{"title":"Pride Picks","description":"","products":[{"product_id":"blindsight","title":"Blindsight","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Greg Hewett\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eNovember 1, 2016 • 6 x 9 • 112 Pages • 978-1-56689-448-7\u003c\/h5\u003e\n\u003ch4\u003eWitty, touching, introspective—\u003cem\u003eBlindsight\u003c\/em\u003e finds Hewett becoming a parent and easing toward middle age with a sense of calm and inevitability.\u003c\/h4\u003e\n\u003cp\u003eIn poems that are full of wit, touching, and introspective, as well as formally inventive, we find the poet losing his sight, becoming a parent, and occupying middle age with a sense of calm and inevitability. Hewett draws inspiration from the grand and the mundane, the abjection and joy of creating a vision out of blindness. These poems will change how you perceive the world.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eGreg Hewett is the author of \u003cem\u003edarkacre\u003c\/em\u003e (Coffee House Press, 2010), \u003cem\u003eThe Eros Conspiracy\u003c\/em\u003e (2006), \u003cem\u003eRed Suburb\u003c\/em\u003e (2002), and \u003cem\u003eTo Collect the Flesh\u003c\/em\u003e (New Rivers Press, 1996)—poetry collections that have received a Publishing Triangle Award, two Minnesota Book Award Nominations, a Lambda Book Award Nomination, and an Indie Bound Poetry Top Ten recommendation. The recipient of Fulbright fellowships to Denmark and Norway, Hewett has also been a fellow at the Camargo Foundation in France, and is Professor of English at Carleton College. He is currently finishing a biography of the film noir actor Thomas Gomez.\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“These poems are interested in the contemporary moment so much as it is the site of their reflections. Yet these poems firmly resist nostalgia. Their speaker is caught between the desire to make a record and the insistence that all records fail, and that their failure, the gaps of what’s unseen or unseeable, is interesting and necessary.” \u003cem\u003e\u003cstrong\u003e—American Microreviews and Interviews\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Throughout \u003cem\u003eBlindsight,\u003c\/em\u003e the reader is presented with the voice of a poet whose urges to feel and desires to know reflect those universal to humanity. Through his plainspoken language which is, at times, conversational and, at times, confessional we are reminded of our own desires, those things for which we do still burn.” \u003cstrong\u003e\u003cem\u003e—Cleaver\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“The poems are complex, yet simple, resisting efforts at reductionist understandings of what comprises a man.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eSignature\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“[\u003cem\u003eBlindsight\u003c\/em\u003e] as a whole is full of wonderfully quiet musings on vision and memory, cogent observations about longing and loss.” \u003cem\u003e\u003cstrong\u003e—Lambda Literary Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Questioning the relationship between the transcendent and earthy leads Hewett to a skeptical look at language itself (more precisely, poetic language) as metaphor, the intuiting of similarity between things that first might appear dissimilar.” \u003cstrong\u003e\u003cem\u003e—Singapore Poetry\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e“The poems here are so plainspoken you might think them ‘ordinary.’ If they are ‘ordinary,’ though, it is because they speak to the most common and universal urges of a human’s life. But in their spareness, their quiet and matter-of-fact tone, they go way beyond the vision of the farthest telescope, way more intimate than the most powerful microscope. Hewett is a poet desperate to know—that ‘knowledge’ is never cheap and always comes at great cost is of no importance, because if anything this poet mistrusts simple vision. He aims deeper, darker. The stakes are high for this poet and his gamble pays off stunningly.” \u003cstrong\u003e—Kazim Ali\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I was utterly blindsided by \u003cem\u003eBlindsight\u003c\/em\u003e, so aurally and intellectually seduced by its prime and primal rhythms and organization that I was unprepared for the ferocity of its content, the ‘divine funk’ of its spiraling queer-otics, the shattered mending of its desirousness, and the profundity of its vision of losing vision. If Wallace Stephens’s spirit object was the wilderness-organizing jar in Tennessee, Hewett’s is ‘a condom, unfurled and full,’ which ‘holds dominion over this satellite world.’ Even in this deeply literary collection, Hewett expresses a renegade distrust of the mechanisms of language: ‘\u003cem\u003eTake blindness as metaphor,\u003c\/em\u003e \/ you say, but I say \/ take metaphor as blindness \/ deforming life to get at \/ the idea behind life \/ tires me.’ Always, he seeks the pulse of the unsayable prime beneath words, the visible vision in ‘blindness deep and far.’” \u003cstrong\u003e—Diane Seuss\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘We sense numbers in our breath, \/ in a line of poetry, a measure of music \/ running through our heads,’ Greg Hewett tells us. In \u003cem\u003eBlindsight\u003c\/em\u003e he brings his acute poetic vision to the peculiar power of prime numbers, which manifest in the sinuous rigor of his syllabic lines and the acuity of his insights into the essentially incalculable truths of our lives. In a collection rich with lyric assurance and generosity of spirit, Hewett riffs on music theory, classic movies and texts, porn, the power of place, and loss and desire, past and present. Leading us into ever-greater clarity and compassion, he pays undivided attention to the world we share, where ‘there’s no greater vision \/ than in finally seeing \/ details reigning everywhere.’” \u003cstrong\u003e—David Groff\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘The man at the door \/ of this stanza is a ghost’: Greg Hewett’s poems embody astonishingly precise awareness. I cannot think of another poet who enters memory with such visionary suspicion, such delight. ‘What can’t be seen shows \/ everywhere’: Hewett’s poems invite us (dare us) to imagine, to see, in the clearest, bravest way possible (‘like spirits, if spirits had flesh and were still spirits’). \u003cem\u003eBlindsight\u003c\/em\u003e is a great book. We need it right now.” \u003cstrong\u003e—Joseph Lease\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707415310,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Hewett_Blindsight_9781566894487.jpg?v=1499210576"},{"product_id":"dancers-the-dance","title":"Dancers \u0026 the Dance","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eStories by Summer Brenner\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJanuary 1, 1990 • 5.5 x 8.5 • 160 pages • 978-0-918273-75-8\u003c\/h5\u003e\n\u003ch4\u003eFascinating stories evoking the complex world of dancers, their triumph and disappointments.\u003c\/h4\u003e\n\u003cp\u003eIn the twelve intimate stories of this collection, Summer Brenner evokes the complex world of dancers: would-be and could-be dancers, those who dance for pleasure, politics, or religion, those who dance in dreams, those who adamantly refuse to dance, and those who can’t dance anymore. Both fascinating and accessibly written, Brenner never loses sight of the innermost triumphs and disappointments of her dancers. With equal compassion, we see the nervous debut of a young hopeful in “The Ballet Dancer,” the struggle of a choreographer dying of AIDS in “The Modern Dancer,” and the exhilaration of a young white woman finally accepted by her black peers in “The African Dancer.” For admirers and students of dance as well as lovers of good fiction, this collection consistently delights with its insight into both dance and the dancers who perform them. A perfect gift for dancers of any age.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSummer Brenner has performed, taught, and extensively studied flamenco and contemporary dance. She is the author of a dozen works of fiction, including \u003cem\u003eDancers and the Dance, I-5,\u003c\/em\u003e and \u003cem\u003eRichmond Tales: Lost Secrets of the Iron Triangle.\u003c\/em\u003e Her works have also appeared in anthologies and literary magazines, as well as been performed in the one-act play \u003cem\u003eThe Missing Lover\u003c\/em\u003e and the musical extravaganza \u003cem\u003eArundo.\u003c\/em\u003e She is a longtime resident of Berkeley, California.\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“Some of the best prose this reviewer has recently noted.” \u003cstrong\u003e—\u003cem\u003eBaltimore Sun\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“These stories deliver what we want out of a novel (lived experience) through an amazingly taunt, sensuous language.” \u003cstrong\u003e—\u003cem\u003eSan Francisco Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I found Summer Brenner’s work full of authenticities, sensitivities, and wonderful insights into the world of dance. It’s refreshing to read a book about dance that is indeed fresh, vital, and without pretensions.” \u003cstrong\u003e—Edward Villella, Miami City Ballet\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Summer Brenner’s stories capture some of the private musings of the dancer. She is able to write with sensitivity about the complexity of maintaining both the body and the mind in both the young and experienced dancer.” \u003cstrong\u003e—Margaret Jenkins, Margaret Jenkins Dance Company\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707429262,"sku":"","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Dancers-the-Dance.jpg?v=1499210631"},{"product_id":"darkacre","title":"darkacre","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Greg Hewett \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 1, 2010 • 6.5 x 8.5 • 126 pages • 978-1-56689-245-2\u003c\/h5\u003e\n\u003ch4\u003eA penetrating, richly metaphoric survey of the human landscape.\u003c\/h4\u003e\n\u003cp\u003eThrough exploring the infrastructure of civilization, the body’s intimate topography, and the cultural terrain of Italian opera, Greg Hewett excavates the fields where humanity has erected its monuments, fought its battles, and sowed the seeds of both redemption and ruin: “for everyman’s a remainderman \/ every boundary evidence \/ every terminus implication \/ and every acre dark.”\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eGreg Hewett is the author of \u003cem\u003eBlindsight\u003c\/em\u003e (Coffee House Press, 2016,) \u003cem\u003edarkacre\u003c\/em\u003e (2010), \u003cem\u003eThe Eros Conspiracy\u003c\/em\u003e (2006), \u003cem\u003eRed Suburb\u003c\/em\u003e (2002), and \u003cem\u003eTo Collect the Flesh\u003c\/em\u003e (New Rivers Press, 1996)—poetry collections that have received a Publishing Triangle Award, two Minnesota Book Award Nominations, a Lambda Book Award Nomination, and an Indie Bound Poetry Top Ten recommendation. The recipient of Fulbright fellowships to Denmark and Norway, Hewett has also been a fellow at the Camargo Foundation in France, and is Professor of English at Carleton College. He is currently finishing a biography of the film noir actor Thomas Gomez.\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“Contemplative and highly accomplished. . . . [Hewett] takes the long view of life and history, calling in ancient civilizations to make sense of our own, or imagining hidden worlds, the flip side of our own. . . . A wash of carefully controlled emotion.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMinnPost\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Greg Hewett’s poems create fresh dimensions where language and human experience become one. They further the surprise of poetry by leaving the reader with a sense that the one world of their maker is the multiple world of his beloved audience.” \u003cstrong\u003e—Ray Gonzalez\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Hewett builds words on top of words, as he goes, producing unexpected combinations. . . . Each poem is wrapped in sounds: vowels and consonants precisely chosen to create a melody while you read.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMinnesota Reads\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Bringing his mind and philosophy to life, [Hewett] brings readers a critical and sensual read to the many aspects of life. \u003cem\u003edarkacre\u003c\/em\u003e is a fine [collection] that shouldn’t be missed.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMidwest Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A fascinating achievement that distinguishes Hewett as a master of uncanny imagery and sheer immediacy.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eTwin Cities Daily Planet\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“From estate properties to artistic legacies, \u003cem\u003edarkacre\u003c\/em\u003e interrogates both mortality and immortality: what does it mean to last? Hewett is a master architect of the poetic suite, and his house contains many mansions. This is not so much a collection as it is a showplace: stylistically inventive, provocative, and illuminating.” \u003cstrong\u003e—D.A. Powell\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707429838,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Darkacre.jpg?v=1515039785"},{"product_id":"dog-people","title":"Dog People","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Cris Mazza\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 1, 1997 • 6 x 9 • 288 pages • 978-1-56689-055-7\u003c\/h5\u003e\n\u003ch4\u003eMazza’s bizarre ’90s characters communicate better with their dogs than their lovers. Rich detail, dramatic conclusion!\u003c\/h4\u003e\n\u003cp\u003eSix individuals have the ability to communicate with humans; three turn to their dogs for solace. Mazza uses canine training philosophies and behavior in a story in which a fascist dog trainer, lesbian dancer, ineffectual interior designer, and a love-starved caterer spend time in Southern California’s green, eucalyptus-scented parks learning how to interrelate without biting. \u003cbr\u003e\u003cbr\u003eAs marriages crumble and careers falter, Doreen and Fanny join forces to create a dog\/wolf hybrid. Along the way, Fanny comes to realize the banality of her life stems from her expectation that intimate relationships will compensate for her failures. After sex therapy with her husband Morgan, a near affair with prima dancer Renee, and a friendship-turned-romance with her employer, Fanny breaks free and takes back control over her life. Mazza deftly fuses \u003cem\u003eThe Truth About Cats and Dogs\u003c\/em\u003e with \u003cem\u003eBasic Instinct.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eCris Mazza is the author of \u003cem\u003eHow to Leave a Country, Your Name Here: ___, Exposed, Dog People,\u003c\/em\u003e and \u003cem\u003eIs It Sexual Harassment Yet?\u003c\/em\u003e She was also co-editor of \u003cem\u003eChick-Lit: Postfeminist Fiction\u003c\/em\u003e (1995), and \u003cem\u003eChick-Lit 2\u003c\/em\u003e (No Chick Vics) (1996). Mazza’s fiction has been reviewed numerous times in the \u003cem\u003eNew York Times Book Review, Wall Street Journal, Ms. Magazine, Chicago Tribune Books, Los Angeles Times Book Review, Voice Literary Supplement,\u003c\/em\u003e and many other book review publications. \u003cbr\u003e\u003cbr\u003eA native of Southern California, Cris Mazza grew up in San Diego County. She is a graduate of San Diego State University and Brooklyn College. Mazza has taught fiction writing at UC San Diego, and was Writer in Residence at Austin Peay State University and at Allegheny College. Since 1993 Mazza has lived outside Chicago. She is a professor in and director of the Program for Writers at the University of Illinois at Chicago. In spring 2000 Mazza was the Chairholder in Creative Writing in the MFA program at the University of Alabama, and was an NEA grant recipient in 2000-2001.\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“The connection Cris Mazza makes between dogs and their people is startling, hilarious, comforting, and terrifying. \u003cem\u003eDog People\u003c\/em\u003e is an ingenious novel from a storyteller who is clearly an authority in more than one animal realm.” \u003cstrong\u003e—Valerie Sayers, author of \u003cem\u003eBrain Fever\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“One of the most impressive America novelists of our contemporary age.” \u003cstrong\u003e—\u003cem\u003eSpectrum Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A lesbian dancer, fascist dog trainer, would-be male dancer, ineffectual interior designer, and a love starved caterer compose the tangled cast of Cris Mazza’s \u003cem\u003eDog People\u003c\/em\u003e. In this complex exploration of human behavior, Mazza turns to canine training philosophies for both solace and guidance. As a marriage crumbles and careers falter, the characters in \u003cem\u003eDog People\u003c\/em\u003e brutally learn that loving another species is so much easier than loving each other. Mazza is an associate professor at the University of Illinois at Chicago and the author of seven novels and short-story collections. Her talent as an imaginative storyteller is demonstrated by her ability to deeply engage the reader from the very first page.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMidwest Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707430926,"sku":"","price":13.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Dog-People-RGB.jpg?v=1499210641"},{"product_id":"girl-reel","title":"Girl Reel","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA memoir by Bonnie J. Morris\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 1, 2000 • 5.5 x 8.5 • 192 pages • 978-1-56689-094-6\u003c\/h5\u003e\n\u003ch4\u003eTwo thumbs up for this smart and funny personal history of a lesbian coming of age and coming out at the movies.\u003c\/h4\u003e\n\u003cp\u003eA lively mix of film criticism and personal history, \u003cem\u003eGirl Reel\u003c\/em\u003e is a raucous, rollicking, sometimes acerbic look at the powerful influence the entertainment industry has on our lives. Morris’s individual search for positive media images of strong women is our culture’s search as well. In chapters devoted to such films as \u003cem\u003eThe Rocky Horror Picture Show, Julia, The Rose, Yentl, Contact,\u003c\/em\u003e and more, Morris invites readers to indulge our “general exuberance as a group audience exploring our celluloid anthropology together.” \u003cbr\u003e\u003cbr\u003eA must-have for all film buffs, \u003cem\u003eGirl Reel\u003c\/em\u003e is a book about our relationship to popular culture—how media images both preview and rerun our own lives. By surveying images of women and lesbians in television and film over the seventies, eighties, and nineties, and chronicling the move of lesbian and gay issues from the margins to the mainstream, Morris offers her own images of strong women, for a new generation of readers \/ viewers. You have to know who we are by now, us queer girls. We grew up in front of you, our lives a private girl reel. Some of us spent that girl reel at the movies.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBonnie J. Morris is a professor of women’s studies at George Washington University and Georgetown University. Born to Hollywood parents—her father was an extra in \u003cem\u003eThe Day the Earth Stood Still,\u003c\/em\u003e her mother was an assistant to the movie star Greer Garson—Morris is the author of \u003cem\u003eEden Built by Eves\u003c\/em\u003e (Alyson 1999) and two books on Jewish women’s history, and she is a contributor to more than fifty books and journals.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“\u003cem\u003eGirl Reel\u003c\/em\u003e is the witty and compelling story of a real grrrl and her hip family. Celebrating our self-discovery via film, Morris’s delicious narrative couples the silver screen and the lavender life.” \u003cstrong\u003e—Karla Jay\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What is most glorious about Morris’s book is her obvious delight (and skill) in blending recollection with critical insight, and the best sequences . . . remind us, as Woolf had, that our knowledge of ourselves rarely comes through a clear path but instead rears up in complicated interstices.” \u003cstrong\u003e\u003cem\u003e—The Lesbian Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707449230,"sku":"","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Girl_Reel.jpg?v=1515043127"},{"product_id":"good-stock-strange-blood","title":"Good Stock Strange Blood","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Dawn Lundy Martin\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eAugust 1, 2017 • 6 x 9 • 144 Pages • 978-1-56689-471-5\u003c\/h5\u003e\n\u003ch4\u003eBold, formally innovative prose poems that challenge our ideas of race, voice, bodies, and justice.\u003c\/h4\u003e\n\u003cp\u003e\u003cstrong\u003eFrom \u003cem\u003eGood Stock Strange Blood:\u003c\/em\u003e \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“And, yet, each morning a fireheart grief in the body coming out of sleep. The listening to the smoke as if fills and weeps inside the chest, choking strength out hands weighted, dangling. We wonder where else it lives before it fills the body up. We assume it comes inside through the hole that promises invasion.”\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\u003eDawn Lundy Martin is the author of \u003c\/span\u003e\u003cem\u003eA Gathering of Matter \/ A Matter of Gathering \u003c\/em\u003e\u003cspan\u003e(University of Georgia Press, 2007), \u003c\/span\u003e\u003cem\u003eDiscipline\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(Nightboat Books, 2011), and \u003c\/span\u003e\u003cem\u003eLife in a Box is a Pretty Life\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(Nightboat Books, 2015). Martin is also a cofounder of the Black Took Collective and a member of the HOWDOYOUSAYYAMINAFRICAN? global arts collective. She is associate professor of English at the University of Pittsburgh.\u003c\/span\u003e\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 2019 Kingsley Tufts Poetry Award\u003cbr\u003eFinalist for the Lambda Literary Award in Lesbian Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In her latest collection, Martin contemplates the corporeal aspects of black identity, including scars from historical traumas and pain from fresher wounds. . . . In this esoteric and ruminative work, God is shown to be present in the midst of a host of desires and griefs both great and small.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Martin uses a whiplash of short, punched-at-us phrases that offer a powerful sense of African American history and the struggle to define oneself for oneself, not as others would . . . An important work for sophisticated readers.” \u003cem\u003e\u003cstrong\u003e—Library Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Martin charts new possibilities for subverting those (white) structures of domination and control that would reduce black subjectivity to a mute and endless re-inscription of its traumatized collective past.” \u003cem\u003e\u003cstrong\u003e—Poetry Northwest\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Through a variety of poetic and visual forms . . . this challenging collection exposes the vulnerability of the black body.” \u003cem\u003e\u003cstrong\u003e—Little Infinite \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003enewsletter\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What this book wants, writes Dawn Lundy Martin, is to know ‘the distance between the “I” and the “you.”’ And to try to know this distance we are taken through the catastrophe of what it means to have a body: a body that is assigned its identity, a body that is assigned its history, a body in constant resistance to that which we are called and to that which we call ourselves, and to that which we understand about ourselves, and to that which we have no words for. I read \u003cem\u003eGood Stock Strange Blood\u003c\/em\u003e and then I read it again immediately because I needed to relive the relentless and beautiful pressure placed on every word, every page, every silence. A relentless pressure placed on the body that is fetishized, shackled, split, strangled, beaten, hated, compressed, trashed, drowned, measured, mirrored, dragged, discarded, disappeared, opened, punctured, displayed, encased. The question of ‘what allows the body to survive’ is at the heart of \u003cem\u003eGood Stock Strange Blood,\u003c\/em\u003e and it has been at the heart of Lundy Martin’s previous books as well (\u003cem\u003eDiscipline, Life in a Box is a Pretty Life\u003c\/em\u003e). But if there’s a continuation of interrogations, then it must also be said that in \u003cem\u003eGood Stock Strange Blood\u003c\/em\u003e there is a more mesmerizing intensity. And if there’s an answer in this book to the question of what allows a body to survive, then perhaps it has to do with how we confront and give words and breath and sound and silence to a life of meticulously drawn images that are ghostly, brutal, and vivifying.” \u003cstrong\u003e—Daniel Borzutzky\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Every time I read \u003cem\u003eGood Stock Strange Blood,\u003c\/em\u003e a new, deepened book awaits me. Which is to say, it’s got trap doors, trick sleeves; it takes swerves, detours, and dives. Dawn Lundy Martin’s poems read like a real-time excavation of what poetry can and can’t do; how the past is never past; how to stand in the blur, the ‘griefmouth’ of personal and collective pain and somehow—against all odds—make thought, make fury, make song. We need this resilience, this bloody reckoning, this wit and nuance, now.” \u003cstrong\u003e—Maggie Nelson, author of \u003cem\u003eThe Red Parts\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘What is \u003cem\u003elife\u003c\/em\u003e against the quantifying of power? The partitioning of dearth?’ I read \u003cem\u003eGood Stock Strange Blood\u003c\/em\u003e with the echo of Albert Woodfox’s recent words in my head (‘How do you want me to know how it feels to be free?’). Martin’s tender and defiant gesture in these unshakable poems is to open and open, relentlessly, into rage and desire, into blackness and ‘blackness’ (‘the “black bits” will be excisable, quotable in reviews’), into an AfroFuture where ‘existence inside of both loss and abundance’ might no longer feel impossible: ‘No death. But, instead, the door.’ There is a project here, one that acknowledges and confronts the ‘failure of images,’ the constraints of the book, the limitations of the reader—‘[t]o excise \u003cem\u003elife\u003c\/em\u003e from the relations of power.’ I want everyone \u003cdel\u003eI know\u003c\/del\u003e to read this book.” \u003cstrong\u003e—Anna Moschovakis\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dawn Lundy Martin is a young essential voice in American poetry—one many of us have been waiting for.”\u003cstrong\u003e \u003cem\u003e—Diesel Bookstore Oakland\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Martin purposely challenges with tangential images and fractured lines to look inward at racial and personal trauma.” \u003cem\u003e\u003cstrong\u003e—Pittsburgh City Paper\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eGood Stock Strange Blood\u003c\/em\u003e is a subtle and intriguing meditation, original in form, experimental in theme, and curious and probing in content.” \u003cem\u003e\u003cstrong\u003e—NewPages\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Dawn Lundy Martin’s poetry is eviscerated and eviscerating. In \u003cem\u003eGood Stock Strange Blood,\u003c\/em\u003e she languages violence and the varied textures and hues of systemic racism and intergenerational trauma while creating a new state of being, simultaneously cauterized and free.” \u003cstrong\u003e\u003cem\u003e—Full Stop\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707451278,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Martin.GoodStock_9781566894715.jpg?v=1499210726"},{"product_id":"ill-tell-you-in-person","title":"I'll Tell You in Person","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eEssays by Chloe Caldwell\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 4, 2016 • 5.25 x 8.5 • 184 Pages • 978-1-56689-453-1\u003c\/h5\u003e\n\u003ch4\u003eExploring the boundaries between friends and family, hobbies and obsessions, and honesty and oversharing, Chloe Caldwell showcases an irresistible talent for navigating the infinite territory of in-between.\u003c\/h4\u003e\n\u003cp\u003eFlailing in jobs; failing at love; getting addicted and unaddicted to people, food, and drugs—\u003cem\u003eI’ll Tell You in Person\u003c\/em\u003e is a candid and captivating account of attempts at adulthood and all the less-than-perfect ways we get there. Caldwell has an unsparing knack for looking within and reporting back what’s really there, rather than what she’d like you to see.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eChloe Caldwell is the author of the novella \u003cem\u003eWomen,\u003c\/em\u003e and the essay collection \u003cem\u003eLegs Get Led Astray.\u003c\/em\u003e Her work has appeared in the \u003cem\u003eSun, Salon, VICE, Hobart, Nylon,\u003c\/em\u003e the \u003cem\u003eRumpus,\u003c\/em\u003e and \u003cem\u003eMen’s Health,\u003c\/em\u003e among others. She teaches personal essay and memoir writing in New York City and lives in Hudson.\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“[Chloe] perfectly captures what it’s like to try to navigate your way through the traumatic first decade of adulthood.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Chloe Caldwell could easily be considered a veteran among millennial authors. Her forthright honesty and trademark ‘oversharing’ have made her one of the most endearing and exciting writers of a generation.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Her essays are still diaristic in tone—they’re unpretentious and personal—but she draws powerful conclusions about what it means to grow into a decisive, fully formed person, if such a thing is even possible.” \u003cstrong\u003e\u003cem\u003e—Huffington Post\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Caldwell opens herself up to anything and anyone in order to get to the heart of what it means to be a person of substance.” \u003cstrong\u003e\u003cem\u003e—Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Author Chloe Caldwell’s voice is quirky and straight-forward as she shares tales of failing at all the things adults fail at, at one point or another.” \u003cstrong\u003e\u003cem\u003e—Bustle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In short, \u003cem\u003eITYIP\u003c\/em\u003e is the type of book that is tempting to describe as a bible for young women, but which, since it lacks any pomposity or self-seriousness, evades that type of classification. Rather, it feels more like a beautifully written set of field notes, a journal from the front lines of being a young woman, the kind of book that is impossible not to respond to and not to want to press into the hands of all your best friends, the ones that aren’t books.” \u003cstrong\u003e\u003cem\u003e—Nylon\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“I’ll Tell You In Person\u003c\/em\u003e is one of the best books I’ve read this year. I’ve always enjoyed Chloe Caldwell’s personal essays, but there’s so much emotional honesty here, such a command of word and self, that it pretty much knocked me on my ass, over and over again.” \u003cstrong\u003e\u003cem\u003e—Lit Reactor\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“\u003c\/em\u003eChloe Caldwell’s \u003cem\u003eI’ll Tell You in Person\u003c\/em\u003e is an intense collection of essays that astonishes with its self-awareness and keen storytelling.” \u003cstrong\u003e\u003cem\u003e—Largehearted Boy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“\u003c\/em\u003eIt’s a fun, funny, heartbreaking book, one that also happens to be compulsively readable.” \u003cstrong\u003e\u003cem\u003e—Electric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Caldwell’s] seemingly effortless, natural style depicts the complexities of female friendship, the mother-daughter relationship, and other coming-of-age misadventures. . . . It’s Caldwell’s unabashed insistence on exploring queerness on her own terms that might inspire others on their own coming-out journeys.” \u003cstrong\u003e\u003cem\u003e—Role Reboot\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Knitting together the flotsam and jetsam of modern life—frenemies, family, sex, celebrity (Lena Dunham, hilariously), yearning, solitude, bad behavior—[Chloe] writes with caffeinated hindsight, always aiming for the heck-yeah truth.” \u003cstrong\u003e\u003cem\u003e—Chronogram\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eI’ll Tell You in Person\u003c\/em\u003e really does feel like an original and personal encounter with a singular individual, a conversation with an old friend you’re catching up with and don’t want to stop listening to.” \u003cstrong\u003e\u003cem\u003e—Electric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The job of the personal essayist is to make readers feel as if we know her. . . . Something I’ve always appreciated about Caldwell is how she presents herself—in interviews, blog posts, and essays—as a passionate artist and at the same time, a person with daily stresses and obsessions.” \u003cstrong\u003e\u003cem\u003e—Vol. 1 Brooklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“As Caldwell relates her memories and struggles, misadventures and successes, readers will sympathize and see themselves in the vulnerable and flawed, yet ultimately charming narrator.” \u003cem\u003e\u003cstrong\u003e—Allure\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Caldwell is one of the few writers who can take the experience of being down and out and in your 20s or 30s in a big, hip city and make it relatable and interesting.” \u003cstrong\u003e\u003cem\u003e—Vol. 1 Brooklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Chloe Caldwell is a force. A quirky writer who shares personal details of her life and describes them in a way that never feels like TMI, it’s the opposite. You want more, the result of a trustworthy narrator and a skilled storyteller.” \u003cstrong\u003e\u003cem\u003e—Hippocampus Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Regardless of one’s capacity for adventure, Caldwell’s essays are destined to inspire within her reader a desire to fully embrace life in all of its guises.” \u003cstrong\u003e\u003cem\u003e—NewPages\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Caldwell’s slender, new collection of essays, following \u003cem\u003eLegs Get Led Astray \u003c\/em\u003e(2012), is built around formative moments from her twenties that will strike a chord with those who have struggled (or are struggling) to find firm footing as adults.” \u003cstrong\u003e\u003cem\u003e—Booklist\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“If this isn’t an encapsulation of twentysomething meandering, I don’t know what is.” \u003cstrong\u003e\u003cem\u003e—Village Voice\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Caldwell is deft at navigating questions of perspective, intimacy, and personal evolution, and her work is never less than fascinating.” \u003cstrong\u003e\u003cem\u003e—Brooklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Chloe Caldwell doesn’t have a gimmick, just honesty, and a whole lot of it.” \u003cstrong\u003e\u003cem\u003e—Village Voice\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Caldwell’s book ricochets between light and dark episodes from her 20s in New York City. Whether she’s acting up as the listless employee of a jewelry store on Bleecker or mourning the death of her new friend (writer Maggie Estep), Caldwell writes with astonishing clarity, self-awareness, and humor.” \u003cstrong\u003e\u003cem\u003e—Brooklyn Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Caldwell’s voice is strong and funny, and this collection deals with everything from what it was like for her to define (or fail to define) her sexual identity, the scourge of acne, and what it’s like to have a celebrity friend.” \u003cstrong\u003e\u003cem\u003e—Nylon\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eI’ll Tell You In Person\u003c\/em\u003e chronicles young adulthood with aplomb. Though it can feel as if the reader is meant to recall her own adolescent calamities and stack them up for comparison, this collection isn’t some righteous manifesto. There is no moral to the story because, as seasoned writers know, stories don’t need morals.” \u003cstrong\u003e\u003cem\u003e—PANK\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It takes both a fair amount of guts and a fine sense of craft to create the airy, breezy, cavalier persona who inhabits these essays.” \u003cstrong\u003e\u003cem\u003e—Heavy Feather Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Chloe Caldwell’s latest, \u003cem\u003eI’ll Tell You in Person,\u003c\/em\u003e is a love letter to anyone who has no idea what the hell she’s doing.” \u003cstrong\u003e\u003cem\u003e—The Opiate\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[They are] kind of cool, twenty something, life in the big city kind of essays, but a little edgy, a little surprising, with some real emotional intelligence.” \u003cstrong\u003e\u003cem\u003e—The Loft Podcast\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Chloe Caldwell tells you all her secrets in a controlled mania so you can devour them in a more compulsive fashion. I couldn’t stop reading this book, and when I was finished I kept looking around to see where my awesome new friend went. She’s right in here, brimming with most excellent girldom, a commitment to experience that feels religious, a dedication to vulnerability that likewise radiates holy holy holy. I love this person’s life, and I love the way she writes about it—funny and blunt and chatty and truthful.” \u003cstrong\u003e—Michelle Tea\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“When she writes, a beautiful energy blazes off the page. This book kicked my ass, heart, and brain. It’s wildly entertaining and deeply loving. A heroic triumph in intrepid self-observation. A testament to the heights and depths the personal essay can reach. Chloe Caldwell shows how, in writing about ‘nothing,’ we can discover the everything. I am going to buy \u003cem\u003eWomen\u003c\/em\u003e immediately.” \u003cstrong\u003e—Emma Jane Unsworth\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Chloe Caldwell is a brilliant essayist; one moment you’re laughing your face off and in the next she rips out your heart. I found myself talking out loud to her pages (‘Yes, that happened to me!’ and ‘Wait, you did what?’). We’re \u003cem\u003ein\u003c\/em\u003e there, \u003cem\u003ewith\u003c\/em\u003e her, the hoping and the hurting and the living. I’ll go back again and again to \u003cem\u003eI’ll Tell You In Person\u003c\/em\u003e. It’s about all of us.” \u003cstrong\u003e—Megan Stielstra\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I read this book in two breathless days, and basically all I want to do now is eat macaroni and cheese, day drink rosé, and harmonize with Chloe Caldwell. I want to be her friend.” \u003cstrong\u003e—Samantha Irby\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Chloe Caldwell has written the ideal ‘female companion book’—meaning, while reading \u003cem\u003eI’ll Tell You in Person,\u003c\/em\u003e I felt like I had a female companion with me at all times. On the subway, I had my female companion. In my backpack, I had my female companion. On the sidewalk, I held tight to my female companion, and pedestrians would stare at her, so boldly yellow in my hands. Pretty soon my female companion took up residency in my head. She helped me process the world with sass, spite, sympathy, and wit. I don’t know what could be better than a book that allows you to be alone but to never feel lonely. \u003cem\u003eI’ll Tell You in Person\u003c\/em\u003e does this and more. It projects the most potent afterglow, and Caldwell is a writer beyond gifted and generous. She is like a sage.” \u003cstrong\u003e—Heidi Julavits\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Chloe Caldwell writes with an emotional intensity that is insightful, heartfelt, and often hilarious. In her new essay collection, \u003cem\u003eI’ll Tell You in Person,\u003c\/em\u003e she perfectly captures what it’s like to try and navigate your way through the traumatic first decade of adulthood. It’s filled with a raw honesty and voyeuristic allure that’s utterly captivating.” \u003cstrong\u003e\u003cem\u003e—Powell’s Books \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707482446,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/I_ll_Tell_You_in_Person_52174057-ae65-4052-b5cc-46200edfa51a.jpg?v=1515097516"},{"product_id":"prelude-to-bruise","title":"Prelude to Bruise","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 9, 2014 • 5.5 x 8.25 • 124 Pages • 978-1-56689-374-9\u003c\/h5\u003e\n\u003ch4\u003eHow do we reckon our past without being ravaged by it? How do we use people, and their bodies, to express ourselves?\u003c\/h4\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSaeed Jones’s debut poetry collection \u003cem\u003ePrelude to Bruise\u003c\/em\u003e was the winner of the 2015 Stonewall Book Award\/Barbara Gittings Literature Award and a finalist for the 2015 National Book Critics Circle Award. His work has appeared in publications like \u003cem\u003eGuernica, The Rumpus, Hayden’s Ferry Review,\u003c\/em\u003e and \u003cem\u003eBlackbird\u003c\/em\u003e among others. Saeed is the recipient of fellowships from Cave Canem and Queer \/ Art \/ Mentors.\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\u003eNPR’s Best Books of 2014\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eTime Out New York\u003c\/em\u003e Best Books of 2014\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBook Riot\u003c\/em\u003e, 2014’s Must-Read Books from Indie Presses\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eSplit This Rock\u003c\/em\u003e Recommended Poetry Books of 2014\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eVol. 1 Brooklyn\u003c\/em\u003e, A Year of Favorites, Jason Diamond\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eGreenlight Bookstore, Holiday Picks\u003c\/strong\u003e\u003cbr\u003e\u003cbr\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.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003estarred review \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The features that distinguish his poems from prose—brevity, symbolism, implication—let him investigate the almost unsayable.” \u003cstrong\u003e—\u003cem\u003eLos Angeles Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\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: ‘\u003cem\u003ea voice mistook for stone, \/ jagged black fist.’” \u003c\/em\u003e\u003cstrong\u003e—NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones had a meteoric rise to literary prominence in the past year. . . . The poems of this book are harrowing and heartbreaking, treating family, sexuality, and race with unrelenting intensity.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\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.” \u003cstrong\u003e—\u003cem\u003eTime\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A debut poetry collection examining identity in all its forms—racial, sexual, geographical, and more—with both incisive intensity and tenderness.” \u003cstrong\u003e—\u003cem\u003eOff the Shelf\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saeed’s \u003cem\u003ePrelude to Bruise\u003c\/em\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.”\u003cstrong\u003e\u003cem\u003e —Washington Post\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is as purely transformative as poetry gets. Saeed leads us through discovery of self: racial and gendered, political and familial.” \u003cstrong\u003e—\u003cem\u003ePrideSource\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones’ 2014 poetry collection, offers a candid, refreshing view of the issues often faced within the LGBT community, including struggles with identity and masculinity.” \u003cstrong\u003e—\u003cem\u003eAmerica Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones’s lavish sonic patterning and gothic imagery often recall the incendiary mythos and immaculate craft of Sylvia Plath’s \u003cem\u003eAriel\u003c\/em\u003e as well as the haunted, sensual longing of Thomas James’s \u003cem\u003eLetters to a Stranger.”\u003c\/em\u003e\u003cstrong\u003e—\u003cem\u003eKenyon Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This year’s Stonewall-Gittings literature award goes to Saeed Jones’s \u003cem\u003ePrelude to Bruise\u003c\/em\u003e (Coffee House), a punch-in-your-gut fusion of racial, sexual, and personal struggle and a National Book Critics Circle finalist.” \u003cstrong\u003e—\u003cem\u003eLibrary Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An astonishing poetry collection, furious, tender, and true.” \u003cstrong\u003e—\u003cem\u003eTin House\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones’ poetry is evocative and rhythmic, at times tilting into a songlike cadence, and moves uneasily and strikingly between imagery of sex and violence.” \u003cem\u003e\u003cstrong\u003e—Portland Mercury\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePrelude to Bruise\u003c\/em\u003e is a harrowing examination of masculinity and femininity as a ‘brutal’ performance.” \u003cstrong\u003e—\u003cem\u003eBuzzFeed\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Reading this book will change you.” \u003cstrong\u003e—\u003cem\u003eCambridge Writers’ Workshop\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saeed Jones’s first full-length book, \u003cem\u003ePrelude to Bruise,\u003c\/em\u003e is a necessary piece of contemporary poetry that bravely tackles issues such as abuse, promiscuity, homosexuality, and racism.” \u003cem\u003e\u003cstrong\u003e—Prairie Schooner\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Jones’ haunting lyricism creates a portrait of hard-won self-realization, of a young man's determined struggle, pushing through doubt and distress with the strength of his imagination and verve.” \u003cstrong\u003e—\u003cem\u003eNBCC’s Critical Mass\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Perhaps the readiest, most painfully assured debut of the decade.” \u003cstrong\u003e—\u003cem\u003eFlavorwire\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This book leaves your body transformed in a way that poetry should.” \u003cem\u003e\u003cstrong\u003e\u003cstrong\u003e—ElevenEleven\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This is a beautiful, haunting, nearly perfect collection.” \u003cstrong\u003e—\u003cem\u003eRaging Biblio-holism\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePrelude to Bruise\u003c\/em\u003e by Saeed Jones, a tome of searing poetry about what it means to be Black, gay, Southern and so much more.” \u003cstrong\u003e—\u003cem\u003eRefinery 29\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A work of insight and great beauty, Jones’ first poetry collection manages to be both ferocious and and subtle.” \u003cstrong\u003e—\u003cem\u003eBrooklyn Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The poems in \u003cem\u003ePrelude to Bruise\u003c\/em\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.” \u003cstrong\u003e—\u003cem\u003eRain Taxi\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePrelude to Bruise\u003c\/em\u003e Saeed Jones is a powerful collection . . . with a high level of craft, emotion and metaphor.” \u003cstrong\u003e—\u003cem\u003eEbony\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This would be an interesting collection to me even if I didn’t understand English. There are moments of such lushness.” \u003cstrong\u003e\u003cem\u003e—Dive Deeper\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePrelude to Bruise\u003c\/em\u003e is an airtight collection of visceral and stunning poems.” \u003cstrong\u003e—\u003cem\u003eMosaic Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘I didn't exactly mean to survive myself,’ writes the African-American poet Saeed Jones, and the line comes to my mind: what it means to have survived official policies designed to erase you, and the kind of impulse to self-destruction that might arise in the face of this.” \u003cstrong\u003e—\u003cem\u003eThe Monthly \u003c\/em\u003e(Australia)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePrelude to Bruise\u003c\/em\u003e was published by Coffee House in August to widespread (and deserved!) acclaim.” \u003cstrong\u003e—\u003cem\u003eElectric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones uncovers what exactly is at stake when one presents oneself authentically, when one insists on being oneself regardless of the consequences.” \u003cstrong\u003e—\u003cem\u003eColdfront\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A radical standard of pain acknowledges the intersection between individual and collective histories of suffering. This radical standard is the thrust of works like. . . . Saeed Jones’ \u003cem\u003ePrelude to Bruise,\u003c\/em\u003e a collection of poems that narrates the wounds of a black gay boy in the American South.” \u003cstrong\u003e—\u003cem\u003ePacific Standard\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“His work is imaginative and lyrical while maintaining a self-proclaimed ferocity, as if there could really be any other kind, that challenges conventions of masculinity and race in a deeply emotional way.” \u003cstrong\u003e—\u003cem\u003eDazed\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Maybe the best collection you will read this year, Jones is a poet who also understands how to tell a story, obviously keeping his feet planted in the former since poetry is his craft, but giving the reader so much more to unpack page after page. At times harrowing, Jones succeeds at never straying too far away from beauty and light, and that balance makes this a true reading experience.” \u003cstrong\u003e—\u003cem\u003eVol. 1 Brooklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saeed Jones brought the audience to a near swoon.” \u003cstrong\u003e—\u003cem\u003eTwin Cities Daily Planet\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePrelude to Bruise\u003c\/em\u003e is a book with a controlled realm of imagery, which creates this really beautiful territory for the reader to explore.” \u003cstrong\u003e—\u003cem\u003eAce Hotel\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saeed Jones may be one of the most necessary poets of our time.” \u003cstrong\u003e—July Westhale, \u003cem\u003eLambda Literary\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Beautiful, haunting and heartbreaking—Jones’s poems are an emotional punch to the gut. A lyrical shock to the system.” \u003cstrong\u003e—\u003cem\u003eLambda Literary\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What these poems show us is the necessity of owning that longing, the refusal to let the wounds the world has laid upon us turn inward, into our shame, our silence. To show the world the face that the world has made.” \u003cstrong\u003e—\u003cem\u003eMuzzle Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It’s a diverse festival, showcasing talents as different as the best-selling crime novelist Rebecca Chance and the politically engaged poet Saeed Jones.” \u003cstrong\u003e—\u003cem\u003eTimes Picayune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘[Saeed Jones] is leading the way and writing critically about the community,’ [Spectrum’s president] Diaz said.” \u003cstrong\u003e—\u003cem\u003eThe Torch\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePrelude to Bruise\u003c\/em\u003e is an airtight collection of visceral and stunning poems.” \u003cstrong\u003e—\u003cem\u003eMosaic Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I packs a wallop . . . I found myself in awe.” \u003cstrong\u003e—\u003cem\u003eRaging Biblio-holism\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I was bowled over by Saeed Jones’s \u003cem\u003ePrelude to Bruise\u003c\/em\u003e (Coffee House Press, #16), a beautiful and biting collection of poetry that has been making waves in the US. Investigating race, sexuality and what it means to be southern, Jones’s lean, searing lines transcend identity politics.” \u003cstrong\u003e—\u003cem\u003eNew Statesmen (UK)\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Poetry book most likely to win over your poetry-avoiding friends: \u003cem\u003ePrelude to Bruise\u003c\/em\u003e by Saeed Jones.” \u003cstrong\u003e—\u003cem\u003eTime Out New York\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones is responsible for a growing portion of the gay narrative being written online, and the Internet is a much better place for it. His voice will have even more impact with his upcoming debut, which will explore the collision of race, sexuality and identity.” \u003cstrong\u003e—\u003cem\u003eThe Root, \u003c\/em\u003e“30 Viral Voices Under 30”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“For years now the \u003cem\u003eBuzzfeedLGBT\u003c\/em\u003e editor has been lighting it up at his day job, and also on Twitter, with a ferocity befitting his name. Now, after earning praise from D.A. Powell and after winning a NYC-based Literary Death Match bout, Jones will use his debut collection to prominently display his poetry chops.