. Club\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003ePraise for \u003cem\u003ePrelude to Bruise\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003eWinner of the 2015 Stonewall Book Award–Barbara Gittings Literature Award\u003cbr\u003eWinner of the 2015 PEN\/Joyce Osterweil Award for Poetry\u003cbr\u003eFinalist for the 2014 National Book Critics Circle Award for Poetry\u003cbr\u003eFinalist for the 2014 Lambda Literary Award for Gay Poetry\u003cbr\u003eFinalist for the 2015 Thom Gunn Award for Gay Poetry\u003cbr\u003eNPR’s Best Books of 2014\u003cbr\u003e\u003cem\u003eTime Out New York\u003c\/em\u003e Best Books of 2014\u003cbr\u003e\u003cem\u003eBook Riot,\u003c\/em\u003e 2014’s Must-Read Books from Indie Presses\u003cbr\u003e\u003cem\u003eSplit This Rock\u003c\/em\u003e Recommended Poetry Books of 2014\u003cbr\u003eVol. 1 Brooklyn, A Year of Favorites, Jason Diamond\u003cbr\u003eGreenlight Bookstore, Holiday Picks\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Saeed’s \u003ci\u003ePrelude to Bruise\u003c\/i\u003e is a rigorous collection that challenges political, sexual and familial norms and bristles with pain. . . . No matter the subject, Jones’s writing is silky smooth.”\u003cb\u003e\u003ci\u003e —\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eElizabeth Lund, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eWashington Post\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“This is indeed a book seamed in smoke; it is a dance that invites you to admire the supple twist of its narrative spine; it is hard and glaring and brilliant as the anthracite that opens the collection: ‘\u003ci\u003ea voice mistook for stone, \/ jagged black fist\u003c\/i\u003e.’” \u003cb\u003e—Amal El-Mohtar, NPR\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“The features that distinguish his poems from prose—brevity, symbolism, implication—let him investigate the almost unsayable.” \u003cb\u003e—Stephanie Burt, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLos Angeles Times\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“The way these poems address violence, life in the south, race, sexuality and relationships makes for an engrossing read best consumed in as few sittings as possible.” \u003cb\u003e—Nolan Feeney, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eTime\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“In his debut collection, Jones has crafted a fever dream, something akin to magic. . . . Solid from start to finish, possessing amazing energy and focus, a bold new voice in poetry has announced itself.” \u003cb\u003e\u003ci\u003e—Publishers Weekly, \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003estarred review\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“A powerful collection . . . with a high level of craft, emotion and metaphor.” \u003cb\u003e—Brook Stephenson, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eEbony\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“This powerful collection feels at times like a blow to the throat, but when we recover, the air is sweeter for having been absent.” \u003cb\u003e\u003ci\u003e—\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eErica Wright, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eGuernica\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“A work of insight and great beauty, Jones’ first poetry collection manages to be both ferocious and subtle.” \u003cb\u003e—Margaret Eby, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eBrooklyn Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“These poems are tightly constructed, scary-beautiful, and lyrically brilliant, driven by a raw and devastating emotional power.” \u003cb\u003e—Isaac Fitzgerald, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Millions\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“The poems in \u003ci\u003ePrelude to Bruise\u003c\/i\u003e enflame, with all flame’s consequences of wounding and illumination. . . . It’s a story of the forces of destruction—the destruction of black bodies and black selves—built into America, and it surfaces in lines of lust, violence, possession, and power.” \u003cb\u003e—Kate Schapira, \u003ci\u003eRain Taxi\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":42622225809650,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896511_FC.jpg?v=1647957932"},{"product_id":"village","title":"Village","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by LaTasha N. Nevada Diggs\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 7, 2023 • 6 x 8 • 112 pages • 978-1-56689-661-0\u003c\/h5\u003e\n\u003ch4\u003ePart poetry collection, part soundscape, \u003cem\u003eVillage\u003c\/em\u003e uses dark humor and keen observation to explore the roots of memory, grief, and estrangement.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eIn propulsive and formally inventive verse, LaTasha N. Nevada Diggs examines how trauma reshapes lineage, language, and choice, disrupting attempts at reconciliation across generations. Questioning who is deemed worthy of public memorialization, Diggs raises new monuments, tears down classist tropes, offers detailed instructions for her own international funeral celebrations, and makes visible the hidden labors of care and place. From corners in Harlem through North Carolina back roads, Diggs complicates the concept of “survivor,” getting to the truth of living in the dystopia of poverty.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA writer, vocalist and performance\/sound artist, LaTasha N. Nevada Diggs is the author of \u003cem\u003eTw\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eERK\u003c\/span\u003e\u003c\/em\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(Belladonna, 2013). \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eDiggs has presented and performed at California Institute of the Arts, El Museo del Barrio, The Museum of Modern Art, and Walker Art Center and at festivals including: Explore the North Festival, Leeuwarden, Netherlands; Hekayeh Festival, Abu Dhabi; International Poetry Festival of Copenhagen; \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eOcean Space, Venice; International Poetry Festival of Romania; Question of Will, Slovakia; \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ePoesiefestival, Berlin; and the 2015 Venice Biennale.  As an independent curator, artistic director, and producer, Diggs has presented events for BAMCafé, Black Rock Coalition, El Museo del Barrio, The Schomburg Center for Research in Black Culture, Lincoln Center Out of Doors, and the David Rubenstein Atrium.  Diggs has received a 2020 George A. and Eliza Gardner Howard Foundation Fellowship, a \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e2020 C.D. Wright Award for Poetry from the Foundation of Contemporary Art, a \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhiting Award (2016) and a National Endowment for the Arts Literature Fellowship (2015), as well as grants and fellowships from Cave Canem, Creative Capital, New York Foundation for the Arts, and the U.S.-Japan Friendship Commission, among others. She lives in Harlem and teaches part-time at Brooklyn College and Stetson University.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003ePraise for \u003cem\u003eVillage\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script\n$(document).ready(function() {\n$('.text').jTruncate({\nlength: 1000, \/* The number of characters to display before truncating. *\/\n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link.\nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link.\nellipsisText: \"...\", \/\/ The text to append to the truncated portion.\n});\n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eFinalist for the 2024 Firecracker Award in Poetry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eBoston Globe\u003c\/em\u003e, \"6 Favorite Poetry Books of 2023\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Diggs has found ways to sing out through hardship. . . . This is a dazzling and impressive work.