{"title":"Spooky Season Sale","description":"\u003cp\u003eGet 20% off these spooky titles now through Halloween!\u003c\/p\u003e","products":[{"product_id":"a-collapse-of-horses","title":"A Collapse of Horses","description":"\u003ch5 style=\"text-align: center;\"\u003e\u003cspan style=\"color: rgb(119, 71, 31);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch4\u003eWith minimalist literary horror, Brian Evenson’s stories work a nightmare axis of doubt, paranoia, and every day life.\u003c\/h4\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707402062,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/CollapseOfHorses-Web.jpg?v=1499210526"},{"product_id":"brian-evenson-new-and-reissued","title":"Brian Evenson, New and Reissued","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eFiction and stories by Brian Evenson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch4\u003eFrom literary horror icon Brian Evenson comes this set of four new and reissued works.\u003c\/h4\u003e\n\u003cp\u003eAlongside the release of Brian Evenson’s latest collection of stories, \u003cem\u003e\u003ca rel=\"noopener noreferrer\" title=\"A Collapse of Horses\" href=\"https:\/\/coffeehousepress.org\/products\/a-collapse-of-horses\" target=\"_blank\"\u003eA Collapse of Horses\u003c\/a\u003e\u003c\/em\u003e, Coffee House has rereleasing three classic novels: \u003cem\u003e\u003ca href=\"http:\/\/coffeehousepress.org\/products\/father-of-lies\/\"\u003eFather of Lies\u003c\/a\u003e\u003c\/em\u003e, \u003cem\u003e\u003ca href=\"http:\/\/coffeehousepress.org\/products\/open-curtain\/\"\u003eThe Open Curtain\u003c\/a\u003e\u003c\/em\u003e, and \u003cem\u003e\u003ca href=\"http:\/\/coffeehousepress.org\/products\/last-days\"\u003eLast Days\u003c\/a\u003e\u003c\/em\u003e. All available here at a special price, the familiar has never looked more unnerving.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePraised by Peter Straub for going furthest out on the sheerest, least sheltered narrative precipice, Brian Evenson has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award and the winner of the International Horror Guild Award, the American Library Association’s award for Best Horror Novel, and one of Time Out New York’s top books. The recipient of a National Endowment for the Arts fellowship and three O. Henry Prizes, Evenson lives in Providence, Rhode Island, where he directs Brown University’s Literary Arts Program.\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707417550,"sku":"","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Evenson-all.jpg?v=1499210587"},{"product_id":"father-of-lies","title":"Father of Lies","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Brian Evenson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 9, 2016 • 5.5 x 8.25 • 216 Pages • 978-1-56689-415-9\u003c\/h5\u003e\n\u003ch4\u003eIs the devil in Eldon Fochs? Is he a sexual psychopath? Or is the church protecting him to blame?\u003c\/h4\u003e\n\u003cp\u003eProvost Eldon Fochs may be a sexual criminal. His therapist isn’t sure, and his church is determined to protect its reputation. \u003cem\u003eFather of Lies\u003c\/em\u003e is Brian Evenson’s fable of power, paranoia, and the dangers of blind obedience, and a terrifying vision of how far institutions will go to protect themselves against the innocents who may be their victims.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePraised by Peter Straub for going “furthest out on the sheerest, least sheltered narrative precipice,” Brian Evenson is the recipient of three O. Henry Prizes and has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award. He is also the winner of the International Horror Guild Award and the American Library Association’s award for Best Horror Novel, and his work has been named in \u003cem\u003eTime Out New York\u003c\/em\u003e’s top books.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please call (612) 338-0125 or email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Evenson’s literary genius lay in his ability to spread reasonable doubt and blur lines of inquiry.” \u003cstrong\u003e\u003cem\u003e—New York Journal of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eFather of Lies\u003c\/em\u003e stands out among Evenson’s work as the most institutionally critical, morally unsettling.” \u003cstrong\u003e\u003cem\u003e—VICE\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eFather of Lies\u003c\/em\u003e is] packed with the kind of psychological tension that creates classics and a critique of organized religion that’s too loud, clear, and sharp to ignore.” \u003cstrong\u003e\u003cem\u003e—Horror Talk\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Evenson’s] scary fictional treatment of church hypocrisy has the feeling of a reasoned attack on blind religious obedience.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707439502,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/FatherOfLies-Web1.jpg?v=1499210679"},{"product_id":"find-the-girl","title":"Find the Girl","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Lightsey Darst\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 1, 2010 • 6 x 9 • 88 pages • 978-1-56689-244-5\u003c\/h5\u003e\n\u003ch4\u003eA poetic exposé of girlhood, obsession, and the CSI industry.\u003c\/h4\u003e\n\u003cp\u003eFrom Snow White to the Yde Girl and Helen of Troy to JonBenét, this lurid and lyrical debut explores the transition from girlhood to womanhood and America’s almost pornographic fascination with missing and exploited children. Topical and timely, Darst’s poems draw from both the oldest tales and the current vein of child \/ young woman endangerment horror—recalling and responding to true crime exposés, pulp detective fiction, classic fables, modern novels like \u003cem\u003eThe Lovely Bones,\u003c\/em\u003e and TV shows like \u003cem\u003eLaw \u0026amp; Order.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOriginally from Tallahassee, Florida, Lightsey Darst is a writing instructor, dance critic, and dancer who lives in Minneapolis where she curates a writers’ salon. The recipient of a fellowship from the National Endowment for the Arts, her poems have appeared in the \u003cem\u003eAntioch Review, Diagram, Gulf Coast, Monkey Bicycle, New Letters,\u003c\/em\u003e and elsewhere. \u003cem\u003eFind the Girl\u003c\/em\u003e is her first collection.\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“A dark but beautiful first book. . . . This is a vital poetry of the Deep South ripe with bones, blood and bogs, Snow Whites, Gretels and debutantes all stirred into a harrowing stew of lust, dusk and summer.” \u003cstrong\u003e—\u003cem\u003eThe \u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eNew York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A unique and dynamic collection of poetry.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eFeminist Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Darst] dives in, turning gruesome forensics into the filigree of poetry, and examining the strange pall that dead-girl culture . . . throws over the adolescence of real girls.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMinnPost\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Fairy-tale prose blends vivid botanical images with not-so-happy endings. . . . \u003cem\u003eFind the Girl\u003c\/em\u003e is empowering in a brutal way. Read it and you will find the pages turning, as if [of] their own volition.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMinnesota Reads\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A rich and honest chronicle of the transition from girlhood to womanhood. You won’t find poems about pearls, ribbons and curls here.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eSouthern Minnesota Venus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eFind the Girl\u003c\/em\u003e] is a forceful, unforgettable, debut by a writer who has already learned her craft. The writing is assured, urgent and arresting.” \u003cem\u003e\u003cstrong\u003e—Galatea Resurrects\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eFind the Girl\u003c\/em\u003e] brings contemporary sensationalism into focus, raising (but not answering) many of the moral questions most poets don’t ask.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMolossus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This first book by Lightsey Darst moves the reader to consider unspeakable crimes against girls—not from the perpetrator’s point of view so often portrayed in salacious TV dramas, but from a deeply personal stance that becomes an elegy for girlhood. . . . Most remarkably, these poems give us a chance to see the fine line between the girls we have been ourselves and the lost girls who never became women. . . . It is in her sensual language that these poems gain our hard-won interest.”\u003cstrong\u003e —\u003cem\u003eCerise Press\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Bluegrass and teen lust, the sequels to horror films and the modernist fragment, perennial myth and murder mystery, all erupt into Lightsey Darst’s serious poems. . . . Playing hooky, playing dead, playing ‘an instrument built from her body,’ Darst is playing with fire: her verse lights up the night sky.”\u003cstrong\u003e —Stephanie Burt\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eFind the Girl\u003c\/em\u003e is a book of poems as urgent as its title. . . . Here we have an important new poetic voice, one that fully earns Louis Zukofsky’s observation that, in poetry, ‘Each word itself is an arrangement \/ The story must exist in each word or it cannot go on.’ Lightsey Darst has internalized this, practiced it, perfected it, and brought it to us in this incredible collection. She has done something truly new.” \u003cstrong\u003e—Laura Kasischke\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“We should not lie about life. \u003cem\u003eFind the Girl,\u003c\/em\u003e in its violent intricacies unearthed by the hand of a poet dutiful to the women and girls long lost from poetry, knows this. . . . \u003cem\u003eFind the Girl\u003c\/em\u003e is an important, ravaging debut.” \u003cstrong\u003e—Katie Ford\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707439822,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Find-the-Girl1.jpg?v=1499210680"},{"product_id":"fugue-state","title":"Fugue State","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eStories by Brian Evenson, illustrated by Zak Sally\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJuly 1, 2009 • 6 x 9 • 208 pages • 978-1-56689-225-4\u003c\/h5\u003e\n\u003ch4\u003eNineteen chilling tales of the terror that lurks within.\u003c\/h4\u003e\n\u003cp\u003eHallucinatory and darkly comic, these stories of paranoia, pursuit, sensory deprivation, amnesia, and retribution rattle the cages of the psyche. And through the illustrations of graphic novelist Zak Sally (\u003cem\u003eRecidivist, Sammy The Mouse\u003c\/em\u003e), this unsettling world is brought to life. From sadistic bosses with secret fears to a woman trapped in a mime’s imaginary box, and from a post-apocalyptic misidentified messiah to unwitting portraitists of the dead, Brian Evenson’s mind-bending fiction exposes the horror contained within our daily lives.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePraised by Peter Straub for going “furthest out on the sheerest, least sheltered narrative precipice,” Brian Evenson is the recipient of three O. Henry Prizes and has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award. He is also the winner of the International Horror Guild Award and the American Library Association’s award for Best Horror Novel, and his work has been named in \u003cem\u003eTime Out New York’s\u003c\/em\u003e top books.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please call (612) 338-0125 or email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Brian Evenson is one of my favorite writers. The stories in this collection will thrill, unsettle, and captivate. Like lanterns in dark rooms, paper boats carried down on subterranean waters, they lead the reader into mysterious and perilous territory. Read at your own risk.”\u003cb\u003e\u003ci\u003e —Kelly Link\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson is the Donald Barthelme of psychological horror.”\u003cb\u003e\u003ci\u003e —Los Angeles Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Evenson accesses dark, unusual facets of human frailty, powerlessness and fear. . . . This intense, nightmarish collection captures the fear of night terrors, when one wakes in the middle of the night, unable to move.”\u003cb\u003e\u003ci\u003e —Publishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The specific genius of \u003cem\u003eFugue State\u003c\/em\u003e rests in subtlety, in Evenson’s ability to maintain suspense, dread and paranoia through utter linguistic control.”\u003cb\u003e\u003ci\u003e —Time Out New York\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eFugue State\u003c\/em\u003e] brings us into contact with thinking itself, with a sense of terror that seems to multiply plainly, and with the most difficult kinds of truth.”\u003cb\u003e\u003ci\u003e—The Believer\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Laughter can be an effective tool of the horror writer, and Evenson is its finest practitioner.”\u003cb\u003e\u003ci\u003e —Time Out Chicago\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“These 19 satisfying and surreal stories plumb the psyches of murderers, paranoids, frightened children, bitter ex-husbands, religious zealots in post-apocalyptic worlds and people whose fleeting sanity will be gone by story’s end. Evenson takes even his most fanciful characters seriously even as he partakes of gallows humor; this book is as packed with subtly hilarious sentences as haunting images.” \u003cb\u003e\u003ci\u003e—Cleveland Plain Dealer\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707446478,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Fugue_State.jpg?v=1515043773"},{"product_id":"garner","title":"Garner","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Kirstin Allio\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 1, 2005 • 5 x 7.5 • 232 pages • 978-1-56689-175-2\u003c\/h5\u003e\n\u003ch4\u003eA haunting tale of morality, murder, and the undertow of secrets in a small New Hampshire town.\u003c\/h4\u003e\n\u003cp\u003eGarner, New Hampshire is a town delineated by its Puritan ethics and its “Live Free or Die” mentality. 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Will he uncover the truth in time to save himself, take on the mantle of prophet, or destroy all he sees with a rain of biblical violence?\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePraised by Peter Straub for going “furthest out on the sheerest, least sheltered narrative precipice,” Brian Evenson is the recipient of three O. Henry Prizes and has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award. He is also the winner of the International Horror Guild Award and the American Library Association’s award for Best Horror Novel, and his work has been named in \u003cem\u003eTime Out New York’\u003c\/em\u003es top books.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please call (612) 338-0125 or email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of the ALA RUSA CODES The Reading List Award in Horror\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The clinical tone with which Evenson is able to traverse such situations, and the strange stark architecture of their world, makes even the most insidious or repulsive situations seem plausible, mathematical, nearby. Nothing is real, so everything is real.” \u003cstrong\u003e\u003cem\u003e—VICE \u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The deceptively simple prose keeps the book brisk and even gripping as its puzzles grow more craggy and complex. This is Evenson’s singular, Poe-like gift: He writes with intelligence and a steady hand, even when his characters decide to lop their own limbs off.” \u003cstrong\u003e\u003cem\u003e—Time Out New York\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eLast Days\u003c\/em\u003e] is a novel that must be read by fans of mysteries, noir, and horror if they want to have an idea of what those genres can be. . . . Brian Evenson is the kind of writer who should be rediscovered by every generation.” \u003cstrong\u003e\u003cem\u003e—Vol. 1 Brooklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eLast Days\u003c\/em\u003e . . . is a detective novel and a cult novel (in that it is about cults—though perhaps the other designation would work too) and a brutal horror novel and a fine work of minimalist literary fiction.” \u003cstrong\u003e\u003cem\u003e—Literary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson offers a distinctive spin on the private investigator genre, finding moments of horror and humor along the way.” \u003cem\u003e\u003cstrong\u003e—Signature\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707505422,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/LastDays-Web.jpg?v=1499210785"},{"product_id":"let-the-dark-flower-blossom","title":"Let the Dark Flower Blossom","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Norah Labiner\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 30, 2013 • 5.5 x 8.25 • 384 pages • 978-1-56689-320-6\u003c\/h5\u003e\n\u003ch4\u003eAn existential murder mystery about two rival writers willing to do anything——lie, steal, kill——to get the perfect story.\u003c\/h4\u003e\n\u003cp\u003eSheldon and Eloise Schell are twins, orphans, and the estranged college companions of the rich, scandalous, celebrated Roman Stone. Now Roman is dead, stabbed in the heart, and Eloise and Sheldon must separately tease out their secret past—a burning house, a murdered girl—that is the one story they could never tell. \u003cbr\u003e\u003cbr\u003eMoving between the muffled plush of wintry Chicago, the fog-bound darkness of a Lake Superior island, and the even darker precincts of memory, \u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e is a book about the pull of the closed door. It is about the small pleasure of being right, the tremendous thrill of doing wrong, and the lengths writers will go—lie, steal, kill—to get the perfect story.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eNorah Labiner is the author of three previous novels: \u003cem\u003eOur Sometime Sister, Miniatures,\u003c\/em\u003e and \u003cem\u003eGerman for Travelers.\u003c\/em\u003e She has received a Minnesota Book Award for Literary Fiction, as well as fellowships from the Minnesota State Arts Board, the Bread Loaf Writers’ Conference, and the National Endowment for the Arts. Her work has been recognized by the American Library Association, the Jewish Book Council, and the Barnes \u0026amp; Noble Discover Great New Writers series. She lives in Minneapolis, Minnesota.\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“As rewarding as it is challenging, this book is a great alternative to a beach read for those who love literary mysteries. . . . Recommended for those who thought that even Gone Girl didn't have enough troubled characters and unforeseen twists.” \u003cstrong\u003e—\u003cem\u003eLibrary Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A puzzle of a book, [\u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e] engages one’s attention through staccato prose and a number of interrelated and compelling characters. This ‘existential murder mystery’ . . . will reward attentive readers.” \u003cstrong\u003e—\u003cem\u003eBooklist\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A dark and truly original work of extraordinary strangeness and beauty.” \u003cstrong\u003e—Emily St. John Mandel\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The joy of \u003cem\u003eLet The Dark Flower Blossom\u003c\/em\u003e is going on this complicated journey—speculating on the monstrosity of novels with their great narratives of escape, their vastness, their horrors and tragedies—to come to discover what a ‘perfect’ story is for you. With a wicked sense of humor, a compelling narrative, beautiful lyrical language, and strong characters, Labiner does not disappoint.” \u003cstrong\u003e—\u003cem\u003eArcadia Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e thrills in all the right ways: it’s moody, suspenseful, and intellectually exciting. The story defies all expectations and comes replete with the chilly darkness of characters mining what’s long been buried. Norah Labiner is an ambitious artist and this may be the most satisfying novel I’ve read all year.” \u003cstrong\u003e—Dean Bakopoulos\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dark and intriguing.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A splendid, leisurely meditation on the meaning of fame, identity, and love.” \u003cstrong\u003e—\u003cem\u003eKirkus Reviews,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Labiner, narrating in several distinct and haunting voices, proves herself a metafictional adept. She succeeds in crafting an ambitious, poignant and sharp-tongued novel filled with secrets and ghosts, jealousy and love.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Norah Labiner’s \u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e (Coffee House Press) is a definitely a novel for writers and avid readers. It is one of those intellectually written novels that doesn’t just tell a story in a smart and unique way, it examines the story and all of the aspects that make a story, the elements that a story needs to succeed in a readers mind.” \u003cstrong\u003e—\u003cem\u003eBusking at the Seams\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The complex characters, the oppressive sense of fate, the vivid winter landscape, and, most of all, the challenging questions about the nature of storytelling lingered long after I finished \u003cem\u003eLet the Dark Flower Blossom.