Praise for Rebecca Brown: “Strange and wonderful…Brown strips language of convention to lay bare the ferocious rituals of love and need.” (THE NEW YORK TIMES) “Simply one of the best contemporary lesbian writers around.” (DOROTHY ALLISON) “Constantly pushes both her own boundaries and those of her readers.” (SAN FRANCISCO CHRONICLE)”America’s only real rock ‘n’ roll schoolteacher.” (THURSTON MOORE, SONIC YOUTH)
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Publishers Weekly “Best Books 2018” * SPD Poetry Bestseller * Winner of the Tarpaulin Sky Book Award, chosen by Bhanu Kapil * Jennifer S. Cheng’s Moon “bravely tests language and the beautiful boundaries of body and geography.” (AIMEE NEZHUKUMATAHIL) “Cheng gives us a poetics of possibility.” (JENNIFER TSENG) “Exhilarating…Visionary…Rich and glorious.” (PUBLISHERS WEEKLY STARRED REVIEW)
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Essays * Co-winner, 2017 Tarpaulin Sky Press Book Award * “Piper J. Daniels is going to rip the essay world apart…. Ladies Lazarus is the best debut I’ve read in a long time.” (JENNY BOULLY); “A siren song from planet woman, a love letter from the body, a resistance narrative against the dark” (LIDIA YUKNAVITCH). “Beautifully written…. An empowering and noteworthy voice” (PUBLISHERS WEEKLY)
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* Finalist, Colorado Book Award * Co-winner, Tarpaulin Sky Book Prize * Small Press Distribution Bestseller * A novel set in a decaying town in southern West Virginia, Steven Dunn’s debut, Potted Meat, follows a young boy into adolescence as he struggles with abusive parents, poverty, alcohol addiction, and racial tensions. “Full of wonder and silence and beauty and strangeness and ugliness and sadness and truth and hope…. This book needs to be read” (LAIRD HUNT). “An extraordinary book…. Like a visceral intervention across the surface of language, simultaneously cutting to its depths, to change the world” (SELAH SATERSTROM). “Texts that keep tapping the nails in, over and over, while speaking as clearly and directly as you could ask…. Flooded with power.” (VICE)
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Sometimes the Air in the Room Goes Missing explores how storytelling changes with each iteration, each explosion, each mutation. Told through multiple versions, these are stories of weapons testing, sheep that can herd themselves into watercolors, and a pregnant woman whose water breaks every day for nine months. “I love Dana Green’s wild mind” (NOY HOLLAND). “A tour de force of deeply destabilizing investigation into language and self” (LAIRD HUNT). “Dana Green’s bracing debut .. reminds us every ordinary moment, every ordinary sentence, is an impending emergency” (LANCE OLSEN).
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Elizabeth Hall set out to find all that had been written about the clit past and present. As she soon discovered, the history of the clitoris is no ordinary tale; rather, its history is marked by the act of forgetting. “Marvelously researched and sculpted…. Bulleted points rat-tat-tatting the patriarchy, strobing with pleasure” (DODIE BELLAMY). “Freud, terra cotta cunts, hyenas, anatomists, and Acker, mixed with a certain slant of light on a windowsill and a leg thrown open invite us… Bawdy and beautiful” (WENDY C. ORTIZ). “Gorgeous little book about a gorgeous little organ… Mines discourses as varied as sexology, plastic surgery, literature and feminism to produce an eye-opening compendium…. The ‘tender button’ finally gets its due” (JANET SARBANES). “God this book is glorious…. You will learn and laugh and wonder why it took you so long to find this book” (SUZANNE SCANLON).
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Nothing that is complicated may ever be simplified, but rather catalogued, cherished, exposed. Amy King’s The Missing Museum spans art, physics & the spiritual, including poems that converse with the sublime and ethereal. The poems act through ekphrasis, apostrophe & alchemical conjuring. They amass, pile, and occasionally flatten as matter is beaten into text. Here is a kind of directory of the world as it rushes into extinction, in order to preserve and transform it at once.
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The Grotesque Child is a story about being and being and being something else. It is about swallowing and regurgitating, conceiving and birthing. It is about orifices and orbs. It is about the viscous, weepy, goopy, mucousy, bloody state of feminine being and trans-being. It is about pain and various healers and torturers, soothers and inflictors. It is about what sleeps and hides in all the nooks and crannies of perceived existence and existence unperceived.
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“Doubling down on his trademark misanthropic imagery amid a pageantry of the unpleasant” (PUBLISHERS WEEKLY); “Göransson is certainly of the Left, but his work is as savagely anti-idealist as Burroughs or Guyotat or Ballard.” (ENTROPY MAGAZINE); “Language smeared with bodily fluid and sex, language spackled with violence and death … inhabiting that glittering/grotesque duality of Kardashian Family and Manson Family” (AMERICAN MICROREVIEWS).
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