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Part instruction manual, part celebration, part dance party, part garden tour, \u003cem\u003eVillage\u003c\/em\u003e refuses compartmentalization, demanding engaged and engaging ways of looking at and talking about difficult shared experiences. . . . In English, Portuguese, Tsalagi, Māori, Arabic, Yoruba, and more. These poems by LaTasha N. Nevada Diggs reveal the richly diverse ecosystem of what a limited imagination might sideline as a ‘marginalized’ life.” \u003cstrong\u003e—Camille Dungy, \u003cem\u003eOrion Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“LaTasha out here singing in tongues again, and I gotta sing her praises. This \u003cem\u003eVillage\u003c\/em\u003e is a family history, a biomythography, a sensory tsunami: a documentary poetics composed in the languages Diggs needed to get at her truth, all of them getting stretched, chopped, spat, crooned, and retuned to a lower frequency. Hard, tender, witty, and elegiac, these fully populated poems are portraits of the human condition—and the conditions that shape and haunt some humans more than others.” \u003cstrong\u003e—Evie Shockley\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Buzzing with song-sound, poetic music, multiple languages, mad word love, intergenerational multiplicities of wisdom and harm, constant rearrangement of and searching for formal expansion that can channel all of it into shapes that keep moving, all these lives on the line, proposals and testimony and lists and saved documents—\u003cem\u003eVillage\u003c\/em\u003e is a vast, searing, funny, and ultimately incredible book.” \u003cstrong\u003e—Anselm Berrigan\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In Diggs’s hands, under her bone plectrum, which seems plucked from the Milky Way at night, sound becomes pliant, extensive, ecstatic, specific, omnilinguistic, sluicing, and moody. Sound reveals and conceals its faces, calls for and sends away its devotees, entails a velvety fabric that can be seamed, stitched, furled, unfurled, burnt till it converts to sight and smell, melts, wicks out. Scatters. Swerves to the verge. The term \u003cem\u003evirtuosic\u003c\/em\u003e seems too mean and stingy for the magnitude of Diggs’s star.” \u003cstrong\u003e—Joyelle McSweeney\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for LaTasha N. Nevada Diggs\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I want to write nearby. . . . LaTasha N. Nevada Diggs, who recombines Black slang, Japanese, Spanish, Chamorro, and Tagalog into a remastered Afrofuturist song.” \u003cstrong\u003e—Cathy Park Hong\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“More poets are dissecting the personal and shared experience of a post-global United States battered from decades of war and polarizing politics, contesting the offhand and sometimes facile liberal humanism in poems meant to address racial difference. LaTasha N. Nevada Diggs’s \u003cem\u003eTwERK\u003c\/em\u003e is a multilingual performance of linguistic personae.” \u003cstrong\u003e—Carmen Giménez Smith, \u003cem\u003eBoston Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Diggs is a language connoisseur. . . . [She] navigates Standard English and African American Vernacular English (AAVE) with ease, weaving Japanese, Cherokee, and Quechua into her work to bring to the surface issues of forced migration and the surviving remnants of colonization.” \u003cstrong\u003e—Ashia Ajani, \u003cem\u003eSierra Club\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“WARNING: After reading \u003ci\u003eTwERK\u003c\/i\u003e, you may experience vibrant, dancing colors like when you close your eyes and stare at the crazy shifting shapes behind your eyelids. LaTasha’s brilliant poems vibrate me back to that unbridled youth of boundless madness, love and joy. \u003ci\u003eTwERK \u003c\/i\u003etestifies that LaTasha is not just a poet but an anthropological myth-making DJ whose words will have your imagination on the dance floor kicking it till your goosebumps start to sweat! This is a must-read for real for real! Oh, did I mention she speaks like 10 different languages?” —\u003cb\u003eCharles Stone III\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“This long-awaited compendium of works by LaTasha N. Nevada Diggs will blow your mind with its delirious play of signs, its cultural repurposings and reclaimings, its endlessly spinning polyglot wheel, and its breezy repertoire of ribald, faux-naif cyberfolk myth-science. With dazzling rigor and imagination, Ms. Diggs shares with us a view from Harlem that shines a knowing light on every place in the observable universe. To read these works is to feel the world in mid-transformation.” \u003cb\u003e—Vijay Iyer\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“Tweaking parallel languages, rebooting and putting them to (hard, hard) work, \u003ci\u003eTwERK\u003c\/i\u003e’s non-stop shimmy-shimmy embarks on an animé-iigjag idio-lingual-lectical booty-roll and doesn’t come down until the break of dawn. La Reina de Harlem responds to Lorca’s Big-Apple-opolis heteroglossia with her own inimitable animations, incantations and ululations, twisting tongues so mellifluously that you don’t even realize you’ve been dancing on Saturn with Sun Ra for hours and still could have begged for more. Welcome LaTasha Diggs: this is her many-splendored night out!” \u003cb\u003e—Maria Damon\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“From this time forward, \u003ci\u003eTwERK\u003c\/i\u003e, can refer to a collection of cultural coordinates of a radically transformed Americas. \u003ci\u003eTwERK\u003c\/i\u003e—is rare poetics, a vine enmeshed onyx slab of gypsum glyphs inscribed. Cut, swirly, and nervy, N. Diggs’ fractal-linguistic urban chronicles deftly snip away at the lingering fears of a fugitive English’s frisky explorations. In her first major work, N. Diggs doesn’t so much “find” culture as she conjures up the new emerging happy peoples herein. Five thousand updates—download now!” \u003cb\u003e—Rodrigo Toscano\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“Here it is: a dope jam of dictions; a remixed, multicultural, polyphonic dance of vocabularies; a language of high stakes, hi-jinx, and hybridity. \u003ci\u003eTwERK \u003c\/i\u003eis subversive, vulnerable, and volatile. \u003ci\u003eTwERK \u003c\/i\u003etwists tongues. \u003ci\u003eTwERK \u003c\/i\u003etweaks speech. Reading these amazing poems mostly makes me say, Wow! Open your ears to take this music in, open your mouth to say it out loud. And: Wow!” \u003cb\u003e—Terrance Hayes\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“If the genre Black-American cosmopolitanism exists, Diggs is at the helm. Putting a new twist on an Ezra Pound-like gaze, Diggs approaches Black-American Orientalism with a coy wit and jovial approach that does not absolve – yet joyfully disarms both author and reader. Above all \u003ci\u003eTwERK \u003c\/i\u003eis a delightful celebration, word-play born out from the rigor that finally speaks our language (even if we don’t know it yet). I’ve been Twerked and contrary to my worst fears, my wife loves the results!” \u003cb\u003e—Mike Ladd\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":42624573309170,"sku":null,"price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896610_FC.jpg?v=1647988799"},{"product_id":"the-devil-of-the-provinces","title":"The Devil of the Provinces","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Juan Cárdenas, trans. by Lizzie Davis\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 12, 2023 • 5 x 7.75 • 176 pages • 978-1-56689-678-8\u003c\/h5\u003e\n\u003ch4\u003eAfter a series of failures, a biologist returns to his hometown to live with his grieving mother. But in this gripping crime novel that upends the genre’s conventions, strange events unravel what he thought he knew of his past, his present, and himself.