\u003c\/em\u003e . . . A tale to be read curled up, surrounded by your own papers and the stories they hold, as the snow falls in the background.” \u003cstrong\u003e—\u003cem\u003eMinerva Rising\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Labiner, with a firm control over events . . . and a fine way with language, presents us with an intellectual murder mystery that seeks to determine how writers’ foibles and eccentricities can be dangerous to themselves and, often, to others.” \u003cstrong\u003e—\u003cem\u003eQuarterly Conversation\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e is wholly original and brilliantly imaginative. . . . The author has created a living narrative, one that almost seems to grow, change, and breathe right before our eyes. It is almost as if Labiner’s story has a mind of its own. You’ll never read a book the same way again.” \u003cstrong\u003e—\u003cem\u003eGently Read Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I was driven forward by the mystery’s peculiar unravelings and . . . by the haunting beauty of Labiner’s writing. The way \u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e encourages reflection on the malleability of memories, and on the stories we make from them, was, for me, one of the great pleasures of the book.” \u003cstrong\u003e—\u003cem\u003eSmall Press Picks\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e will subsume you. It’s a protean universe—lush with scandal, violence, and perverse glamour—where everything and nothing is true. . . . As readers we are implicated. As readers we bear guilt. On the rare occasion of novels such as this, our passivity is revoked and we are restored, if monstrously, to power.” \u003cstrong\u003e—\u003cem\u003eKGB Bar Lit Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e, in addition to being an elegant and sometimes jarring exploration of the malevolent and destructive power that stories can wield, is for most of its duration a page-turning murder mystery.” \u003cstrong\u003e—\u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is a first-rate, highly literate murder mystery, one that proves even more rewarding . . . on a second read.” \u003cstrong\u003e—\u003cem\u003eMinnesota Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is a literary thriller about the process of writing, and, like that process, it consists of many good ideas, and some puzzling ones. . . . Labiner rewards, not mocks, the reader’s investment in the plot and characters.” \u003cstrong\u003e—\u003cem\u003eElectric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A ‘literary ambush’—perfect for a stormy summer night.” \u003cstrong\u003e—\u003cem\u003eMinnesota Monthly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Labiner’s tale first draws a set of compelling characters, and then connects them. . . . Even better, the reader gets to unravel a series of dark secrets and try to solve a murder, or two.” \u003cstrong\u003e—\u003cem\u003eMinnPost\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eLet The Dark Flower Blossom\u003c\/em\u003e [is] Norah Labiner’s densely layered, self-reflexive novel that is about much more than just a brother and sister. . . . Labiner demands a lot of her reader, challenges you to reassess your sense of self and to revisit your most important stories, asking the whole time: is this memory true? Does it matter?” \u003cstrong\u003e—\u003cem\u003ePhiladelphia Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Beautifully worded and stylistically arranged, \u003cem\u003eLet the Dark Flower Blossom\u003c\/em\u003e is an innovative and candid take on the world of writers, relationships, and human nature itself.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eThe Corresponder\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Labiner’s writing has a perseverative quality, like an incantation. . . . Story and memory become characters in their own right, malleable and unreliable. The novel is either a map or a maze that leads into a fractured gothic tale of guilt, crime, and the distortions of reality and memory.” \u003cstrong\u003e—\u003cem\u003eNewPages\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It’s like a swirling maelstrom of words that will eat your evening, and you will LOVE IT for doing so.” \u003cstrong\u003e\u003cem\u003e—Insatiable Booksluts\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Gothic noir, Greek classics, post-modern disjunction, add a pinch of snails and puppy dog’s tails and you have the page turning quality of a who-done-it.” \u003cstrong\u003e\u003cem\u003e—Drunken Boat\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707515726,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Let_the_Dark_Flower_Blossom.jpg?v=1515100243"},{"product_id":"open-curtain","title":"The Open Curtain","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Brian Evenson \u003c\/strong\u003e \u003c\/span\u003e\u003c\/h3\u003e\n\u003ch6 style=\"text-align: center;\"\u003e February 9, 2016 • 5.5 x 8.25 • 270 Pages • 978-1-56689-417-3\u003c\/h6\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch4\u003eA taut literary thriller investigating the contemporary aftermath of Mormonism’s shrouded and violent past.\u003c\/h4\u003e\n\u003cp\u003eWhen Rudd, a troubled teenager, embarks on a school research project, he runs across the secret Mormon ritual of blood sacrifice, and its role in a 1902 murder committed by the grandson of Brigham Young. Along with his newly discovered half-brother, Rudd becomes swept up in the psychological and atavistic effects of this violent, antique ritual.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePraised by Peter Straub for going “furthest out on the sheerest, least sheltered narrative precipice,” Brian Evenson is the recipient of three O. Henry Prizes and has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award. He is also the winner of the International Horror Guild Award and the American Library Association’s award for Best Horror Novel, and his work has been named in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime Out New York’\u003c\/em\u003es top books.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please 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\u003ePraise for Brian Evenson\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“There is not a more intense, prolific, or apocalyptic writer of fiction in America than Brian Evenson.” \u003cstrong\u003e—George Saunders\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“There's a touch of the time-shifting of Lost Highway in here, and the colors of Suspiria, and the soundtrack of Burzum's Hvis Lyset Tar Oss , and a whole other strange register which throughout it all just seems like a calm story dictated to you by a stranger in your sleep.”\u003cstrong\u003e—\u003cem\u003e\u003cstrong\u003eVICE\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“A contemporary gothic tale about the apocalyptic connection between religion and violence.” \u003cstrong\u003e\u003cem\u003e—\u003cstrong\u003ePublishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/strong\u003e“This is one of the bravest, most searching novels I know.” \u003cem\u003e\u003cstrong\u003e—The Week\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“No matter what book of Evenson’s we’re talking about, a reader might indeed feel like something had been inflicted upon him, after spending time inside Evenson's books, which are so frequently violent and disorienting, destablizing norms of behavior just as they destabilize identity, place, and memory.” \u003cem\u003e\u003cstrong\u003e—Believer Logger\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707595726,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/OpenCurtain-Web1.jpg?v=1499210847"},{"product_id":"slab","title":"Slab","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Selah Saterstrom\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eAugust 11, 2015 • 5 x 7.5 • 186 Pages • 978-1-56689-395-4\u003c\/h5\u003e\n\u003ch4\u003eTiger—stripper, felon, bestselling author—on dancing as Helen Keller, her grandfather’s suicide, 18th century killers, and the best red velvet cake.\u003c\/h4\u003e\n\u003cp\u003eOn a slab that’s all Katrina left of her Mississippi home, Tiger—stripper, felon, best-selling author—tells us of her days dancing as Helen Keller, her grandfather’s suicide, a serial killer duo from the 18th century, and the best recipe for red velvet cake. And out of these floating anecdotes comes a portrait of a fallen biblical landscape of struggle and sin.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSelah Saterstrom is the author of the novels \u003cem\u003eSlab, The Meat and Spirit Plan,\u003c\/em\u003e and \u003cem\u003eThe Pink Institution,\u003c\/em\u003e all published by Coffee House Press. Widely published and anthologized, she also curates \u003cem\u003eMadame Harriette Presents,\u003c\/em\u003e an occasional series. She teaches and lectures across the United States and is the director of Creative Writing at the University of Denver. \u003cbr\u003e\u003cbr\u003eBorn in 1974, Saterstrom grew up in Natchez, Jackson, and Pass Christian, Mississippi. She earned her bachelor’s degree from Millsaps College in Jackson, Mississippi, her Masters in Theology and Literature from the University of Glasgow in Scotland, and her MFA from Goddard College in Vermont. She is the editor of \u003cem\u003eSoul Collections,\u003c\/em\u003e an anthology of prose and poetry written by at-risk teenagers in North Carolina and her work has recently appeared in \u003cem\u003eBig Bridge,\u003c\/em\u003e the \u003cem\u003eCafé Review, Fourteen Hills, Tarpaulin Sky,\u003c\/em\u003e the \u003cem\u003eAmerican Book Review, Ellipsis, Cranbrook Magazine,\u003c\/em\u003e and elsewhere. \u003cem\u003eThe Meat and Spirit Plan\u003c\/em\u003e is her second novel and a portion of the author’s proceeds will be donated to Our Voice, a nonprofit crisis intervention agency serving Western North Carolina and to the Kim Duckett Fund for Women.\u003cbr\u003e\u003cbr\u003eA former instructor at Warren Wilson College in Asheville, North Carolina, Saterstrom currently lives in Colorado and is on the faculty of the University of Denver’s Creative Writing Program.\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“Brutal but also deeply lyrical, Saterstrom’s beautiful novel paints a portrait of a family wracked by its own dysfunction and held fast by a place that has never fully recovered since the day the Civil War began—the day known, as the book tellingly reminds us, as ‘Ruination Day.’” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In her latest novel Selah Saterstrom confirms her status as one of America’s premier narrative archaeologists.” \u003cstrong\u003e—\u003cem\u003eLos Angeles Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The writing constantly swerves from the sensational to the sincere, which gives it resonance and, ultimately, makes the book so darn likeable. . . . \u003cem\u003eSlab\u003c\/em\u003e is a definite must-read.” \u003cstrong\u003e—\u003cem\u003eNewPages\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eSlab\u003c\/em\u003e is] absorbingly, concisely written . . . weirdly wonderful.” \u003cem\u003e\u003cstrong\u003e—Library Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Saterstrom has] a poet’s ear for language and a comic’s feel for timing. . . . Complicated, beautiful, whimsical, troubling, and heart-breaking.” \u003cem\u003e\u003cstrong\u003e—Full-Stop\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Bawdy, funny, and thought-provoking. . . . Deeply southern, very American, decadent and devastating.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eBookRiot\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Saterstrom has created a novel told in several genres. . . . If you like something a bit unusual, and you appreciate new approaches to storytelling, this may be the tale for you.” \u003cem\u003e\u003cstrong\u003e—Georgia Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Saterstrom’s narrators charm the reader with their mix of naivete, natural curiosity, and keen, intelligent observation. . . . The novel’s stark and varied form also mimics a careful sleight of hand.” \u003cem\u003e\u003cstrong\u003e—Atticus Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Tiger] navigates the world around her with guile and intelligence, and each act or chapter adds facet-like depth and meaning . . . As\u003cem\u003e Slab\u003c\/em\u003e makes clear: in this world which daily hoists abuse and crisis and deprivation on our souls, there’s still room for saving grace and experimental books that are a pleasure to read.” \u003cem\u003e\u003cstrong\u003e—Southern Literary Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eSlab\u003c\/em\u003e is one of those novels that hits you fast and hard, that you finish in one sitting, gulping down like an ice-cold glass of water.” \u003cem\u003e\u003cstrong\u003e—Weird Sister\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Saterstrom’s strength as an author is her ability to straddle this line between the colloquial and the academic while offering us a deeply flawed protagonist who is both compelling and tragic.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eVol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“From page one, the story takes off at a breakneck pace and proceeds with all the force of a hurricane.” \u003cstrong\u003e—\u003cem\u003eNewPages\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Its subject matter will be familiar: Southern poverty, institutional misogyny, gun violence, Hurricane Katrina, the Confederate Flag, and most painfully, their amalgam wound. Its perspective, though, promises to be wholly new: Tiger is a ferocious protagonist whose spirit outgrows her circumstance so long as it’s not stultified by weary traditions.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Offbeat. Comic. Bawdy. Savage. Moving.” \u003cstrong\u003e—Lively Arts\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eSlab\u003c\/em\u003e] brings up questions that are deeper than the comical nature of some of the tales, such as, ‘Do you believe in life after death?’ . . . There is meaning to be taken from \u003cem\u003eSlab\u003c\/em\u003e. You simply have to find it in your own way, just as Tiger does.” \u003cstrong\u003e—\u003cem\u003eMemphis Flyer\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saterstrom writes with a poet’s economy and eye for visceral detail, collapsing into a mere 140 pages a four-generation history of a Southern family bedeviled by alcoholism, poverty, racism, violence, and mental illness. Her spareness is a mercy. The story she tells is brutal, almost impossible to take; at the same time, her exquisite, cut-to-the-quick language makes this book impossible to put down.” \u003cstrong\u003e—\u003cem\u003eHuffPost\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Despite her kinetic prose and the variousness of her forms, Saterstrom’s oeuvre is intelligent in its cohesion and destination.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Stories that are good must be told and this one tells its way right into your subconscious and stays there until you fall asleep, haunting you with words and images.” \u003cstrong\u003e—\u003cem\u003eBookslut\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707663566,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Slab.jpg?v=1499210917"},{"product_id":"the-meat-and-spirit-plan","title":"The Meat and Spirit Plan","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Selah Saterstrom\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 1, 2007 • 5 x 7.5 • 240 pages • 978-1-56689-201-8\u003c\/h5\u003e\n\u003ch4\u003eA searing coming-of-age novel set to the music of chance.\u003c\/h4\u003e\n\u003cp\u003eIn lyric, diamond-cut prose, Selah Saterstrom revisits the pastoral, dead-end Southern town of Beau Repose, following our strung-out, fiercely intelligent narrator through her harrowing adolescence and into the academic halls and back alleys of Scotland. As the feverish St. Vitus’s dance of her youth morphs into slow-motion inertia abroad, an illness brings her home again—to face the legacy of pain she left behind and to find a way to become the lead in a dance of her own creation.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSelah Saterstrom is the author of the novels\u003cem\u003e Slab, The Meat and Spirit Plan,\u003c\/em\u003e and \u003cem\u003eThe Pink Institution,\u003c\/em\u003e all published by Coffee House Press. Widely published and anthologized, she also curates Madame Harriette Presents, an occasional series. She teaches and lectures across the United States and is the director of Creative Writing at the University of Denver.\u003cbr\u003e\u003cbr\u003eBorn in 1974, Saterstrom grew up in Natchez, Jackson, and Pass Christian, Mississippi. She earned her bachelor’s degree from Millsaps College in Jackson, Mississippi, her Masters in Theology and Literature from the University of Glasgow in Scotland, and her MFA from Goddard College in Vermont. She is the editor of \u003cem\u003eSoul Collections,\u003c\/em\u003e an anthology of prose and poetry written by at-risk teenagers in North Carolina and her work has recently appeared in \u003cem\u003eBig Bridge,\u003c\/em\u003e the \u003cem\u003eCafé Review, Fourteen Hills, Tarpaulin Sky,\u003c\/em\u003e the \u003cem\u003eAmerican Book Review, Ellipsis, Cranbrook Magazine,\u003c\/em\u003e and elsewhere. \u003cem\u003eThe Meat and Spirit Plan\u003c\/em\u003e is her second novel and a portion of the author’s proceeds will be donated to Our Voice, a nonprofit crisis intervention agency serving Western North Carolina and to the Kim Duckett Fund for Women.\u003cbr\u003e\u003cbr\u003eA former instructor at Warren Wilson College in Asheville, North Carolina, Saterstrom currently lives in Colorado and is on the faculty of the University of Denver’s Creative Writing Program.\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“\u003cem\u003eThe Meat and Spirit Plan\u003c\/em\u003e is ferocious and dazzling, the work of a savage poet. Every scene is a hard polished gem of raunch and revelation. Strung together they build a force of piercing tenderness. It’s an impressive achievement, and a real pleasure to read.” \u003cstrong\u003e—Katherine Dunn, author of \u003cem\u003eGeek Love\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707783438,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/The_Meat_and_Spirit_Plan.jpg?v=1515109344"},{"product_id":"the-pink-institution","title":"The Pink Institution","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Selah Saterstrom\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 1, 2004 • 5 x 7.5 • 140 pages • 978-1-56689-155-4\u003c\/h5\u003e\n\u003ch4\u003eBeautiful and violent, spare and ominous, this wholly original novel explodes mythologies of Southern femininity.\u003c\/h4\u003e\n\u003cp\u003eIn a multigenerational family saga that captures the rich beauty and passionate despair of the land and its inhabitants, \u003cem\u003eThe Pink Institution\u003c\/em\u003e is a riveting, visceral novel written in a style that elegantly unites poetic prose with historic photographs and texts. It is also a testament to the legacy that war, violence, abuse, and poverty have wrought upon the Deep South. As we follow four generations of determined and relentless Mississippi women from their run-down, post-Civil War plantations to their modern-day trailer parks, the impoverished decay of the Deep South expresses itself through their bloodlines in a haunting reenactment of the past.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSelah Saterstrom is the author of the novels \u003cem\u003eSlab, The Meat and Spirit Plan,\u003c\/em\u003e and \u003cem\u003eThe Pink Institution,\u003c\/em\u003e all published by Coffee House Press. Widely published and anthologized, she also curates Madame Harriette Presents, an occasional series. She teaches and lectures across the United States and is the director of Creative Writing at the University of Denver.\u003cbr\u003e\u003cbr\u003eBorn in 1974, Saterstrom grew up in Natchez, Jackson, and Pass Christian, Mississippi. She earned her bachelor’s degree from Millsaps College in Jackson, Mississippi, her Masters in Theology and Literature from the University of Glasgow in Scotland, and her MFA from Goddard College in Vermont. She is the editor of \u003cem\u003eSoul Collections,\u003c\/em\u003e an anthology of prose and poetry written by at-risk teenagers in North Carolina and her work has recently appeared in \u003cem\u003eBig Bridge,\u003c\/em\u003e the \u003cem\u003eCafé Review, Fourteen Hills, Tarpaulin Sky,\u003c\/em\u003e the \u003cem\u003eAmerican Book Review, Ellipsis, Cranbrook Magazine,\u003c\/em\u003e and elsewhere. \u003cem\u003eThe Meat and Spirit Plan\u003c\/em\u003e is her second novel and a portion of the author’s proceeds will be donated to Our Voice, a nonprofit crisis intervention agency serving Western North Carolina and to the Kim Duckett Fund for Women.\u003cbr\u003e\u003cbr\u003eA former instructor at Warren Wilson College in Asheville, North Carolina, Saterstrom currently lives in Colorado and is on the faculty of the University of Denver’s Creative Writing Program.\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“Saterstrom writes with a poet’s economy and eye for visceral detail, collapsing into a mere 140 pages a four-generation history of a Southern family bedeviled by alcoholism, poverty, racism, violence, and mental illness. Her spareness is a mercy. The story she tells is brutal, almost impossible to take; at the same time, her exquisite, cut-to-the-quick language makes this book impossible to put down.” —\u003cem\u003e\u003cstrong\u003eHuffPost\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e“\u003cem\u003eThe Pink Institution\u003c\/em\u003e is a book to be savored like a feast in the middle of nowhere—rich, strange, fragmentary and yet utterly compelling. Selah Saterstrom has managed to gather influences from visual art, photography, music, captions, footnotes, directories, family histories and weave them into a book of marvels and mysteries. Reader, go slow. This is a dream.” \u003cstrong\u003e—Michael Klein\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Happy families may all be alike, but even unhappy families have started to look pretty similar these days. Then there’s the family created in Selah Saterstrom’s multigenerational bildungsroman about America and the South, and women and men, and madness and whatever desperate things we do in order to, maybe, for a while, survive. Selah Saterstrom has a daring, artful voice. I am confident \u003cem\u003eThe Pink Institution\u003c\/em\u003e is only the first of many astoundingly beautiful, brutally disturbing works of art.” \u003cstrong\u003e—Rebecca Brown\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707787150,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/The-Pink-Inst-cover-RGB.jpg?v=1499211063"},{"product_id":"upright-beasts","title":"Upright Beasts","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eStories by Lincoln Michel\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 13, 2015 • 5.5 x 8.25 • 224 Pages • 978-1-56689-418-0\u003c\/h5\u003e\n\u003ch4\u003eTwenty-one genre-bending stories of bestial transformation, accidental murder, erotically-challenged dictatorship, and other tales of darkness, absurdity, and confusion.