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\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.” \u003cem\u003e\u003cstrong\u003e—Guernica\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“It’s a book about identity that expands beyond the borders of the terms we use to cordon off safe spaces.” \u003cem\u003e\u003cstrong\u003e—Dialogist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A stunning debut collection of one of America’s most promising young poets. . . . These poems lacerate as they heal, making us feel the resilient intensity of a protagonist who says, ‘I didn’t exactly mean to survive myself.’” \u003cem\u003e\u003cstrong\u003e—The Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Saeed Jones has created a radically different coming of age narrative distinctly his own through forceful, original poetry.” \u003cstrong\u003e\u003cem\u003e—Lonesome Reader\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A daring, ferocious, and often impossibly gorgeous meditation on boyhood and personhood, language and love.” \u003cstrong\u003e\u003cem\u003e—Flavorwire\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The first book of Saeed Jones’s poetry, \u003cem\u003ePrelude to Bruise,\u003c\/em\u003e reads with astonishing momentum and tenacity, a lyrical torch thrust into shadows and silence to illuminate pain from a history of wounds.” \u003cstrong\u003e\u003cem\u003e—Shelf Awareness\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Jones has a voice, and it is not plucky or regretful. It is not about being a ‘man’—it’s more ambitious. This book is his credo, his aspiration. Convert or abstain, his ‘hunger [does] not apologize.’” \u003cem\u003e\u003cstrong\u003e—Poets at Work\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“For their journey on this beautifully clear but sweltering Saturday afternoon, they were not disappointed, treated to over a dozen readings of vintage O’Hara poems, as well as new poems written by the likes of Saeed Jones, author of \u003cem\u003ePrelude to Bruise\u003c\/em\u003e and the editor of \u003cem\u003eBuzzfeedLGBT.” \u003c\/em\u003e\u003cstrong\u003e—\u003cem\u003eHuffPost\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“These poems are tightly constructed, scary-beautiful, and lyrically brilliant, driven by a raw and devastating emotional power. He awes me.” \u003cstrong\u003e—\u003cem\u003eThe Millions\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saeed Jones begins this electrifying book—one of the most exciting debut collections I’ve read in years—with a quotation from Kafka’s notebooks: ‘The man in ecstasy and the man drowning—both throw up their arms.’ It’s a powerful opening for these searing poems.” \u003cstrong\u003e—\u003cem\u003eTowleroad\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In his first book of poetry, Jones blazes forth, his voice new, potent, lyrical, and deadly beautiful. Enveloping his words in the body, its politics, its genders and colors, the legacy of its trials and abuse, Jones sings truths from the perimeter, the disenfranchised, the ready to be heard.” \u003cstrong\u003e—Bookshop Santa Cruz\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Today my writing ambition, my heart, and my mind are expanded by my peers who are writing the books I read with breathless anticipation and envy.” \u003cstrong\u003e—\u003cem\u003eBuzzFeed\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Riveting and heartening to read.” \u003cstrong\u003e—\u003cem\u003eThe Dodge Blog\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This book is so good it will give you night sweats.” \u003cstrong\u003e—Greenlight Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The collection seems to begin again frequently, and end too soon.” \u003cstrong\u003e—\u003cem\u003eLenny\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I had to stop trying to read Saeed Jones’s debut, \u003cem\u003ePrelude to Bruise,\u003c\/em\u003e on the subway to avoid yelping with joy, weeping, or getting all hot and bothered in public.” \u003cstrong\u003e—\u003cem\u003eWork in Progress\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePrelude to Bruise\u003c\/em\u003e is a thunderous title for a first collection. It promises that a bruise will come later. It says that, even when we feel like we’re drowning, we can still be ecstatic.” \u003cstrong\u003e—\u003cem\u003eThe Brooklyn Rail\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Heartrending, lyrical, and raw.” \u003cstrong\u003e—\u003cem\u003eBuzzFeed\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Ecstatic and haunting.” \u003cstrong\u003e—\u003cem\u003eBrooklyn Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is the type of book that merits clichéd hyperbole: because it will actually ‘leave you floored,’ ‘feeling naked’ (together, that's almost a Natalie Imbruglia lyric!), and ‘gasping for breath.’” \u003cstrong\u003e—\u003cem\u003eFlavorwire\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Poems like ‘Post Apocalyptic Heartbreak,’ ‘History According to Boy,’ ‘Prelude to Bruise,’ and others will break your heart and force you to investigate and confront the unconscionable brutality of this nation.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMELO\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A compelling collection.” \u003cstrong\u003e\u003cem\u003e—Runestone\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saeed writes about blackness and gayness, fierce and thick and brave in every poem.” \u003cstrong\u003e—\u003cem\u003eMedium\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Damn near genius.” \u003cstrong\u003e—\u003cem\u003eShade\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saeed Jones is one of the English department's most distinguished graduates.”—\u003cstrong\u003e\u003cem\u003eWKU Herald\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707614798,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Prelude_to_Bruise.jpg?v=1515103924"},{"product_id":"red-suburb","title":"Red Suburb","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Greg Hewett\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 1, 2002 • 7 x 10 • 96 pages • 978-1-56689-129-5\u003c\/h5\u003e\n\u003ch4\u003eLike a gay \u003cem\u003eWonder Years,\u003c\/em\u003e \u003cem\u003eRed Suburb\u003c\/em\u003e is a poignant collection of memory, love, and longing.\u003c\/h4\u003e\n\u003cp\u003e\u003cem\u003eRed Suburb\u003c\/em\u003e portrays the neurotic beauty of a generation squeezed between the Baby Boomers and Generation X. These poems—ripe with love and wistfulness—scope the bright, innocent Kodak colors of suburbia, then twist like a kaleidoscope, distorting into the very un-American Dream of coming-of-age as a seer, a dreamer, a gay man, and a social iconoclast amidst the abject development of cul-de-sacs and manicured lawns.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eGreg Hewett is the author of \u003cem\u003edarkacre\u003c\/em\u003e (Coffee House Press, 2010), \u003cem\u003eThe Eros Conspiracy\u003c\/em\u003e (2006), \u003cem\u003eRed Suburb\u003c\/em\u003e (2002), and \u003cem\u003eTo Collect the Flesh\u003c\/em\u003e (New Rivers Press, 1996)—poetry collections that have received a Publishing Triangle Award, two Minnesota Book Award Nominations, a Lambda Book Award Nomination, and an Indie Bound Poetry Top Ten recommendation. The recipient of Fulbright fellowships to Denmark and Norway, Hewett has also been a fellow at the Camargo Foundation in France, and is Professor of English at Carleton College. He is currently finishing a biography of the film noir actor Thomas Gomez.\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“What a luminous and alluring book, artful in the best sense of never advertising its art, never straining for effect, ever surprising with its wit and imaginative resourcefulness, its unpretentious yet authoritative voice, its heartbreaking authenticity, its intelligence, its eye, its lust, its charm. These are poems written by a large sensibility, both contemporary and historically aware, disciplined and supple, unsentimental and affectionate, verbally playful and soulfully engaged.” \u003cstrong\u003e—Bruce Bond\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707623438,"sku":"","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Red-Suburb-cover-color.jpg?v=1499210882"},{"product_id":"the-eros-conspiracy","title":"The Eros Conspiracy","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Greg Hewett\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 1, 2006 • 6 x 9 • 124 pages • 978-1-56689-185-1\u003c\/h5\u003e\n\u003ch4\u003eRomantic poets, revolutionaries, and gay icons lend their voices to these communiqués from lover to beloved.\u003c\/h4\u003e\n\u003cp\u003eBeauty meets History and Love clashes with Revolution in this original, intimate, and intrigue-fueled treatise on politics, passion, and possession. A carnivalesque eroticism pervades as starry-eyed clichés are turns on their heads, shattering their subjectivity and revealing the truth beneath the platitudes in these transhistorical communiqués from lover to beloved.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eGreg Hewett is the author of \u003cem\u003edarkacre\u003c\/em\u003e (Coffee House Press, 2010), \u003cem\u003eThe Eros Conspiracy\u003c\/em\u003e (2006), \u003cem\u003eRed Suburb\u003c\/em\u003e (2002), and \u003cem\u003eTo Collect the Flesh\u003c\/em\u003e (New Rivers Press, 1996)—poetry collections that have received a Publishing Triangle Award, two Minnesota Book Award Nominations, a Lambda Book Award Nomination, and an Indie Bound Poetry Top Ten recommendation. The recipient of Fulbright fellowships to Denmark and Norway, Hewett has also been a fellow at the Camargo Foundation in France, and is Professor of English at Carleton College. He is currently finishing a biography of the film noir actor Thomas Gomez.\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“\u003cem\u003eThe Eros Conspiracy\u003c\/em\u003e is an urbane, sophisticated meditation on sexuality, politics, and history, from ancient Greece to our time, with impressive forays into the failed Soviet imperium, Mao’s China, and Rimbaud’s France. Hewett’s poetic tableau assembles Johann Joachim Winckelmann, Karl Marx, Michelangelo, Marlon Brando, Paul Klee, Dante, Zhou Enlai, Homer, Leonardo da Vinci, Frida Kahlo, Marilyn Monroe and a host of others, who animate his fanciful but deeply serious consideration of the idea of revolution in art and thought. Such ambition for the lyric mode is well realized here, and readers will be enchanted.” \u003cstrong\u003e—Carolyn Forché\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Greg Hewett’s epistolary romp resurrects revolutionary heroes and anti-heroes from myth, history and art and sets them against an erotic imagination to wrestle with ideals of sadness, beauty, revolution, and oblivion.” \u003cstrong\u003e—C.D. Wright\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“There’s a deep pathos to this love story that winds up being profoundly political in the most personal of ways. A rare feat, and beautifully executed.” \u003cstrong\u003e—Cole Swenson\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707744654,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Eros-Conspiracy2006-SPRING.jpg?v=1499210994"},{"product_id":"the-gift","title":"The Gift","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Barbara Browning\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 9, 2017 • 5.5 x 8.25 • 248 Pages • 978-1-56689-468-5\u003c\/h5\u003e\n\u003ch4\u003eA sometimes funny, sometimes catastrophically sad story of performance art, ukuleles, dance, and our attempts and failures to make contact.\u003c\/h4\u003e\n\u003cp\u003eIn the midst of Occupy, Barbara Andersen begins spamming people indiscriminately with ukulele covers of sentimental songs. A series of inappropriate intimacies ensues, including an erotically charged correspondence and then collaboration with an extraordinarily gifted and troubled musician living in Germany.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBarbara Browning teaches in the Department of Performance Studies at the NYU Tisch School of the Arts. She received her PhD in Comparative Literature from Yale University. She is the author of the novels \u003cem\u003eThe Correspondence Artist\u003c\/em\u003e (winner of a Lambda Literary Award) and \u003cem\u003eI’m Trying to Reach You\u003c\/em\u003e (short-listed for the Believer Book Award). She also makes dances, poems, and ukulele cover tunes.\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\u003eWinner of the Lambda Literary Award in Bisexual Fiction\u003cbr\u003eFinalist for the 2018 Clark Fiction Prize\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eUnabridged Bookstore, “Our Favorite Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eKirkus Reviews,\u003c\/em\u003e “Best Fiction of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eNylon,\u003c\/em\u003e “Here are the Best Fiction Books of 2017”\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Gift\u003c\/em\u003e is a smart, funny, heartbreaking and often sexy delight of a novel that presses hard against the boundaries of where literary and artistic performances begin and end.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eNew York Times \u003c\/strong\u003e\u003cstrong\u003eSunday Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“It’s tempting to compare her to popular writers of ‘autofiction,’ such as Chris Kraus, Sheila Heti, and Ben Lerner—all of whom she mentions in her work—but Browning exaggerates the genre to particularly postmodern, batty, and charming extremes.” \u003cstrong\u003e—\u003cem\u003eNew Yorker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The narrator has an exceptionally graceful page presence: loony and profound, vulnerable and ingenuous, Barbara acts to unify the book’s central concerns, giving its intellectual flights of fancy a palpable human pulse.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003ePublishers Weekly, \u003c\/em\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Browning takes a book that could easily exist in hypotheticals, layers, and masks and instead grounds it in the chaos of its time, including the disruptive politics of the Occupy movement, the infamous Pussy Riot protests and arrests in Russia, and the aftermath of Hurricane Sandy. The effect is indeed intimate but never inappropriate. Browning is working at the edges of her craft, and it’s utterly thrilling to watch. A delicious love letter to readers and co-conspirators everywhere.” \u003cstrong\u003e\u003cem\u003e—Kirkus, \u003c\/em\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eThe Gift\u003c\/em\u003e] is a meandering, quasi-academic meditation on performance art that is somehow breezy and juicy enough to bring to the beach.” \u003cstrong\u003e\u003cem\u003e—The New Yorker \u003c\/em\u003eCulture Desk\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Despite, or perhaps because of, the borderline dystopian reality in which we now live, there’s more of a reason than ever to explore what it means to create a truth, if not the truth. Browning does so beautifully in \u003cem\u003eThe Gift,\u003c\/em\u003e to such a degree that there ceases to be a delineation between what’s ‘real’ and which characters are virtually identical, save for slight name changes. . . . But while the blurriness of what is and isn’t real exists for the reader, there is never any doubt that Browning is in full control of her story.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eNylon\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eThe Gift\u003c\/em\u003e is] a smart and joyful autofictional game of a novel that suggests we shouldn’t underestimate the level of sensuality and vulnerability in even our more transactional or semi-anonymous contacts.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Gift\u003c\/em\u003e is an unusual novel about the performance of life and the life of performance that tells us empathy and passion are deeply political, and that fiction that flips a finger to the boundary between storytelling and the body is an expression of hope and a way toward a different future. In so many ways, Browning’s creation is a beautiful meditation on art, and a balm for readers in these difficult times.” \u003cem\u003e\u003cstrong\u003e—Bookforum\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Browning’s prose is open and unpretentious; I read her book deliberately, soaking up the fullness of each sentence.” \u003cem\u003e\u003cstrong\u003e—Paris Review Daily\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Browning’s sinuous, seductive exploration of ‘inappropriate intimacies’ is one of the most exhilarating and provocative books I’ve read in ages.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eNylon\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Where does Barbara Browning end and Barbara Andersen begin? What is the difference between fact and fiction? Those are some of the intriguing questions raised by this enigmatic and mysterious tale.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eBooklist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Gift\u003c\/em\u003e chronicles a woman’s journey through art and experience in the context of the Occupy movement, with observations about our modern attempts to form meaningful connection.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Through this addictive, brainy and vibrant novel, which straddles nonfiction and fiction, Browning celebrates an unabashed passion for art and togetherness in a world muddled by assumed intimacy and inherent skepticism.” \u003cstrong\u003e—\u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Browning’s writing is joyful, even radiant, at points; this work of autofiction is overflowing with sexuality, sensuality, intellectual and artistic curiosity, and wonder.” \u003cem\u003e\u003cstrong\u003e—Nylon\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Gift\u003c\/em\u003e is a book that allows us to live undefined and free at our wavering edges.”  \u003cstrong\u003e—\u003cem\u003eThe Collagist\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“As if to explain all those mysterious ukulele covers, Barbara takes us deeper than ever into her inappropriate intimacies, into the baseline feminist communism of gift economies, into the eros of collaboration, into the pain of wanting more than you want to want.” \u003cstrong\u003e—\u003cem\u003eThe Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Barbara’s inviting voice leads us through spirited digressions on performance, family, shame, and the history of gift-giving, each examined with remarkable aplomb and generosity.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMilkweed Blog\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Barbara Browning’s novel \u003cem\u003eThe Gift \u003c\/em\u003eis a brilliant work of autofiction.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eLargehearted Boy\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In this disarming and hopeful novel, Barbara Browning explores the role of art in our lives and relationships with humor, warmth, and playful eroticism.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eThe Riveter\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Gift\u003c\/em\u003e is about the connections we make with other human beings, whether in passing, in person, or via email (or even in our imagination). It feels rare to read an uplifting book . . but (the) Barbara’s zest for life is extremely contagious. Anyway, read this book, I promise it is worth it.” \u003cstrong\u003e—\u003cem\u003eLenny\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mischievous, highly evolved, and tenderly executed, Barbara Browning’s \u003cem\u003eThe Gift\u003c\/em\u003e lives up to its title.” \u003cstrong\u003e—Unabridged Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Through music, art, dance, and the various means of communication at our disposal, Browning makes us ponder age-old questions. . . . Browning’s \u003cem\u003eThe Gift\u003c\/em\u003e is sure to bring some enlightenment to your life.” \u003cem\u003e\u003cstrong\u003e—Warby Parker Blog\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Barbara Browning’s gift is delicacy’s embrace of edge, daring’s embrace of openness, dance’s embrace of song, in open tuning: a blues for intimacy’s constant rupture and repair, held out in simple and miraculous gesture. I mean to say that her sentences are carefully held out hands signing the theory and practice of generosity, speaking with such plain obscurity that what has been covered—the lonesome miracle of what it is to be together—is now visible.” \u003cstrong\u003e—Fred Moten\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Barbara Browning’s winning and expansive novel describes one woman’s intimacies with lovers, strangers, culture and ideas, and family and friends during several months in NY between 2012 and 2013. Browning brilliantly synthesizes her work as a scholar and an artist into a single identity, becoming at once a master monologist, storyteller, and historian of her amorphous tribe.” \u003cstrong\u003e—Chris Kraus\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707765134,"sku":"","price":15.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/The_Gift.jpg?v=1515108059"},{"product_id":"hope-of-floating-has-carried-us-this-far","title":"The Hope of Floating Has Carried Us This Far","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eStories by Quintan Ana Wikswo\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 9, 2015 • 6 x 9 • 277 Pages • 978-1-56689-405-0\u003c\/h5\u003e\n\u003ch4\u003eIn these stories, characters defy the limits of physics to escape the all too human pain of love and loss.\u003c\/h4\u003e\n\u003cp\u003eWhen love, lust, and longing have all but killed you, and Newtonian physics has become too painfully restrictive, is it possible to find freedom in another dimension? Have you lost the will to live, or have you lost the will to live as human? In these stories, characters must learn to live with unmarked edges and meanings that can no longer be defined.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eQuintan Ana Wikswo’s work appears regularly in \u003cem\u003eTin House, Guernica, Kenyon Review, Conjunctions, Gulf Coast, Alaska Quarterly Review,\u003c\/em\u003e and \u003cem\u003eDenver Quarterly,\u003c\/em\u003e among other publications. She has received residencies and fellowships in literature, visual art, film, and performance at Yaddo, Djerassi, Creative Capital, Center for Cultural Innovation, Pollock Krasner Foundation, and the NEA. In 2013, the Berlin Jewish Museum presented a five-month solo exhibition of her project \u003cem\u003eSonderbauten,\u003c\/em\u003e which explores state-sponsored sexual violence against women through photographs, poetry installation, and film. A former human rights worker, she is now the co-Director of Contos \u0026amp; Wikswo, an arts organization creating artworks in literature, visual art, performance, and ritual in communities with complex ecologies of memory, history, mystery, and mythos.\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“Each of the 10 stories in the collection feels crafted into a distinctive object and thoughtfully presented, practically hung on a wall for the audience’s contemplation. This makes for an unconventional reading experience that is as visual as it is verbal. . . . In Wikswo’s book, the text and paratext are equally deliberate and interesting, and are, as befits a cross-genre artist, difficult to separate.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eChicago Tribune\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Wikswo’s singular lines strike like the tone of a bell, resonating across pages. . . . The stories . . . take the reader on a journey where myth, mystery, and the impossible have never seemed more real.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In this mysterious work, Wikswo has found a new way to dramatize historical horrors and ambiguities.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eStar Tribune\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“There’s a mesmerizing sense of timespace travel in these stories, which seem to simultaneously inhabit ancient mythological eras and the present day.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eLiterary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e balances intimate stories with surreal photographs, an otherworldly kind of pleasure.” \u003cstrong\u003e—\u003cem\u003eKenyon Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Desire bends the world with transmogrifying persistence in Wikswo’s debut collection, \u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e, until the reality we thought we knew erodes into the background of a whorling landscape rife with longing. The tragedy of embodiment, of our inherent separation from one another, permeates a text whose protagonists strive to rewrite the rules of creation, that it might contain a space where they can love. It is no wonder, then, that the text obliterates boundaries of form, structure, genre, and medium like a typhoon.