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eWhen a biologist returns to Colombia after fifteen years abroad, he quickly becomes entangled in the trappings of his past and his increasingly bizarre present: the unsolved murder of his brother, a boarding school where girls give birth to strange creatures, a chance encounter with his irrevocably changed first love. A brush with a well-connected acquaintance leads to a biotechnology job offer, and he’s gradually drawn into a web of conspiracy. Ultimately, he may be destined to remain in the city he’d hoped never to see again—in \u003cem\u003eThe Devil of the Provinces,\u003c\/em\u003e nothing is as it seems.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eJuan Cárdenas\u003cspan style=\"font-weight: 400;\"\u003e (1978) is a Colombian art critic, curator, translator, and author of seven works of fiction, most recently the story collection \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVolver a comer del árbol de la ciencia \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand the novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eElástico de sombra\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. He has translated the works of such writers as William Faulkner, Thomas Wolfe, Gordon Lish, David Ohle, J. M. Machado de Assis, and Eça de Queirós. In 2014, his novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos estratos\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e received the Otras Voces Otros Ámbitos Prize. In 2017, he was named one of the thirty-nine best Latin American writers under the age of thirty-nine by the Hay Festival in Bogotá. Cárdenas currently coordinates the masters program in creative writing at the Caro y Cuervo Institute in Bogotá, where he works as a professor and researcher.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eLizzie Davis\u003cspan style=\"font-weight: 400;\"\u003e is a translator and a writer. Her recent projects include Juan Cárdenas’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOrnamental \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(a finalist for the 2021 PEN Translation Prize); Elena Medel’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Wonders, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ecotranslated with Thomas Bunstead;\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eand work by Valeria Luiselli, Pilar Fraile Amador, and Aura García-Junco.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cb\u003e\u003ci\u003eThe Devil of the Provinces\u003c\/i\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eLonglisted for the 2023 National Book Award for Translated Literature\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003e\u003ci\u003eVulture\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e, \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e“Books We Can’t Wait to Read in 2023”\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan\u003e“Cárdenas generates queasy intrigue from something as strange as the birth of a devil child and as mundane as a text message that has been read but not replied to. . . . Briskly paced, thoughtful, and truly weird: a whodunit that takes on the very idea of blame.” \u003cstrong\u003e—\u003cem\u003eKirkus\u003c\/em\u003e, starred review\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cspan\u003e“A dizzying and beguiling yarn. . . . A crime story, but one without clear answers or culprits. . . . Cárdenas describes the sweltering heat in beautifully strange terms, adding to the sense of small-town oppression, where self-deprecating jokes are ‘a kind of determinist doctrine.’ South American fiction fans will love this.”\u003c\/span\u003e\u003cb\u003e —\u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Catastrophe and grace intertwine throughout \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Devil of the Provinces,\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e as do the horror and beauty of what remains hidden. The result, in the hands of Juan Cárdenas, is hypnotic, disturbing, memorable.”\u003c\/span\u003e \u003cb\u003e—Rodrigo Hasbún \u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“A supernatural thriller, a murder mystery, and a rumination on personal and environmental catastrophe—\u003cem\u003eThe Devil of the Provinces\u003c\/em\u003e is none of these things and all of these things. With skillful economy, Juan Cárdenas crafts a story where everyone is complicit, even the reader. A brilliant, ambitious novel that searches for meaning in the shadows of a dangerous and ambiguous world.”\u003cb\u003e —Mark Haber\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003ePraise for \u003cem\u003eOrnamental\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003eFinalist for the 2021 PEN Translation Award\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“With pitch-black comedy, \u003ci\u003eOrnamental,\u003c\/i\u003e nimbly translated by Lizzie Davis, channels the ways that egomaniacs in science and art—in any field—rise to the top, up the pyramid of capitalism. . . . The rhythm of Cárdenas’s writing compels and reassures, as if driven by the very humanity the lab has helped suppress.” \u003cb\u003e—Nathan Scott McNamara, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe New York Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[A] work of subtlety and restraint. . . . What makes \u003ci\u003eOrnamental\u003c\/i\u003e so deeply affecting, however, is not that its pages come together to form a beautiful work of exterior art—though [they] do—but its ability to cast unease on our interior worlds. . . . Brilliantly executed and cleverly translated, \u003ci\u003eOrnamental\u003c\/i\u003e leaves us with a fresh understanding of the creation of art and the nature of meaning-making.” \u003cb\u003e—Dashiel Carrera, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLos Angeles Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In his thrilling novel \u003ci\u003eOrnamental,\u003c\/i\u003e Colombian art critic, translator, curator, and renowned author Juan Cárdenas masterfully tells the tale of the junction of an experimenting doctor, his wife, and his subsidized voluntary narcotic patient. . . . Expertly translated by seasoned editor Lizzie Davis.” \u003cb\u003e—Ellie Simon, \u003ci\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In spare and economical prose, Cárdenas sketches a highly stratified world, where drugs link high society and neighborhoods that are ‘a single crush of old houses and ruins’. . . . The overall effect offers both thrills and chills.” \u003cb\u003e\u003ci\u003e—Publishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[An] absurdist critique of class inequality. . . . Cárdenas also dabbles in art criticism and curation and uses that knowledge to acidic effect in a social drama that borders on the phantasmagorical. . . . With captivating moments.” \u003cb\u003e\u003ci\u003e—Kirkus\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This is the first of Cárdenas’s novels to be translated into English, with hopefully more to come, as he’s a supremely talented and original writer. \u003ci\u003eOrnamental\u003c\/i\u003e is a strange, dystopian tale about medical trials, in which a doctor studies women addicted to a mysterious recreational drug. Drugs will sadly always be associated with Colombia, but Cárdenas’s surreal examination of addiction and compulsion is a unique and necessary contribution to the conversation.” \u003cb\u003e—Julianne Pachico, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Guardian\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[A]n exhilarating, slippery narrative where the reader knows much truth can be found, if only they can figure