\u003c\/h4\u003e\n\u003cp\u003eChildren go to school long after all the teachers have disappeared, a man manages an apartment complex of attempted suicides, and a couple navigates their relationship in the midst of a zombie attack. In these short stories, we are the upright beasts, doing battle with our darker, weirder impulses as the world collapses around us.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eLincoln Michel is the online editor of \u003cem\u003eElectric Literature\u003c\/em\u003e and the coeditor of \u003cem\u003eGigantic.\u003c\/em\u003e His work has appeared in \u003cem\u003eTin House, NOON,\u003c\/em\u003e the \u003cem\u003eBeliever, American Short Fiction, Pushcart Prize XXXIX,\u003c\/em\u003e and elsewhere. He was born in Virginia and lives in Brooklyn, NY.\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“The world presented in Michel’s admirable debut collection is similar to our own, yet twisted just enough to feel strange. . . . Michel frequently knocks his brief bursts of prose out of the park.” \u003ci\u003e\u003cb\u003e—Publishers Weekly\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Lincoln Michel is a master of where literary culture and the internet meet. His recent collection of funny, dark short stories, \u003cem\u003eUpright Beasts,\u003c\/em\u003e similarly blends worlds and bend rules.” \u003cstrong\u003e—\u003c\/strong\u003e\u003ci\u003e\u003cb\u003eBrooklyn Magazine\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eUpright Beasts\u003c\/i\u003e creates] a world twisted just enough to feel strange, and defies easy categorization.” \u003cb\u003e—\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Michel’s stories are often an uncanny combination of sinister and funny, tender and sad. Laura van den Berg calls them ‘mighty surrealist wonders, mordantly funny and fiercely intelligent,’ and many of them will soon be released together in Michel’s first story collection \u003ci\u003eUpright Beasts\u003c\/i\u003e.” \u003cb\u003e—\u003ci\u003eThe Millions\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Michel ably handles modes from lyrical to ironic, but he is most comfortable in a purposefully flat stye that reads something like translated Kafka.” \u003cb\u003e—\u003ci\u003eNew York Times Sunday Book Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Some of the stories are remarkable. . . . A strong debut.” \u003cb\u003e—\u003ci\u003eKirkus\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Sometimes hysterically funny and sometimes quietly disturbing, Michel’s visions will appeal to readers looking for a few hours of purposefully unorthodox but refreshingly creative entertainment.” \u003cb\u003e—\u003ci\u003eBooklist\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Lincoln Michel is a master of where literary culture and the internet meet. His recent collection of funny, dark short stories, \u003ci\u003eUpright Beasts\u003c\/i\u003e, similarly blends worlds and bends rules.” \u003cb\u003e—\u003ci\u003eBrooklyn Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Deadpan and life affirming, the stories in this genre-bending debut veer from an apartment complex for the suicidal to a ghostly artists’ colony to the innards of wild things.” \u003cb\u003e—\u003ci\u003eO Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Michel ably handles modes from lyrical to ironic, but he is most comfortable in a purposefully flat style that reads something like translated Kafka.” \u003cb\u003e—\u003ci\u003eNew York Times Book Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The stories are full of monstrous surprises and eerie silences. But who is the real beast? Michel quietly, but unequivocally, leads readers to the answer as he navigates weird tragicomedy of daily life. With zombies. ” \u003cb\u003e—\u003ci\u003eVanity Fair\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“It is rare, and refreshing, to see such range in a collection.” \u003cb\u003e—\u003ci\u003eKenyon Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“There is a bold, unpremeditated feel to \u003ci\u003eUpright Beasts\u003c\/i\u003e, a debut whose great strength is a changeability that keeps the pages turning as it veers from lucidity to madness and back again.” \u003cb\u003e—\u003ci\u003eColorado Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Like a Russell Edson prose poem or Joe Frank monologue, the stories are compelling and the resolutions often left me bewildered but strangely satisfied.” \u003cb\u003e—\u003ci\u003eCritical Angst\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The twenty-five stories in this vibrant, bold and often funny book are full of such confusions of time and place. Characters stumble around in the dark, seeking a sense of community, deciding to wrestle with or else secretly indulge their own most beastly instincts. There are stories within stories within stories, and grizzly bears swallowed by sharks that are then swallowed by sperm whales. Upright beasts don’t stay upright for long.” \u003cb\u003e—\u003ci\u003eGuernica\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Dark, surreal, and imaginative, Lincoln Michel’s short story collection \u003ci\u003eUpright Beasts\u003c\/i\u003e is full of surprises at every turn.” \u003cb\u003e—\u003ci\u003eBuzzFeed\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Michel captures the strangeness of the suburban South, and the rural wilderness surrounding it, through its chorus of blunt voices. His stories are absurd enough to reel you in, and emotionally honest enough to keep you reading.” \u003cb\u003e—\u003ci\u003eHuffPost\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Michel, one of the country’s most respected literary journalists, is also well known for his short stories that defy easy classification. This volume collects 21 of his offbeat tales, dealing with zombies, the apocalypse, and other bizarre, darkly surreal themes.” \u003cb\u003e—\u003ci\u003eMen’s Journal\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“To write a killer short story . . . is a total miracle. But if you’re some kind deranged monster like Lincoln Michel, you can churn these puppies out in your sleep.” \u003cb\u003e—\u003ci\u003eTor.com\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“There was Lincoln Michel’s debut collection \u003ci\u003eUpright Beasts\u003c\/i\u003e, which collected a variety of modes of dark fiction from the Aickmanesque to the Kafkaesque.” \u003cb\u003e—\u003ci\u003eWeird Fiction Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eUpright Beasts\u003c\/i\u003e is] a dark, dreamy spiral into a world mostly like ours, but a few degrees off, and this distance is more than compelling.” \u003cb\u003e—\u003ci\u003eThe Rumpus\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“I was delighted, and still am, at the fact that Michel is so aware of expectations and rules that he is able to break them with such aplomb, and without apology. \u003cem\u003eUpright Beasts\u003c\/em\u003e is a lovely, finally genreless, collection, and one that is sure to continue finding an eager audience.” \u003cb\u003e—\u003ci\u003eThe Collagist\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Many writers can show us the known aches in the known ways. I favor those who present new weirdness. Michel does a little of both in this collection. It may be read as the record of a talented writer learning the old procedures before bending them to new purposes.” \u003cb\u003e—\u003ci\u003eGreen Mountains Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Lincoln Michel’s debut collection, \u003ci\u003eUpright Beasts\u003c\/i\u003e, contains an element of unreality that delights even as it unsettles.” \u003cb\u003e—\u003ci\u003eThe Rumpus\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Lincoln Michel has brought off a worthy debut in \u003ci\u003eUpright Beasts\u003c\/i\u003e, a rowdy klatch of stories with a number of winners.” \u003cb\u003e—\u003ci\u003eBrooklyn Rail\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eUpright Beasts,\u003c\/em\u003e the debut collection from Lincoln Michel, offers numerous windows into the surreal and menacing. . . . It’s impressive, hypnotic work.” \u003cb\u003e—\u003ci\u003eVol. 1 Brooklyn\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Lincoln Michel’s fiction defies genre in often-inventive ways. His first collection involves alien presences, mysterious schools, humans devoured by animals, and much more. If you like your short stories with a heady dose of the surreal and unpredictable, look no further.” \u003cb\u003e—\u003ci\u003eVol. 1 Brooklyn\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eUpright Beasts\u003c\/i\u003e is] a praiseworthy debut collection. It will haunt you long after the beasts have returned to the shadows.” \u003cb\u003e—\u003ci\u003eKGB Bar Lit Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eUpright Beasts\u003c\/em\u003e is an immersive and original book, and Michel’s stories often have a ‘one more bite’ quality. They’re swift, fun to read, and urge readers to compulsively turn the page.” \u003cb\u003e—\u003ci\u003eFull Stop\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Lincoln Michel’s short story collection \u003ci\u003eUpright Beasts\u003c\/i\u003e enthralls with its tales of the surreal and the absurd.” \u003cb\u003e—\u003ci\u003eLargehearted Boy\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The imaginative Lincoln Michel presents his bestiary of strange and captivating stories.” \u003cb\u003e—\u003ci\u003eLargehearted Boy\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“I’ve been waiting for the release of his debut collection of short stories with all the anticipation of a kid standing outside the locked doors of a candy store just before it opens.” \u003cb\u003e\u003ci\u003e—Quivering Pen\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Peculiar deaths, zombie attacks, and apocalyptic events abound in 21 stories that showcase the absurdities of both ordinary and extraordinary human experience. Written with plentiful humor and heart, Michel’s collection is a wry exploration of all the ways in which we—humans—are upright beasts.” \u003cb\u003e—\u003ci\u003eBuzzFeed\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Sly, obscure, and beyond terrific.” \u003cb\u003e—\u003ci\u003eFiction Advocate\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A diverse, wonderful collection.” \u003cb\u003e—\u003ci\u003eAirborne Aspidistra\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“While humble about his talent, it was obvious to everyone in the room that writing is what Michel is meant to do.” \u003ci\u003e\u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003eCavalier Daily\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Michel’s writing is both approachable and inspiring. You read [these stories], and you want to write them.” \u003cb\u003e—\u003ci\u003eLawnchair Boys\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eUpright Beasts\u003c\/i\u003e is Lincoln Michel’s much anticipated debut story collection, out from the fabulous Coffee House Press.” \u003cb\u003e—\u003ci\u003eMasters Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Though each story was published previously as a standalone piece, the nuance with which they’ve been organized in the book warps and enhances the reading experience. Some stories lean in the general direction of something resembling reality; others tack strongly toward the surreal.” \u003cb\u003e—\u003ci\u003eC-ville\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Weird, whimsical, horrific, romantic—very short stories can make room for some of the strangest, most wonderful things.” \u003cb\u003e—\u003ci\u003eCatapult\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Put on your seat belt, it’s a ride towards Lovecraftian country houses and Long Island-like suburbia, to places we know and love and places we dare not think of . . . some of these stories will ignite your imagination, while others will force you to retreat from the real world temporarily. . . . For all of the elements in this collection that make this fiction, there is an absolutely stunning image of what it’s like to be human, to live life and allow it to slip away, as Michel says: ‘Death, in all its myriad incarnations, was, as always, right around the corner.’ . . . It’s not just about how frighteningly close a writer can bring us to our imagination, it’s how close he can bring us to our reality.” \u003cb\u003e\u003cb\u003e—\u003ci\u003eHeavy Feather Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eUpright Beasts\u003c\/em\u003e heralds a fresh, uncompromising voice in literature.” \u003cb\u003e—\u003ci\u003eThe Man Behind Winkie’s\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707814990,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Upright_Beasts.jpg?v=1515112220"},{"product_id":"windeye","title":"Windeye","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eStories by Brian Evenson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 30, 2012 • 5.9 x 8.9 • 176 pages • 978-1-56689-298-8\u003c\/h5\u003e\n\u003ch4\u003eCormac McCarthy meets \u003ci\u003eThe Twilight Zone\u003c\/i\u003e. A modern-day Hawthorne, Evenson is a writer people will claim they discovered early.\u003c\/h4\u003e\n\u003cp\u003eA woman falling out of sync with the world, a king’s servant hypnotized by his murderous horse, a transplanted ear with a mind of its own—the characters in these stories live as interlopers in a world shaped by mysterious disappearances and unfathomable discrepancies between the real and imagined. Evenson, master of literary horror, presents his most far-ranging collection to date, exploring how humans struggle to persist in an increasingly unreal world. Haunting, gripping, and psychologically fierce, these tales illuminate a dark and unsettling side of humanity.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePraised by Peter Straub for going “furthest out on the sheerest, least sheltered narrative precipice,” Brian Evenson is the recipient of three O. Henry Prizes and has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award. He is also the winner of the International Horror Guild Award and the American Library Association’s award for Best Horror Novel, and his work has been named in \u003cem\u003eTime Out New York’\u003c\/em\u003es top books.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please 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\u003e\u003cem\u003eTime Out New York, \u003c\/em\u003e“Best (and worst) books of 2012”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Both smartly referential and admirably distinct in voice. . . . These are stories of madness told from the inside, and they often read like dreams.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s thrillingly unnerving books have won awards for mystery, horror, and literary fiction; this is work that’s scary on a deep level.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eReader’s Digest\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The fact that Evenson can move from parody to paranoia and humor to horror in the span of three paragraphs is a testament to his ability as a storyteller, one that can make us laugh and shudder, moving with the same kind of erratic schizophrenia as many of his own characters.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eBrooklyn Rail\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“For those whose imaginations constantly hunger for genuine nourishment, Brian Evenson’s \u003cem\u003eWindeye \u003c\/em\u003eis a feast. . . . \u003cem\u003eWindeye \u003c\/em\u003edelivers a complex and varied collection filled with contrasting flavors. Ranging from feudal to post-apocalyptic, it contains some of the best uncanny and horror writing to come out of New England since Stephen King published \u003cem\u003eThe Stand\u003c\/em\u003ein 1978.” \u003cem\u003e\u003cstrong\u003e—ForeWord\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In the 25 stories collected in \u003cem\u003eWindeye,\u003c\/em\u003eEvenson shows himself to be an imaginative writer first and foremost. . . . Imagine Beckett’s Murphy or Molloy lost, walking around in a Poe tale, then read these stories to find out why Jonathan Lethem calls Evenson ‘one of the treasures of American story writing.’” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eShelf Awareness\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“\u003c\/em\u003eAll the stories in this collection are hard-edged, tinged with emotional or physical violence, and capped by shock or outright horror. Characterized by building suspense and dread, these tales often have a folkloric feel far removed from the commonplace.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eBooklist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson writes profoundly about the prisonhouse of language precisely because he has made that place his home.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eOpen Letters Monthly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“I’m pulled into this great, unresolved tension that becomes the general atmosphere in which the events of the stories take place. Which is horrifying. And delightfully so.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eBlack Balloon Publishing\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“One senses that Evenson drafted these stories as fuller narratives, then stripped away their surest details until only the most fragile threads were tying their events together, and anchoring them to anything fixed. The result is fiction that, for all its seeming insubstantiality, is weighty, solid, and provocative.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eLocus Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A modern master of the weird tale, Brian Evenson is also one of the genre’s most experimental. \u003cem\u003eWindeye\u003c\/em\u003e, his latest story collection, does what all good horror aspires to: reflect the tenor and fears of a given period.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eCampus Circle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“With his latest short fiction collection \u003cem\u003eWindeye,\u003c\/em\u003e Brian Evenson once again proves himself a master at creating suspenseful, literary horror.” \u003cstrong\u003e\u003cem\u003e—Largehearted Boy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The horror of \u003cem\u003eWindeye\u003c\/em\u003e surfaces as characters are kept in endless trepidation about the evil hiding in the basement, never daring or able to grab a flashlight and go check it out for themselves.” \u003cem\u003e\u003cstrong\u003e—New Orleans Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson may be the king of genre-bending, slipstream fiction. For years now he has taken the best of genre fiction—the tension and terror or horror, the illusion and mystery of noir—and paired it with the elevated language and insightful focus of literary fiction, to write some of the most compelling stories out there.” \u003cem\u003e\u003cstrong\u003e—Emerging Writers Network\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Laughter can be an effective tool of the horror writer, and Evenson is its finest practitioner.”\u003cstrong\u003e—\u003cem\u003eTime Out Chicago\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson is one of the treasures of American story writing, a true successor both to the generation of Coover, Barthelme, Hawkes and Co., but also to Edgar Allan Poe.”\u003cstrong\u003e—Jonathan Lethem\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“No one—and I mean no one—is better at excavating the strangeness of our everyday lives.” \u003cstrong\u003e—Andrew Ervin\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707817998,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Windeye3.jpg?v=1499211134"},{"product_id":"comemadre","title":"Comemadre","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Roque Larraquy, translated by Heather Cleary\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJuly 10, 2018 • 5 x 7.75 • 152 pages • 978-1-56689-515-6\u003c\/h5\u003e\n\u003ch4\u003eLiterary Latin American \u003cem\u003eFlatliners:\u003c\/em\u003e a smart, engrossing, and darkly funny novel experimenting with where life and love begin and end.\u003c\/h4\u003e\n\u003cp\u003eOn the outskirts of Buenos Aires in 1907, Doctor Quintana pines for head nurse Menéndez while he and his colleagues embark on a grisly series of experiments to investigate the line between life and death. One hundred years later, a celebrated artist goes to extremes in search of aesthetic transformation, turning himself into an art object. How far are we willing to go, Larraquy asks, in pursuit of transcendence? The world of \u003cem\u003eComemadre\u003c\/em\u003e is full of vulgarity, excess, and farce: strange ants that form almost perfect circles, missing body parts, obsessive love affairs, and flesh-eating plants. Here the monstrous is not alien, but the consequence of our relentless pursuit of collective and personal progress.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eRoque Larraquy is an Argentinian writer, screenwriter, professor of narrative and audiovisual design, and the author of two books, \u003cem\u003eLa comemadre\u003c\/em\u003e and \u003cem\u003eInforme sobre ectoplasma animal\u003c\/em\u003e. \u003cem\u003eComemadre\u003c\/em\u003e will be his first book published in English.\u003cbr\u003e\u003cbr\u003eHeather Cleary’s translations include César Rendueles’s \u003cem\u003eSociophobia,\u003c\/em\u003e Sergio Chejfec’s \u003cem\u003eThe Planets\u003c\/em\u003e and \u003cem\u003eThe Dark,\u003c\/em\u003e and a selection of Oliverio Girondo’s poetry for New Directions.