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Across the pages of \u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e, writer-photographer Quintan Ana Wikswo accomplishes places of uncommon depth via an elixir of language, photography, and negative space.” \u003cstrong\u003e—\u003cem\u003eLos Angeles Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An intoxicating read that feels at once universal and personal, comforting and jarring, ethereal and earthy.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eElectric Literature\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e] blends stark prose and shifting imagery with images that sometimes accentuate the words on the page and sometimes bring moments into sharp (pardon the pun) focus. It’s unlike anything else you’re likely to read this year.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eVol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Each story relies on a delicate juxtaposition of image and text. It supports the manner in which we process white space, as a sort of separate, ‘meta’ narrative. Paragraphs seem unnecessary here, as if each sentence is a shaman holy enough to regard the stanza as a pair of shackles, or a superfluous control mechanism.” \u003cstrong\u003e—\u003cem\u003eVol. 1 Brooklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What would ordinarily be conjured in the reader’s imagination, is readily provided in full color to create an additional layer of metaphor and meaning against the text.” \u003cem\u003e\u003cstrong\u003e—Drunken Boat\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“For a society recently focused on how rigidly we should adhere to the identities that are supposed to define us, Quintan Ana Wikswo’s new book of photography and stories comes as a spiritual guide.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eCreative Capital\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Although the foundation of the book is her sparkling prose, the accompanying visual art is just as integral to the story, itself a meditation on the discomfort of ‘painfully restrictive Newtonian physics’ and the quest to escape the torments of human desire by finding solace in a parallel universe.” \u003cstrong\u003e—\u003cem\u003eLA Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A multi-sensory reading experience. You don’t just read the stories; you engage with them. . . . It is through Wikswo’s poetic language and movement that we can recognize, live, and exist in our own ecology of complexity.” \u003cstrong\u003e—\u003cem\u003eElectric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Quintan Ana Wikswo’s debut book, \u003cem\u003eThe Hope of Floating Has Carried Us this Far\u003c\/em\u003e, occupies territory the way only the bravest literary works do: the characters and places within shirk boundaries and create new ones, exist both inside and outside the world as we know it, and redefine love and existence in an unexpected and wildly queer way.” \u003cstrong\u003e—\u003cem\u003eLambda Literary\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like shortwave radio dispatches from another Universe where the edges that separate us are constantly blurring and shifting.” \u003cstrong\u003e—\u003cem\u003eLambda Literary\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An evocative new short story collection.” \u003cstrong\u003e—\u003cem\u003eLambda Literary\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e is the acclaimed new book of words and images by Quintan Ana Wikswo, an artist and writer who has never limited herself to only one medium and certainly not to two dimensions.” \u003cstrong\u003e—\u003cem\u003eLA Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Quintan Ana Wikswo’s short story collection \u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e boldly combines prose and photography to create a unique, mesmerizing, and unforgettable reading experience.” \u003cstrong\u003e—\u003cem\u003eLargehearted Boy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Experimental fiction and photography by former human rights worker, which I was surprised to fall in love with.” \u003cstrong\u003e—\u003cem\u003eCritical Mass\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“When Brooklyn-based author, visual artist, photographer and filmmaker Quintan Ana Wikswo celebrates the release of her new book \u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e, you can be sure that the former human rights activist won’t settle for a simple reading and Q\u0026amp;A.” \u003cstrong\u003e—\u003cem\u003eBedford + Bowery\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“War and love, family and beloveds, reality and fantasy are her themes, but they are unlike the stories of these subjects you may have read before. A kind of alchemy is at work here within Wikswo’s sensual writing. Writing that comes close to being felt bodily and brightly heard. . . . \u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e is a magnificent work.” \u003cstrong\u003e—\u003cem\u003eReview 31\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Wikswo is equally deft with words and photographs. . . . Wikswo’s desire to reintroduce the reader to an intense level of natural vitality . . . is not so much an attempt to erase the modern but to restore something ancient and eternal to its rightful place.” \u003cstrong\u003e—\u003cem\u003eVertigo\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What is written here moves somewhere between a personal letter and a myth digested by generations. The stories are site-specific, witchy, and precise.” \u003cstrong\u003e—\u003cem\u003eThe Diagram\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dedicated to those inhabiting the meeting point of nihilism and romance, Wikswo’s tales palpate the tiny, tender parts of us that dare to hope for love and belonging in the face of a cold and unkind universe. . . . Blurring the edges of reality and challenging the body’s limits, Wikswo offers a glimpse of what could transpire if our deepest desires devoured us.” \u003cstrong\u003e—\u003cem\u003eBookslut\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The stories breathe with peripheral intensity. . . . There is a rhythm to this movement, a music, a life. \u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e may change the way you view the book as object, the story as word.” \u003cstrong\u003e—\u003cem\u003eWarscapes\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e“[\u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e explores] humanity from the outside, not just crossing genres but exploding them. Quintan combines text and photography to give us characters who have left their bodies, and whose stories have become boundless. She writes with both a lightness and the weight of lives unlived, of remorse, and of loss.” \u003cstrong\u003e—\u003cem\u003e0s\u0026amp;1s\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“These stunning, solitary and cinematic letters to the self (think of the Quays and Béla Tarr speaking together in dreamtime) bear witness to a world beloved and betrayed, the spent and brutal collisions of irretrievable loss with what might have been possible.” \u003cstrong\u003e—Rikki Ducornet\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Quintan Ana Wikswo, in her unique and magnificent \u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e, has ignited an extraordinary condensation of texts and images that culls together spirit, compassion, and dreams. Throughout her foray into extensions of the mind and the limits of the body she exudes an uncanny power of magic and wizardry.” \u003cstrong\u003e—Lynn Hershman Leeson, Director of Women Art Revolution\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“You will find within these pages a marvelous alchemy of image and text, all of it radiant, sensual, endlessly layered. \u003cem\u003eThe Hope of Floating Has Carried Us This Far\u003c\/em\u003e is at once a seduction and an insurrection: a paean to lovers, explorers, resisters, and those without borders.” —\u003cstrong\u003eNational Book Award finalist Sarah Shun-lien Bynum, author of \u003cem\u003eMadeleine is Sleeping\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707773262,"sku":"","price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/HOF_cover_kk.jpg?v=1499211018"},{"product_id":"white-palazzo","title":"White Palazzo","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Ellen Cooney\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 1, 2002 • 5.5 x 8.5 • 200 pages • 978-1-56689-134-9\u003c\/h5\u003e\n\u003ch4\u003eSometimes you don’t come out, you just fall in love.\u003c\/h4\u003e\n\u003cp\u003eDays before her wedding, Tara Barlow ditches her fiance and her hometown to head west in her prize Mustang after she discovers that her dream wedding venue—the White Cliffs—has burned down.\u003cbr\u003e\u003cbr\u003eTara’s alarmed family sends the town psychic, Guida, to find her. When she tracks Tara to a town full of Fellini-esque characters, the two find themselves surprised but requited in their mutual attraction. They immediately hit the road, attempting to live out the happy ending Thelma and Louise only dreamed about.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eEllen Cooney was born in Clinton, Massachusetts and attended Worcester State College and Clark University. She is the author of seven novels, including \u003cem\u003eWhite Palazzo\u003c\/em\u003e and \u003cem\u003eThe Old Ballerina.\u003c\/em\u003e Her short fiction has appeared in the \u003cem\u003eNew Yorker, Literary Review, Glimmer Train,\u003c\/em\u003e and \u003cem\u003eFiction.\u003c\/em\u003e Her work has also been listed several times in \u003cem\u003eBest American Short Stories.\u003c\/em\u003e She has taught creative writing for over twenty-five years, and now lives in mid-coast Maine.\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“Can they find true love and happiness? Many will want to find out from a novel this fresh and engaging.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eBooklist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Ellen Cooney has written a hilarious book about two women falling in love.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eNewPages\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Subtle and hilarious, without being cynical or cruel. \u003cem\u003eThelma \u0026amp; Louise\u003c\/em\u003e and an inversion of \u003cem\u003eThe Graduate\u003c\/em\u003e.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eThe Rake\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The affair between Guida and Tara is sweetly rendered and their dizzy interior lives possess a whimsical charm.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003ePublishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707817166,"sku":"","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/White_Palazzo.jpg?v=1515113170"},{"product_id":"idiophone","title":"Idiophone","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eAn essay by Amy Fusselman\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJuly 3, 2018 • 5 x 7.75 • 132 pages • 978-1-56689-513-2\u003c\/h5\u003e\n\u003ch4\u003eRecovery, motherhood, queerness—\u003cem\u003eIdiophone\u003c\/em\u003e is a striking meditation on risk-taking in art, from a distinctively feminist angle.\u003c\/h4\u003e\n\u003cp\u003eLeaping from ballet to quiltmaking, from the \u003cem\u003eThe Nutcracker\u003c\/em\u003e to an Annie-B Parson interview, \u003cem\u003eIdiophone\u003c\/em\u003e is a strikingly original meditation on risk-taking and provocation in art and a unabashedly honest, funny, and intimate consideration of art-making in the context of motherhood, and motherhood in the context of addiction. Amy Fusselman’s compact, beautifully digressive essay feels both surprising and effortless, fueled by broad-ranging curiosity, and, fundamentally, joy.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAmy Fusselman is the author of three previous books of nonfiction. She lives in Manhattan with her husband and three children.\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\u003eLonglisted for the Believer Book Award in Nonfiction\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A recursive prose-poem contemplating addiction, dance, and the need for pathbreaking art. . . . [Fusselman’s] layering of her thematic ideas gives the book the feel of a mood piece—like a Steve Reich composition where riffs phase in and out—which makes it a pleasure on a sensual level.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cspan\u003e“Fusselman bounds with great dexterity from theme to theme—covering topics including addiction, motherhood, gender, and art—until she has transformed the traditional essay into something far wilder and more alive.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly, \u003c\/em\u003estarred review\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e“There is no mind quite like Amy Fusselman’s, and to be allowed inside it via these deft, singular, surprising sentences is to enter a vibrant wonderland where everything is new and nothing is a bore.” \u003cstrong\u003e—Elisa Albert\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Amy Fusselman is a genius with language, every sentence manages to surprise; they wend themselves into your brain—your everything, really.” \u003cstrong\u003e\u003cem\u003e—Nylon,\u003c\/em\u003e “46 Great Books To Read This Summer”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“For a book so decidedly about ballet, pointe shoes and all, \u003cem\u003eIdiophone\u003c\/em\u003e is delightfully indelicate and tiptoes around nothing.” \u003cem\u003e\u003cstrong\u003e—Kenyon Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eIdiophone\u003c\/em\u003e projects a cheerful, enlivening sense of the author meditation on the fly, slinging everything but the kitchen sink (and maybe that, too) at her art . . .” \u003cem\u003e\u003cstrong\u003e—Women’s Review of Books\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Amy Fusselman’s compact, beautifully digressive essay feels both surprising and effortless, fueled by broad-ranging curiosity, and, fundamentally, joy.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In the one-woman ballet that is \u003cem\u003eIdiophone,\u003c\/em\u003e Amy Fusselman dances sensationally.” \u003cem\u003e\u003cstrong\u003e—Arkansas International\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Fusselman sets about, through her own radical art, thinking her way into another world—or, at least, attempting to transform this one. . . \u003cem\u003eIdiophone\u003c\/em\u003e stands as Fusselman’s boldest reckoning yet.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Review of Books\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Amy Fusselman is a genius with language.” \u003cem\u003e\u003cstrong\u003e—Nylon\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eIdiophone\u003c\/em\u003e is about \u003cem\u003eThe Nutcracker,\u003c\/em\u003e alcoholism, parenthood, adult childhood, frustration, meaning making, queerness, writing, two mice in a VW bug and a drunk cockroach, dying, luck, accidents, and laughter, to name only some of what it touches upon, but it is also about the simultaneous and permanent irreconcilable difficulty of being a world within the world.”\u003cem\u003e\u003cstrong\u003e —The Believer\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“One of Fusselman’s great talents has always been the construction of juxtapositions and equivalencies, and in this book, she doesn’t disappoint: a mother is a small iridescent paper circle, an EMT is a baby bunny, alcoholism and maternal ambivalence take their places next to stacks of pancakes and a fourteen-foot-tall sculpture from Vanuatu. In outrageously simple, inexplicably tender prose, Fusselman presses on her nouns until they break, and then, after denotation is no longer their most important job, they perform quite a bit of unexpected and marvelous work. This book is going to haunt me.” \u003cstrong\u003e—Sarah Manguso\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“I’m hesitant to offer too much detail about this marvelous, necessary essay because a major part of \u003cem\u003eIdiophone\u003c\/em\u003e’s glory lies within its many surprises. What a joy to never quite know where the next page—the next line even—will take you! Yet, since all the book’s curvy beelines of thought spring from the deft hand of a fantastic stylist, \u003cem\u003eIdiophone\u003c\/em\u003e also showcases a palpable and idiosyncratic control. Reader, make yourself ready for a love letter to motherhood, for an examination of the limits of performance, and for a battle cry to experimental voices—all of it powered writing that pirouettes to its own fabulous music.” \u003cstrong\u003e—Elena Passarello, author and \u003cem\u003eNutcracker\u003c\/em\u003e enthusiast\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This small and beautiful book about feminism and motherhood and art is perfect for those of us who like thinking outside of the box when we’re looking for something lovely to read.”\u003cem\u003e\u003cstrong\u003e —Vulture\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book, about ballet and beauty, philosophy and family, reinforces Amy Fusselman’s status as one of our best interrogators of how we live now, and how we should live. As always, Fusselman asks tough questions and answers them with rare lyricism and candor.” \u003cstrong\u003e—Dave Eggers\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Fusselman’s prose has the delicate, tensile musculature of a ballet dancer, and the best thing you can do for yourself is surrender to it, let Fusselman take you where she wants to go, and then allow yourself to spring off the platform she has provided.” \u003cem\u003e\u003cstrong\u003e—Nylon\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Fusselman’s leaps from Tchaikovsky’s sexuality, to terror, to a rabbit in a hat, to fear of magic, to an exciting moment in the mother-and-mice subplot, is something to behold.” \u003cem\u003e\u003cstrong\u003e—Michigan Quarterly Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Fusselman’s writing feels like a scroll unfurling page by page, and the connections she makes here are surprising and delightful. This book is a place where anything can happen.” \u003cem\u003e\u003cstrong\u003e—Village Voice\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Toward the end of Fusselman’s luminous new lyric essay creation, \u003cem\u003eIdiophone,\u003c\/em\u003e she writes: ‘To see it all at once like in a mirror, to be in one world and to multiply . . .’ and that comes pretty close to the overall mood of this weird, playful, and sometimes gloomy book. It feels sharply focused and almost suffocating at times while there are some moments that feel scattershot and a little off the rails—like the narrator is trying to show you the whole world. Going from the interior worlds of \u003cem\u003eThe Nutcracker\u003c\/em\u003e to her relationship with her mom, Fusselman (one of my favorite people in the book world, I have to admit) investigates the various stagings and preconceptions of art (including quilting!) and being human. A refreshingly wild and ambitious essay that looks like an epic poem but reads like a speeding train set driven by mice, \u003cem\u003eIdiophone\u003c\/em\u003e is some strange magic.” \u003cstrong\u003e—Kevin Sampsell of Powell’s\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eIdiophone\u003c\/em\u003e is about the various ways in which humans—especially humans who, having reached the middle of their journey, are entering the dark wood—use alcohol, magic, imagination, and art to access at least the possibility of a transcendence in which they no longer believe. A furious, necessary, convincing rejuvenation of writer and reader, not to mention a brilliant reading of and against \u003cem\u003eThe Nutcracker\u003c\/em\u003e.” \u003cstrong\u003e—David Shields\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“When I try to describe this book to people, I honestly leave them with their mouths agape.” \u003cstrong\u003e—WICN’s\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e Inquiry\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“No one acrobats between beauty, confession, rueful humor, and deep insight with such amazing trapeze-y ease as Amy Fusselman.” \u003cstrong\u003e—John Hodgman\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Amy Fusselman\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In this memorable, beautifully structured book, [Fusselman] gives us more than ironic asides or a catalog of her pop-culture . . . she makes the world strange again, a place where dying and making life are equally mysterious and miraculous activities.” \u003cstrong\u003e—\u003cem\u003eTime Out New York\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Fusselman’s conversational, intimate voice and heartfelt musings charm the reader. In less than 100 pages she movingly conjures an impressive emotional depth and range, making \u003cem\u003eThe Pharmacist’s Mate\u003c\/em\u003e seem like a much longer work.” \u003cstrong\u003e—\u003cem\u003eSan Francisco Chronicle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This sweet, sincere story of Fusselman’s attempts to get pregnant by artificial insemination and to come to terms with her father’s death is told in a wholly original epigrammatic style.” \u003cstrong\u003e—\u003cem\u003eVogue\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Ms. Fusselman’s book affected me deeply. The talent displayed therein was unnerving.” \u003cstrong\u003e—Zadie Smith\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A fascinating and daresay essential meditation on childhood, parenthood, and the importance of wild spaces for those wild creatures known as kids.” \u003cstrong\u003e—Dave Eggers\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I yield to no one in my admiration for Amy Fusselman’s work. Her new book, \u003cem\u003eSavage Park\u003c\/em\u003e, further explores with astonishing power, eloquence, precision, and acid humor her obsessive, necessary theme: the gossamer-thin separation between life and death.” \u003cstrong\u003e—David Shields\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In this unusually refreshing meditation (which reads like a novel), we are given a tour of the space around and within us. With poetic efficiency Amy Fusselman reveals what makes us savage or not; why secret, wild spaces are essential; and why playing should be taken seriously.” \u003cstrong\u003e—Philippe Petit, high-wire artist\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2292346421272,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895132_FC.jpg?v=1511372774"},{"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":"mean","title":"Mean","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA nonfiction novel by Myriam Gurba\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eNovember 7, 2017 • 5.5 x 8.25 • 192 pages • 978-1-56689-491-3\u003c\/h5\u003e\n\u003ch4\u003eGurba grows up queer, Chicana, and take no prisoners. Her story is a revelation, a delight, and an eye-opener.\u003c\/h4\u003e\n\u003cp\u003eTrue crime, memoir, and ghost story, \u003cem\u003eMean\u003c\/em\u003e is the bold and hilarious tale of Myriam Gurba’s coming of age as a queer, mixed-race Chicana. Blending radical formal fluidity and caustic humor, Gurba takes on sexual violence, small towns, and race, turning what might be tragic into piercing, revealing comedy. This is a confident, intoxicating, brassy book that takes the cost of sexual assault, racism, misogyny, and homophobia deadly seriously.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eMyriam Gurba lives in California and loves it. She teaches high school, writes, and makes “art.” NBC described her short story collection \u003cem\u003ePainting Their Portraits in Winter\u003c\/em\u003e as “edgy, thought-provoking, and funny.” She has written for \u003cem\u003eTime,\u003c\/em\u003e KCET, and the \u003cem\u003eRumpus\u003c\/em\u003e. Wildflowers, compliments, and cash make her happy.\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\u003ePraise for \u003cem\u003eMean\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 Lambda Literary Award in LGBTQ Nonfiction\u003cbr\u003eFinalist for the Publishing Triangle Judy Grahn Award for Lesbian Nonfiction\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e2018 ALA-GLBTRT Over the Rainbow Top 10 Book\u003cbr\u003e\u003cem\u003eNylon,\u003c\/em\u003e “Our Favorite Nonfiction Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBook Riot,\u003c\/em\u003e “The Best Genre Bending Fiction of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNBC, “8 Great Latino Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBuzzFeed,\u003c\/em\u003e “The 19 Best Nonfiction Books Of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eAutostraddle,\u003c\/em\u003e “The Top 10 Queer and Feminist Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eRemezcla,\u003c\/em\u003e “These Were the Best Books From Latin American \u0026amp; Latino Authors in 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eThe Riveter,\u003c\/em\u003e “The Riveter’s Top Ten Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Gurba’s] dark humor isn’t used for shock value alone, offering instead a striking image of deflection and coping in the face of real pain and terror.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“With its icy wit, edgy wedding of lyricism and prose, and unflinching look at personal and public demons, Gurba’s introspective memoir is brave and significant.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“With unconstrained, inventive, stop-you-in-your-tracks writing, Gurba asserts that there is glee, freedom, and, perhaps most of all, truth in meanness.”  \u003cem\u003e\u003cstrong\u003e—Booklist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“She tackles everything from sexual violence to racism with humour and directness.” \u003cem\u003e\u003cstrong\u003e—ELLE UK\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Gurba’s] voice is irreverent, lyrical, and sharply observant, even as her book offers dark commentary on what it means to be a woman in American society.” \u003cstrong\u003e—\u003cem\u003eLibrary Journal,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eMean\u003c\/em\u003e will make you LOL and break your heart.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cspan\u003eP\u003c\/span\u003e\u003cspan\u003eortrayals of ideas like home and safety are presented realistically and with complexity.” \u003cem\u003e\u003cstrong\u003e—Remezcla\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e“Gurba’s 'queer art of being mean' is a triumph of deadpan humor in a timely and thrilling voice. Stop everything and read this brave and tender book.\" \u003cem\u003e\u003cstrong\u003e—O, The Oprah Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eMean\u003c\/em\u003e] is a book that commands you, pushing and pulling you with the author’s expert language and voice, haunting you long after the pages have ended.” \u003cem\u003e\u003cstrong\u003e—Atticus Reviews\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e “The book is a study in the utility and limits of niceness, especially when it comes to being a nice girl—and the political power of being mean.”  \u003cem\u003e\u003cstrong\u003e—Pacific Standard\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Don’t let its slim profile fool you, this memoir bursts with vitality and humor (however mordant), all while dealing with issues of gender politics, sexual assault, PTSD, and Gurba’s experience growing up as a queer, mixed race Chicana in California in the ’80s.” \u003cem\u003e\u003cstrong\u003e—Nylon\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Through her unpredictable style, Gurba offers a welcomed antidote to the formula of the contemporary novel.” \u003cem\u003e\u003cstrong\u003e—W Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book is testament, translation, smackdown, and also it’s hella funny.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba throws her past styles and concerns into a blast furnace and casts \u003cem\u003eMean,\u003c\/em\u003e a pair of brass knuckles disguised as a book, a personal narrative that takes on sexual assault and its aftermath, rape culture, racism, queerness, family, and coming of age, laced through with a cool knowing and cooler humor, a literary voice like none other.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Hauntingly, beautiful, and refreshingly blunt, Gurba’s [\u003cem\u003eMean\u003c\/em\u003e] is an open door through which she invites you to experience her life, in all its beauty and struggle. I suggest you walk through it.” \u003cem\u003e\u003cstrong\u003e—Harvard Crimson\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The difficulty and the joy of reading \u003cem\u003eMean\u003c\/em\u003e is diving deep into the murky ‘Molack’ waters with Myriam Gurba.” \u003cem\u003e\u003cstrong\u003e—Bust\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Gurba’s] writing is caustic and scathing, and eloquently targeted.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This is a confident, intoxicating, brassy book that takes the cost of sexual assault, racism, misogyny, and homophobia deadly seriously.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Not one to mince words, this Lambda Literary finalist [Myriam Gurba] nevertheless aims to entertain as she tackles racism, homophobia, and sexual violence in this amusing genre-defying celebration of strategic offensiveness.” \u003cem\u003e\u003cstrong\u003e—Logo\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eMean\u003c\/em\u003e takes a hard look at how this country has treated victims of sexual violence and how collectively we have shamed them into inaction and steered them away from their own advocacy, demonstrating that consequences for attackers often fall entirely on the victim.” \u003cem\u003e\u003cstrong\u003e—The Believer\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Honest and darkly funny, the book is riddled with moments that will have you nodding, cringing, and crying right along with the author.” \u003cem\u003e\u003cstrong\u003e—Harper’s Bazaar\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Throughout the book, [Gurba] handles the telling of one tragedy after another with great care and sharp humor, so there is redemption and levity even in dark moments.” \u003cstrong\u003e—\u003cem\u003eBuzzfeed\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“[Gurba] breathes fire and Spanglish, batters you with her biting humor then buries you in truths you cannot look away from. . . . This is how memoirs should always be written – with fierceness, brutal honesty and a wry smile cutting through it all.” \u003cem\u003e\u003cstrong\u003e—Brightest Young Things\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Read \u003cem\u003eMean\u003c\/em\u003e for its humor and stimulating structure. Read Gurba for her unique perspective and literary stylings.” \u003cem\u003e\u003cstrong\u003e—PANK\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eMean\u003c\/em\u003e is pure Gurba: brazen, ballsy, and grinning. But Gurba’s first memoir is also poised to be a breakout book—a work that, like Lidia Yuknavitch’s \u003cem\u003eThe Chronology of Water,\u003c\/em\u003e will likely catapult its author out of the small world of experimental-ish short fiction and into a much larger readership.” \u003cem\u003e\u003cstrong\u003e—4Columns\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba’s artistic sensibility is so fresh, her wit and observational skills so acute, that she defies all expected tropes and story structure.” \u003cem\u003e\u003cstrong\u003e—Dallas Morning News\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Through wit and in-your-face brilliance, Gurba tells a story that is both deeply personal and bitingly critical of modern life. Along the way, she also gives us a masterclass in what intersectionality is all about.” \u003cem\u003e\u003cstrong\u003e—Shondaland\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Crafted with a specificity of language that only a poet could muster, Mean is a reckoning with racism, misogyny, and homophobia by way of a coming of age tale.” \u003cem\u003e\u003cstrong\u003e—Electric Literature\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eMean\u003c\/em\u003e] charts [Gurba’s] coming-of-age as a mixed-raced, queer Chicana and delves into the dark recesses of feminism, racism, sexual violence and PTSD with fierce humor where you’d least expect it.” \u003cem\u003e\u003cstrong\u003e—Orange County Register\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e“To say this book exudes confidence is an understatement.” \u003cem\u003e\u003cstrong\u003e—ELLE\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba’s prose is dark and sparse, potent yet playful. She combines different registers and rhythms, and weaves together threads of different kinds of privilege, whiteness, sexual assault, and trauma.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Gurba] has written a memoir that is just a little bit different—or maybe a lot—an in-your-face account of the young life of a mixed-race Chicana who identifies as queer, who has known prejudice, the anguish of her own sexual assault and an unshakable haunting by others she knows have been victims.” \u003cem\u003e\u003cstrong\u003e—Kansas City Star\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“If you like memoirs (hell, even if you don’t), this one will knock your socks off.” \u003cem\u003e\u003cstrong\u003e—Hello Giggles\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba’s writing feels devastating and holy and hilarious all at once.” \u003cem\u003e\u003cstrong\u003e—Autostraddle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In vivid and unflinching prose, Gurba looks at sexual assault, racism, misogyny, and homophobia, and speaks out for women who aren’t afraid to be feisty and angry and mean.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eMean\u003c\/em\u003e turns a bright spotlight on the sexual violence that women endure and what it means to live life after trauma.” \u003cem\u003e\u003cstrong\u003e—Them\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba has constructed a coming-of-age memoir full of gut punches and belly laughs, culminating in trauma, but never victimization.” \u003cem\u003e\u003cstrong\u003e—NewPages\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Myriam Gurba’s witty, trenchant, and all too relevant account of a culture in which sexual violence exists as a frightening daily reality and is often confronted alone.” \u003cem\u003e\u003cstrong\u003e—Adroit Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The complexity of [Gurba’s] voice contributes to the appeal of her memoir, which is compelling, suspenseful, both knowable as the girl next door and mysterious. . . . This memoir is remarkable for its unflinching candor, for its humor in the face of tragedy and absurdity, and for its adventurous style.” \u003cem\u003e\u003cstrong\u003e—Shelf Awareness Pro\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eMean\u003c\/em\u003e tackles the most serious of topics—sexual assault, racism, homophobia—with a voice that revels in the grim humor of survival.” \u003cstrong\u003e\u003cem\u003e—Catapult Community, \u003c\/em\u003e“Staff Picks”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I am such a gigantic fan of Myriam Gurba. Her voice is an alchemy of queer magic, feminist wildness, and intersectional explosion. She’s a gigantic inspiration to my work and the sexiest, smartest literary discovery in Los Angeles. She’s totally ready to wake up the world.” \u003cstrong\u003e—Jill Soloway\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Casually frank and grimly funny, the stealth power of this book mesmerizes. \u003cem\u003eMean\u003c\/em\u003e excavates one female’s personal history with America’s rape culture, zooming through suburbia, race, friendship, desire, education, family, pop culture—essentially taking on the world—with prose both controlled and popping with singular detail. There is no writer like Myriam Gurba, and \u003cem\u003eMean\u003c\/em\u003e is perfection.” \u003cstrong\u003e—Michelle Tea\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘The post-traumatic mind has an advanced set of art skills,’ Myriam Gurba writes. \u003cem\u003eMean\u003c\/em\u003e tackles the profane and the sacred by sticking one hand into your chest and grabbing hold of your heart muscle while the other hand tickle fights your brain, complete with serious noogies. Aligned with female saints and feminist artists and writers, Gurba vividly offers stories both familiar and unfamiliar in a heartbreaking and riotously funny collection that, like Gurba, is hybrid in its form. I don’t know that I’ve ever read a book that covers the territories of class, racism, sexual assault, eating disorders, and more that made me LOL with its ferocious intellect and biting humor. There is just no other voice like hers, and \u003cem\u003eMean\u003c\/em\u003e is a testament to that fact. I want Myriam Gurba to translate the world.” \u003cstrong\u003e—Wendy Ortiz\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“For its unapologetic examination of trauma, for its witty take on the beloved idols of pop, and for its contributions to the genre of memoir, \u003cem\u003eMean\u003c\/em\u003e is a must-read. . . . Gurba’s voice is strong, irreverent, vulnerable, and smart all at the same time, a much needed perspective at a time when white gentility dominates the national conversation on sexual harassment and what it means to be accountable.” \u003cem\u003e\u003cstrong\u003e—Mask Magazine\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba bookends this book with two sexual assaults and in their retelling manages to offer something close to the catharsis we all so desperately need. When I finished the last page, I couldn’t help but reverently whisper aloud, ‘Damn.’” \u003cem\u003e\u003cstrong\u003e—Heauxs\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba manages to simultaneously inhabit the innocence and audacity of a child’s point of view and the nuanced and scathing humor of an adult awareness. She invokes petty meanness and indicts systemic cruelty. She exploits the often-paradoxical distance between the experience of trauma and the body’s reactions to create a fractured narrative that teases the line between disclosure and revelation.” \u003cem\u003e\u003cstrong\u003e—Truthout\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“[\u003cem\u003eMean\u003c\/em\u003e] is not a triumphant story of survival, rather it’s a defiant, hybrid text that refuses to let anyone off the hook and resists the falsity of closure.” \u003cem\u003e\u003cstrong\u003e—Iowa Review\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Gurba’s memoir is a deft fusion of true crime, ghost story and memoir. . . . Gurba freely admits to having a gleefully gruesome sense of humor. She uses this quality liberally in her story of the ghost who haunts Gurba as she’s trying to make sense of her own trauma and life as a mixed-race queer Chicana.” \u003cem\u003e\u003cstrong\u003e—Kansas City Star\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2547698892824,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Gurba_Mean_9781566894913.jpg?v=1512592056"},{"product_id":"without-protection","title":"Without Protection","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Gala Mukomolova\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 9, 2019 • 6 x 9 • 88 pages • 978-1-56689-543-9\u003c\/h5\u003e\n\u003ch4\u003eFrom Russian fairy tales to Craigslist ads, stories of identity, family, and sexuality are unraveled and woven anew in poems of a woman caught between two worlds.\u003c\/h4\u003e\n\u003cp\u003eIn poems rich with sensuality and discord, Mukomolova explores her complex identity—Russian, Jewish, refugee, New Yorker, lesbian—through the Russian tale of Vasilyssa, a young girl left to fend for herself against the witch Baba Yaga. Heavy with family and fable, these poems are a beautiful articulation of difference under duress.\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\u003eGala Mukomolova earned an MFA from the University of Michigan. She is the author of the chapbook \u003c\/span\u003e\u003ci\u003eOne Above One Below: Positions \u0026amp; Lamentations\u003c\/i\u003e\u003cspan\u003e (YesYes Books 2018), and her poetry and essays have appeared in \u003c\/span\u003e\u003ci\u003ePOETRY\u003c\/i\u003e\u003cspan\u003e, \u003c\/span\u003e\u003ci\u003ePEN America\u003c\/i\u003e\u003cspan\u003e, the \u003c\/span\u003e\u003ci\u003eBillfold\u003c\/i\u003e\u003cspan\u003e, and elsewhere. In 2016 Gala won the Discovery Poetry Prize. She writes astrology-inspired love letters under the name Galactic Rabbit.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eWithout Protection\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“Baba Yaga jumps the Brighton line in this rambunctious debut by poet and astrologer Mukomolova.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Oh, this delicious book, this steamy, soaring documentary fairy tale! Mukomolova’s erotic sensibility is refreshingly unmodified by sentimentality—raw, explicit, wounding, a hunger unmitigated by the banalities of love. She conjures lush, mythic spaces starring a queer-heroic maiden and an unappeasable witch-crone that are shot through with quotidian, retro-cool references to Myspace, Craigslist Missed Connections, and Lesley Gore’s ‘You Don’t Own Me,’ just as her forms, improvisational, variegated, lacy, cleaved, give way to a prose line as solid as a knife-edge against stone. Mukomolova has given us a speaker whose wild embodiment is a revolt against displacement and trauma, who has the bravery to enter the witch’s house without protection and sit down at her table.” \u003cstrong\u003e—Diane Seuss\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Danger and vulnerability are ever-present in this debut collection, in which the mythic and the mundane strike against each other until something wholly other, a fire or a song, ignites.” \u003cstrong\u003e\u003cem\u003e—Academy of American Poets\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“What sets Mukomolova’s poems apart is her appreciation of dyke beauty, an erotic beauty that is as gorgeous and gruesome as a whole hand unfurling inside a body like a tulip.” \u003cem\u003e\u003cstrong\u003e—Bomb\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Without Protection\u003c\/em\u003e is a wildly free and vulnerable collection in which no part of ecstatic, feminine pleasure or ache is taboo. The poems seem driven by a somatic urge to diverge from the constraints of one genre, instead successfully intersecting memoir, lyric experiment, fairy tale and fourth-wave feminist thought. In the ultimate act of liberation, Mukomolova has carved out a space for herself where Russian fairytales converse with the realities of being a queer, lesbian, femme, Russian immigrant who refuses invisibility and normative assimilation. Her words transport the lover, the thinker, the mystic, the muse.” \u003cstrong\u003e—Airea D. Matthews \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Grab a copy of [Mukomolova’s] ferocious, ecstatic, thrumming collection, which vibrates with a divine feminine energy, an exquisite ache. Without Protection presents a femme duality: the young maiden, Vasilyssa, and the old crone, Baba Yaga, who sit together, in opposition, in tandem, and explore the terrors and wonders of the world. It's a feverish take on a fairy tale, and its ferocity lingers long after you've read the collection's last words.”\u003cstrong\u003e\u003cem\u003e —Nylon\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A raw, unfiltered glimpse of different aspects of her world—which includes the beautiful, the vulnerable, and the sordid.” \u003cstrong\u003e\u003cem\u003e—Prism Review\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“An inquiry into what it means to live and love in a shared world . . . a set of poems that manages to be colossal and little all at once, personal and universal.” \u003cstrong\u003e\u003cem\u003e—The Adroit Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e“Gala Mukomolova’s \u003cem\u003eWithout Protection\u003c\/em\u003e is the world in its gorgeous terror and beauty, the world made whole, which is to say: the world \u003cem\u003eas it is \u003c\/em\u003ewith its poverty, cruelty, and its crushing apathy. A world of wheelchairs, television screens, and Xanax. This collection shows both the internal and the external: the world of appearances and the roving whirr of the mind, the work of the intellect and the body covered in sweat and blood, the products made by these hands (sliced meat, a cup of tea, and this collection of poems itself) and the labor necessary to sustain a life in which such things can be made. Constructed from an archive of fragments (ephemera, email, voicemail), fairy tale, and stories, Mukomolova makes a world from the disparate scraps of a life lived, a world that she can embody. As she writes, ‘I built a self outside my self.’ \u003cem\u003eWithout Protection \u003c\/em\u003eis the triumphant arrival of a new and important voice.” \u003cstrong\u003e—Cynthia Cruz\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Gala Mukomolova’s a Baltic Sea witch, and her poems are vulnerable, ferocious, sex-soaked, gems sharp-edged enough to cut. For Mukomolova, names are spells, and all the thousand shapes of love are \u003cem\u003eWithout Protection’\u003c\/em\u003es fierce gravity. ‘Love made a clearing in the night where\/a girl’s will tamped down the grass.’ Sometimes, the speaker is a teenage girl who laughs and fights and curses into the hot eye of the storms that pursue her (‘What wasn’t dangerous?’) Sometimes, the speaker is a woman abandoned by a lover: hungry, desirous, despairing, suspicious, hilarious. Throughout, we trace Vasilyssa’s brave path through a perilous forest; ‘If there is a kingdom then Vasilyssa comes.’ ‘Goddess! Give me money!’ the old babas of Brighton Beach cry at the graves of their dead, and we all rejoice together.” \u003cstrong\u003e—Gina Balibrera Amyx\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“A young woman named Vasilyssa—buffeted by the brutal vestiges of tradition, by the animal frustrations of the body—sits at a table belonging to Baba Yaga, a fearsome witch-crone. For many of us, the encounter that follows may seem familiar. There is a conversation about the soul and its motives; differences dissolve; the younger flees, the elder pursues. The folklore proposes: how do we persist, undiminished, while seated across from someone who holds the power to be both donor and destroyer? Like Gala Mukomolova, I am also a queer reader of this tale; like her (and Vasilyssa), I have studied every exit before sitting down to speak. And in \u003cem\u003eWithout Protection,\u003c\/em\u003e the poems unfurling from Vasilyssa’s original challenge, in all their elegant ferocity, have shown me the back door I have always wished for. They have given me permission to leave the kitchens where I feel trapped, to wear the lace, to unbottle the secret, to call someone I both love and fear just so they can listen to me hang up the phone.” \u003cstrong\u003e—Benjamin Quinn, Harvard Book Store\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan class=\"s1\"\u003e“T\u003c\/span\u003e\u003cspan class=\"s2\"\u003ehis Russian Fairy tale—poetry-memoir hybrid—is a dark tapestry of overlapping identities, culture, and inter-generational friction. It moves at the pace of lived experience, ever-evolving and beautifully, organically messy. An intimate exploration of the dichotomy of the experienced and perceived self, the duality of Mukomolova’s conservative Russian heritage and queer contemporary Jewish Americanness, and the strain within modernity between the mundane and the wondrous.” \u003cstrong\u003e—\u003cem\u003e\u003c\/em\u003eLila Weller, Weller Book Works\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Gala Mukomolova\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Gala Mukomolova's poems turn the volume of language up high and shake the cages of what has become our brutal ordinary. Her poem rattle us into what for me is a kind of beautiful profane, laying bare the complications of desire and simultaneously exposing personal and cultural wound. Hers in a poetry that refuses cloak in favor of reveal. And in pulling back the curtains, Mukomolova provides a tender cultural redress. These poems are a contemporary pulse, a vigilant all-seeing eye.\" \u003cstrong\u003e—Dawn Lundy Martin\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12937016868941,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895439_FC.jpg?v=1544563207"},{"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":"socialist-realism","title":"Socialist Realism","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eAn essay by Trisha Low\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eAugust 13, 2019 • 5.5 x 8.25 • 168 pages • 978-1-56689-551-4\u003c\/h5\u003e\n\u003ch4\u003eMoving West—from Singapore to America, from New York to California—a woman examines the myth of “finding home” even as she comes to terms with its impossibilities.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhen Trisha Low moves West, her journey is motivated by the need to arrive “somewhere better”—someplace utopian, like revolution; or safe, like home; or even clarifying, like identity. Instead, she faces the end of her relationships, a family whose values she has difficulty sharing, and America’s casual racism, sexism, and homophobia. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn this book-length essay, the problem of how to account for one’s life comes to the fore—sliding unpredictably between memory, speculation, self-criticism, and art criticism, Low seeks answers that she knows she won’t find. Attempting to reconcile her desires with her radical politics, she asks: do our quests to fulfill our deepest wishes propel us forward, or keep us trapped in the rubble of our deteriorating world?\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eTrisha Low is the author of \u003cem\u003eThe Compleat Purge\u003c\/em\u003e (Kenning Editions 2013). She earned a BA at the University of Pennsylvania and an MA in performance studies at New York University. She lives in the East Bay.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eSocialist Realism\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\u003cspan\u003e\u003cstrong\u003eWinner of the 2020 Lambda Literary Award in Bisexual Nonfiction\u003cbr\u003eWinner of the 2019 Believer Book Award in Nonfiction\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003eAutostraddle\u003c\/strong\u003e\u003c\/em\u003e\u003cem\u003e\u003cstrong\u003e, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e“Best Queer Books of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Slipping smoothly between stylistic registers and across time in a relaxed stream-of-consciousness style, this highly readable, lyrical autobiographical essay promises much for Low’s further excursions into prose.” \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A consistently incisive and surprising new work of nonfiction. . . . The frequent meditations on global politics and contemporary works of art never feel like gratuitous digressions but constitute the most reliable pleasures of the text, and serve to deepen what is ultimately an intimate and complex portrait of a life.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Review of Books\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Low embraces the specifics of her own experiences and aesthetics . . . The result is one of the most evocative books you're likely to encounter this year.” \u003cstrong\u003e\u003cem\u003e—Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Inventive, wise, and revelatory . . . a searching interrogation of identity, art, and a desire for a life beyond what we are told is possible.” \u003cstrong\u003e\u003cem\u003e—Chicago Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Few works of art. . . . offer as scintillating a vision of what it means to yearn for the comfort of home alongside the utter strangeness and sparkle of irresolution. . . . Low is at home in her electric mind, and we are happy to have been invited in.” \u003cem\u003e\u003cstrong\u003e—The Believer\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Expansive and freeing, like the best kind of daydream.” \u003cstrong\u003e\u003cem\u003e—Nylon\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e“Offers piercing reflections full of intellectual power and personal resonance… a work that defies normativity in every way, as Low moves with a kind of vulnerable virtuosity from one illuminating entry to the next.”