out how to decipher it. . . . Cárdenas’s prose is economical yet lyrical; many of his images are veritable objets d’art. . . . Lizzie Davis has done a spectacular job rendering Cárdenas’s novel in English.” \u003cb\u003e—Gillian Esquivia-Cohen, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eKenyon Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A pointed critique of late capitalism incarnated in today’s manipulative pharmaceutical industry, of rapid modernization in postcolonial contexts, and of facile arts. [\u003ci\u003eOrnamental\u003c\/i\u003e] showcases the impact of economic exploitation on the human body and desire, and probes the complicity of arts, architecture, philosophy, and language in capitalism’s crooked dynamics. I read translated literature to connect with my linguistic others, to get out of my skin, and see the world through the eyes of those I may never meet otherwise. Cárdenas’s novel and Davis’s translation did just that for me. Davis has masterfully rewritten Cárdenas’s novel in English.” \u003cb\u003e—Sevinç Türkkan, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eHopscotch Translation\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas’s narrative style hangs on outlines and sketches that give the short novel an allegorical heft surprising for its slimness. . . . It’s in the unexpected reversal of focus, from the researcher to number 4, from the moneyed to the impoverished, that \u003ci\u003eOrnamental\u003c\/i\u003e commits its boldest act and reminds us of the people sacrificed and ignored by the progress of science.” \u003cb\u003e—Sebastian Sarti, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eCleveland Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This blow-me-over novel, set in a post-narco-baroque Colombia that could be anywhere, begins with a medical study of women committed to ingesting, in exchange for payment, an experimental and addictive recreational drug. Their dreams go strange, serving as a kind of litmus which registers lurid abscesses in a class-and-youth-obsessed society and in what we mistook to be the women’s ordinary lives. Soon, prophetic graffiti appears on walls around the city. Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities—someone ‘threatening pain with extortion,’ someone ‘signing imagined telegrams of dried monkey meat,’ the night recovering, at last, ‘its vulgarity’—don’t give us any pause. And translator Lizzie Davis is the next generation’s Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish.” \u003cb\u003e—Forrest Gander\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed.” \u003cb\u003e—Alia Trabucco Zerán\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Cárdenas understands the great possibilities available to literary minimalism, taking advantage of them linguistically as well as politically, in careful strokes of theme and plot. A stunning novel about the entitlement of both the pharmaceutical industry and the art world, but also about desire, addiction, excess, and a security team made of spider monkeys. Perhaps the most damning fictional portrait of late capitalism I have ever read, at once absurd and startlingly relevant, \u003ci\u003eOrnamental\u003c\/i\u003e is a subtle and beautifully written nightmare.” \u003cb\u003e—Brian Evenson\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43701184987378,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/9781566896771_FC.png?v=1697821287"},{"product_id":"alt-nature","title":"Alt-Nature","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003ePoems by Saretta Morgan\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 6, 2024 • 6 x 9 • 160 Pages • 978-1-56689-697-9\u003c\/h5\u003e\n\u003ch4 style=\"text-align: left;\"\u003e\n\u003cem\u003eAlt-Nature\u003c\/em\u003e moves in desert dreams and riverbeds, an emergent chorus feeling toward languages of connection in the American Southwest.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eThese poems open to the desert as a practice of sensuality. Landscapes and Black queer social ecologies illuminate an anti-map of interior poetics and converging horizons. Here, geography forms the basis of feeling. Being and becoming along meridians of environmental degradation, globalized\/ing militarism, and incarceration, Saretta Morgan thinks through the languages that instantiate violence alongside those which prepare the body for love.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaretta Morgan is the author of \u003cem\u003eFeeling Upon Arrival\u003c\/em\u003e (Ugly Duckling Press) and \u003cem\u003eroom for a counter interior\u003c\/em\u003e (Portable Press @ Yo-Yo Labs). Her work engages ecologies and forms of connectivity that develop alongside processes of U.S. militarization. Over the past decade she has participated in veteran-led organizing with Veterans for Peace NYC and About Face: Veterans Against the War, as well as the humanitarian aid organization, No More Deaths Phoenix, which provides direct support to address the death and suffering of migrants in the Sonoran Desert. Additionally, she has been fortunate to participate in, and learn from, Indigenous-led water protection and food sovereignty work, Black-led community healing initiatives, and trans-led support for detained migrants. She believes in a Free Palestine as part of the broader inevitability of LAND BACK for Indigenous peoples across the earth. Born in Appalachia and raised on military installations, she currently lives on Mvskoke lands in Atlanta, GA where she trains in capoeira and wild bird rehabilitation.  \u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAuthor's Note\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThis book was written between 2018-2023, while I lived between the Sonoran and Mojave Deserts for 5 and a half years learning an intimacy with the desert through grassroots migrant justice and humanitarian aid work in the U.S.-Mexico borderlands. Simultaneously, I was repairing internally from my own history with the U.S. military and carceral systems.\u003cbr\u003e\u003cbr\u003eThis book is a love letter to the desert. One that moves with an awareness of how desires for love and belonging underwrite the violence of empire, and how the sensual experience of occupation extends and disrupts geographies and experiences of time and scale.\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eAlt-Nature\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cdiv\u003e\u003cstrong\u003eA 2025 Southwest Book of the Year\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eWinner of the 2024 Southwest Book Award\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eFinalist for the 2025 Publishing Triangle Audre Lorde Award for Lesbian Poetry\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eFinalist for the 2025 Lambda Literary Award in Lesbian Poetry\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e“Saretta Morgan presents ambidextrous poems that palpate the edges of many different borders.” \u003cstrong\u003e—Rachel Carroll, \u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eAlt-Nature\u003c\/em\u003e, Morgan deviates from mainstream representations of nature in a masterful re-tooling of vision and perception.” \u003cstrong\u003e—Debbra Palmer, \u003cem\u003eNew York Journal of Books\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\"\"Morgan skillfully weaves together landscapes, nuanced reflections on Black and queer identity, and social and ecological commentary in these stirring pages.\" \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"This is a haunting debut, a powerful reminder of how art can, and should, resist systems of oppression.” \u003cstrong\u003e—\u003cem\u003eThe Poetry Question\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"The scale of intimacy Morgan lays forth in the pages of \u003cem\u003eAlt-Nature\u003c\/em\u003e broach timelines of militarism, genocide, and all that nature has archived in resistance to imperialism.