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eLonglisted for the 2018 National Book Award for Translated Literature \u003cbr\u003eLonglisted for the Best Translated Book Award\u003cbr\u003e\u003cem\u003ePublishers Weekly,\u003c\/em\u003e Best Books of 2018 in Fiction\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Shuttling between B-movie horror and exceedingly dark comedy, the novel is somehow both genuinely scary and genuinely funny, sometimes on the same page—a wickedly entertaining ride.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003estarred review\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“Grotesque, outrageous, and insanely funny, [\u003cem\u003eComemadre\u003c\/em\u003e] has almost no equal in literature.” \u003cem\u003e\u003cstrong\u003e—BOMB\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Sad, funny, and pitch-perfect.” \u003cem\u003e\u003cstrong\u003e—World Literature Today\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The prose is distilled but rich—like dark chocolate.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Through his callous, narcissistic narrators, Larraquy interrogates the ethics of art and science, and the inhumanity we sanction in the name of intellectual achievement. Slyly funny and viscerally affecting, in a fluid translation by Heather Cleary, \u003cem\u003eComemadre\u003c\/em\u003e is the medicine-meets-art horror story of my dreams.” \u003cem\u003e\u003cstrong\u003e—Huffington Post\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The absurd is planted and buried throughout \u003cem\u003eComemadre,\u003c\/em\u003e creating a sense of constant doubt and uncertainty. The writing is sparse and evocative, even as it takes considerable risks. The effect accomplishes a great deal in short spaces.” \u003cem\u003e\u003cstrong\u003e—Full Stop \u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eComemadre\u003c\/em\u003e creates a full circle of the grotesqueries humans inflict upon one another in pursuit of immortality. . . . Read Larraquy to experience a strange waking dream from which there is no escape.” \u003cem\u003e\u003cstrong\u003e—Arkansas International\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“It’s a brief novel, but its impact is massive.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A mutilated novel about the art of mutilating bodies.” \u003cem\u003e\u003cstrong\u003e—Book Post\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In this dark, dense, surprisingly short debut novel by the Argentinian author, we’re confronted with enough grotesqueries to fill a couple Terry Gilliam films and, more importantly, with the idea that the only real monsters are those that are formed out of our own ambition.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Comemadre is a powerful critique of our administered, bureaucratic world, full of petty men wielding power with impunity.” \u003cstrong\u003e\u003cem\u003e—Three Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Layered without growing dense, the book is crisply comic, scenes punctuated like punchlines. That it all happens within a mere 130 pages is a sort of magic trick—the dizzying kind where a body gets sawed in half.” \u003cem\u003e\u003cstrong\u003e—The A.V. Club\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reading Roque Larraquy’s excellent and twisted novel \u003cem\u003eComemadre\u003c\/em\u003e is an exercise in duality: mind and body, present and past, science and art.” \u003cem\u003e\u003cstrong\u003e—New Letters\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A deeply unnerving and morbidly fascinating novel.” \u003cem\u003e\u003cstrong\u003e—Booklist\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Larraquy ventures into the gothic here, only to push beyond it into an even more disquieting realm of obsession, transformation, and the monstrous unknown.”\u003cem\u003e\u003cstrong\u003e —Words Without Borders\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Funny, grotesque and smart.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e“The gruesome content is handled with an absurdist touch.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“A concise family saga by way of Dennis Cooper by way of a stress nightmare; it’s also eminently readable.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eComemadre\u003c\/em\u003e] spins old unreliable narrator techniques into a freshly comic and grotesque examination of the various ways that we try to justify the unjustifiable.” \u003cem\u003e\u003cstrong\u003e—Barrelhouse\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eComemadre\u003c\/em\u003e has wit in excess, spilling out over the pages, like an army of red ants, or the pools beneath a guillotine.” \u003cem\u003e\u003cstrong\u003e—Fanzine\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A masterpiece in regards to dark comedy.” \u003cem\u003e\u003cstrong\u003e—Call Me [Brackets]\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A strange, wild story-slash-philosophical-meander along the lines of art, life, love, and death.” \u003cem\u003e\u003cstrong\u003e—Remezcla\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“One of the most bizarre, darkly comic and fascinating books that I’ve read this year.” \u003cem\u003e\u003cstrong\u003e—Beyond the Epilogue\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“I love \u003cem\u003eComemadre.\u003c\/em\u003e But here I am, days after reading, still asking myself what kind of book it is. Is it humor? Horror? Is it about art? Science? Philosophy? One thing is certain: it is just the kind of book that you’ll want to recommend to your friends over and over again, and here I am, still doing it!”\u003cem\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e—Samanta Schweblin\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Like a beloved B movie, this is the campy horror show all my fellow sickos have been waiting for.” \u003cstrong\u003e—Keaton Patterson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Larraquy has written a perfect novel: spare, urgent, funny, original, and infused with wonderfully subtle grace. I neglected my domestic duties to devour it.” \u003cstrong\u003e—Elisa Albert\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Moving from a sanatorium at the beginning of the twentieth century in which the doctors decide to use their patients as fodder for a deadly experiment, to an artist at the beginning of the twenty-first who pushes the fleshy manipulations of Chris Burden and Damien Hurst to a new extreme, \u003cem\u003eComemadre\u003c\/em\u003e is a raucous and irreverent philosophical meditation on the relationship of the body to science and to art. Walking a line between parody and critique, this is a grotesquely funny and powerful book.” \u003cstrong\u003e—Brian Evenson\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eComemadre\u003c\/em\u003e is one of the wildest and most disturbing novels I’ve read. With a language that dissects the world while describing it, Roque Larraquy constructs a dark fable about the annihilation of the body, about perversions of art and science. Heather Cleary’s magnificent translation does justice to this extravagant gem—composed like a Hieronymus Bosch diptych that sets us before the monsters of unleashed reason.” \u003cstrong\u003e—Daniel Saldaña París\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eComemadre\u003c\/em\u003e is a sensory experience: images repeat, ‘confession’ has a smell, and obsession feels palpable. The two narrative threads within this wildly strange and perversely humorous novel map the expansive life of the mind, the drive to make a mark on history, and the impact of transgressions in art and science. If a Dalí painting could speak, it would tell us this violently charming tale of ants marching in perfect circles and bodies pushed beyond the limits of the possible.” \u003cstrong\u003e—Elizabeth Willis, Avid Bookshop\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“I’m not entirely sure what the fuck just happened, but, whatever you might say about Roque Larraquy’s \u003cem\u003eComemadre,\u003c\/em\u003e you sure as hell will have \u003cem\u003esomething\u003c\/em\u003e to say. A dizzying, macabre, yet ultimately deliriously delicious tale of medical testing, decapitations, botanically-born flesh-eating larvae, unrequited love, deformities, and extreme art, \u003cem\u003eComemadre\u003c\/em\u003e won’t soon be easily forgotten (if ever it is). Larraquy, an Argentinean screenwriter who has also penned two books (\u003cem\u003eComemadre\u003c\/em\u003e being the first translated into English), is whirlwindishly creative and evidently possessed of a prodigious, if darkly tinged, imagination.\u003cbr\u003e\u003cbr\u003eTwo distinct narratives, ultimately linked yet set 102 years apart, combine to grotesque and lasting effect. Larraquy writes fantastically and, however unlikely it may seem given its obsessive subjects, with considerable humor. The same unsettling, disquieting feeling one might be left with after engaging, say, Georges Bataille’s \u003cem\u003eThe Story of the Eye\u003c\/em\u003e or fellow Argentinean author Samanta Schweblin’s \u003cem\u003eFever Dream\u003c\/em\u003e is present in spades. \u003cem\u003eComemadre\u003c\/em\u003e never flinches, however much its readers inevitably must. \u003cem\u003eComemadre\u003c\/em\u003e lures, bedevils, and ultimately enamors—distending reality (and decency) in the process. Feral fiction at its finest, Larraquy’s Comemadre is beach reading if you inexplicably find yourself marooned with Piggy, Jack, Ralph, and the rest of Golding’s deserted island boys.” \u003cstrong\u003e—Jeremy Garber, Powell’s Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Part horror, part dark comedy, part philosophy.” \u003cstrong\u003e—Unabridged Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Roque Larraquy:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Who the devil is this Roque Larraquy? His first book seems like an artifact written with four hands—amid laughter and hidden from everyone—by Jorge Luis Borges and Witold Gombrowicz. Or maybe not Gombrowicz, but Virgilio Piñera. Or maybe not Borges, but Villiers de L’Isle-Adam adapted by Paul Valéry (did you know Valéry spent his youth digging up skulls to make calculations?). What is certain is that this truly magnificent novel exudes intelligence, humor, cynicism, cruelty. Cold passion with unsettling—and unexpectedly moving—effects.” \u003cstrong\u003e—Ignacio Echevarría\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In spite of having all the necessary ingredients for a historical novel (the clinic, sordid and suburban; the positivist, anthropometric delusions), it’s not a historical novel; in spite of possessing, at first glance, the traits that generally mark ‘realistic fiction,’ (the cross between conceptual art, spectacle, and biopolitics; the gray areas of death, sickness and animalism as thresholds of humanity), something in its tone subjects the reality to a process of distancing treating it as a foreign body—alien—neither completely alive nor completely dead.” \u003cstrong\u003e—Diego Peller, \u003cem\u003eBazar Americano\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Larraquy spent seven years writing his first book . . . and another three passed before the appearance of his second. We don’t know how long it will take him to publish his next one, but we intuit that there will be a third and a fourth, because in what we’ve seen of his work up to now there is a discernible literary project—a project that’s difficult to define, for which terms like ‘story,’ ‘novel,’ or ‘poetry’ are insufficient.”\u003cstrong\u003e —Maximiliano Tomas\u003cem\u003e, La Nación\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2293514043416,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895156_FC.jpg?v=1511373806"},{"product_id":"echo-tree-1","title":"Echo Tree","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eStories by Henry Dumas\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 4, 2021 • 5.5 x 8.5 • 424 pages • 978-1-56689-607-8\u003c\/h5\u003e\n\u003ch4\u003eAfrican futurism, gothic romance, ghost story, parable, psychological thriller, inner-space fiction—Dumas’s stories form a vivid, expansive portrait of Black life in America.\u003c\/h4\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHenry Dumas’s fabulist fiction is a masterful synthesis of myth and religion, culture and nature, mask and identity, the present and the ancestral. From the Deep South to the simmering streets of Harlem, his characters embark on real, magical, and mythic quests. Humming with life, Dumas’s stories create a collage of mid-twentieth-century Black experiences, interweaving religious metaphor, African cosmologies, diasporic folklore, and America’s history of slavery and systemic racism.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eHenry Dumas\u003c\/strong\u003e was born in Sweet Home, Arkansas, in 1934 and moved to Harlem at the age of ten. He joined the air force in 1953 and spent a year on the Arabian Peninsula. After returning, Dumas became active in the civil rights movement, married Loretta Ponton, had two sons, attended Rutgers University, worked for IBM, and taught at Hiram College in Ohio and at Southern Illinois University’s Experiment in Higher Education in East St. Louis. In 1968, at the age of thirty-three, he was shot and killed by a New York City Transit Authority police officer.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEugene B. Redmond \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003ewas named poet laureate of East St. Louis in 1976, the same year Doubleday published his \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eDrumvoices: The Mission of Afro-American Poetry, A Critical History. \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eRedmond taught along-side Henry Dumas at Southern Illinois University, where he is currently an emeritus professor of English. Since 1968, he has edited and helped publish most of Dumas’s poetry and fiction.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJohn Keene's\u003c\/strong\u003e recent books include the story collection \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eCounternarratives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e (New Directions, 2016) and several books of poetry. He has also translated the Brazilian author Hilda Hilst’s novel \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eLetters from a Seducer\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e (Nightboat Books, 2014) and numerous other authors from Portuguese, French, and Spanish. His recent honors include an American Book Award, a Lannan Literary Award, a Windham-Campbell Prize for Fiction, and a 2018 John D. and Catherine T. MacArthur Foundation Fellowship. He chairs the department of African American and African Studies and teaches English and creative writing at Rutgers University–Newark.\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\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\u003ePraise for \u003cem\u003eEcho Tree\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eLiterary Hub,\u003c\/em\u003e “Most Anticipated Books of 2021”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eKirkus,\u003c\/em\u003e “Best Fiction of 2021”\u003cbr\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBookmarks, \u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e“May’s Best Sci-Fi and Fantasy Books”\u003cbr\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003cbr\u003e“This vital collection gathers the thrilling, variegated short fiction of Dumas. . . . A pair of vigorous introductory essays by Redmond and John Keene cast Dumas as an immensely influential writer, an heir to African and Black arts movements who sought to forge a new, emancipatory aesthetic. . . . This collection resounds with a piercing voice that demands to be heard.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003estarred review\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“The typical Henry Dumas story begins with two or three men—or boys on the verge of manhood—living in a United States like the one we share but in which the doors to other worlds are slightly more ajar. Sometimes his protagonists pass through those doors or they witness the Devil’s entrance, but just as often this porousness lends a mythic shimmer to daily life. . . . This new edition of \u003cem\u003eEcho Tree\u003c\/em\u003e gives us the fullest sense of Dumas’s stereoscopic vision.” \u003cstrong\u003e—David Hobbs, \u003cem\u003eTimes Literary Supplement\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dumas achieved near mastery of narrative form, whether the gothic horror of ‘Rope of Wind,’ the allegorical cunning of ‘The University of Man,’ or the unsettling bare-bones naturalism of ‘The Crossing’. . . . The last story, ‘The Metagenesis of Sunra,’ a tour de force of creation mythology and cosmic improvisation, submits yet another jolt of discovery, suggesting how Dumas, who always seemed ahead of his own, albeit brief, time was capable of advancing African American storytelling art even further than one previously suspected. Every couple of decades or so, we need to be reminded of what made writers like Toni Morrison call Henry Dumas a genius.” \u003cem\u003e\u003cstrong\u003e—Kirkus, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003estarred review\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Black culture and manhood take center stage in these stories, explored in Dumas’s lyrical, brutal prose, which orients and propels his tales to resonant endings, signaling a mastery of craft. . . . With a sharp eye that is both a credit to the original writing and the strength of its editing, these stories connect the past to the present. \u003cem\u003eEcho Tree\u003c\/em\u003e is a vibrant short story collection.” \u003cstrong\u003e\u003cem\u003e—Foreword Reviews,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Dumas freed himself to experiment with an exuberant hyper-candor that can still strike untruths dead with a lethal vibration.” \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Ron Slate,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOn the Seawall\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eDumas’s fiction can take us to unexpected places. . . . [\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eEcho Tree\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e] surely does underscore Dumas’s talent as a writer of fiction, although at the same time reminding us that he was so barbarously prevented from fully harvesting that talent.” —\u003cb data-mce-fragment=\"1\"\u003eDaniel Green, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eFull Stop\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e“\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e[A]ffectingly aching and absolutely arresting. . . . Henry Dumas’ stories are a freedom song and an angry cry.” \u003cstrong\u003e—Ron Jacobs, \u003cem\u003eCounterpunch\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e“Henry Dumas is one of my favorite poets ever. . . . Now we have his collected short fiction, which features gothic romances, psychological thrillers, ghost stories, and more. Trust me, Reader, Dumas is electric, with writing that pulses through the vein, pumping straight for your heart.” \u003cstrong\u003e—Rasheeda Saka, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dumas brought his gift as a poet to prose, and his deft ear picked up voices whether from the living or the dead. He was doing \u003cem\u003eLovecraft Country\u003c\/em\u003e decades before it went viral. If there were such a thing as an Afro-Gothic school of artists, included would be Thelonious Monk, Horace Pippin, Albert Ayler, Betye and Lezley Saar—and Henry Dumas, a legend while living and a legend in the afterlife.” \u003cstrong\u003e—Ishmael Reed\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eEcho Tree\u003c\/em\u003e arrives at the moment in our culture when we need Dumas’s daring imagination the most.” \u003cstrong\u003e—Jeffrey B. Leak, author of \u003cem\u003eVisible Man: The Life of Henry Dumas\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dumas’s world is a Black poem. . . . Despite having been killed by a New York police officer when he was just thirty-three, Dumas left us a body of work that ensures his place as one of the best writers America has ever known. The literary canon is dishonest without him, and this collection of his stories should be read and cited as widely as Ralph Ellison, Toni Morrison, and James Baldwin are—this is our music.” \u003cstrong\u003e—Harmony Holiday, author of \u003cem\u003eMaafa\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Henry Dumas\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What stunned me about Dumas’s ‘heroic’ language is how it used Black myth to construct a narrative of the diaspora before and after colonialism and enslavement. Dumas’s legacy endures through the strivings of the poet Eugene Redmond and the great Toni Morrison. I hope you feel the power in these stories.” \u003cstrong\u003e—Ta-Nehisi Coates\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Dumas] had completed work, the quality and quantity of which are almost never achieved in several lifetimes. . . . He was brilliant. . . . I don’t know too many young men or young people who could write about old people the way he does, or write about love the way he does, or write about very young black boys the way he does. It’s extraordinary.” \u003cstrong\u003e—Toni Morrison\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“Dumas’s work . . . patiently diagnosed the violence of everyday life in America and imaginatively searched for a way out of old cycles of revenge and retribution. . . . By turns droll, poignant, surreal, and unflinching in their examination of the rituals and ordeals of black life, the stories are united mostly by their refusal to revel in anything except the richness of the imagination.” \u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e–Boston Review\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“Dumas had a rich and varied talent, and he was foremost original. . . . The collection, well‐edited by Eugene Redmond, will be around a long time to remind us of who he was, how good he was.” \u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.” \u003cstrong\u003e—Maya Angelou\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dumas’s stories are imaginative forays into allegorical fables and otherworldly realms.” \u003cstrong\u003e—NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dumas was that rarity—a passionately political man with a poet’s eye and ear and tolerance of ambiguity. . . . One of the saddest things about his book is that it leaves no doubt in the reader’s mind that there were even better books to come.” \u003cem\u003e\u003cstrong\u003e—The New Yorker\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eHenry Dumas’s . . . fiction is among the most significant produced by a writer of any race in this country in the 1960s. . . . His reputation and standing among American writers and critics [approaches] mythic proportions.