\u003cstrong\u003e\u003cem\u003e\u003cspan\u003e —VICE\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e“\u003cem\u003eSocialist Realism\u003c\/em\u003e might itself be a parable, in that it dares the reader to interpret it too literally—mistaking the showing of a wound for vulnerability, or uncertainty about political or artistic effects for a lack of commitment—but I count myself among the believers.” \u003cem\u003e\u003cstrong\u003e—Frieze Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Mostly earnest, always engrossing…This book sees Low struggling mightily, with intention and passion and verve, to accommodate seemingly oppositional impulses.” \u003cem\u003e\u003cstrong\u003e—Bookforum\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A book about what it means to try to fulfill our deepest desires.” \u003cem\u003e\u003cstrong\u003e—Book Riot\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Reading \u003cem\u003eSocialist Realism\u003c\/em\u003e is like falling into a dream.” \u003cstrong\u003e\u003cem\u003e—Overland\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Like a transgressive Binx Bolling . . . she takes away equally cathartic feelings from the experimental films of Chantal Ackerman as she does from a documentary about One Direction.” \u003cem\u003e\u003cstrong\u003e—The Rupture\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Low writes about her queerness . . . performance art installations that ask identity questions, the socio-economic history of Singapore, and literary analysis of Patricia Highsmith’s novels. To all of these topics, Low applies the full force of her compelling intellect.” \u003cem\u003e\u003cstrong\u003e—Booklist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In this book-length essay, the problem of how to account for one’s life comes to the fore.” \u003cem\u003e\u003cstrong\u003e—Cultura Colectiva\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“It’s a joy to watch Trisha Low’s mind at work in this book as she contemplates utopia, identity, and how art expands her understanding of the world. Low doesn’t just have an idea—she interrogates it, examines it, and cuts it open. \u003cem\u003eSocialist Realism\u003c\/em\u003e is sharp, inventive, and transformative.” \u003cstrong\u003e—Chelsea Hodson, author of \u003cem\u003eTonight I’m Someone Else\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In years like ours, what a relief it is to be allowed into the mind of Trisha Low. With infectious aplomb and zero pandering to the mind games of social grace, \u003cem\u003eSocialist Realism\u003c\/em\u003e weaves together intimate and moment-defining considerations of heritage, religion, masochism, sexuality, authenticity, utopia, transgressive art, and so much more, laying bare the myriad layers and projections of a persona surrounded by duress and still in search of something more. Equally candid and courageous, this meditation from the dark side of the heart may have arrived in the nick of time.” \u003cstrong\u003e—Blake Butler\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003ePraise for Trisha Low\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Trisha Low has been leaving us periodic notes about what we can keep of hers if she should happen to go off the deep end. She’s also been leaving us her email password, her ATM PIN code, and an astonishing amalgamation of amatory fiction, IMs, craft patterns, magic spells, and film noir in which every romantic interest is a MacGuffin. Low says her virtuosic appropriations owe less to conceptual poetics than to her adolescent days of punk vandalism. Never mind if this booty was shoplifted, its stunning, and I promise you’ll want to keep everything she gives you.” \u003cb\u003e—Barbara Browning\u003c\/b\u003e \u003cbr\u003e\u003cbr\u003e“Like hands reaching out from the grave in the final scene of Brian Di Palma’s \u003ci\u003eCarrie,\u003c\/i\u003e Trisha Low’s \u003ci\u003eThe Compleat Purge\u003c\/i\u003e reaches out to beg the question: ‘What’s happened to the real Trisha?’ In Low’s epically eloquent new book, she hands us the keys to a crypt wherein identity is theorized as an act of para-suicide and girlhood a version of being buried alive. \u003ci\u003eThe Compleat Purge\u003c\/i\u003e reframes Freud’s infamous query: ‘What do women want?’ by breathing new life into shifting ideals of feminine identity, sexuality, and erotics before the culturally determined ones land us in a coma.” \u003cb\u003e—Kim Rosenfield\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Trisha Low is always dying. Age, place, fictional rendering all are subsumed to an origin already negated. She and her doubles evacuate with unmoving horror their teenage mania, displacing it, emptying the identities about whom its despair circulates. Once, maybe, this Trisha Low generated bodily heat, ate breakfast, loved and desired. No more. \u003ci\u003eThe Compleat Purge\u003c\/i\u003e razes its confessional charms like effigies, foreclosing Low’s final vixi to her own secrets before they too are obliterated in time immemorial. He had gone from her sight, he had not lifted his bowed head, he had not looked back.” \u003cb\u003e—J. Gordon Faylor\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12937416900685,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895514_FC.jpg?v=1538584157"},{"product_id":"the-malevolent-volume","title":"The Malevolent Volume","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;\"\u003eApril 7, 2020 • 6 x 9 • 104 pages • 978-1-56689-576-7\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003e\n\u003ci\u003eThe Malevolent Volume\u003c\/i\u003e explores the myths and transformations of Black being, on a continuum between the monstrous and the sublime.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSubverting celebrated classics of poetry and mythology and examining horrors from contemporary film and cultural fact, National Book Award winner Justin Phillip Reed engages darkness as an aesthetic to conjure the revenant animus that lurks beneath the exploited civilities of marginalized people. In these poems, Reed finds agency in the other-than-human identities assigned to those assaulted by savageries of the state. In doing so, he summons a retaliatory, counterviolent Black spirit to revolt and to inhabit the revolting.\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;\"\u003eJustin Phillip Reed is an American poet and essayist. He is the author of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIndecency\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Coffee House Press), winner of the 2018 National Book Award in Poetry and Lambda Literary Award for Gay Poetry, and a finalist for the 2019 Kate Tufts Discovery Award. He is the 2019-2021 Fellow in Creative Writing at the Center for African American Poetry and Poetics. His work appears in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAfrican American Review, Denver Quarterly, Guernica,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e the \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew Republic, Obsidian,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and elsewhere. He earned his BA in creative writing at Tusculum College and his MFA in poetry at Washington University in St. Louis. He has received fellowships from the Cave Canem Foundation, the Conversation Literary Festival, and the Regional Arts Commission of St. Louis. He was born and raised in South Carolina.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Malevolent Volume\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\u003eWinner of the 2021 CLMP Firecracker Award for Poetry\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003eFinalist for the 2021 Lambda Literary Award in Gay Poetry\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003eWashington Post,\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e “Best Poetry Collections of 2020”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNPR, “Favorite Books of 2020”\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eNew York Times, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e“New and Noteworthy”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBuzzfeed,\u003c\/em\u003e “Most Anticipated Titles of 2020”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eLiterary Hub, “\u003c\/em\u003eMost Anticipated Books of 2020”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Reed blends intersectional politics and bodily hunger in precise, thorny language.” \u003cem\u003e\u003cstrong\u003e—New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reminds us that poetry can be playful and deadly serious in the same moment. . . . [Reed] piles on anxious images and quasi-logical connections to create a gratifying weirdness.” \u003cstrong\u003e—Troy Jollimore, \u003cem\u003eWashington Post\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“In \u003cem\u003eThe Malevolent Volume,\u003c\/em\u003e Justin Phillip Reed offers multiple realities and their consequences. Challenging our thinking, these poems consider the uses of horror: through the page, we experience what it's like to be both haunted and that which haunts. In doing so, Reed doesn't bend genre as much as he extends it with endless possibility.\u003cbr\u003e\u003cbr\u003eA dextrous and epic music, this book faces down our combative and trespassed American moment. Almost every line is meant to be repeated slowly and held aloft for its heart-stopping craftsmanship. Studded with so many jeweled lines, we find, not absolution, but a complicated grace that will never, never accept your refusal.\u003cbr\u003e\u003cbr\u003eBuilding, its lyric moves from baroque density to unraveling flight, bespeaking the urgency of our moment, the cruel bluntness of fascism, and its entrenchment in the foundational horror of national belonging, with its accompanying exclusions. ‘Is it like a life,’ this malevolence we endure? Justin Phillip Reed has written a book that beckons us to reread as we seek to understand our time, how much of it is promissory and how much apocalyptic.” \u003cstrong\u003e—Judges' citation, 2021 Firecracker Award in Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[M]agnificent. . . . The gorgeous precision of the poems refuse to perform for the white gaze—they snatch back blackness from being used as a trope, crafting instead a new canon.” \u003cstrong\u003e—Erin Adair-Hodges,\u003cem\u003e St. Louis Post-Dispatch\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Incendiary. With breathtaking lyrical dexterity, Reed first rebukes and then remakes western literature and myth, bringing Black queerness to the forefront. . . . Reed performs a deft sleight-of-hand to embrace the territory of horror and monstrousness—harnessing its inherent power to threaten the status quo.” \u003cstrong\u003e—Luiza Flynn-Goodlett,\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e Adroit Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“How Reed found a way to write a book as fanged and fabulous and complexly musical as this one right after his National Book Award-winning debut, \u003cem\u003eIndecency\u003c\/em\u003e, is a mystery, but one thing’s clear now: he’s here to stay. These are strong poems, showcasing a range of moods and affects. Sometimes punctuated, otherwise so neatly joined they don’t need it. Sometimes gentle, in other moments, wielding fury’s high bright tone.” \u003cstrong\u003e—John Freeman, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A tour-de-force featuring a striking voice and artistry that will dazzle the vision, stun the ear, and demand attention. . . . [Reed] is conducting a literary chemical experiment that brings forward a new element with a long half-life, far past the ending of this collection.” \u003cstrong\u003e—Mandana Chaffa, \u003cem\u003eJacket2\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A poetry collection of extraordinary range, chameleonic and sure-handed in its embrace of form, yet without being formalistic or formulaic. . . . Each title suggests the plunge in this poet's quest to torment us with stinging, hard-won compassion and merciless self-exploration, stages as mythos, awaiting the reader who braves the labyrinth. A marvel of construction, it is a good place to get lost.” \u003cstrong\u003e—Herman Van den Reech, \u003cem\u003eCaesura\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Malevolent Volume\u003c\/em\u003e takes us on a trip through a world that is familiar but slightly askew, as if one were walking through a haze or looking into a funhouse mirror. . . . Reed’s poems know perfectly well how to make their reader stop and listen.” \u003cstrong\u003e—Margaryta Golovchenko, \u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eThe Town Crier\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’d quote a few of the breathtaking detonations across this incredible collection if there weren’t so many. On every page the intimacies of mind and body, myth and memory are simultaneously sung and said. It’s not quite enough to salute the literary ties and tangles, the range and urgency of subjects, the layered lyric linguistics. \u003cem\u003eThe Malevolent Volume\u003c\/em\u003e is roundly astounding. Reed is making a new and wholly irreducible line through the waters of American poetry.” \u003cstrong\u003e—Terrance Hayes\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘Its trumpets, they will ramify.’ Deliberate in its every movement, this collection is a most satisfying force of will. Justin Phillip Reed’s follow-up, \u003cem\u003eThe Malevolent Volume,\u003c\/em\u003e is a masterpiece to which I will ‘be always arriving.’ If our work as poets is to transform what most would call violence and what beasts accept as natural, this is a blueprint for how to do so ethically and masterfully. Here, in word, is a guttural and gutting music. Every poem becomes a new and necessary etymology of ‘malevolent.’ The beast in me bows to the beast in you, Justin. This is a restorative Black eco-poetics; where afropessimism meets afrofuturism.” \u003cstrong\u003e—Marwa Helal\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Horror is a genre of encounters not with the unknown, but with what is most familiar—and therefore most unshakeable. If it is a monstrous language that Justin Phillip Reed employs in \u003cem\u003eThe Malevolent Volume,\u003c\/em\u003e it’s a monster you already know well. Reed is a master of many things—meter, momentum, lexical richness, the musculature of syntax, how to haunt an insistently violent canon—but perhaps chief among them is the dark magic of harnessing language’s wilds into something that blooms into a real shout inside you. You must understand: it’s not strangeness you’re seeing here. It is audacity—the audacity of the queer, Black body, the brilliant body, which won’t, and won’t, and won’t die.” \u003cstrong\u003e—Franny Choi\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Justin Phillip Reed\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2018 National Book Award for Poetry \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eRecipient of a 2019 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship\u003cbr\u003eWinner of the 2019 Lambda Literary Award in Gay Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFinalist for the 2019 Kate Tufts Discovery Award\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBCALA 2019 Honor Best Poetry Award winner\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eLibrary Journal,\u003c\/em\u003e “Best Books 2018”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“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.” \u003cstrong\u003e—National Book Foundation\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.” \u003cstrong\u003e\u003cem\u003e—New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“Raw, nervy, reverberant, densely packed language whose import simply can’t be reduced to easy explanation. . . . One-of-a-kind brilliant.” \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e—Library Journal\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Indecency made me stand up and applaud.”\u003cem data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e —The Millions\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\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 data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e —The Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Rich with musical echoes and sonic ironies.” \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e—Vulture\u003c\/em\u003e\u003c\/strong\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\u003cmeta charset=\"utf-8\"\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.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Adroit Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“Reed wrestles with finding the language to convey the pain of that double oppression and still manages to create terrible beauty.”\u003cstrong data-mce-fragment=\"1\"\u003e —\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSignature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Paperback","offer_id":29183426723917,"sku":"","price":16.95,"currency_code":"USD","in_stock":true},{"title":"Hardcover","offer_id":31947545837645,"sku":"","price":21.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895767_FC.jpg?v=1567017231"},{"product_id":"the-breaks","title":"The Breaks","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eAn Essay by Julietta Singh\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 7, 2021 • 5 x 7.75 • 168 pages • 978-1-56689-616-0\u003c\/h5\u003e\n\u003ch4\u003eA profound meditation on race, inheritance, and queer mothering at the end of the world.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eIn a letter to her six-year-old daughter, Julietta Singh writes toward a tender vision of the world, offering children’s radical embrace of possibility as a model for how we might live. In order to survive looming political and ecological disasters, Singh urges, we must break from the conventions we have inherited and begin to orient ourselves toward more equitable and revolutionary paths. \u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Breaks\u003c\/em\u003e celebrates queer family-making, communal living, and Brown girlhood, complicating the stark binaries that shape contemporary US discourse. With nuance and generosity, Singh reveals the connections among the crises humanity faces—climate catastrophe, extractive capitalism, and the violent legacies of racism, patriarchy, and colonialism—inviting us to move through the breaks toward a tenable future.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eJulietta Singh is a writer and academic whose work engages the enduring effects of colonization, current ecological crisis, and queer-feminist futures. She is the author of two previous books: \u003cem\u003eNo Archive Will Restore You\u003c\/em\u003e (Punctum Books, 2018) and \u003cem\u003eUnthinking Mastery: Dehumanism and Decolonial Entanglements\u003c\/em\u003e (Duke University Press, 2018). She currently lives in Richmond, Virginia, with her family.\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003ePraise for \u003cem\u003eThe Breaks\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\n\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\u003eNew York Public Library, “Best Books of 2021”\u003cem\u003e\u003cbr\u003eLiterary Hub,\u003c\/em\u003e “Most Anticipated Books of 2021”\u003cbr\u003e\u003cem\u003eBook Riot,\u003c\/em\u003e “Best Genre-Bending Nonfiction of 2021”\u003cbr\u003eSeminary Co-op Bookstores, “Notable Books 2021”\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eMs. Magazine, \u003c\/em\u003e“September Reads for the Rest of Us”\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eNew Pages, \u003c\/em\u003e“New and Noteworthy”\u003cbr\u003e\u003cem\u003eLambda Literary Review,\u003c\/em\u003e “September’s Most Anticipated LGBTQIA+ Literature”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A tale of queer homemaking and expansive kinship—of deciphering family pasts, shaping domestic presence, and imagining unknown futurities of belonging. . . . An honest and unassuming illustration of making thought public, of finding praxis in the quotidian—and daring to linger there.” \u003cstrong\u003e—Christopher Schaberg, \u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In a kind of spiritual successor to the genre-defying \u003cem\u003eNo Archive Will Restore You, \u003c\/em\u003eSingh reveals the most intimate details of her life and politics. . . . She exquisitely links theory and poetics to her own fears, insecurities, and certainty that one day her child will need to break away from her. This is a stunning work.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly,\u003c\/em\u003e starred review\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Singh's clarity of thought, vulnerability, and passion for social justice all render this well-structured essay a pleasure to read. . . . Her anxieties, fears, and triumphs will resonate with parents of all identities and backgrounds.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Piercing and profound. . . . For all the breaks and fractures, there are also the continuities and the flows. \u003cem\u003eThe Breaks\u003c\/em\u003e is a gift for posterity—for others who may treasure it and take its vital, urgent message to heart.” \u003cstrong\u003e—Sana Goyal, \u003cem\u003eBrixton Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The climate crisis, state-sanctioned racism, the long coils of colonialism . . . These are among just a few of the harsh realities Julietta Singh confronts in \u003ci\u003eThe Breaks,\u003c\/i\u003e a book-length epistolary essay written to her 6-year-old daughter, that also interrogates what it means to be a queer, brown parent in contemporary America. But despite myriad catastrophes, both personal and political, Singh finds reasons for hope in the possibility of community.” \u003cstrong\u003e—Jonny Diamond, \u003cem\u003eLiterary Hub\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e“Singh contemplates how she and her daughter can live ethically in our current social and political systems, and how they can change them. Taking up race, physical vulnerability, queer parenting, and more, \u003cem\u003eThe Breaks\u003c\/em\u003e is a wide-ranging, invigorating mix of memoir and cultural critique.”\u003cstrong\u003e\u003cem\u003e —Book Riot\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“\u003cem\u003eThe Breaks,\u003c\/em\u003e addressed to Singh’s daughter for her to read (at six years old) and re-read throughout her lifetime, meditates on the rupture between mother and child that will be necessary for her to inherit and transform this world. . . . [Singh] knows she must give her daughter other stories and other ways of understanding those stories. Yet fundamental to \u003cem\u003eThe Breaks\u003c\/em\u003e is Singh’s desire to be taught ‘against [her] own teaching.’” \u003cem\u003e\u003cstrong\u003e—The Arts Desk\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The book feels committed to honesty and clear-sightedness above all else. I thought it was extraordinary.”\u003cstrong\u003e —Rebecca Hussey\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem data-mce-fragment=\"1\"\u003eThe Breaks \u003c\/em\u003eis amazing—I read the whole thing through in one sitting. \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt’s got the heft and staying power of Baldwin’s ‘A Letter to My Nephew.’” \u003cstrong data-mce-fragment=\"1\"\u003e—Lauren Berlant\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e“This is a lens-shifting book. Julietta Singh’s meditation to her daughter is an immeasurable gift. It takes you into the experience of coming of age as a Brown girl who stands in the shadow of a society that fails to tell its whole truth and tries to hide its ugliness. With poignant, aching, beautiful and deeply loving prose, Singh brings Brown girls into the sun, and makes you want to change the ways of the world for our young people and for us all.” \u003cstrong\u003e—Imani Perry\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“If a book can be a hole cut in the side of an existence in order to escape it, or to find a way through what is otherwise impassable, then this is that kind of book. Singh attends to the revolutionary prospects of ‘an act of breaking through, a transgression, a disruption.’ How will we live in the new space that we keep making, through refusal but also adjustment, the necessary accommodations to the ‘nowhere and nothing’ that this space also is? \u003cem\u003eThe Breaks\u003c\/em\u003e leads us through such moments, questions, and scenes, with tenderness. And deep care.” \u003cstrong\u003e—Bhanu Kapil\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Singh writes with a delicacy and dexterity entirely her own, and the work strikes a remarkable balance between realistically portraying our shared reality and encouraging, envisioning, and helping to clear at least one path to a better future. Throughout, Singh demonstrates an extraordinary elasticity of thought, one matched and outpaced only by that of her daughter, who embodies the boundless, limitless potential of youth. This is a breathtaking, stunning text, one that encourages and makes tangible breaks from convention, and I look forward to watching its impact unfold.” \u003cstrong\u003e—Meghana Kandlur, Seminary Co-Op\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\" class=\"s2\"\u003e\u003cstrong\u003ePraise for \u003cem\u003eNo Archive Will Restore You\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003eFinalist for the 2019 Lambda Literary Award in Bisexual Nonfiction\u003cbr data-mce-fragment=\"1\"\u003eFinalist for the 2019 Firecracker Award for Creative Nonfiction\u003cem\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e“Julietta Singh troubles the boundaries that we imagine in and through the body, recuperating it as a porous site marked by flows between the internal and external, the self and others.”