\" \u003cstrong\u003e—\u003cem\u003ePublic Books\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“The context of these meticulous reflections is the wound, the dearth, and the pall that drapes over the United States.” \u003cstrong\u003e—Brenda Iijima, \u003cem\u003eGeorgia Review\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“Both expansive and compact, \u003cem\u003eAlt-Nature\u003c\/em\u003e is ultimately outstanding. The dynamic poetry promises a refreshing swim through deep waters.” \u003cstrong\u003e\u003cstrong\u003e—Vivienne N. Germain, \u003cem\u003eThe Harvard Crimson\u003c\/em\u003e\u003c\/strong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e“Drawing from social ecologies and landscapes, Morgan’s work helps us each make sense of our place in the world.” \u003cstrong\u003e—Serena Zets\u003cstrong\u003e\u003cem\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/strong\u003e\"\u003cem\u003eAlt-Nature\u003c\/em\u003e feels like a search party for the haunted, the story of a collective body, a nomenclature of ache for belonging. In an homage to the humanitarian aid worker and the border crosser who often does not make their intended arrival, Morgan moves the reader with her acuity for the precise image steeped in the blooming succulence and necropolitical dynamics that dictate the deserts of Central and Southern Arizona.\"\u003cstrong\u003e\u003cstrong\u003e\u003cem\u003e \u003c\/em\u003e\u003cspan\u003e\u003cspan\u003e—Raquel Gutiérrez\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/strong\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“What is perspective without a horizon? What grave, no matter how old, is not fresh? What is the most precise language for what the government does to our bodies? Do wounds, do stitches, become part of the body? In the land, of the land? Is love waking up? Breaking earth? How much afterlife can a body bear? These are questions I find myself asking, or being asked, while reading Saretta Morgan’s vigilant, exacting, extraordinarily tender book-length indicator species, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlt-Nature\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e.” \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cb\u003e—Brandon Shimoda\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“\u003cspan\u003eWhat is love set against and within austerity? Not the sudden lushness of oasis, but a discipline. Saretta Morgan’s keen-whetted \u003c\/span\u003e\u003ci\u003eAlt-Nature \u003c\/i\u003e\u003cspan\u003etraces intimacies through severe stations—the military, border deserts, the Anthropocene—and finds\/maps there the alterity of Black thought and life, which is to say, disciplines sharpened in harsh space-time. As I read and re-read Morgan’s forceful collection, I find looseness and humor in nevertheless taut syntax, unease in certainty, shade in her generosity. This is etho-poetry as much as ecopoetry, an exacting meditation on what it is to cultivate freedom in “emotional fields of decay.” \u003c\/span\u003e\u003ci\u003eAlt-Nature\u003c\/i\u003e\u003cspan\u003e is utterly gorgeous and, for readers committed to the labor of loving hard despite precarity and scarcity, utterly necessary.\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e” \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cb\u003e—Douglas Kearney\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“In \u003cem\u003eAlt-Nature\u003c\/em\u003e, we are dropped into tender valleys of intimacy. We move through the violence of relations between self and collective. We navigate the implications of maintaining order and hierarchies through our choices. We emerge wondering if we were happy, if it was joy. After a while, we realize that through these topologies, Saretta has marked ways of imagining a liberating landscape that is yet to come.”\u003cb\u003e —Youmna Chlala\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp class=\"text\"\u003e \u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":44395550212338,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/Alt-Naturefinalfront_4.jpg?v=1682631180"},{"product_id":"out-of-the-sierra","title":"Out of the Sierra: A Story of Rarámuri Resistance","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eNarrative Nonfiction by Victoria Blanco\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 11, 2024 • 5.5 x 8.25 • 336 pages • 9781566896535\u003c\/h5\u003e\n\u003ch4\u003eA displaced family charts a path forward in this testament to the power of perseverance and the many forms resistance can take.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eThe Rarámuri people of Chihuahua, Mexico, make up one of the largest Indigenous tribes of North America. Renowned for maintaining their language and cultural traditions in the face of colonization, they have weathered numerous hardships—climate disaster, poverty, cultural erasure—that have only worsened during the twenty-first century.\u003cbr\u003e\u003cbr\u003eBased on more than a decade of oral history and participatory field work, \u003cem\u003eOut of the Sierra\u003c\/em\u003e paints a vivid and vital portrait of Rarámuri displacement. When drought leaves the Gutiérrez family with nothing to eat, they are faced with the choice many Rarámuris must make: remain and hope for rain and aid, or leave their sacred homeland behind. Luis, Martina, and their children choose to journey from their home in the Sierra Madre mountains toward a new and uncertain future in a government-funded Indigenous settlement.\u003cbr\u003e\u003cbr\u003eVictoria Blanco considers Indigenous identity with tenderness and intelligence, demanding recognition and justice for the Rarámuri people as they resist assimilation and uphold traditional knowledge in the face of broken systems. In a narrative of unprecedented access and intimacy, \u003cem\u003eOut of the Sierra\u003c\/em\u003e offers a groundbreaking testimony to human resilience and the power of community.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eVictoria Blanco’s writing has been published in the \u003cem\u003eNew York Times\u003c\/em\u003e, \u003cem\u003eCatapult\u003c\/em\u003e, \u003cem\u003eGuernica\u003c\/em\u003e, and others. She holds her MFA in creative writing from the University of Minnesota. She is from El Paso, Texas, and now lives in Minneapolis with her husband and three sons.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eOut of the Sierra\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eA 2025 ALA Notable Book\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLonglisted for the 2025 Carnegie Medal for Excellence in Nonfiction\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA 2024 \u003cem\u003eBooklist\u003c\/em\u003e Editors' Choice\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAn ABA Indies Introduce Title\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA June Indie Next pick\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA\u003cem\u003e Millions \u003c\/em\u003eMost Anticipated Book of Spring 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cspan style=\"font-weight: 400;\"\u003e“At once painfully intimate and staunchly unsentimental, \u003ci\u003eOut of the Sierra\u003c\/i\u003e welcomes readers into the Rarámuri world and invites us to count the human costs of climate change, capitalism, and anti-Indigenous prejudice.” \u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eBooklist \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003estarred review\u003c\/b\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cspan style=\"font-weight: 400;\"\u003e“An important book for our times, dealing with pressing issues such as colonialism, migration, climate change, and the broken justice system.” \u003c\/span\u003e—\u003ci\u003eThe Millions\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“A must-read for anyone seeking to understand the complexities of Indigenous life in the face of displacement and the enduring strength of cultural identity.