\u003c\/span\u003e” \u003cstrong data-mce-fragment=\"1\"\u003e—Quincy Troupe\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Each sentence a revelation of experience. . . . Actual black art, real, man, and stunning.” \u003cstrong\u003e—Amiri Baraka\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“The first time I read Henry Dumas’s \u003cem\u003eArk of Bones,\u003c\/em\u003e I felt the hair raising on my head.” \u003cstrong\u003e—Margaret Walker\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12094442111052,"sku":"","price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896078_FC.jpg?v=1599835035"},{"product_id":"savage-conversations","title":"Savage Conversations","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eFiction by LeAnne Howe\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 5, 2019 • 5 x 7.5 • 144 pages • 978-1-56689-531-6\u003c\/h5\u003e\n\u003ch4\u003eThe 1862 mass execution of thirty-eight Dakota nightly haunts Mary Todd Lincoln, institutionalized and alone with her ghosts.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMay 1875: Mary Todd Lincoln is addicted to opiates and tried in a Chicago court on charges of insanity. Entered into evidence is Ms. Lincoln’s claim that every night a Savage Indian enters her bedroom and slashes her face and scalp. She is swiftly committed to Bellevue Place Sanitarium. Her hauntings may be a reminder that in 1862, President Lincoln ordered the hanging of thirty-eight Dakotas in the largest mass execution in United States history. No one has ever linked the two events—until now. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSavage Conversations \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis a daring account of a former first lady and the ghosts that tormented her for the contradictions and crimes on which this nation is founded. \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;\"\u003eLeAnne Howe (Choctaw Nation of Oklahoma) is a poet, fiction writer, playwright, and filmmaker. Her most recent book, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eChoctalking on Other Realities,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e won the inaugural 2014 MLA Prize for Studies in Native American Literatures, Cultures, and Languages. She is the Eidson Distinguished Professor in American Literature in English at the University of Georgia, Athens.\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“Howe’s drama taps emotional undercurrents that course imperceptibly through conventional historical narratives.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This lucid collection ingeniously examines the deep and sordid layers of complicity.” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“I left the story with a deep sense of gratitude for Howe’s dedication to complexity and nuance.” —\u003cem\u003e\u003cstrong\u003eThe Paris Review Daily\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A play\/poem\/novel\/historical nightmare, Howe mixes disparate textual, visual, and genre techniques to create something absolutely singular and haunting.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“While history reframed President Lincoln’s legacy as one of benevolent glory, Howe refocuses on a national inheritance that is contradictory and even criminal. Perhaps the real ghosts here are in Howe’s portrayals of presidential power, the treatment of marginalized bodies, the erasure of shameful stories in favor of those that glorify a man and a nation; historical relics and monuments and walls, sanity and control—these are still what haunt us.” \u003cem\u003e\u003cstrong\u003e—Poetry Foundation\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eSavage Conversations\u003c\/em\u003e radically ups the ante in characterizing Mary Todd Lincoln, imbuing her with malice and poetry.” \u003cem\u003e\u003cstrong\u003e—Foreword Reviews\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In May of 1875, Mary Todd Lincoln is confined to an insane asylum. There, she is haunted by a ‘Savage Indian’ who scalps her nightly and sews her eyes open. In Howe's telling, the specter haunting the widowed First Lady is one of the thirty eight Dakota men, hanged in 1862 by her husband in the largest mass execution in American history. In reading this, I was blown away. Unmoored. Sent spiraling adrift on gusts of wind.” \u003cstrong\u003e—Rachel S, Harvard Book Store\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Part fever dream, part extended meditation on madness, Howe’s Savage Conversations is a bracing commentary on the nature of guilt and grief.” \u003cem\u003e\u003cstrong\u003e—Historical Novel Society\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eSavage Conversations\u003c\/em\u003e takes place somewhere in between its sources, between sanity and madness, between then and now, between the living and the dead. It pushes past the limitations of textual sources for telling indigenous history and accounts of insanity.” \u003cstrong\u003e\u003cem\u003e—Barrelhouse Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An eerie mash-up that ties President Lincoln’s mass 1862 execution of 38 Dakota warriors to the hallucinations of Mary Todd Lincoln.” \u003cem\u003e\u003cstrong\u003e—City Pulse\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“LeAnne Howe’s words are to savor, contemplate, and horrify. \u003cem\u003eSavage Conversations\u003c\/em\u003e explodes with the stench of guilt and insanity that undergirds the American story, whispered through a personal, familial, national, and supernatural drama revelatory in every sense. Howe’s uncanny images will long haunt readers, just as the Dakota 38 linger in land and memory, both offering a testament to the violent entanglements of past and present.” \u003cstrong\u003e—Philip J. Deloria\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“LeAnne Howe’s play \u003cem\u003eSavage Conversations\u003c\/em\u003e activates this space in history. She fills the wide-open gaps with a narrative of ‘what could have been,’ makes the absences present in very intimate ways.” \u003cem\u003e\u003cstrong\u003e—Full Stop\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eSavage Conversations\u003c\/em\u003e invokes our own racial conflict and probes America’s psyche, its struggle to reconcile its colonialist values, indeed its white supremacy, with its multi-ethnic cultures and populations. . . . Through the masterly dramatic management of Mrs. Lincoln’s disturbing and chilling obsessions, Howe shows that there is no escape from the yesterday’s paradigms of power without a true reckoning with the injustices that set the stage for our troubled social landscape.” \u003cem\u003e\u003cstrong\u003e—On the Seawall\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Howe’s book powerfully contributes to our understanding and re-thinking of a moment in time that we are still grappling with today. In the wake of recent movements to remove Confederate monuments as we work to present the truths of history, Howe’s book directs our attention to a violent event that has not been adequately acknowledged. Through experimental form, Howe refracts a moment of history that readers simply cannot forget, that they will inevitably carry with them long after reading the last page.” \u003cstrong\u003e\u003cem\u003e—The Carolina Quarterly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is a haunted poem. Howe gives us voices intimate, twisted, and deluded—and yet relentlessly exact. Inside this drama in verse, a seething history uncoils. But do we meet a mad woman’s fantasy or someone more real?” \u003cstrong\u003e—Heid Erdrich \u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003ePraise for LeAnne Howe\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Let her lead you into history, intrigue, comedy and comic insight, even mystery, yes, as she impels you and other readers toward decolonization with attitude! A very fine and fulfilling read.” \u003cstrong\u003e—Simon J. Ortiz\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“How does she do it? Cross \u003cem\u003eRocky Horror Picture Show\u003c\/em\u003e with \u003cem\u003eWar and Peace\u003c\/em\u003e in a voice that sings America’s song as deeply as the best musical poetry of Walt Whitman? But no, Howe’s voice is so utterly unique, comparisons can’t do her justice.” \u003cstrong\u003e—Susan Power\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12094479859788,"sku":"","price":15.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895316_FC_d2d4e8b9-e6ff-44bf-825b-593dc992d7bd.jpg?v=1541800356"},{"product_id":"song-for-the-unraveling-of-the-world","title":"Song for the Unraveling of the World","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eStories by Brian Evenson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 11, 2019 • 5.5 x 8.25 • 240 pages • 978-1-56689-548-4\u003c\/h5\u003e\n\u003ch4\u003eFrom a modern master of the form, a new short story collection that dexterously walks the tightrope between literary fiction, sci-fi, and horror.\u003c\/h4\u003e\n\u003cp\u003eA newborn’s absent face appears on the back of someone else’s head, a filmmaker goes to gruesome lengths to achieve the silence he’s after for his final scene, and a therapist begins, impossibly, to appear in a troubled patient’s room late at night. In these stories of doubt, delusion, and paranoia, no belief, no claim to objectivity, is immune to the distortions of human perception. Here, self-deception is a means of justifying our most inhuman impulses—whether we know it or not.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBrian Evenson is the recipient of three O. Henry Prizes and has been a finalist for the Edgar Award, the Shirley Jackson Award, and the World Fantasy Award. He is also the winner of the International Horror Guild Award and the American Library Association’s award for Best Horror Novel, and his work has been named in \u003cem\u003eTime Out New York’\u003c\/em\u003es top books.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1500, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of the 2019 Shirley Jackson Award for a single-author collection\u003cbr\u003eFinalist for the 2019\u003cem\u003e\u003cspan\u003e Los Angeles Times \u003c\/span\u003e\u003c\/em\u003eRay Bradbury Prize for Science Fiction, Fantasy \u0026amp; Speculative Fiction\u003cbr\u003eFinalist for the 2019\u003cem\u003e Big Other \u003c\/em\u003eBook Award for Fiction\u003cem\u003e\u003cbr\u003eNew York Times,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e“Best Horror Fiction”\u003cem\u003e\u003cbr\u003eWashington Post,\u003c\/em\u003e “Best Horror Fiction of the Year”\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eNPR\u003c\/em\u003e, “Best Books of 2019”\u003cbr\u003e\u003cem\u003eEntropy\u003c\/em\u003e, “Best of 2019”\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“These stories are carefully calibrated exercises in ambiguity in which Evenson (\u003cem\u003eWindeye\u003c\/em\u003e) leaves it unclear how much of the off-kilterness exists outside of the deep-seated pathologies that motivate his characters.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s little nightmares are deftly crafted, stylistically daring, and surprisingly emotional.” \u003cstrong\u003e\u003cem\u003e—Kirkus Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Missing persons, paranoia and psychosis . . . the kind of writer who leads you into the labyrinth, then abandons you there. It’s hard to believe a guy can be so frightening, so consistently.” \u003cstrong\u003e\u003cem\u003e—The New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson is one of our best living writers—regardless of genre . . . \u003cem\u003eSong\u003c\/em\u003e is a skillfully crafted, cleverly executed, and extremely entertaining collection.” \u003cstrong\u003e\u003cem\u003e—NPR\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson renders the world as a place of infinite and paralyzing delusion. . . . In an Evenson story, a house isn’t inescapable because of its lack of doors and windows; it’s inescapable because it was built by an impressionable mind.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Review of Books\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson is one of my favorite living horror writers, and this collection is him at his eerie and disquieting best.” \u003cstrong\u003e—Carmen Maria Machado\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson lures readers into each twisted tale by starting not at the beginning, but somewhere else, creating a sense of disorientation and unease. As each tale unspools and each surreal world clarifies into a malformed sort of logic, the creeps set firmly in. Readers of literary horror will not want to miss this one.” \u003cem\u003e\u003cstrong\u003e—Library Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“You’ve heard of ‘postmodern’ stories—well, Evenson’s stories are post-\u003cem\u003eeverything.\u003c\/em\u003e They are post-human, post-reason, post-apocalyptic. . . . in an Evenson story, there are two horrible things that can happen to you. You can either fail to survive, or survive.” \u003cem\u003e\u003cstrong\u003e—The New York Times\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Enigmatic, superbly rendered slices of fear, uncertainty and paranoia.” \u003cem\u003e\u003cstrong\u003e—Washington Post\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cspan\u003eTaut, troubling short stories in which the danger seems to always lurk just out of view or beyond definition . . . a worthy introduction to a prolific writer who deserves many more readers.\u003c\/span\u003e\u003cspan\u003e” \u003cstrong\u003e\u003cem\u003e—NPR\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e“Evenson is our most impressive explorer of the cracks in things that let in not the light, as Leonard Cohen would have it, but fever, chaos, and darkness.” \u003cstrong\u003e\u003cem\u003e—Vulture\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"[A] collection of short stories that deal with art, paranoia and the dark urges that haunt even the most normal people.\" \u003cstrong\u003e\u003cem\u003e—Los Angeles Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s uncanny but accessible fiction can remind you of Edgar Allan Poe or ‘The Twilight Zone’ . . . an inspired, thoroughly entertaining book.” \u003cstrong\u003e\u003cem\u003e—Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’m not convinced Brian Evenson is entirely human. His literary horror fiction is just too good, too immersive, and too alien for a mere mortal. This book has everything one comes to expect from Evenson—brief glimpses of dark worlds where no one is completely sure where they are, who they are, or what is real.” \u003cem\u003e\u003cstrong\u003e—The A. V. Club\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson at his most intense and discomfiting ... he makes our skin rise and crawl with the intimation that all, although outwardly normal, is certainly not. Why else are we paying attention so closely?” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eSong\u003c\/em\u003e puts Evenson’s staggering ventriloquism on display, incorporating elements of science fiction, horror, fantasy, translation, poetry, and myth, often within a single story.” \u003cem\u003e\u003cstrong\u003e—Epiphany\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Evenson’s] latest collection offers readers a fantastic overview of his strengths as a writer, from tales of bizarre obsessions to forays into nightmarish bodies and worlds.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson recalls Poe, as he finds the most frightening way to open another box of horrors.” \u003cstrong\u003e—\u003cem\u003eBrooklyn Rail\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“These are stories to tell in the dark for adults, ones that creep up your spine in the middle of the night, urging you to turn the light on again just one more time, lest something be watching you.” \u003cem\u003e\u003cstrong\u003e—The Michigan Daily\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“With this story collection, Evenson shows why he’s one of the best in that growing field of modern horror masters.” \u003cem\u003e\u003cstrong\u003e—Inside Hook\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\"Evenson’s latest collection, \u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e, is more unassailable proof of why this consummate writers’ writer deserves a much larger readership to scare senseless.\" \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mind-blowing, soul-wrecking literature of the highest order, the result of plain old damn good storytelling by an artist at the pinnacle of his career.” \u003cem\u003e\u003cstrong\u003e—Ink Heist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\"Evenson understands both the precision of language and the gut-level appeal of the grindhouse, and the best of his work skates along the border between the two, combining aspects of both. . . . [A] perfect introduction to Evenson’s work for those who are looking to experience it for the first time.” \u003cem\u003e\u003cstrong\u003e—Tor\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eSong for the Unraveling of the World,\u003c\/em\u003e Brian Evenson explores what it’s like to be unsettled in one’s own home and skin. . . . Evenson leaves readers feeling most disturbed and empathetic.” \u003cem\u003e\u003cstrong\u003e—The Arkansas International\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Terrifying, full of paranoia and delusion and at the same time haunting and beautiful.” \u003cstrong\u003e\u003cem\u003e—The Bibliophile Librarian\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson walks the literary vs genre tightrope, uses minimalist prose to great effect, and has a sharp eye for application of conventions.” \u003cstrong\u003e—\u003cem\u003eSignal Horizon\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“To read Evenson is to be privy to a precise, vivid, brilliant unpicking of the everyday—and its others.” \u003cstrong\u003e—China Miéville\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson goes to great lengths to undermine, to deterritorialize, to estrange us from our linguistic and ontological habitats. He breaks the iron grip of realism and peels back the monstrous underbelly of life.” \u003cstrong\u003e—\u003cem\u003eBlack Warrior Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson’s bold and unique short fictions—equal parts surrealism, ontology, and dread—consistently lead the reader to truly shocking discoveries that are as disturbing as they are oddly beautiful. \u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e is a map of our paranoia- and anxiety-riddled, existentially challenged, pre-apocalyptic times.” \u003cstrong\u003e—Paul Tremblay\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e is a book of many things. Above all, it serves as a litmus test of how the reader, and how they see the species.” \u003cstrong\u003e—\u003cem\u003eThe Big Smoke\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u0026lt;“[Evenson's stories] take us into intriguing if uncomfortable spaces where we’ve never been. Evenson’s stories can’t quite be said to occupy the genres that they play with, but genres occupy the stories, and he ties them into elegant little knots.” \u003cem\u003e\u003cstrong\u003e—Locus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e is a truly and deeply amazing collection of horror that has every right to be shelved in the same section of the bookstore as Clive Barker and David Foster Wallace, Ursula Leguin and Louise Erdrich. He is that freaking good.\" \u003cem\u003e\u003cstrong\u003e—Postcards from a Dying World\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003ePraise for Brian Evenson\u003cbr\u003e\u003cbr\u003e“Evenson’s fiction is equal parts obsessive, experimental, and violent. It can be soul-shaking.” \u003cstrong\u003e\u003cem\u003e—The New Yorker\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Some of the stories here evoke Kafka, some Poe, some Beckett, some Roald Dahl, and one, a demonic teddy-bear chiller called ‘BearHeart™,’ even Stephen King, but Evenson’s deadpan style always estranges them a bit from their models: He tells his odd tales oddly, as if his mouth were dry and the words won’t come out right.” \u003cstrong\u003e\u003cem\u003e—The New York Times Sunday Book Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s stories, small masterworks of literary horror, are elegantly tense. They operate in psychological territory, never relying on grossness or slasher silliness to convey their scariness. . . . For the Stephen King fan in the house: an author as capable, if a touch less prolific.” \u003cstrong\u003e\u003cem\u003e—Kirkus Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Admirers of Evenson (\u003cem\u003eWindeye; Altmann’s Tongue\u003c\/em\u003e) applaud the edge he maintains between the unexplained and the intimate. This latest collection continues to explore that line, and for how much is left obscured, an eerie emotional echo remains. . . . Evenson’s journey along the boundaries of short fiction make for an eye-opening dissection of the form.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“You never realize how deep his fiction has wormed its way into your brain until hours, days, even weeks later, when you’re lying in the dark and Evenson’s images come flooding back, unbidden. \u003cem\u003eA Collapse of Horses\u003c\/em\u003e will stay with you for a long time . . . whether you want it to or not.” \u003cstrong\u003e\u003cem\u003e—Chicago Review of Books\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“While each piece in \u003cem\u003eA Collapse of Horses\u003c\/em\u003e stands alone as a tale that combines 'literary' and 'horror' elements in novel ways that blur genre distinctions, the collection intensifies as recurring motifs flow through the various narratives, settings, and fictional psyches: bodily and mental disintegration, the ambiguities of human physicality and consciousness, and the permeable borders between self and other.