\u003cstrong\u003e \u003cem\u003e—Los Angeles Review of Books\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/strong\u003e“[Singh] speaks with rare candor about the material conditions of her labor as an academic within a system that churns out legions of ‘underpaid adjunct laborers without access to healthcare, facing our mid-30s without a clear sense of what it had all been for.’ . . . A portrait of the body as not so much vulnerable as permeable, continuously exchanging signals and material with the world around it.”\u003cstrong\u003e\u003cem\u003e —Lambda Literary\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/strong\u003e“[A] brilliant and thought-provoking combination of memoir, poetry, and theory.”\u003cstrong\u003e\u003cem\u003e —Largehearted Boy\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/strong\u003e“\u003cem\u003eNo Archive Will Restore You\u003c\/em\u003e is poignant and beautiful, bringing all areas of discussion into academic focus.”\u003cstrong\u003e\u003cem\u003e —The Chicago Maroon\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/strong\u003e“I am in love with this book. It is so smart, so lucid, so necessary, so honest, so compelling, so edifying, so terrifying, so poignant, so wise. No archive may restore us, but Julietta Singh is exactly the kind of company I want for the ride, to bear witness to the pains and pleasures of our being here, in these bodies, in these times.”\u003cstrong\u003e —Maggie Nelson\u003cem\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e“If Gramsci proposes the task of archiving—and analyzing—the detritus that history has deposited in us, Julietta Singh has a counter-proposition for what to do with that depository. What to call her method: Anarchivist? Gynarchivist? Though steeped in theory, it’s adamantly corporeal, and deeply moving. Returning to various crime scenes, she examines the traces left upon her body by ravages historical, political, physical, and sentimental. But she also courageously accounts for the shit she herself produces: ‘I want to be responsible to and for my body, for everything it yields.’ Attending carefully, even lovingly, to all that’s come into and out of her body—food, pain, flesh, life, feces, feral moans, poetry—she invites you, reader, to take stock of the fecundity of your own dis-ordered archive.”\u003cstrong\u003e —Barbara Browning\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39286834856013,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896160_FC.jpg?v=1617140516"},{"product_id":"madder","title":"Madder","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA memoir by Marco Wilkinson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 12, 2021 • 5 x 7.75 • 208 pages • 978-1-56689-618-4\u003c\/h5\u003e\n\u003ch4\u003e\n\u003cem\u003eMadder, matter, mater\u003c\/em\u003e—a weed, a state of mind, a material, a meaning, a mother. Essayist and horticulturist Marco Wilkinson searches for the roots of his own selfhood among family myths and memories.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003e“My life, these weeds.” Marco Wilkinson uses his deep knowledge of undervalued plants, mainly weeds—invisible yet ubiquitous, unwanted yet abundant, out-of-place yet flourishing—as both structure and metaphor in these intimate vignettes. \u003cem\u003eMadder\u003c\/em\u003e combines poetic meditations on nature, immigration, queer sensuality, and willful forgetting with recollections of Wilkinson’s Rhode Island childhood and glimpses of his maternal family’s life in Uruguay. The son of a fierce, hard-working mother who tried to erase even the memory of his absent father from their lives, Wilkinson investigates his heritage with a mixture of anger and empathy as he wrestles with the ambiguity of his own history. Using a verdant iconography rich with wordplay and symbolism, Wilkinson offers a mesmerizing portrait of cultivating belonging in an uprooted world.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eMarco Wilkinson has been a horticulturist, a farmer, and an editor. He has taught literature and creative writing at Oberlin College; University of California, San Diego; James Madison University; and Antioch University’s MFA program, and has taught horticulture and sustainable agriculture at Lorain County Community College and MiraCosta College. He has been the recipient of an Ohio Arts Council Award for Individual Excellence and fellowships from the Hemera Foundation, Craigardan, and the Bread Loaf Environmental Writers’ Conference. \u003cem\u003eMadder\u003c\/em\u003e is his first book.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eMadder\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\u003eWBUR “Fall Books Reading List”\u003cbr\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLambda Literary Review, \u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e“October's Most Anticipated LGBTQIA+ Literature”\u003c\/b\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Experimental, intimate, and sensual, \u003cem\u003eMadder \u003c\/em\u003eis a thrilling debut.” \u003cstrong\u003e—\u003cem\u003eAlta\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A sensuous memoir, laid out in impressionistic vignettes, reflecting on rootedness, loss, and the solace of nature . . . evokes, as well, vibrant details of burrs and burdock, madder and thistles, moss and fungi. Nature yields mysteries and metaphor.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Wilkinson portrays his restless uncertainty in regards to his paternity, his family’s immigration status, and his queer identity. But Wilkinson (now a horticulturist) triumphs when he is able to put down roots.”\u003cstrong\u003e —Katherine Ouelette, WBUR\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Wilkinson’s memoir looks at the entangled stories of his upbringing, lineage, and sexuality. . . . [His] narrative shines in the lines of verse interspersed throughout.” \u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Plant life is more than metaphor in the enthralling \u003ci\u003eMadder.\u003c\/i\u003e Rather, it’s a way into rethinking self, origin, the body, sexuality, spirit—the very idea of limit. In language both majestic and down to earth, Marco Wilkinson conjures up a manual for living, animated, exacting, and true to its darkness. A major achievement.” \u003cstrong\u003e—Paul Lisicky, author of \u003cem\u003eLater: My Life at the Edge of the World\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In the lush ecotone between poetry and prose, Marco Wilkinson, horticulturalist and caretaker of all things underseen, has propagated an extraordinary space where ‘the lost are found, one way or another, and cradled.’ Wilkinson has the rare ability to confront all that is deliberately hidden and at the same time protect the most delicate mysteries from harm. This utterly gorgeous, learned, tender treatise on kinship and the ecology of memory just knocked me out.” \u003cstrong\u003e—Lia Purpura\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e“\u003ci\u003eMadder: A Memoir in Weeds\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e is a reminder of life’s messiness, of its wild beauty, minor consequence, and major ripples. Beautifully written with a concise, poetic prose, this hybrid work explores the ache in all of us, that space continually growing, grown over, starting anew with the seasons. Wilkinson treads the line between meaning and matter with exquisite attention, energy, and reverence.” \u003cstrong\u003e—Kao Kalia Yang\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Marco Wilkinson’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMadder \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis a memoir unlike any I’ve encountered, with its unique lyricism, innovation of form, and virtuosic experimentation with memory. It’s part meditation on the nature of weeds and fungi; part critique of colonial narratives of invasive species; and part story of a life lived across borders, in the wreckage of familial absences and ‘un-memories, things not unknown.’ I am in awe of this book’s fortitude to imagine a pilgrimage out of a past that haunts because it does not change. ‘How can we tell a story if it never changes? When it is only the same thing always and forever?’ This book is a revelation in symbiosis, erasure, substitution, and fragment. It is a ‘little root swept up,’ a burr, a transgenerational seed from Uruguay to Rhode Island, New York, and the underground rhizome of a midwestern forest. I marvel at what Wilkinson has accomplished in exploring the resilience of plants we have deemed unwanted; their memory, like ours, buried in the dirt.” \u003cstrong\u003e—Marcelo Hernandez Castillo\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39286839246925,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896184_FC.jpg?v=1617141016"},{"product_id":"borealis","title":"Borealis","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eAn essay by Aisha Sabatini Sloan\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eNovember 2, 2021 • 5.5 x 7 • 144 pages • 978-1-56689-619-1\u003c\/h5\u003e\n\u003ch4\u003eArt about glaciers, queer relationships, political anxiety, and the meaning of Blackness in open space—\u003ci data-mce-fragment=\"1\"\u003eBorealis \u003c\/i\u003eis a shapeshifting logbook of Aisha Sabatini Sloan’s experiences moving through the Alaskan outdoors.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eIn \u003ci\u003eBorealis,\u003c\/i\u003e Aisha Sabatini Sloan observes shorelines, mountains, bald eagles, and Black fellow travelers while feeling menaced by the specter of nature writing. She considers the meaning of open spaces versus enclosed ones and maps out the web of queer relationships that connect her to this quaint Alaskan town. Triangulating the landscapes she moves through with glacial backdrops in the work of Black conceptual artists and writers, Sabatini Sloan complicates tropes of Alaska to suggest that the excitement, exploration, and possibility of myth-making can also be twinned by isolation, anxiety, and boredom.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBorealis\u003c\/i\u003e is the first 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 \u003ci\u003eAn Attempt at Exhausting a Place in Paris, \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\u003eAisha Sabatini Sloan was born and raised in Los Angeles. Her writing about race and current events is often coupled with analysis of art, film, and pop culture. She studied English literature at Carleton College and went on to earn an MA in cultural studies and studio art from the Gallatin School of Individualized Study at NYU and an MFA in creative nonfiction from the University of Arizona. She is the author of the essay collections \u003cem\u003eThe Fluency of Light: Coming of Age in a Theater of Black\u003c\/em\u003e \u003cem\u003eand White\u003c\/em\u003e and \u003cem\u003eDreaming of Ramadi in Detroit.\u003c\/em\u003e With her father, she is the author of \u003cem\u003eCaptioning the Archives,\u003c\/em\u003e a conversation through image and text. She is a recipient of the 2018 CLMP Firecracker Award for Creative Nonfiction and a 2020 National Endowment for the Arts Literature Fellowship. She teaches creative writing at the University of Michigan.\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003ePraise for Borealis\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\u003cb\u003eWinner of the 2022 Lambda Literary Award in Bisexual Nonfiction\u003cbr\u003eWinner of the 2022 Jean Córdova Prize for Lesbian\/Queer Nonfiction\u003ci\u003e\u003cbr\u003ePublishers Weekly, \u003c\/i\u003e“Featured Travel Books 2021”\u003cbr\u003e\u003cem\u003eThe A.V. Club,\u003c\/em\u003e “Books to Read in November”\u003cbr\u003e\u003cem\u003eMs. Magazine,\u003c\/em\u003e “November Reads for the Rest of Us”\u003cbr\u003e\u003cem\u003eLiterary Hub,\u003c\/em\u003e “Indie Booksellers Recommend”\u003cbr\u003e\u003cem\u003eBook Riot,\u003c\/em\u003e “8 Queer Books that Explore Place, Nature, and the Environment”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“There’s a push and pull to the movement of [Sabatini Sloan’s] ideas that engaged me completely. Structurally, this beautifully fragmented essay creates space for the reader to sit with the thoughts and images which engage Sloan. . . . Rigorous essays shake up memory, history, and what we consider the knowledge we possess.” \u003cstrong\u003e—Lauren LeBlanc, \u003cem\u003eObserver\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Teems with satisfying complexity. . . . Sloan has that rare ability to convey the astonishment of an insight at the instant of its arrival. . . . Not much happens on this trip. And yet everything happens. The body travels while the mind wanders and the sensation is that of roaming freely—the valorization of landscape as an interior experience.” \u003cstrong\u003e—Lisa Hsiao Chen, \u003cem\u003eThe Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"This book-length essay is about Homer, Alaska, and what it’s like to be a queer Black woman in a very white town. It’s about Sloan’s own experience of wilderness, but it’s also about the history of nature writing and the racism inherent in so much of it, being an artist, photography, loneliness, and wildlife. . . . Expansive and spacious.” \u003cstrong\u003e—Laura Sackton, \u003cem\u003eBook Riot\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Essayist Sabatini Sloan muses on ice, art, and her exes in this lyrical exploration of Homer, Alaska. . . . Throughout, the descriptions are surprising and funny, the musings on race in Alaska poignant, and the prose punchy, vulnerable, and surprising.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A meditative journey to Homer, Alaska. . . . No one lands in such a unique setting without a darn good story of how and why. This is stunning. Sloan’s prose is breathtaking as she explores the wilderness.” \u003cstrong\u003e—Courtney Eathorne, \u003cem\u003eBooklist\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Negotiating between the spaciousness of her environment and the strictures of history and identity, she frames travel as both fraught and illuminating.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eBorealis\u003c\/em\u003e is an absolutely beautiful meditation on the cohabitation of linguistics and space, specifically interrogating the confines of being perceived. Weaving art and experience together, Aisha Sabatini Sloan complicates landscapes—both the physical understanding of place and the more difficult-to-pin-down landscape of one’s lived experiences. With intimacy and care, Sloan writes her own lifetime of art-making and what we might learn from the art and landscapes of others. \u003cem\u003eBorealis\u003c\/em\u003e is a delight and a truly stunning work.” \u003cstrong\u003e—Kaitlynn Cassidy, Seminary Co-op Bookstores\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An extraordinary experience! The place \u003cem\u003eBorealis\u003c\/em\u003e takes us to is lodged within a vivid consciousness. Here, the environment is populated by memories of lovers and strangers with guns. Letters from prison arrive in this place, and confinement haunts its wide margins. The soundtrack fades in and out, art is found and made. A landscape has never felt so real to me, so like life.” \u003cstrong\u003e—Eula Biss\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“As aurora to her titular borealis, Aisha Sabatini Sloan bends and flashes with belletristic dexterity and a quietly big-sticked insistence upon her own agency. ‘I forget what’s a thing to say,’ she writes, even as her unique geometries of syntax, set against the book’s glacial blocks of white space, elicit revelatory ways not just to say a thing but to see it. Through dexterous collaging of art, literature, correspondence, music, overheards, skylight colors, and intellectual flexes set against a prison’s visiting-room wall, \u003cem\u003eBorealis\u003c\/em\u003e resists bindings of genre or collective propinquity. Instead, Sabatini Sloan’s conversational architectures of space illuminate landscape as internal experience whose vastness, she finds, forces her to become her own friend.”\u003cstrong\u003e —Samiya Bashir\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“‘I am, again, interested in my interest,’ Aisha Sabatini Sloan writes in her thoughtful, introspective meditation on art, glaciers, Alaska, queer relationships, and race. Like a great landscape painting, there is depth in the stillness of this essay and vibrancy in the coldness of its environment. Sloan is a fascinating thinker, who makes everything she is interested in interesting to everyone else.”\u003cstrong\u003e —Josh Cook, Porter Square Books\u003cbr\u003e\u003cbr\u003ePraise for \u003cem\u003eDreaming of Ramadi in Detroit\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2018 CLMP Firecracker Award for Creative Nonfiction\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Though it’s hard to narrow down my choices in nonfiction, I can tell you that I put down Aisha Sabatini Sloan’s \u003ci\u003eDreaming of Ramadi in Detroit\u003c\/i\u003e and instantly wanted to pick it up again. The intelligence and expansiveness of this book of essays astounded me.” \u003cstrong\u003e—Camille Dungy\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“She’s a master time-bender. Her essay ‘D is for the Dance of the Hours,’ which I particularly love, is set in contemporary Detroit but begins in her father’s childhood. Throughout that essay Detroit today is joined, by metaphor, to a centuries-old history of opera. The essay moves across one day in Detroit, but pulls that day toward the past in a way that stretches time and reminds the reader that the past, both near and far, is always present, always palpable in our day-to-day lives.” \u003cstrong\u003e—Eula Biss, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eDreaming of Ramadi in Detroit\u003c\/em\u003e is an otherworldly meditation on the elasticity of memory, the liveliness of blackness, and possibilities of the essay. Aisha Sabatini Sloan manages to produce a collection of essays that are at once innovative, inspiring, sobering, and absolutely terrifying while daring every other essayist in the country to catch up.” \u003cstrong\u003e—Kiese Laymon\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dreaming, exploring, probing, confessing, Aisha Sabatini Sloan is always on the move. She crosses borders, turns fixed states of mind and heart into fresh sites of possibility and mystery. Those vast charged realities—race, class, gender, geography—become particular here, casting light and shadow on each other in startling ways. This is a luminous book.”\u003cstrong\u003e —Margo Jefferson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’m so impressed by the critical lucidity of Aisha Sabatini Sloan’s\u003cem\u003e Dreaming of Ramadi in Detroit.\u003c\/em\u003e Essay by essay, paragraph by paragraph, sometimes even sentence by sentence, Sloan roves, guided by a deliberate, intelligent, associative logic which feels somehow both loose and exact, at times exacting. The implicit and explicit argument of these essays is that there’s no way out but through—and maybe even no way out. So here we are, so lucky to have Sloan as our patient, wry, questing companion and guide.” \u003cstrong\u003e—Maggie Nelson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Fluency of Light: Coming of Age in a Theater of Black and White\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“One of the most original, startling memoirs I have seen in the past ten years, Sabatini Sloan’s \u003cem\u003eThe Fluency of Light\u003c\/em\u003e charts an entirely fresh course through the tangled territory of race and class in modern-day America. Each page offers fresh insight, unexpected information, crystal-clear thinking on the current cultural moment—a nation about to turn more brown than white, more mixed than ‘pure.’” \u003cstrong\u003e—Dinty W. Moore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Fluency of Light\u003c\/em\u003e makes a very valuable contribution to the literature of mixed-race identity in America. . . . She doesn’t pretend to have any solutions to the entrenched (because entirely visual) nature of racial separation, but the way she keeps going, herself, as a photographer, throughout the story underscores the message that doing art is essential to survival.” \u003cstrong\u003e—Fanny Howe\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39286840983629,"sku":"","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896191_FC.jpg?v=1617141210"},{"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":"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":"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":"the-nature-book","title":"The Nature Book","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Tom Comitta\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMarch 14, 2023 • 5.5 x 8.25 • 272 pages • 978-1-56689-663-4\u003c\/h5\u003e\n\u003ch4\u003ePart sweeping evocation of Earth’s rhythms, part literary archive, part post-human novel, \u003ci\u003eThe Nature Book\u003c\/i\u003e collages descriptions of the natural world into a singular symphonic paean to the planet.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhat does our nature writing say about us, and more urgently, what would it say \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ewithout\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e us? Tom Comitta investigates these questions and more in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Nature Book,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e a “literary supercut” that arranges writing about the natural world from three hundred works of fiction into a provocative re-envisioning of the novel. With fiction’s traditional background of flora and fauna brought to the fore,\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e people\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e and their structures disappear, giving center stage to animals, landforms, and weather patterns—honored in their own right rather than for their ambient role in human drama. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Nature Book \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003echallenges the confines of anthropocentrism with sublime artistic vision, traversing mountains, forests, oceans, and space to shift our attention toward the magnificently complex and interconnected world around us.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eTom Comitta is the author of 〇\u003cem\u003e, \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eAirport Novella\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e\u003cem\u003e,\u003c\/em\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eFirst Thought Worst Thought: Collected Books 2011\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e–\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e2014\u003c\/span\u003e\u003c\/em\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e a print and digital archive of forty “night novels,” art books, and poetry collections. Comitta’s fiction and essays have appeared in \u003c\/span\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eWIRED\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eLit Hub\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eElectric Literature\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e\u003cem\u003e,\u003c\/em\u003e the\u003c\/span\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e Los Angeles Review of Books,\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e the\u003c\/span\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e Believer,\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eBOMB\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e\u003cem\u003e,\u003c\/em\u003e and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eBest American Experimental Writing 2020\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e. They live in Brooklyn.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Nature Book\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u003cb data-mce-fragment=\"1\"\u003eIndependent Book Review\u003c\/b\u003e\u003c\/em\u003e\u003cb data-mce-fragment=\"1\"\u003e, \"Best Books We Read in 2023\"\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\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“Symphonic, both in its structure—four movements, the third of which is the most distinct and the last of which references the first and goes out in a brilliant burst—and in the way language echoes, builds, works its accretive magic. . . . Seeing the world like this, without us, traversed in a way we could never traverse it in our human bodies, is a powerful and exhilarating experience.” \u003cstrong\u003e—Cara Blue Adams, \u003cem\u003eThe New Yorker\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e“A marvel of textual collation on a par with Christian Marclay’s supercut film ‘The Clock.’ It’s remarkable how coherently the narrative reads, despite its countless patchwork pieces, a testament not only to Comitta’s diligence but to the likeminded ways that novelists have tended to write about natural phenomena like snowfall or sunrise.”\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e —Sam Sacks, \u003c\/b\u003e\u003cem\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Wall Street Journal\u003c\/i\u003e\u003c\/b\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A meditative, lush narrative on the relationship between time and nature. . . . Like Proust, Comitta centers you in the reading experience, not just demanding your labor of comprehension at the languorous, long sentence level, but also requiring your attention and patience. . . . You’ll be hard-pressed to find another book with as verdant an archive of beautiful descriptive sentences as the one contained in \u003cem\u003eThe Nature Book\u003c\/em\u003e.” \u003cstrong\u003e—Darina Sikmashvili, \u003cem\u003eLos Angeles Review of Books\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e“With long asides alongside neat rhymes, with ponderous thoughts on the nature of time near light scenes showing time’s mysterious passing, with ‘a great nest of angry snakes’ and still green apple trees, Comitta has created something a lot like an ecosystem.