\" \u003cstrong\u003e—\u003cem\u003eShelf Unbound\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Through vivid character portraits and novelistic storytelling, Blanco captures what it’s like for the Rarámuri to endure such severe cultural upheaval.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“A painstakingly recorded, sensitively presented work of a unique “lived experience” in northern Mexico.” \u003cstrong\u003e—\u003cem\u003eKirkus Reviews\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\"Forged in more than a decade of participatory research and accompaniment, \u003cem\u003eOut of the Sierra\u003c\/em\u003e offers readers a rare glimpse of how one indigenous Rarámuri family has battled sublimation and subjugation at the dizzying edge of a modern borderland metropolis. Encapsulating a broad spectrum of beauty, joy, fury, and loss, Blanco details quotidian acts of injustice and resistance, piercing through old narratives of erasure and cultural disappearance to offer up a proud and vivid antidote.\" \u003cstrong style=\"text-align: right; font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e—Francisco Cantú\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“In this compassionate witnessing of the Rarámuri’s living history, Blanco has intentionally reframed a long history of colonized literary poaching from Indigenous people. By centering their origin story and portraying their daily lives as resistance against cultural subjugation, Blanco's eloquent prose reminds us of the wisdom of the Rarámuri's teaching of korima, that gifts from the land are meant to be shared with loving generosity.” \u003cstrong\u003e—Diane Wilson\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“In \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOut of the Sierra\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Victoria Blanco writes with delicacy and clarity about the Rarámuri’s refusal to assimilate even as they struggle with forced relocation, extortion, and poverty. It is a story that demands recognition of the climate crisis in progress and the human rights abuses it causes and exacerbates.” \u003c\/span\u003e\u003cstrong\u003e—Claire Boyles\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Lyric, wise, and urgent, \u003cem\u003eOut of the Sierra\u003c\/em\u003e keeps company with Valeria Luiselli, Elizabeth Rush, and Robin Wall Kimmerer. Blanco's investigative journalism deserves more than a flattering comparison: she is a powerful new voice in ecological nonfiction and her book is not to be missed.”\u003cstrong\u003e —Kathryn Savage\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\"Victoria Blanco's \u003cem\u003eOut of the Sierra\u003c\/em\u003e stands alongside Andrea Elliott's \u003cem\u003eInvisible Child\u003c\/em\u003e and Matthew Desmond's \u003cem\u003eEvicted\u003c\/em\u003e as a triumph of reporting and storytelling. Its narrative of an uprooted family pushed to their limits is wrenching, enthralling, and revelatory. It reoriented me to the world.\" \u003cspan\u003e\u003cstrong\u003e—Megha Majumdar\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e“\u003cem\u003eOut of the Sierra\u003c\/em\u003e should not only be considered a book but also an historical document. Dynamic, compassionate, and heartbreaking, Victoria Blanco has a gift for blending reportage, cultural commentary, and socioeconomic issues through an Indigenous community that demands our attention from the first page and doesn't let up.”\u003cstrong\u003e —Morgan Jerkins\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003ch3\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":44635240169714,"sku":"","price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/OutoftheSierra.jpg?v=1693325415"},{"product_id":"prairie-dresses-art-other","title":"Prairie, Dresses, Art, Other","description":"\u003ch3 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #77471f;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLiterary Collection by Danielle Dutton\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003eApril 23, 2024 • 5 x 7.5 • 176 pages • 9781566897037\u003c\/h5\u003e\n\u003ch4 type=\"cite\" class=\"c-mrkdwn__quote\" data-stringify-type=\"quote\"\u003eFrom the “strikingly smart and daringly feminist” (Jenny Offill) author of \u003ci data-stringify-type=\"italic\"\u003eMargaret the First\u003c\/i\u003e and \u003ci data-stringify-type=\"italic\"\u003eSPRAWL\u003c\/i\u003e comes a prose collection like no other, where different styles of writing and different spaces of experience create a collage of the depths and strangeness of contemporary life.\u003c\/h4\u003e\n\u003cp type=\"cite\" class=\"c-mrkdwn__quote\" data-stringify-type=\"quote\"\u003e“Luminous” (\u003ci data-stringify-type=\"italic\"\u003eThe Guardian\u003c\/i\u003e) and “brilliantly odd” (\u003ci data-stringify-type=\"italic\"\u003eThe Irish Independent\u003c\/i\u003e), Danielle Dutton’s writing is as protean as it is beguiling. In the four eponymous sections of\u003cspan\u003e \u003c\/span\u003e\u003ci data-stringify-type=\"italic\"\u003ePrairie, Dresses, Art, Other\u003c\/i\u003e, Dutton imagines new models for how literature might work in our fractured times.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Prairie” is a cycle of surreal stories set in the quickly disappearing prairieland of the American Midwest. “Dresses” offers a surprisingly moving portrait of literary fashions. “Art” turns to essay, examining how works of visual art and fiction might relate to one another, a question central to the whole book; while the final section, “Other,” includes pieces of irregular (“other”) forms, stories-as-essays or essays-as-stories that defy category and are hilarious and heartbreaking by turns.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOut of these varied materials, Dutton builds a haunting landscape of wildflowers, megadams, black holes, violence, fear, virtual reality, abiding strangeness, and indefinable beauty.\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDanielle Dutton’s previous books are \u003cem\u003eMargaret the First\u003c\/em\u003e, \u003cem\u003eSPRAWL\u003c\/em\u003e, and \u003cem\u003eAttempts at a Life\u003c\/em\u003e. Her writing has appeared in magazines and journals including \u003cem\u003eThe New Yorker\u003c\/em\u003e, \u003cem\u003eHarper’s\u003c\/em\u003e, \u003cem\u003eThe Paris Review\u003c\/em\u003e, \u003cem\u003eBOMB\u003c\/em\u003e, \u003cem\u003eThe White Review\u003c\/em\u003e, and \u003cem\u003eNOON\u003c\/em\u003e. Dutton teaches at Washington University in Saint Louis and is the cofounder and editor of Dorothy, a publishing project. Born and raised in California, she has lived on the (former) prairie for nearly twenty years.\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePraise for \u003cem\u003ePrairie, Dresses, Art, Other\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eFinalist for the 2024 \u003cem\u003eBig Other\u003c\/em\u003e Book Award for Nonfiction\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA \u003cem\u003eDocument\u003c\/em\u003e Top Read of 2024\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA \u003cem\u003eLiterary Hub\u003c\/em\u003e Most Anticipated Book of 2024\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA \u003cem\u003eRumpus\u003c\/em\u003e Most Anticipated Book of (early) 2024\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA Bookshop.org Most Anticipated Book of 2024\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA \u003cem\u003eMillions\u003c\/em\u003e Most Anticipated Book of Spring 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“A shimmering and perplexing work that challenges the constraints of traditional prose… Highbrow while remaining mischievously playful, reminiscent of the form-smashing thrills of writers like Lydia Davis and Anne Carson.” \u003cstrong\u003e—\u003cem\u003eKirkus\u003c\/em\u003e, starred review\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Relentlessly surprising and thoroughly original, this dazzles.