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eA Collapse of Horses\u003c\/em\u003e is a perennially dusty, dark, haunted house of atmospheric dilemmas whose plots continually reverse a reader's expectations.” \u003cstrong\u003e\u003cem\u003e—The Collagist\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Evenson is interested in philosophy and semiotics, the impossibility of ever truly knowing or naming the world, and our fundamental, helpless dependence on what our senses tell us. . . . . [His stories] are a wonderful feat of the uncanny.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12937348120653,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895484_FC.jpg?v=1538582961"},{"product_id":"jakarta","title":"Jakarta","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Rodrigo Márquez Tizano, translated by Thomas Bunstead\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eNovember 5, 2019 • 5.5 x 8.25 • 160 pages • 978-1-56689-563-7\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch4\u003eIn this hallucinatory novel of ruin and reconstruction, a man and his lover search for closure while a virulent plague hastens disaster in the world around them.\u003c\/h4\u003e\n\u003cp\u003eIn a chaotic city, the latest in a line of viruses advances as a man recounts the fated steps that led him to be confined in a room with his lover while catastrophe looms. As he takes inventory of the city’s ills, a strange stone distorts reality, offering brief glimpses of the deserted territories of his memory. A sports game that beguiles the city with near-religious significance, the hugely popular gambling systems rigged by the Department of Chaos and Gaming, an upbringing in schools that disappeared classmates even if the plagues didn’t—everything holds significance and nothing gives answers in the vision realm of his own making. \u003cbr\u003e\u003cbr\u003eThe turbulent and sweeping world of \u003cem\u003eJakarta\u003c\/em\u003e erupts with engrossing new dystopias and magnetic prose to provide a portrait of a fallen society that exudes both rage and resignation.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRodrigo Márquez Tizano (Mexico City, 1984) is a writer. He has been the editor in chief of \u003cem\u003eVICE\u003c\/em\u003e magazine in Mexico and Argentina and is a founding editor of La Dulce Ciencia Ediciones, a publishing imprint dedicated to the world of boxing. He received his MFA from NYU and is completing a PhD at Cornell University. \u003cem\u003eJakarta\u003c\/em\u003e is his first novel.\u003c\/p\u003e\n\u003cp\u003eThomas Bunstead has translated some of the leading Spanish-language writers working today, most recently \u003cem\u003eThe Optic Nerve\u003c\/em\u003e by María Gainza and \u003cem\u003eThe Nocilla \u003c\/em\u003e\u003cem\u003eTrilogy\u003c\/em\u003e by Agustín Fernández Mallo. His own writing has appeared in publications such as the \u003cem\u003eParis Review Daily,\u003c\/em\u003e the \u003cem\u003eTimes Literary Supplement,\u003c\/em\u003e and the \u003cem\u003eWhite Review\u003c\/em\u003e. He is an editor at the literary translation journal \u003cem\u003eIn Other Words\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eJakarta\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\u003cem\u003e\u003cstrong\u003eThe Millions, \u003c\/strong\u003e\u003c\/em\u003e“\u003cstrong\u003eMost Anticipated of 2019”\u003cbr\u003e\u003cem\u003eTranslatedLit\u003c\/em\u003e, “Most Anticipated Titles of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Its style is unique to Tizano . . . An assured but challenging anti-narrative, its offbeat structure evoking a world slipped off its axis.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Dense with imagery and boundless imagination . . . Blending the wildly dystopian with the mundanity of the everyday, this time-jumping narrative is a bolt of originality from a writer to watch.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan face=\"arial, sans-serif\"\u003e“\u003c\/span\u003eA kaleidoscopic take on love and loss and longing, written in a voice that is sharp and cynical yet somehow without despair . . . a deft and deeply rendered work.\u003cspan face=\"arial, sans-serif\"\u003e”\u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e—Los Angeles Times\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Tizano fashions an original, astonishing, and terrifyingly unhinged dystopia...Thomas Bunstead adds to an impressive resumé with a seamlessly literary and peppery translation from the Spanish.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan style=\"color: #000000; font-family: arial, sans-serif;\" color=\"#000000\" face=\"arial, sans-serif\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\"\u003e“\u003c\/span\u003eA taut novel, with lyrical prose . . . the protagonist’s mental state appears to explore madness, but in the end, one realizes the quest is for the truth of all things.”\u003cem\u003e\u003cstrong\u003e —World Literature Today\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The rewards that come from reading \u003cem\u003eJakarta\u003c\/em\u003e are manifold. . . . This is Tizano’s first novel, ably translated by Thomas Bunstead, but he has the boldness of someone who’s been at it for decades. It’s the beginning of a promising literary career.” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“This challenging, provocative short novel conjures fever-dreams of a city ravaged by plague . . . horror-touched rather than horror itself, with beguiling short chapters and a mad variety of interests. To show it all at once, Tizano dares readers to get a little lost.” \u003cstrong\u003e\u003cem\u003e—Shelf Awareness\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“\u003cspan\u003eSuperb. . . . this novel signals the arrival of a unique, important voice on the American literary landscape.\u003c\/span\u003e\u003cspan\u003e” \u003cem\u003e\u003cstrong\u003e—Southwest Review\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e“The non-linear structure, the density of the prose, the general weirdness of the setting mean you have to pay attention. That's a good thing. . . . Tizano’s distinctive style and his boundless imagination are a thrill to read.” \u003cem\u003e\u003cstrong\u003e—Locus Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cspan\u003eIt takes a text like \u003c\/span\u003e\u003cem\u003eJakarta,\u003c\/em\u003e\u003cspan\u003e I think, to remind us of the purpose of literature, or perhaps the multi-faceted nature of that purpose. . . . A wonderfully cathartic text, in the truest Aristotelian sense, one that tackles extremely difficult and unfortunately poignant subject matter and handles it with supremely gratifying deftness.” \u003cem\u003e\u003cstrong\u003e—Angel City Review\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e“Mind-blowingly original, powerful and stark prose, captivating rhythm, and haunting, memorable imagery. Tizano is a master of the uncanny.” \u003cstrong\u003e—Valeria Luiselli\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eJakarta\u003c\/em\u003e is a remarkable book, a layered exploration of a devastated world unlike anything I’ve ever read before. Patiently, strangely, these interconnected fragments reassemble into a nightmarish and beautiful hum—one meant to be experienced, not described. Let me press this apocalyptic book into your hands and say: \u003cem\u003ePrepare.\u003c\/em\u003e” \u003cstrong\u003e—Colin Winnette\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eJakarta\u003c\/em\u003e is what all novels should be and few are: a cultural narrative, a trace of unhinged civilization where individuals function like particles, suffering everything while aspiring to nothing but the cruel, unnoticed, even unwarranted heroism of the great anonymous histories.” \u003cstrong\u003e—Sergio Chejfec\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It’s also novels like this that make you want to stand up and applaud the translator, whoever and wherever that translator might be. The sonorous passages that sweep you inexorably on to the next page, the alliteration and at times dreamy poeticism of the language—it is something that must be wrestled with before being set down on paper in another language. So once again, I applaud you, Thomas Bunstead. And you, Rodrigo Márquez Tizano, future nightmares notwithstanding.” \u003cstrong\u003e\u003cem\u003e—Strange Horizons\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":21263988588621,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895637_FC.jpg?v=1551211406"},{"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-glassy-burning-floor-of-hell","title":"The Glassy, Burning Floor of Hell","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eStories by Brian Evenson\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eAugust 3, 2021 • 5 x 8.25 • 248 pages • 978-1-56689-611-5\u003c\/h5\u003e\n\u003ch4 style=\"text-align: left;\"\u003e“Here is how monstrous humans are.”\u003c\/h4\u003e\n\u003cp\u003eA sentient, murderous prosthetic leg; shadowy creatures lurking behind a shimmering wall; brutal barrow men—of all the terrors that populate \u003cem\u003eThe Glassy, Burning Floor of Hell,\u003c\/em\u003e perhaps the most alarming are the beings who decimated the habitable Earth: humans. In this new short story collection, Brian Evenson envisions a chilling future beyond the Anthropocene that forces excruciating decisions about survival and self-sacrifice in the face of toxic air and a natural world torn between revenge and regeneration. Combining psychological and ecological horror, each tale thrums with Evenson’s award-winning literary craftsmanship, dark humor, and thrilling suspense.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBrian Evenson is the author of over a dozen works of fiction. He has received three O. Henry Prizes for his fiction. His most recent book, \u003cem\u003eSong for the Unraveling of the World,\u003c\/em\u003e won a World Fantasy Award and a Shirley Jackson Award and was a finalist for both the Los Angeles Times Ray Bradbury Prize for Science Fiction, Fantasy, and Speculative Fiction and the Balcones Fiction Prize. He lives in Los Angeles and teaches at CalArts.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePRAISE FOR \u003cem\u003eTHE GLASSY, BURNING FLOOR OF HELL\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: 2000, \/* The number of characters to display before truncating. *\/\n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link.\nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link.\nellipsisText: \"...\", \/\/ The text to append to the truncated portion.\n});\n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eThe Philadelphia Inquirer, \u003c\/em\u003e“Best Books of 2021”\u003cbr\u003e\u003cem\u003eSouthwest Review,\u003c\/em\u003e “Must-Read Books of 2021”\u003cem\u003e\u003cbr\u003eLiterary Hub,\u003c\/em\u003e “Most Anticipated Books of 2021”\u003cbr\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe A.V. Club, \u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e“Books to Read in August”\u003c\/b\u003e\u003cbr\u003e\u003cem\u003eLiterary Hub,\u003c\/em\u003e “10 Story Collections to Read This Summer”\u003cbr\u003e\u003cem\u003eBook Marks,\u003c\/em\u003e “August's Best Horror and Sci-Fi”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“His stories are deeply terrifying and so troubling that they linger in your mind long after you've read them.” \u003cstrong\u003e—R.L. Stine, creator of \u003cem\u003eGoosebumps\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[A] towering collection of nightmarish horror, sci-fi parables, and weird tales. . . . ‘Once I take you there,’ ends another story, ‘you'll have a hard time dragging yourself away.’ The same could be said of Evenson's unforgettable work, drawn from the darkest corners of the imagination and nearly impossible to forget.” \u003cstrong\u003e—\u003cem\u003ePublisher's Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’ve always been a fan of shorts, because they often feel impressionistic, like you’re floating between worlds. In this collection, Evenson really draws on the horrors of a collapsed environment and the moral choices one makes under pressure.” \u003cstrong\u003e—April Wolfe, \u003cem\u003eVariety\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Though Evenson shares some DNA with bygone sci-fi delights like Robert Aickman and the O.G. \u003cem\u003eTwilight Zone,\u003c\/em\u003e his economical sentences and icy storytelling keep readers at arm’s length, even as the air starts thinning and the room goes dark. Honestly, is there anything scarier than a narrator who doesn’t care?” \u003cstrong\u003e—Patrick Rapa, \u003cem\u003eThe Philadelphia Inquirer\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e“Evenson whittles his unclassifiable, elliptical tales onto the page with an exacting obsessiveness normally associated with brain surgery. . . . [His] inventiveness, literary skill and mordant wit are always on full display.”\u003cstrong\u003e —James Grainger\u003cem\u003e, Toronto Star\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“[Evenson’s] stories often depict mysterious worlds in which several realities splinter apart. No one is who they seem to be. Everything is a lie, and nothing is true. Today, as our wealthiest citizens race to leave the planet and climate change takes its toll on our forests, oceans, and air, Evenson’s unblinking stories of genetic mutations and ecological disaster read as both cautionary and strangely transcendent.” \u003cstrong\u003e—David Peak,\u003cem\u003e Bookforum\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Imagines what the world might look like beyond the Anthropocene and asks cogent questions about the meaning of community in the face of crisis and natural disasters. \u003cem\u003eThe Glassy, Burning Floor of Hell\u003c\/em\u003e uses horror to showcase the potential of utter human monstrosity.” \u003cem\u003e\u003cstrong\u003e—Alta Journal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Much like Dante’s layers of hell, the stories in \u003cem\u003eThe Glassy, Burning Floor of Hell\u003c\/em\u003e tend toward making the readers feel trapped by the situations the characters are facing. . . . There’s a special resonance with this book’s numerous domed city walls which separate the characters from what lies on the other side, be it toxic air, shimmering creatures, or freedom.” \u003cstrong\u003e—George Fehringer, \u003cem\u003eChicago Review of Books\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e“A new book from Brian Evenson is always a call for celebration and terror.” \u003cstrong\u003e—Leah Schnelbach, \u003cem\u003eBook Marks\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Few things in literature aren’t up for debate, but the fact that Brian Evenson is among the most versatile and accomplished writers of contemporary American fiction is one of them.” \u003cstrong\u003e—Gabino Iglesias, \u003cem\u003eSouthwest Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The 22 short, potent stories . . . force the reader to constantly question what is real and what is imagined. Evenson accomplishes this feat by lulling the reader into a fugue-like state with his otherworldly imaginative prose, and like his predecessors Ballard and Poe, his unparalleled talent allows the reader to empathize with all characters—real and imaginary. . . . \u003cem\u003eThe Glassy, Burning Floor of Hell\u003c\/em\u003e proves, once again, that Brian Evenson is a master of short fiction.” \u003cstrong\u003e—Wayne Catan, \u003cem\u003eOn the Seawall\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e“Imbued with the same appreciation for the odd and macabre that made \u003cem data-mce-fragment=\"1\"\u003eLast Days\u003c\/em\u003e such a memorable novel. . . . A collection of unnerving horror fiction, one that reminds readers that Brian Evenson is one of the genre’s most talented horror writers.”\u003cstrong data-mce-fragment=\"1\"\u003e —Ian Mond,\u003cem data-mce-fragment=\"1\"\u003e Locus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson is easily one of the best writers working today. Reading his stories is like moving through a dark cave with only a flashlight. Whatever's up ahead could be astonishing, thrilling, beautiful, terrifying—the only way to find out is to keep going.” \u003cstrong\u003e—Molly McGhee, Tor.com\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson is one of our greatest contemporary writers of literary horror; I'm always psyched—and a little afraid—when he has a new book out.” \u003cstrong\u003e—Emily Temple, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Simply put, Brian Evenson is the most terrifying writer working today. His skill for compression and psychological suspense is unparalleled, so that each of his stories becomes its own suffocating capsular nightmare. He has already made a believer out of horror luminaries like Stephen King and R.L. Stine. If you are a fan of the spookies, read every word this man writes.” \u003cstrong\u003e—Keaton Patterson, Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Masterful and foreboding, each story in \u003cem\u003eThe Glassy, Burning Floor of Hell\u003c\/em\u003e is a tightly wound mystery which unravels just enough to show us the dark depths of the human condition. From a curator intent on destroying all evidence of human life to a house intent on consuming its inhabitants, don’t be surprised if you catch yourself holding your breath as you enter these fantastic worlds. Brian Evenson is one of our most brilliant minds, and he has outdone himself again.” \u003cstrong\u003e—Sarah Rose Etter\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Literary horror at its most existential, visceral, and wonderful. These strange stories build upon each other to create an uncanny shadow universe rich, vivid and shimmering with every kind of terror. Another brilliant collection.” \u003cstrong\u003e—Mona Awad\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In this rich offering, a true collection of worlds, Evenson gives us visions of the future that are avenues to the past; glimpses of the strange where we find what’s deeply familiar; in the living, the dead; and in these fantastic stories, the clearest, starkest portrait of our depraved reality. Evenson at his greatest—visceral, relentless, alive.” \u003cstrong\u003e—Samantha Hunt\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like with Borges or Kafka, every one of Brian Evenson’s stories are a whole world distilled down to a few pages, and rendered in a pointillism that feels not just abstract, but cosmic, yet is gritty all the same, and leaves a distinct, bloody residue in your mind, in your heart. And then you can no longer look at the world the way you used to.” \u003cstrong\u003e—Stephen Graham Jones\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for \u003cem\u003eSong for the Unraveling of the World\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eWinner of the 2020 World Fantasy Award for best collection\u003cbr\u003eWinner of the 2019 Shirley Jackson Award for a single-author collection\u003cbr\u003eFinalist for the 2019 \u003cem\u003eLos Angeles Times\u003c\/em\u003e Ray Bradbury Prize for Science Fiction, Fantasy \u0026amp; Speculative Fiction\u003cbr\u003eFinalist for the 2019 Big Other Book Award for Fiction\u003cbr\u003e\u003cem\u003eNew York Times,\u003c\/em\u003e “Best Horror Fiction”\u003cbr\u003e\u003cem\u003eWashington Post,\u003c\/em\u003e “Best Horror Fiction of the Year”\u003cbr\u003eNPR, “Best Books of 2019”\u003cbr\u003e\u003cem\u003eEntropy,\u003c\/em\u003e “Best of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Missing persons, paranoia and psychosis . . . the kind of writer who leads you into the labyrinth, then abandons you there. It’s hard to believe a guy can be so frightening, so consistently.” \u003cstrong\u003e\u003cem\u003e—The New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Enigmatic, superbly rendered slices of fear, uncertainty and paranoia.” \u003cstrong\u003e\u003cem\u003e—Washington Post\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson at his most intense and discomfiting . . . he makes our skin rise and crawl with the intimation that all, although outwardly normal, is certainly not. Why else are we paying attention so closely?” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“These stories are carefully calibrated exercises in ambiguity in which Evenson leaves it unclear how much of the off-kilterness exists outside of the deep-seated pathologies that motivate his characters.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e, starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Brian Evenson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson is one of our best living writers—regardless of genre.” \u003cstrong\u003e—NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s fiction is equal parts obsessive, experimental, and violent. It can be soul-shaking.” \u003cem\u003e\u003cstrong\u003e—The New Yorker\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“You’ve heard of ‘postmodern’ stories—well, Evenson’s stories are post-everything. They are post-human, post-reason, post-apocalyptic. . . . In an Evenson story, there are two horrible things that can happen to you. You can either fail to survive, or survive.” \u003cem\u003e\u003cstrong\u003e—The New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Subtly unnerving dark fantasy.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly,\u003c\/strong\u003e\u003c\/em\u003e \u003cstrong\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s little nightmares are deftly crafted, stylistically daring, and surprisingly emotional.