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Madeleine Crum, \u003c\/b\u003e\u003cem\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Baffler\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“An epic journey—visual, textural and musical—that illustrates the vastness of our environment and its representation in literature.”\u003c\/span\u003e\u003cb\u003e —Joseph Holt, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eStar Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“Their authorial vision weaves together a wild variety of styles with a steady eye on the land, sky, and water, as well as on the plants and animals living in each. Comitta approaches assembly with a conceptual rigor, but they do not sacrifice polish or readability. The novel flows beautifully. . . . An optimistic critique of the form, made entirely of the form.” \u003cstrong\u003e—Crow Jonah Norlander, \u003cem\u003eBOMB Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e“A magnum opus about the planet using only found text. . . . A dynamic and singular reading experience.” \u003cstrong\u003e—\u003cem\u003eKirkus,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An immersive exhibition of nature writing. . . . [\u003cem\u003eThe Nature Book\u003c\/em\u003e] pulls the reader along with gorgeous language and animal protagonists worth rooting for.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e“\u003c\/span\u003eIn this seamless anthology, we forget that the experience of reading about nature is mediated by human voices and, when suspended in the text, succumb to the magical illusion that we are perceiving the world in itself\u003cspan data-mce-fragment=\"1\"\u003e.” \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Will Chancellor, \u003cem data-mce-fragment=\"1\"\u003eThe Brooklyn Rail\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“In their mind-bending compendium of just the nature parts from 300 novels, Comitta asks what makes narrative, what merits attention, and whether humans have any business in this literary world at all. This is the novel to read conspicuously in your garden so the plants know you’re on their side. It’s only a matter of time before the weeds shall inherit the earth.” \u003c\/span\u003e\u003cb\u003e\u003ci\u003e—\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003eKaty Simpson Smith, \u003c\/span\u003e\u003ci\u003eElectric Literature\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“It’s all this different, beautiful language synthesized into one narrative that mostly describes the environments you’re passing through. I think it’s amazing.” \u003cmeta charset=\"utf-8\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e—\u003c\/i\u003e\u003c\/b\u003e\u003cstrong\u003eJeff Tweedy of Wilco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e“Here it is at last, and what a bloody relief to at last have it: The Novel Without Us. Using the suprasensory medium of the human vessel Tom Comitta, the trees and sky and earth have accessed the hyperobject or hyperartifact known as ‘literature’ in order to be heard from, across time and space. This is a novel to dwarf all others.” \u003cstrong\u003e—Jonathan Lethem\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Tom Comitta’s original novel—composed of descriptions of animals, plants, weather, water, earth, time and space from canonical English-language works—is a feat of conceptual art, biblical in tone and panoramic in scope. The absence of human life in \u003ci\u003eThe Nature Book\u003c\/i\u003e is a relief and a delight, yet Comitta’s devotion to the ‘ancillary’ builds a subtle and uncomfortable portrait of human consciousness: its judgments and observations, its habit of projecting itself into the minds of animals, and its tendency to see the natural world in terms of how it resembles, serves, or threatens the human one.” \u003cstrong\u003e—Kathryn Scanlan\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In \u003ci\u003eThe Nature Book, \u003c\/i\u003elanguage denuded from its original context serves its own surprising ends. An astounding project.” \u003cstrong\u003e—Jarett Kobek\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":42621996564722,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896634_FC.jpg?v=1647955517"},{"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":"with-bloom-upon-them-and-also-with-blood","title":"With Bloom Upon Them and Also with Blood: A Horror Miscellany","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eEssays by Justin Phillip Reed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 31, 2023 • 5.5 x 8.25 • 176 pages • 978-1-56689-691-7\u003c\/h5\u003e\n\u003ch4\u003eThe “f**k” count is just over sixty. The images are screenshots. The metal is mostly nu. And the grant money’s gone. From the author of \u003ci\u003eThe Malevolent Volume\u003c\/i\u003e and National Book Award–winning \u003ci\u003eIndecency\u003c\/i\u003e comes a gory new mutation in the shape of nonfiction and criticism.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn 2019, Justin Phillip Reed’s romantic maiden voyage through the waters of American poetry and its communities ran aground in the barrens of Pittsburgh, Pennsylvania, when he found himself with two years of writing time on the horizon and no social context to keep him afloat. In anxiety and estrangement soon deepened by global pandemic, popular fascism, virtual being, intestinal distress, and the obscenity of his own privilege as a university pet, he retreated to the comforts of horror films with no intent but diversion. What happened instead was this reckless, unprecious, in-process reckoning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBackdropped by sprawling cemeteries, soundtracked by too much Type O Negative, and totally hung up on cameras, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWith Bloom Upon Them and Also with Blood \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis a chase and a trip where lyric essays, ekphrastic poetry, and lectures grapple with alienation, professional disillusionment, perversion, and internal contradiction under racial capitalism through playful and critical encounters with horror cinema and cultural iconography. \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;\"\u003eJustin Phillip Reed is an American writer and amateur bass guitarist. His preoccupations include horror cinema, ideological failure, and uses of the grotesque. He is author of two poetry collections, \u003ci data-mce-fragment=\"1\"\u003eThe Malevolent Volume\u003c\/i\u003e (2020) and \u003ci data-mce-fragment=\"1\"\u003eIndecency\u003c\/i\u003e (2018), published by Coffee House Press. Born and raised in the Pee Dee region of South Carolina, he participates in alternative rock music cultures and enjoys smelling like outside.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eWith Bloom Upon Them and Also With Blood\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e“A f*cking good time!” —Mathew Weitman, \u003cem\u003eGulf Coast Journal\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Malevolent Volume\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\u003eWinner of the 2021 CLMP Firecracker Award for Poetry\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003eFinalist for the 2021 Lambda Literary Award in Gay Poetry\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003eWashington Post,\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e “Best Poetry Collections of 2020”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNPR, “Favorite Books of 2020”\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eNew York Times, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e“New and Noteworthy”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBuzzfeed,\u003c\/em\u003e “Most Anticipated Titles of 2020”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eLiterary Hub, “\u003c\/em\u003eMost Anticipated Books of 2020”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Reed blends intersectional politics and bodily hunger in precise, thorny language.” \u003cem\u003e\u003cstrong\u003e—The New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reminds us that poetry can be playful and deadly serious in the same moment. . . . [Reed] piles on anxious images and quasi-logical connections to create a gratifying weirdness.” \u003cstrong\u003e—Troy Jollimore, \u003cem\u003eWashington Post\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“In \u003cem\u003eThe Malevolent Volume,\u003c\/em\u003e Justin Phillip Reed offers multiple realities and their consequences. Challenging our thinking, these poems consider the uses of horror: through the page, we experience what it's like to be both haunted and that which haunts. In doing so, Reed doesn't bend genre as much as he extends it with endless possibility.\u003cbr\u003e\u003cbr\u003eA dextrous and epic music, this book faces down our combative and trespassed American moment. Almost every line is meant to be repeated slowly and held aloft for its heart-stopping craftsmanship. Studded with so many jeweled lines, we find, not absolution, but a complicated grace that will never, never accept your refusal.\u003cbr\u003e\u003cbr\u003eBuilding, its lyric moves from baroque density to unraveling flight, bespeaking the urgency of our moment, the cruel bluntness of fascism, and its entrenchment in the foundational horror of national belonging, with its accompanying exclusions. ‘Is it like a life,’ this malevolence we endure? Justin Phillip Reed has written a book that beckons us to reread as we seek to understand our time, how much of it is promissory and how much apocalyptic.” \u003cstrong\u003e—Judges' citation, 2021 Firecracker Award in Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[M]agnificent. . . . The gorgeous precision of the poems refuse to perform for the white gaze—they snatch back blackness from being used as a trope, crafting instead a new canon.” \u003cstrong\u003e—Erin Adair-Hodges,\u003cem\u003e St. Louis Post-Dispatch\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Incendiary. With breathtaking lyrical dexterity, Reed first rebukes and then remakes western literature and myth, bringing Black queerness to the forefront. . . . Reed performs a deft sleight-of-hand to embrace the territory of horror and monstrousness—harnessing its inherent power to threaten the status quo.” \u003cstrong\u003e—Luiza Flynn-Goodlett,\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e Adroit Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“How Reed found a way to write a book as fanged and fabulous and complexly musical as this one right after his National Book Award-winning debut, \u003cem\u003eIndecency\u003c\/em\u003e, is a mystery, but one thing’s clear now: he’s here to stay. These are strong poems, showcasing a range of moods and affects. Sometimes punctuated, otherwise so neatly joined they don’t need it. Sometimes gentle, in other moments, wielding fury’s high bright tone.” \u003cstrong\u003e—John Freeman, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A tour-de-force featuring a striking voice and artistry that will dazzle the vision, stun the ear, and demand attention. . . . [Reed] is conducting a literary chemical experiment that brings forward a new element with a long half-life, far past the ending of this collection.” \u003cstrong\u003e—Mandana Chaffa, \u003cem\u003eJacket2\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A poetry collection of extraordinary range, chameleonic and sure-handed in its embrace of form, yet without being formalistic or formulaic. . . . Each title suggests the plunge in this poet's quest to torment us with stinging, hard-won compassion and merciless self-exploration, stages as mythos, awaiting the reader who braves the labyrinth. A marvel of construction, it is a good place to get lost.” \u003cstrong\u003e—Herman Van den Reech, \u003cem\u003eCaesura\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Malevolent Volume\u003c\/em\u003e takes us on a trip through a world that is familiar but slightly askew, as if one were walking through a haze or looking into a funhouse mirror. . . . Reed’s poems know perfectly well how to make their reader stop and listen.” \u003cstrong\u003e—Margaryta Golovchenko, \u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eThe Town Crier\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’d quote a few of the breathtaking detonations across this incredible collection if there weren’t so many. On every page the intimacies of mind and body, myth and memory are simultaneously sung and said. It’s not quite enough to salute the literary ties and tangles, the range and urgency of subjects, the layered lyric linguistics. \u003cem\u003eThe Malevolent Volume\u003c\/em\u003e is roundly astounding. Reed is making a new and wholly irreducible line through the waters of American poetry.” \u003cstrong\u003e—Terrance Hayes\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘Its trumpets, they will ramify.’ Deliberate in its every movement, this collection is a most satisfying force of will. Justin Phillip Reed’s follow-up, \u003cem\u003eThe Malevolent Volume,\u003c\/em\u003e is a masterpiece to which I will ‘be always arriving.’ If our work as poets is to transform what most would call violence and what beasts accept as natural, this is a blueprint for how to do so ethically and masterfully. Here, in word, is a guttural and gutting music. Every poem becomes a new and necessary etymology of ‘malevolent.’ The beast in me bows to the beast in you, Justin. This is a restorative Black eco-poetics; where afropessimism meets afrofuturism.” \u003cstrong\u003e—Marwa Helal\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Horror is a genre of encounters not with the unknown, but with what is most familiar—and therefore most unshakeable. If it is a monstrous language that Justin Phillip Reed employs in \u003cem\u003eThe Malevolent Volume,\u003c\/em\u003e it’s a monster you already know well. Reed is a master of many things—meter, momentum, lexical richness, the musculature of syntax, how to haunt an insistently violent canon—but perhaps chief among them is the dark magic of harnessing language’s wilds into something that blooms into a real shout inside you. You must understand: it’s not strangeness you’re seeing here. It is audacity—the audacity of the queer, Black body, the brilliant body, which won’t, and won’t, and won’t die.” \u003cstrong\u003e—Franny Choi\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Justin Phillip Reed\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the 2018 National Book Award for Poetry \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eRecipient of a 2019 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship\u003cbr\u003eWinner of the 2019 Lambda Literary Award in Gay Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFinalist for the 2019 Kate Tufts Discovery Award\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBCALA 2019 Honor Best Poetry Award winner\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eLibrary Journal,\u003c\/em\u003e “Best Books 2018”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“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.” \u003cstrong\u003e—National Book Foundation\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.” \u003cstrong\u003e\u003cem\u003e—The New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“Raw, nervy, reverberant, densely packed language whose import simply can’t be reduced to easy explanation. . . . One-of-a-kind brilliant.” \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e—Library Journal\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Indecency made me stand up and applaud.”\u003cem data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e —The Millions\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\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 data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e —The Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Rich with musical echoes and sonic ironies.” \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e—Vulture\u003c\/em\u003e\u003c\/strong\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\u003cmeta charset=\"utf-8\"\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.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Adroit Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“Reed wrestles with finding the language to convey the pain of that double oppression and still manages to create terrible beauty.”\u003cstrong data-mce-fragment=\"1\"\u003e —\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSignature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":44395522654450,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Finalfront.jpg?v=1677859356"},{"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":"cecilia","title":"Cecilia","description":"\u003ch3 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #9a6372;\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA novella by \u003cb data-mce-fragment=\"1\"\u003eK-Ming Chang\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003eMay 21, 2024 • 4.5 x 7 • 144 Pages • 9781566897075\u003c\/h5\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003eAn erotic, surreal novella from the author of \u003cem\u003eOrgan Meats\u003c\/em\u003e and \u003cem\u003eBestiary\u003c\/em\u003e.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSeven, who works as a cleaner at a chiropractor’s office, reencounters Cecilia, a woman who has obsessed her since their school days. As the two of them board the same bus—each dubiously claiming not to be following the other—their chance meeting spurs a series of intensely vivid and corporeal memories. As past and present bleed together, Seven can feel her desire begin to unmoor her from the flow of time.\u003cbr\u003e\u003cbr\u003eSmart, subversive, and gripping, \u003cem\u003eCecilia\u003c\/em\u003e is a winding, misty road trip through bodily transformation, the inextricable histories of violence and love, and the ghosts of girlhood friendship.\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eK-Ming Chang is a Kundiman fellow, a Lambda Literary Award winner, a National Book Foundation 5 Under 35 honoree, and an O. Henry Prize winner. She is the author of \u003cem\u003eBestiary\u003c\/em\u003e (One World\/Random House, 2020), \u003cem\u003eBone House\u003c\/em\u003e (Bull City Press, 2021), \u003cem\u003eGods of Want\u003c\/em\u003e (One World, 2022), and \u003cem\u003eOrgan Meats\u003c\/em\u003e (One World, 2023). Her books have been \u003cem\u003eNew York Times Book Review\u003c\/em\u003e Editors' Choice selections, included on the \u003cem\u003eNew York Times\u003c\/em\u003e Notable Books list, and considered for the Center for Fiction First Novel Prize and the PEN\/Faulkner Award. She can be found at kmingchang.com.\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePraise for \u003cem data-mce-fragment=\"1\"\u003eCecilia\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eA \u003cem\u003eLiterary Hub\u003c\/em\u003e Most Anticipated Books of 2024\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA Bookshop.org Most Anticipated Book of 2024\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAn \u003cem\u003eAutostraddle\u003c\/em\u003e Most Anticipated Queer Book of Spring 2024\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA \u003cem\u003eBustle\u003c\/em\u003e Most Anticipated Book of Spring 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 data-mce-fragment=\"1\"\u003e“Chang explores the ways in which the body can elicit both desire and disgust, and offers an original look at the volatility of a teen friendship. It’s another high-water mark from a prolific and provocative author.”\u003cstrong\u003e —\u003cem\u003ePublishers Weekly\u003c\/em\u003e starred review\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"The work of reading this book leaves the reader with the same feeling one has after eating a particularly indulgent meal—satiation, with the knowledge of more hunger to come.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem\u003eKirkus Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e“The erotic, surreal tale promises to encapsulate the reader in a state of poetic realism amidst unifying experiences.” \u003cstrong\u003e—Hunar Bhatia, \u003cem\u003eHarper’s Bazaar India\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\"Chang pollutes the girls’ innocence with stories and images both repulsive and creative, frightening and empowering.” \u003cstrong\u003e—Emily Rhodes, \u003cem\u003eThe Guardian\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"A surreal cascade of girlhood memories about desire, queerness, and obsession. \u003cem\u003eCecilia\u003c\/em\u003e is at once erotic and repulsive, carnal and tasty. In a word: delicious.\" \u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—McKayla Coyle, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Bound to be surreal and sexy like all of Chang’s work.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem\u003eAutostraddle\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e“Erotic and strange, captivating and twisted: This one’s for the freaks (complimentary).” \u003cstrong\u003e—\u003cem\u003eBustle\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Resplendent with ripe imagery and provocative sensuality, \u003cem\u003eCecilia\u003c\/em\u003e is a striking, singular novella that explores pure, pungent desire.\" \u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e—Joe Hoeffner, \u003cem\u003eBookBrowse\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"\u003cem\u003eCecilia\u003c\/em\u003e appeals not only to lovers of the strange, but to anyone who’s had the impulse to quietly stalk their high school crush online.\" \u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e—David Lewis, \u003cem\u003eThe Masters Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The novel's focus never wavers under the urgent verve of Chang's prose. Her sentences are packed with internal rhyme and assonance, her metaphors drawn on corporeal imagery.” \u003cstrong\u003e—Cory Oldweiler, \u003cem\u003eThe Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“A novel that reveals the power—and dangers—of women’s friendships through evocative, uncanny prose.” \u003cstrong\u003e—Jenna Lefkowitz, \u003cem\u003eForeword Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The fantastic and the mundane marry each other like crows on the phantasmagoric pages of \u003cem\u003eCecilia\u003c\/em\u003e. K-Ming Chang’s work is bioluminescent and breathtaking. Sharply written and ecologically aware, \u003cem\u003eCecilia\u003c\/em\u003e is a magnificent, magical work that will redefine speculative writing for years to come.”\u003cstrong data-mce-fragment=\"1\"\u003e —Vi Khi Nao\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“An incendiary look at desire's ability to bind and destroy. Fierce, erotic, devastating: \u003cem data-mce-fragment=\"1\"\u003eCecilia\u003c\/em\u003e is a work of genius.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e”\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e —Brynne Rebele-Henry\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“K-Ming Chang’s spell-binding tale of queer desire moved me to tears by the end. Seven’s obsession with Cecilia is rendered through lyrical prose that startled and disarmed me, reminding me of how vulnerable and frightening it is to want someone you are destined to lose. The narrative voice got under my skin and I couldn’t stop thinking about the characters’ fierce hunger for the freedom to be themselves.”\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e—Nghiem Tran\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“\u003cem\u003eCecilia\u003c\/em\u003e is one of those rare reads bursting with staggering imagination and poetry that makes you feel you're having an out-of-body experience with the turn of every page. Not only that, it's also incredibly profound, often disturbing and funny.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e”\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e —Fernando A. Flores\u003c\/strong\u003e\u003cbr\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Rowdy and razor-sharp, luminescent and enchanting, K-Ming Chang is an utter master of the strange intimacies of the body. To read her work feels like shining a flashlight, finally, on the secret desires and aches that you've always wanted to glimpse.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e”\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e —Alexandra Kleeman\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePraise for \u003cem data-mce-fragment=\"1\"\u003eBestiary\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"text\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFinalist for the Lambda Literary Award\u003cbr data-mce-fragment=\"1\"\u003eLonglisted for the VCU Cabell First Novelist Award\u003cbr data-mce-fragment=\"1\"\u003eLonglisted for the Center for Fiction First Novel Prize\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e“Full of magic realism that reaches down your throat, grabs hold of your guts and forces a slow reckoning with what it means to be a foreigner, a native, a mother, a daughter—and all the things in between.”\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e—\u003cem\u003eThe New York Times Book Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePraise for \u003cem data-mce-fragment=\"1\"\u003eGods of Want\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"text\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWinner of the Lambda Literary Award\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e“In the genre of feminine madness, these stories are to be worshiped. 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