\" \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Divided into the title’s four rubrics, the volume still permits us to glide across and through disparate subjects and forms eased by Dutton’s serenely discerning voice, one so studded with alert perceptions that the book possesses a poetic density belying its slender size.” \u003cstrong\u003e—Albert Mobilio, \u003cem\u003e4Columns\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“How the world has changed since the Brontë sisters wrote of long walks over the moors, or Virginia Woolf of flowers, trees, water, sky. The texture of those writers is all over these pages, and you can almost hear Dutton talking to them, saying, \u003cem\u003eLook what’s happened!\u003c\/em\u003e Saying, \u003cem\u003eIs there a future?\u003c\/em\u003e” \u003cstrong\u003e—Deb Olin Unferth, \u003cem\u003eThe Believer\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"This is one everyone will be talking about.\" \u003cstrong\u003e—Emily Firetog, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Dutton’s work is always formally inventive, refreshingly ambitious, and totally brilliant.”\u003cstrong\u003e —\u003cem\u003eThe Millions\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“[Dutton stitches] together recurring dreams, real and imagined botanical terms, and dialogue from novels and films to create a tapestry of the desolation of modern life and the flimsiness of our protections against environmental collapse.” \u003cstrong\u003e—Helen Hill, \u003cem\u003eThe Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"You’re never sure whether Dutton is still on the outside, or getting at the narrator’s anxiety within. But that uncertainty feels part of this project, which gives us not just a cycle of stylishly observed stories but also, midway through, the tools to read them.\" \u003cstrong data-mce-fragment=\"1\"\u003e—Lucy Thynne, \u003cem data-mce-fragment=\"1\"\u003eThe Telegraph\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“It’s easy for one to assume that prairies might be the landscapes hiding inside Dutton herself. Like prairies, Dutton’s writing feels expansive, eternal, spreading out in all directions, far beyond you—far past any kind of vanishing point.” \u003cstrong\u003e—Nikki Barnhart, \u003cem\u003eThe Journal\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Danielle Dutton, maskless hero of a lyrical avant-garde, has written a new book that is certain to challenge assumptions about contemporary American literature.” \u003cstrong\u003e—Eric Bies, \u003c\/strong\u003e\u003cem\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eOpen Letters Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"A welcome addition to the boundary-resistant genre of 'weird little book.'\" \u003cstrong\u003e—Dan Irving, \u003cem\u003eAnnulet\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Danielle Dutton’s collection \u003cem\u003ePrairie, Dresses, Art, Other\u003c\/em\u003e is modern creative nonfiction at its best, a collection of original and inventive pieces that defy literary categorization.” \u003cstrong\u003e—David Gutowski, \u003cem\u003eLargehearted Boy\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Writing ignites “a politics of attention” in Danielle Dutton’s literary, unconventional collection \u003cem\u003ePrairie, Dresses, Art, Other\u003c\/em\u003e, whose entries are bound by energy, sharp awareness of the world’s dangers, family relationships, and the topic of writing itself.” \u003cstrong\u003e\u003cstrong\u003e\u003cstrong\u003e—Karen Rigby, \u003cem\u003eForeword Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Pieces included in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePrairie, Dresses, Art, Other\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e are not short stories or essays in the strict (and limited) sense, but spells, incantatory hallucinations, organically shared phantasmagoria, bodily immersions in materials worldly and other-wordly. It is a book and yet it is definitely way more: a field of irruptions. This is Dutton at her best yet.” \u003c\/span\u003e\u003cstrong\u003e—Cristina Rivera Garza\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e“I know it sounds absurd, but I am fairly certain that some undiscovered, hallucinogenic essence is working through Danielle Dutton’s surreal and disorienting prose because the prairie I thought I knew is not, I now realize, the prairie I know at all. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e¡Carajo!\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e Whatever chaos or existential doubt is unearthed by these uncanny and highly stylized contemporary parables deserves to be played out. This book is so wild—I’m obsessed.” \u003c\/span\u003e\u003cstrong\u003e—Lara Mimosa Montes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“\u003cspan data-mce-fragment=\"1\"\u003eDanielle Dutton is a writer whose work I wait for. When a new book comes, I keep it very close, marveling at how her writing combines such extraordinary acts of precision, drawing forth strangeness and new presentations of beauty, with her own singular and searching, expansive style of intelligence. Her growing body of work is among the most formally inventive (and therefore essential) I can think of, and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003ePrairie, Dresses, Art, Other\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a vital, enlivening addition to it.\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"\u003c\/span\u003e\u003cstrong\u003e —Kate Briggs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“This surreal, (in)sightful collection of essays and stories is riotous and sublime, a love letter to making art.”\u003cstrong\u003e —Mairead Small Staid\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003cem\u003ePrairie, Dresses, Art, Other\u003c\/em\u003e is an absorbing assemblage of surrealist prose threaded with deep unease. Danielle Dutton’s densely woven psychological landscapes render the world as strange, slippery, and surprising as some of us believe it to be.” \u003cstrong\u003e—Kathryn Scanlan\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":44667057864946,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/Prairie.jpg?v=1695744606"},{"product_id":"you","title":"YOU","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003ePoems by Rosa Alcalá\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 9, 2024 • 6 x 9 • 88 Pages • 9781566897013\u003c\/h5\u003e\n\u003ch4\u003eFrom the author of\u003cspan\u003e \u003c\/span\u003e\u003ci data-stringify-type=\"italic\"\u003eMyOTHER TONGUE\u003c\/i\u003e comes a new collection of prose poetry exploring the intergenerational inheritance of gendered violence.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eRosa Alcalá choreographs language to understand the body as it “gathers itself over time to become whole,” recovering the speaker’s intuition while unraveling memory to pinpoint the aches, anxieties, and lessons of a woman’s survival. Ruminating on daughterhood, mothering, and the body's cumulative wisdom, \u003cem\u003eYOU\u003c\/em\u003e traces a jagged line through fears and joys both past and present.