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A master of literary horror.” \u003cem\u003e\u003cstrong\u003e—GQ\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson lures readers into each twisted tale by starting not at the beginning, but somewhere else, creating a sense of disorientation and unease. As each tale unspools and each surreal world clarifies into a malformed sort of logic, the creeps set firmly in.” \u003cem\u003e\u003cstrong\u003e—Library Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“America’s greatest horror writer evokes the schism between perceptions and realities, and, to unsettling effect, collapses the unseen bond that so delicately bridges them.” \u003cem\u003e\u003cstrong\u003e—San Francisco Chronicle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson is one of the most consistently vital and unnerving voices in writing today. . . . No matter where you start with Evenson’s work, the door is wide ajar, and once you go through it you won't be coming out.” \u003cem\u003e\u003cstrong\u003e—VICE\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s uncanny but accessible fiction can remind you of Edgar Allan Poe or \u003cem\u003eThe Twilight Zone.\u003c\/em\u003e” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Taut, troubling short stories in which the danger seems to always lurk just out of view or beyond definition.” \u003cstrong\u003e—NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Deal[s] with art, paranoia and the dark urges that haunt even the most normal people.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson is our most impressive explorer of the cracks in things that let in not the light, as Leonard Cohen would have it, but fever, chaos, and darkness.” \u003cem\u003e\u003cstrong\u003e—Vulture\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“I’m not convinced Brian Evenson is entirely human. His literary horror fiction is just too good, too immersive, and too alien for a mere mortal.” \u003cem\u003e\u003cstrong\u003e—The A.V. Club\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson recalls Poe, as he finds the most frightening way to open another box of horrors.” \u003cem\u003e\u003cstrong\u003e—The Brooklyn Rail\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson understands both the precision of language and the gut-level appeal of the grindhouse, and the best of his work skates along the border between the two, combining aspects of both. . . . [A] perfect introduction to Evenson’s work for those who are looking to experience it for the first time.” \u003cstrong\u003e—Tor.com\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“You never realize how deep his fiction has wormed its way into your brain until hours, days, even weeks later, when you’re lying in the dark and Evenson’s images come flooding back, unbidden. \u003cem\u003eA Collapse of Horses\u003c\/em\u003e will stay with you for a long time . . . whether you want it to or not.” \u003cem\u003e\u003cstrong\u003e—Chicago Review of Books\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Violence is punishing but unbelievably subtle in Evenson’s delicate, minimalist stories. And ultimately, there is something cosmic—something utterly Lovecraftian, but without the baroque language—about this type of horror: beneath the slippery, often abstruse plots lies a vast gulf of nothingness, in the purest and most unsettling sense of the word.” \u003cstrong\u003e—NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Evenson renders the world as a place of infinite and paralyzing delusion. . . . In an Evenson story, a house isn’t inescapable because of its lack of doors and windows; it’s inescapable because it was built by an impressionable mind.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Review of Books\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Evenson’s stories, small masterworks of literary horror, are elegantly tense. They operate in psychological territory, never relying on grossness or slasher silliness to convey their scariness.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson is one of my favorite living horror writers.” \u003cstrong\u003e—Carmen Maria Machado\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“To read Evenson is to be privy to a precise, vivid, brilliant unpicking of the everyday—and its others.” \u003cstrong\u003e—China Miéville\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Brian Evenson’s bold and unique short fictions—equal parts surrealism, ontology, and dread—consistently lead the reader to truly shocking discoveries that are as disturbing as they are oddly beautiful.” \u003cstrong\u003e—Paul Tremblay\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“There is not a more intense, prolific, or apocalyptic writer of fiction in America than Brian Evenson.” \u003cstrong\u003e—George Saunders\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":32991817400397,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/CHP_Glassy_Burning_Final.jpg?v=1599836017"},{"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":"the-wet-hex","title":"The Wet Hex","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Sun Yung Shin\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 14, 2022 • 6 x 9 • 120 Pages • 978-1-56689-638-2\u003c\/h5\u003e\n\u003ch4\u003eSun Yung Shin calls her readers into the unknown now-future of the human species, an underworld museum of births, deaths, evolutions, and extinctions.\u003c\/h4\u003e\n\u003cp\u003ePersonal and environmental violations form the backdrop against which Sun Yung Shin examines questions of grievability, violence, and responsibility in \u003ci\u003eThe Wet Hex\u003c\/i\u003e. Incorporating sources such as her own archival immigration documents, Ovid’s \u003ci\u003eMetamorphoses,\u003c\/i\u003e Christopher Columbus’s journals, and traditional Korean burial rituals, Shin explores the ways that lives are weighed and bartered. Smashing the hierarchies of god and humanity, heaven and hell, in favor of indigenous Korean shamanism and animism, \u003ci\u003eThe Wet Hex\u003c\/i\u003e layers an apocalyptic revision of nineteenth-century imagery of the sublime over the present, conjuring a reality at once beautiful and terrible.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSun Yung Shin is a Korean-born poet, writer, collaborative artist, and bodyworker. She\/they lives in Minneapolis.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Wet Hex\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eWinner of the 2023 Midland Authors Award for Poetry\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eFinalist for the 2023 Minnesota Book Award for Poetry\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e“Revelatory. . . . Formally inventive. . . . These poems also project us into the future, using the past as a resource to create materials for survival.” \u003cstrong\u003e—Elizabeth Hoover, \u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Enthralling and fantastical. . . . [Shin] begs us to consider what equality looks like for all living things and how that might include the dead, engaging the spiritual, the mythical, and the animal world. While reaching into a variety of realms, from shamanism and funerary rites to the climate crisis and the inheritance of language, Shin’s writing is tight and seamless.” \u003cstrong\u003e—Katya Buresh, \u003cem\u003eBOMB Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“There are many marvels to unpack in \u003cem\u003eThe Wet Hex\u003c\/em\u003e. . . . Shin’s lines glimmer and pop as they scrutinize the passage of time and the importance of legacy.”\u003cstrong\u003e —Diego Báez, Poetry Foundation\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“At the apex of necropolitical (eco)catastrophe, myth, (ancestrally) collaborative, \u0026amp; cross-genre poetics, \u003cem\u003eThe Wet Hex\u003c\/em\u003e is a project only the magic of a collective-minded poetics can hold.”\u003cstrong\u003e —George Abraham, \u003cem\u003eTriQuarterly\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Brilliant, personal, candid, emotionally resonant, fantastic and sensational, mythical and mystical and musical, technically-sharp, lyrical, and attentive to the details in languages. . . . For quite a while there, I forgot to think and felt my way through instead—guided by an expert, open.” \u003cstrong\u003e—Michael Kleber-Diggs,\u003cem\u003e Poetry Daily\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Wet Hex,\u003c\/em\u003e born out of the frugal feline year of Korean myths, modernizes and bewitches us with her transfixed vertical, etymological discourse on everything beguiling: fate, moth, white, shaman, casket, box, moon, flower, death. ‘Grief is a heated iron comb,’ which Sun Yung Shin uses to biblically curl your pelagic feline form into gaze, debt, heritage, and threshold. Sun Yung Shin is an enchantress. Sun Yung Shin is oil, resin, feather. Sun Yung Shin is a lexical, chthonic tiger, enraptured specimen of poetic inheritance, roaring from her Minnesota wilderness into the uninhabited, forgiving, concerted retelling of Baridegi’s heroism. Her spellbound language takes us through the hypnotic collaborative corridor between her sequential text and Jinny Yu drawings and profoundly translates its gender muteness into ‘bark, seed, root, horn, organ, petal, oil, tea, tincture,’ obedient materials of healing and transformation. \u003cem\u003eThe Wet Hex\u003c\/em\u003e opens like a mountain, closes its glory with ‘eros of self-sufficiency,’ and is capable of turning the barren woman in you into a virgin or two stones.”\u003cstrong\u003e —Vi Khi Nao\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eThe Wet Hex\u003c\/em\u003e is a worthy monument to this Holocene Epoch. Using images, allusions, and truths that are mystical, metaphorical, empirical, and personal, Sun Yung Shin prevails here as a daughter, and as a mother; these poems transcend our earthly realm like shadow children. Shin is a writer of profound skill and authentic presence. \u003cem\u003eThe Wet Hex\u003c\/em\u003e is canorous, masterful, and utterly unique. It builds on her stellar body of work to advance what's possible in poetry and art.”\u003cstrong\u003e —Michael Kleber-Diggs\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Drop everything! Sun Yung Shin’s new book has arrived: a rich biomythography, a feminist epic, a pilgrimage to the underworld. With tigers, wolves, lost ancestors, and sky, she stages encounters with death, afterbirth and afterlife, haunting\/hunting. Who is the animal? What does the orphan dream? How does an abandoned princess raise the dead? Read these poems to find out. Here spells are cast. The hex drips wet. The castaways come home.”\u003cstrong\u003e —Gabrielle Civil\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eThe Wet Hex\u003c\/em\u003e is a brilliant achievement seeking liberation for girls, women, orphans, and castaways. The poems interrogate violence in a haunting, gorgeous spell of lyric alchemy that only Sun Yung Shin can create. Shin ‘let[s] the wolves out of [her] mouth’ and charts a map for ‘the fallen, the wandering, the abandoned.’ Once again, she proves that she is a poet ahead of the curve, an intellectual and innovative wonder. This is one of my favorite poets. This is the most powerful book of poems I’ve read in years.”\u003cstrong\u003e —Lee Herrick\u003cbr\u003e\u003cbr\u003ePraise for \u003cem\u003eUnbearable Splendor\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eWinner of the 2017 Minnesota Book Award for Poetry\u003c\/strong\u003e\u003cbr\u003e\u003cb\u003eFinalist for the 2017 PEN America Poetry Award\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The splendor on display in Shin’s book consists of an incredibly compact use of commanding and vibrant language which coheres into work that feels restless and deft, as cerebral as it is emotional.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like a lean, mean, efficient literary machine, Sun Yung Shin’s \u003cem\u003eUnbearable Splendor \u003c\/em\u003euses its hybrid nature to arrive on bookshelves as something very true, heartbreaking, and, ultimately, unbearably human.” \u003cstrong\u003e\u003cem\u003e—Chicago Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“One of the primary concerns of this book is the self; paradoxically, Sun Yung Shin is able to explore this theme with both a microscope and a telescope, and the result is a heady, multidimensional and multi-textured read.” \u003cem\u003e\u003cstrong\u003e—The Corresponder\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“It is a blessing that Sun Yung Shin has written a great deal of sound into \u003cem\u003eUnbearable Splendor\u003c\/em\u003e, because we have not heard or seen or read anything like this before, a truly unique, essential, and original collection.” \u003cem\u003e\u003cstrong\u003e—NewPages\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“These constant reminders of surreal wonderment do their work like little ice picks, chipping away at the grand event of colonized hurt. The results are small, perceptible feelings you could almost hold in your hand.” \u003cstrong\u003e\u003cem\u003e—Waxwing\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“As a book, \u003cem\u003eUnbearable Splendor\u003c\/em\u003e works on multiple levels. On perhaps its most obvious, superficial level, it’s a text full of beautiful, haunting, lyrical language and interconnected themes that wind in and out of each other to weave a coherent fabric of many strands. Under that surface, though, lives a veritable dissertation (with plenty of angles that the reader can research) on otherness and transgression, and in turn, on how what or who that is other, or what or who that transgresses, problematizes the existence of the one who observes.” \u003cstrong\u003e\u003cem\u003e—Drunken Boat\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In poems traversing that canny valley between verse and prose, Shin draws on cinema, technology, mythology, sci fi, autobiography and folklore to unlock the titular emotion: the unbearableness of the labyrinth, the splendor of being a machine—a hybrid, a replicant, an orphan.” \u003cstrong\u003e\u003cem\u003e—The Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“From this investigation of cloning, cyborgs, surrogacy, and adoption, Shin weaves a narrative of language and history that represents a striking new way of understanding identity.” \u003cstrong\u003e\u003cem\u003e—Lantern Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In a striking interweaving of poetry and essay, etymologies brush up against adoption certificates, and quotations jostle with myths. . . . Shin’s resistance to offering a definitive answer allows her to make connections that are sometimes dizzying, often lyrical, and always thought provoking.” \u003cstrong\u003e\u003cem\u003e—The Missing Slate\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Sun Yung Shin’s explorations are honest and unrestrained and show an enormous amount of skill. In spite of the gravity of the issues at hand, \u003cem\u003eUnbearable Splendor \u003c\/em\u003ecomes from a writer at play, and she never lets us forget how much pleasure there is to be found in language.” \u003cstrong\u003e\u003cem\u003e—Front Porch Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eUnbearable Splendor\u003c\/em\u003e] is a project of reclamation of one’s own humanity.” \u003cstrong\u003e\u003cem\u003e—Jacket2\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“While unabashedly scholarly, \u003cem\u003eUnbearable Splendor\u003c\/em\u003e is heartbreaking.” \u003cstrong\u003e\u003cem\u003e—Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Shin’s poetry is as cerebral as it is beautiful, exploring the personal experiences of race, immigration, and gender alongside academic investigations of religion and science, philosophy and art.” \u003cstrong\u003e\u003cem\u003e—Bustle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In Sun Yung Shin’s gifted hands, cyborgs become the mechanism by which to examine the self, humanity, and the individual’s place in an automated world.” \u003cstrong\u003e\u003cem\u003e—Signature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“At once sensual, philosophical, mind-bending in its juxtapositions, Shin’s exploration of what we take for granted—bodies, labels, time, and what it means to be human—crosses many intellectual landscapes at once. . . . \u003cem\u003eUnbearable Splendor\u003c\/em\u003e is a liminal book, but one that invites the reader to cross all its boundaries.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eInternational Examiner\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Unlike your more ‘vanilla’ essay collections, this work uses poetic building blocks to slowly reveal the existentialist heart, a very impressive result as the personal connection is palpable.” \u003cem\u003e—\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eMessenger’s Booker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’ve long thought that Sun Yung Shin is writing some of the most powerful poetry around.” \u003cstrong\u003e\u003cem\u003e—Eileen Verbs Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“To graph the immigrant, the exile and ‘pseudo-exile,’ as ‘a kind of star.’ To perform childhood. ‘Descent upon descent.’ To write on ‘[p]aper soaked in milk.’ \u003cem\u003eUnbearable Splendor\u003c\/em\u003e is a book like this, that is this: the opposite or near-far of home. What is the difference between a guest and a ghost? What will you feed them in turn? I was profoundly moved by the questions and deep bits of feeling in this gorgeous, sensing work, and am honored to write in support of its extraordinary and brilliant writer, Sun Yung Shin.” \u003cstrong\u003e—Bhanu Kapil\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eUnbearable Splendor,\u003c\/em\u003e Sun Yung Shin sticks a pin directly into the heart of who we are to reveal that a person is a mystery without beginning or end, borders or documents, complicated by robotics and astrophysics, arrivals and departures, myth and rewriting. A person is divided into multiple, complicated selves, as various and complex as the forms and approaches she employs in these poetic essays. To read Shin’s work is to marvel at a rosebud’s concealed and silent core and to slowly witness its elegant blooming. It is a delicate and majestic show.” \u003cstrong\u003e—Jenny Boully\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Unbearable Splendor\u003c\/em\u003e is a dazzling collage of biophysical metamorphoses, wherein the ‘I’ atomizes into multiple and self-replicating new mythologies of what constitutes an authentic being. ‘I didn’t know I wasn’t human. My past was invented, implanted, and accepted. I’m more real than you are because I know I’m not real.’ In our vast expanse, where ‘every species is transitional,’ Shin’s lyricism, erudition, and tonal command of loss and indignation harmonize into a singular nucleus that hums and pulsates through each of these wondrous poetic meditations.” \u003cstrong\u003e—Ed Bok Lee\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Into the fertile and ever-growing landscape of essay-poem hybrids comes Sun Yung Shin’s striking exploration of identity, imitation, and home. From the uncanny valley to the minotaur’s labyrinth, Shin brings an unflagging intelligence and tremendous formal dexterity to bear on what makes us human and what makes us monstrous—we so often fall somewhere in between.” \u003cstrong\u003e—Mairead Small Staid, Literati Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In examining her own search of identity, Shin masterfully uses the likes of Antigone, Korean history, cyborgs, black holes, clones to bridge this ‘Uncanny Valley.’ This is brilliantly done and is often as mind-bending as it is heart-wrenching.” \u003cstrong\u003e—Unabridged Bookstore\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Like a dream intent on processing one’s daily struggles in the most abstract of ways, \u003cem\u003eUnbearable Splendor\u003c\/em\u003e kneads and stretches the boundaries between fiction and nonfiction, realism and SF, with the experience of a Korean orphan-turned-American immigrant being central to the experiment.” \u003cstrong\u003e\u003cem\u003e—Strange Horizons\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39546423902285,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896382_FC.jpg?v=1636502990"},{"product_id":"the-devil-of-the-provinces","title":"The Devil of the Provinces","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Juan Cárdenas, trans. by Lizzie Davis\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 12, 2023 • 5 x 7.75 • 176 pages • 978-1-56689-678-8\u003c\/h5\u003e\n\u003ch4\u003eAfter a series of failures, a biologist returns to his hometown to live with his grieving mother. But in this gripping crime novel that upends the genre’s conventions, strange events unravel what he thought he knew of his past, his present, and himself.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eWhen a biologist returns to Colombia after fifteen years abroad, he quickly becomes entangled in the trappings of his past and his increasingly bizarre present: the unsolved murder of his brother, a boarding school where girls give birth to strange creatures, a chance encounter with his irrevocably changed first love. A brush with a well-connected acquaintance leads to a biotechnology job offer, and he’s gradually drawn into a web of conspiracy. Ultimately, he may be destined to remain in the city he’d hoped never to see again—in \u003cem\u003eThe Devil of the Provinces,\u003c\/em\u003e nothing is as it seems.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eJuan Cárdenas\u003cspan style=\"font-weight: 400;\"\u003e (1978) is a Colombian art critic, curator, translator, and author of seven works of fiction, most recently the story collection \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVolver a comer del árbol de la ciencia \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand the novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eElástico de sombra\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. He has translated the works of such writers as William Faulkner, Thomas Wolfe, Gordon Lish, David Ohle, J. M. Machado de Assis, and Eça de Queirós. In 2014, his novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos estratos\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e received the Otras Voces Otros Ámbitos Prize. In 2017, he was named one of the thirty-nine best Latin American writers under the age of thirty-nine by the Hay Festival in Bogotá. Cárdenas currently coordinates the masters program in creative writing at the Caro y Cuervo Institute in Bogotá, where he works as a professor and researcher.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eLizzie Davis\u003cspan style=\"font-weight: 400;\"\u003e is a translator and a writer. Her recent projects include Juan Cárdenas’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOrnamental \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(a finalist for the 2021 PEN Translation Prize); Elena Medel’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Wonders, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ecotranslated with Thomas Bunstead;\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eand work by Valeria Luiselli, Pilar Fraile Amador, and Aura García-Junco.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cb\u003e\u003ci\u003eThe Devil of the Provinces\u003c\/i\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eLonglisted for the 2023 National Book Award for Translated Literature\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003e\u003ci\u003eVulture\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e, \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e“Books We Can’t Wait to Read in 2023”\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan\u003e“Cárdenas generates queasy intrigue from something as strange as the birth of a devil child and as mundane as a text message that has been read but not replied to. . . . Briskly paced, thoughtful, and truly weird: a whodunit that takes on the very idea of blame.” \u003cstrong\u003e—\u003cem\u003eKirkus\u003c\/em\u003e, starred review\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cspan\u003e“A dizzying and beguiling yarn. . . . A crime story, but one without clear answers or culprits. . . . Cárdenas describes the sweltering heat in beautifully strange terms, adding to the sense of small-town oppression, where self-deprecating jokes are ‘a kind of determinist doctrine.’ South American fiction fans will love this.”\u003c\/span\u003e\u003cb\u003e —\u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Catastrophe and grace intertwine throughout \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Devil of the Provinces,\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e as do the horror and beauty of what remains hidden. The result, in the hands of Juan Cárdenas, is hypnotic, disturbing, memorable.”\u003c\/span\u003e \u003cb\u003e—Rodrigo Hasbún \u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“A supernatural thriller, a murder mystery, and a rumination on personal and environmental catastrophe—\u003cem\u003eThe Devil of the Provinces\u003c\/em\u003e is none of these things and all of these things. With skillful economy, Juan Cárdenas crafts a story where everyone is complicit, even the reader. A brilliant, ambitious novel that searches for meaning in the shadows of a dangerous and ambiguous world.”\u003cb\u003e —Mark Haber\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003ePraise for \u003cem\u003eOrnamental\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003eFinalist for the 2021 PEN Translation Award\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“With pitch-black comedy, \u003ci\u003eOrnamental,\u003c\/i\u003e nimbly translated by Lizzie Davis, channels the ways that egomaniacs in science and art—in any field—rise to the top, up the pyramid of capitalism. . . . The rhythm of Cárdenas’s writing compels and reassures, as if driven by the very humanity the lab has helped suppress.” \u003cb\u003e—Nathan Scott McNamara, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe New York Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[A] work of subtlety and restraint. . . . What makes \u003ci\u003eOrnamental\u003c\/i\u003e so deeply affecting, however, is not that its pages come together to form a beautiful work of exterior art—though [they] do—but its ability to cast unease on our interior worlds. . . . Brilliantly executed and cleverly translated, \u003ci\u003eOrnamental\u003c\/i\u003e leaves us with a fresh understanding of the creation of art and the nature of meaning-making.” \u003cb\u003e—Dashiel Carrera, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLos Angeles Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In his thrilling novel \u003ci\u003eOrnamental,\u003c\/i\u003e Colombian art critic, translator, curator, and renowned author Juan Cárdenas masterfully tells the tale of the junction of an experimenting doctor, his wife, and his subsidized voluntary narcotic patient. . . . Expertly translated by seasoned editor Lizzie Davis.” \u003cb\u003e—Ellie Simon, \u003ci\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In spare and economical prose, Cárdenas sketches a highly stratified world, where drugs link high society and neighborhoods that are ‘a single crush of old houses and ruins’. . . . The overall effect offers both thrills and chills.” \u003cb\u003e\u003ci\u003e—Publishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[An] absurdist critique of class inequality. . . . Cárdenas also dabbles in art criticism and curation and uses that knowledge to acidic effect in a social drama that borders on the phantasmagorical. . . . With captivating moments.” \u003cb\u003e\u003ci\u003e—Kirkus\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This is the first of Cárdenas’s novels to be translated into English, with hopefully more to come, as he’s a supremely talented and original writer. \u003ci\u003eOrnamental\u003c\/i\u003e is a strange, dystopian tale about medical trials, in which a doctor studies women addicted to a mysterious recreational drug. Drugs will sadly always be associated with Colombia, but Cárdenas’s surreal examination of addiction and compulsion is a unique and necessary contribution to the conversation.” \u003cb\u003e—Julianne Pachico, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Guardian\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[A]n exhilarating, slippery narrative where the reader knows much truth can be found, if only they can figure out how to decipher it. . . . Cárdenas’s prose is economical yet lyrical; many of his images are veritable objets d’art. . . . Lizzie Davis has done a spectacular job rendering Cárdenas’s novel in English.” \u003cb\u003e—Gillian Esquivia-Cohen, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eKenyon Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A pointed critique of late capitalism incarnated in today’s manipulative pharmaceutical industry, of rapid modernization in postcolonial contexts, and of facile arts. [\u003ci\u003eOrnamental\u003c\/i\u003e] showcases the impact of economic exploitation on the human body and desire, and probes the complicity of arts, architecture, philosophy, and language in capitalism’s crooked dynamics. I read translated literature to connect with my linguistic others, to get out of my skin, and see the world through the eyes of those I may never meet otherwise. Cárdenas’s novel and Davis’s translation did just that for me. Davis has masterfully rewritten Cárdenas’s novel in English.” \u003cb\u003e—Sevinç Türkkan, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eHopscotch Translation\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas’s narrative style hangs on outlines and sketches that give the short novel an allegorical heft surprising for its slimness. . . . It’s in the unexpected reversal of focus, from the researcher to number 4, from the moneyed to the impoverished, that \u003ci\u003eOrnamental\u003c\/i\u003e commits its boldest act and reminds us of the people sacrificed and ignored by the progress of science.” \u003cb\u003e—Sebastian Sarti, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eCleveland Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This blow-me-over novel, set in a post-narco-baroque Colombia that could be anywhere, begins with a medical study of women committed to ingesting, in exchange for payment, an experimental and addictive recreational drug. Their dreams go strange, serving as a kind of litmus which registers lurid abscesses in a class-and-youth-obsessed society and in what we mistook to be the women’s ordinary lives. Soon, prophetic graffiti appears on walls around the city. Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities—someone ‘threatening pain with extortion,’ someone ‘signing imagined telegrams of dried monkey meat,’ the night recovering, at last, ‘its vulgarity’—don’t give us any pause. And translator Lizzie Davis is the next generation’s Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish.” \u003cb\u003e—Forrest Gander\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed.” \u003cb\u003e—Alia Trabucco Zerán\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Cárdenas understands the great possibilities available to literary minimalism, taking advantage of them linguistically as well as politically, in careful strokes of theme and plot. A stunning novel about the entitlement of both the pharmaceutical industry and the art world, but also about desire, addiction, excess, and a security team made of spider monkeys. Perhaps the most damning fictional portrait of late capitalism I have ever read, at once absurd and startlingly relevant, \u003ci\u003eOrnamental\u003c\/i\u003e is a subtle and beautifully written nightmare.” \u003cb\u003e—Brian Evenson\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43701184987378,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/9781566896771_FC.png?v=1697821287"},{"product_id":"were-safe-when-were-alone","title":"We’re Safe When We’re Alone","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novella by \u003cb data-mce-fragment=\"1\"\u003eNghiem Tran\u003c\/b\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 19, 2023 • 4.5 x 7 • 168 Pages • 978-1-56689-683-2 \u003c\/h5\u003e\n\u003ch4\u003eSon is real. Son was saved from a life he cannot remember. Son is a human in a mythical world of ghosts. This is what Father tells him.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSon has lived his entire life inside the mansion. He is a good child. He reads, practices piano, studies, and watches ghosts tend the farmland through a window in the attic. When Father decides it is time for Son to venture outside, Son’s desire to please Father overpowers his fear, and he must contend with questions he never wanted to face. What are the relentlessly grinning ghosts hiding? Has a ghost taken control of Father? What answers or horrors lie in the forest? And who will stop the mysterious encroaching shadows? Nghiem Tran’s debut inverts the haunted house tale, shaping it into a moving exploration of loss, coming of age in a collapsing world, and the battle between isolation and assimilation.\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;\"\u003eNghiem Tran was born in Vietnam and raised in Kansas. He is a Kundiman fellow, and he has received degrees from Vassar College and Syracuse University.\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e We’re Safe When We’re Alone\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is his first book.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eWe're Safe When We're Alone\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eA \u003cem\u003eUSA Today\u003c\/em\u003e Bestseller\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNPR\u003cem\u003e, \u003c\/em\u003e\"2023 Best Books (Books We Love)\"\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA Kansas Notable Book of 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This hypnotic and richly allusive novella can be read as a concentric poem that hints at both hope and inevitable endings.\" \u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Thúy Ðinh, NPR\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Sentences function like arrows that land in the reader’s brain or stomach or heart, leaving the reader with piercing insights that reverberate long after the book ends.” \u003cstrong\u003e—Melissa Reddish, \u003cem\u003eNecessary Fiction\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Haunting, mournful, and thought-provoking. Tran’s debut novella expresses the anxieties and fears that come with love, trust, loss, and the unknown.” \u003cstrong\u003e—Sammy Loree, \u003cem\u003eChicago Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A spare and haunted tale of loneliness in a surreal world.” \u003cstrong\u003e—\u003cem\u003eKirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"A haunting and evocative reflection on the meaning of love and memory.\" \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Tran flips ghost story conventions upside down.” \u003cstrong\u003e—David Lewis, \u003cem\u003eBarrelhouse\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“Nghiem Tran’s first novella is a marvel: a moving, lyrical piece of prose that happens to be an unputdownable page-turner. He has created a magical world—in the mode of Gabriel García Márquez or Maxine Hong Kingston—that’s astonishingly real. Read it and feel yourself transformed, maybe even saved.”\u003cstrong\u003e —Mary Karr\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“The exquisite \u003cem\u003eWe're Safe When We're Alone\u003c\/em\u003e is a haunting and mesmerizing debut. Part parable, part fairy tale, and part nightmare, it all seems distilled out of the deepest longing. Nghiem Tran is a powerful new voice.”\u003cstrong\u003e —Dana Spiotta\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43701200650482,"sku":null,"price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/CHP_We_reSafe_Final.jpg?v=1677860190"},{"product_id":"nefando","title":"Nefando","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;\"\u003eOctober 24, 2023 • 5.5 x 8.25 • 184 pages • 978-1-56689-689-4\u003c\/h5\u003e\n\u003ch4\u003eA techno-horror portrait of the fears and desires of six young artists whose lives are upended by a controversial video game, from National Book Award finalist Mónica Ojeda.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSix young artists share an apartment in Barcelona: Kiki Ortega, a researcher writing a pornographic novel; Iván Herrera, a writer whose prose reveals a deeply conflicted relationship with his body; three siblings, Irene, Emilio, and Cecilia, who quietly search for ways to transcend their abuse as children; and El Cuco Martínez, a video-game designer whose creations push beneath the substrate of the digital world. All of them are connected in different ways to \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNefando,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e a controversial cult video game whose purpose remains a mystery. In the parallel reality of the game, players found relief from the pain of past trauma and present shame, but also a frighteningly elastic sense of self and ethics. Is Nefando a game for horror enthusiasts, a challenge to players' morals, or a poetic exercise? What happens in a virtual world that admits every taboo?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUnsparing, addictive, and perverse, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNefando\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e takes us to the darkest corners of the web, revealing the inevitable entanglement of digital and physical worlds, and of technology and horror. \u003c\/span\u003e\u003cbr\u003e\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 \u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eis an educator and literary translator. Her translations include Mónica Ojeda’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eJawbone,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e Gabriela Ponce’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eBlood Red,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e and Cristina Rivera Garza’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eNew and Selected Stories, Grieving: Dispatches from a Wounded Country,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eThe Iliac Crest\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e. She has a PhD in Hispanic Literature from UNC-Chapel Hill and is currently based in Morganton, North Carolina where she teaches Spanish at the North Carolina School of Science and Mathematics.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eNefando\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u003cb\u003eBOMB Magazine,\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/em\u003e\u003cb\u003e\u003cspan\u003eEditor's Choice\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u003cb\u003eSouthwest\u003c\/b\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cb\u003e\u003cem\u003e Review\u003c\/em\u003e, \"10 Must-Read Books of 2023\"\u003c\/b\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Cerebral, sensual and unapologetically scatological, this techno-horror tale is obsessed with ‘the internal conflict between man and beast, intellect and instinct, life and death.’” \u003cstrong\u003e—Gabino Iglesias, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Ojeda makes a convincing case that it’s not the machines that created the nightmares, but the humans. When we open our laptops, when we stare into our little screens, all that monstrousness we unconsciously fear about ourselves, words and images we worry will remain forever uploaded—all that human terror—looks back at us.\" \u003cmeta charset=\"utf-8\"\u003e\u003cb data-mce-fragment=\"1\" data-stringify-type=\"bold\"\u003e—Rhian Sasseen, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\" data-stringify-type=\"bold\"\u003e\u003ci data-mce-fragment=\"1\" data-stringify-type=\"italic\"\u003eBOMB Magazine\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003cem\u003eNefando\u003c\/em\u003e deserves attention for not only the polished craft of Booker and Ojeda, but its insistence on staring directly at genuine horrors—both online and in the real world—and unflinchingly asking why, if we won't tolerate these problems in one space, we allow them to be perpetuated in the other.” \u003cstrong\u003e—Cory Oldweiler, \u003cem\u003eThe Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Ojeda’s work bubbles from this need to write the unspeakable—to write not just of horror, but of the moments of desire, pleasure, or love that might lie within it.” \u003cstrong\u003e—Anna Learn, \u003cem\u003eFull Stop\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eNefando \u003c\/em\u003eisn’t for the faint of heart. It confronts the evil, unspeakable aspects of human nature, refusing to turn away its lucid, dissecting gaze.” \u003cstrong\u003e—Sébastien Luc Butler, \u003cem\u003eForeword Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Like the fictitious\u003cspan\u003e \u003c\/span\u003e\u003ci data-stringify-type=\"italic\"\u003eNefando\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eitself, this is a work for voyeurs, searchers, escapists, doomscrollers. At times I feared this book, yet I couldn’t put it down. At some point you sense it coming to life, and what began as recreation quickly turns to compulsion. Even at the final page, you fear the book will go on without you.”\u003cspan\u003e \u003c\/span\u003e\u003cb data-stringify-type=\"bold\"\u003e—Daniel Peña, author of\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-stringify-type=\"bold\"\u003e\u003ci data-stringify-type=\"italic\"\u003eHow to Look Away\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“In\u003cspan\u003e \u003c\/span\u003e\u003ci data-stringify-type=\"italic\"\u003eNefando\u003c\/i\u003e, Mónica Ojeda compels us to bear witness to the most vicious form of sexuality as it intersects with the perversion of family and the trauma of a broken childhood. The experience of pain goes beyond what can be said, but Ojeda persists in naming it with language as poetic as it is crude. This choral, fragmented novel masterfully reveals and weaves together the darkness of our time.”\u003cspan\u003e \u003c\/span\u003e\u003cb data-stringify-type=\"bold\"\u003e—Gabriela Ponce, author of\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-stringify-type=\"bold\"\u003e\u003ci data-stringify-type=\"italic\"\u003eBlood Red\u003c\/i\u003e\u003c\/b\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 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\u003eFinalist for the 2022 National Book Award for Translated Literature\u003cbr\u003eFinalist for the 2023 Lambda Literary Award for 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\u003cem\u003eMs. Magazine,\u003c\/em\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“Strange, twisted . . . . Ojeda, who was named one of \u003cem\u003eGranta’\u003c\/em\u003es 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":44395481596146,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/CHP_Nefando_comps-27_2954b6cd-6cc8-4d06-bae3-abdef6b9d3fb.jpg?v=1677858027"},{"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":"good-night-sleep-tight","title":"Good Night, Sleep Tight","description":"\u003ch3 style=\"text-align: left;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eFrom the “master of literary horror” (\u003cem\u003eGQ\u003c\/em\u003e) comes a collection of new stories tracing the limits and consequences of artificial intelligence and “post-human” relationships. \u003cmeta charset=\"utf-8\"\u003eIn \u003cem\u003eGood Night, Sleep Tight\u003c\/em\u003e, Brian Evenson deftly weaves ethical dilemmas, maternal warmth, and echoes of apocalypse into his most tender, disquieting book yet.\u003c\/h3\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":45193054814450,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/9781566897099_FC.jpg?v=1707342246"},{"product_id":"helen-of-nowhere","title":"Helen of Nowhere","description":"\u003ch4\u003eAn electrifying novel about the delights and dangers of starting over.\u003c\/h4\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":47403266375922,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/HelenofNowhere.jpg?v=1742585522"},{"product_id":"electric-shamans-at-the-festival-of-the-sun","title":"Electric Shamans at the Festival of the Sun","description":"\u003cp\u003eNational Book Award finalist Mónica Ojeda returns with a blazing, psychedelic novel about girlhood, violence, and the loss of innocence. \u003c\/p\u003e\n\u003cp\u003eIn the near future, best friends Noa and Nicole flee their home in Guayaquil, Ecuador to attend the Solar Noise Festival, a week-long, retro-futuristic gathering at the foot of an active volcano. 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