\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eRosa Alcalá has published three previous books of poetry, most recently \u003cem\u003eMyOTHER TONGUE\u003c\/em\u003e. She has been awarded fellowships and grants from the Foundation for Contemporary Arts, Harvard’s Woodberry Poetry Room, Yaddo, MacDowell, Fundación Valparaíso, and the National Endowment for the Arts. Her translation and editorial work include \u003cem\u003eNew \u0026amp; Selected Poems of Cecilia Vicuña\u003c\/em\u003e and \u003cem\u003eSpit Temple: The Selected Performances of Cecilia Vicuña\u003c\/em\u003e, runner-up for the 2012 PEN Translation Award. Her poems and translations have appeared in \u003cem\u003eHarper’s\u003c\/em\u003e, \u003cem\u003ethe Nation\u003c\/em\u003e, \u003cem\u003ePoetry\u003c\/em\u003e, and \u003cem\u003eBest American Poetry\u003c\/em\u003e, among other publications. She is the De Wetter Endowed Chair in Poetry at the University of Texas at El Paso’s Bilingual MFA in Creative Writing Program.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eYOU\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cdiv\u003e\u003cstrong\u003eFinalist for the 2024 \u003cem\u003eBig Other\u003c\/em\u003e Book Award for Poetry\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eA \u003cem\u003eCalifornia Review of Books\u003c\/em\u003e Outstanding Poetry Book of 2024\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“A thrilling masterpiece filled with prose poems that challenge and disturb as they dig deep into the terrors that women face. Alcalá’s \u003cem\u003eYOU\u003c\/em\u003e contains writing so powerful it may cause your heart to combust.” \u003cstrong\u003e—Christopher Luna, \u003cem\u003eRain Taxi\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“A powerful collection that validates past experiences as necessary for growth, and that celebrates the many versions of a self with honesty, humor, and openness.” \u003cstrong\u003e—Leonora Simonovis, Poetry Foundation\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“[Alcalá] doesn’t just shake her head at instances of gendered violence, she grabs then shakes the head of the violator within intimate and purposeful prose poems. [She] dives into events of inhumanity and emerges with a history of survival that’s radiant and essential.” \u003cstrong\u003e—Oli Peters, \u003cem\u003ePleiades\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e“This trauma is recorded in the poet’s “chest and in the breath” and in nearly all the poems in this powerful book.” \u003cstrong\u003e—David Starkey, \u003cem\u003eSanta Barbara Independent\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"This is a collection of incredible strength and wisdom, much of it hard-won, but one that emerges out the other side, stronger for having not only survived, but thrived.” \u003cstrong\u003e—\u003cem\u003eRob Mclennan’s Blog\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Wielding needle and steel, epistle and wit, Rosa Alcalá fearlessly addresses selves past and present in \u003cem\u003eYOU\u003c\/em\u003e. Each brilliant prose lyric floods the empty lots and glossed recesses where harassment and assault thrive with unflinching light to expose a world that blithely acquiesces to the “suffering [that] was the deep and\/persistent condition of being a woman.\" \u003cem\u003eYOU\u003c\/em\u003e delivers not the impoverished self of determination or even care, but a you who recalls and redraws the map for all our daughters.\" \u003cspan\u003e\u003cstrong\u003e—Anna Maria Hong\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Do we have a way of explaining the imaginative tangle of what your life has been, but what you wished it could have been, and what you still wish it might become? Rosa Alcalá’s \u003cem\u003eYOU\u003c\/em\u003e is a book of spells that fearlessly confronts this question. Her unforgettable prose poems are feminist, feminine epiphanies, recklessly abundant in erotic charge and bitter wisdom.” \u003cstrong\u003e—Katie Peterson\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Like a pendulum prognosticating some unknown future as it swings forward, only to swing back to rewrite the possible, Rosa Alcalá’s sumptuous \u003cem\u003eYOU\u003c\/em\u003e interrogates the horizons where definitive shape makes claim, and, instead, founds a compassion that blurs legislated boundary (of body\/of mind\/of self\/of other). In prose as gorgeously devastating as it is crushingly stunning, \u003cem\u003eYOU\u003c\/em\u003e begs answer: when we are so many beautiful collisions, so many fleshed events, where does one body end and the other begin?\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e”\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cb\u003e—J. Michael Martinez\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Speaking to herself through the second person ‘you,’ Rosa Alcalá opens a transom through time and space. Reaching all the way back to the ‘eyes that didn’t know what I was witnessing at five,’ the poet gathers vision and selves, memory and prophetic warning. Her attempt to ‘love the world’ helps us to see ourselves as imperfect as we started but indivisible as we might become.\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e”\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cb\u003e—Farid Matuk\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eMyOTHER TONGUE\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eBest of 2017: \u003cem\u003eLiterary Hub\u003c\/em\u003e \u0026amp; \u003cem\u003eEntropy\u003c\/em\u003e\u003cbr\u003eSmall Press Distribution Bestseller\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Here are poems that reckon with the histories of family, generations, language, and love: how our tongues are mothered or not, how we are given to and abandoned. Alcalá writes, 'What good is it to erect\/ of absence\/ a word?' Tough and gorgeous, smart and touching, these poems are offerings that tie, untie, unite, entice.”\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e—Hoa Nguyen\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“[Alcalá] uses empty spaces, hesitations, and semantic difficulties to address mothers and daughters, herself as mother and herself as daughter, and the messy emotions and miscommunications that move between languages (in her case, English and Spanish), as well as between and within female bodies, in breastfeeding, menstruation, giving birth. Alcalá’s short, wry lines, self-interruptions, and open spaces remind us how little precedent there is for honest writing on these topics, compared with the epic traditions of fathers and sons.”\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e—Stephanie Burt,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Rosa Alcalá's new poemario \u003cem\u003eMyOTHER TONGUE\u003c\/em\u003e begins in the archives of what has yet to be written. She writes with precision and dynamism from the borders between death (of a mother) and birth (of a daughter). What a body produces, and what produces a body: labor, trauma, memory, sacrifice, pain, danger, and language formed both on the tongue and in the culture and the spaces between what can be said and what is missing, the linguistic and existential problem of not having the right words. The darknesses in Alcalá's work emerge from what happens when we don't see ourselves in the languages that both form and destroy us as we labor in this 'dream called money.' Alcalá is a {un}documentarian of the highest order, a {un}documentarian of what history and memory try to erase. Her poems are urgent, demanding, and haunting”\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cb\u003e—Daniel Borzutzky\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":44735765086450,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/YOU.jpg?v=1697744098"},{"product_id":"the-murmuring-grief-of-the-americas","title":"The Murmuring Grief of the Americas","description":"\u003cp style=\"text-align: left;\"\u003e\u003cmeta charset=\"utf-8\"\u003e2016 National Book Award winner Daniel Borzutzky holds to account the private interests driving Western humanitarian decisions, laying bare the immense toll of exploitative labor practices and the self-serving nature of authoritative bodies. 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