{"title":"Noemi Press","description":null,"products":[{"product_id":"love-the-world-or-get-killed-trying","title":"Love the World or Get Killed Trying","description":"\u003cp\u003e\"Perhaps some hearts are so big they must constantly burst and break.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eThrough playful poetic prose, sharp social commentary and self-deprecating gallows humor \u003cem\u003eLove the World or Get Killed Trying\u003c\/em\u003e dives into the mind of Alvina, a trans woman on the eve of turning 30. The reader is invited to follow her journey through the breathtaking wilderness of Iceland and busy city boulevards of Berlin and Paris as she probes questions of eternity, sexuality, longing, death, love, and how hard it is to remain soft when you're a ceaseless target of straight men's secret lust and open disgust. This novel tackles universal issues through a trans woman's specific lens - insisting on these experiences speaking to far more than just issues of sexuality and gender.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eReaching its climax through an urgent wildfire scream-of-consciousness, cry-of-love-manifesto, \u003cem\u003eLove the World or Get Killed Trying\u003c\/em\u003e is a raw and vulnerable work of magical brutalist autofiction; abstract in the sense of poetically digging beneath the surface, and experimental in the sense of trying to find out new things and express them in new ways, while concretely asserting that if trans women one day collectively outed every man who seeks them out, a full-blown revolution would ensue by nightfall.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlvina Chamberland\u003c\/strong\u003e is a Swedish-US American author of predominantly literary autofiction novels. In 2015 Bokförlaget ETC published her co-authored book \u003cem\u003eAllt som är Mitt: Våldtäkt, Stigmatisering och Upprättelse\u003c\/em\u003e (English translation: All that is mine: Rape, Stigmatization and Reparation). The book received a grant from the Swedish Arts Council. In September 2018 her novel \u003cem\u003eUtelåst - Uppväxt- nostalgi för freaks\u003c\/em\u003e (Locked Out - A nostalgic account of growing up for freaks) a parody of the coming of age-genre, was published by Dockhaveri Förlag. She resides between Athens and Berlin and has no real hobbies, only intensity and serenity. \u003cem\u003eLove the World or Get Killed Trying\u003c\/em\u003e is her English language debut.\u003c\/p\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48254539661629,"sku":"9781955992053","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781955992053ita.jpg?v=1712256260"},{"product_id":"choose-this-now","title":"Choose this Now","description":"\u003cp\u003e\u003cem\u003eI don't know what to think about things unless we talk them out first.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eInseparable friends Val-and-Tal are used to making their decisions together. But what happens when their choices become their own? \u003cem\u003eCHOOSE THIS NOW\u003c\/em\u003e, a novel-in-stories, illuminates the small moments that shape their lives across nearly twenty years. On Val's 21st birthday—which falls on Halloween—a sudden act of violence interrupts a longed-for kiss. This unfinished moment haunts Val year after year until she materializes in a new town to confront her past. Tal, an aspiring painter, vacillates between dedicating herself to art and literally burning it all down. As they fall in and out of love, start and restart careers, and become mothers, Valerie and Taline struggle to define themselves, with and without each other. \u003cem\u003eCHOOSE THIS NOW\u003c\/em\u003e takes on art, labor, romantic love, pregnancy, and parenthood—and the role of friendship in forging a life.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicole Haroutunian \u003cem\u003eis\u003c\/em\u003e\u003c\/strong\u003e the author of the story collection \u003cem\u003eSpeed Dreaming\u003c\/em\u003e. She lives with her family in Woodside, Queens in New York City.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eChoose This Now\u003c\/em\u003e is a sparkling, intimate look at women's lives. Haroutunian's succinct prose and characterizations, her expansive interconnected storylines, and her deft hand in weaving together her themes—friendship, desire, striving, parenting, aging—make for a lovely reading experience. I was sad to leave these women and their ordinary, beautiful lives behind. I like to think of them out there in the world of art, continuing to orbit one another through every stage of our brief time on earth.\" - \u003cstrong\u003eLydia Kiesling\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Nicole Haroutunian's \u003cem\u003eChoose This Now\u003c\/em\u003e begins with alternating short stories about two best friends from college and goes on to create an entire world. The stories move through time—friendships and marriages and pregnancies and birth and also failed art projects and inappropriate police officers and more than one drunken party where bad decisions have enormous consequences. It's a beautiful, beautiful book.\" - \u003cstrong\u003eMarcy Dermanksy\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Nicole Haroutunian's brilliant wryly rendered novel-in-stories \u003cem\u003eChoose This Now\u003c\/em\u003e is knitted together by friendship, heartache, and her great affection for her collage of compassionately drawn characters. The novel is filled with smart meditations on parenting, dating apps, sex, and art, and includes one wildly discrete suburban orgy. I enjoyed every word, loved all the women who inhabited its pages, and inhaled every twist and turn.\" - \u003cstrong\u003eBethany Ball\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eChoose This Now\u003c\/em\u003e follows a group of women after a harrowing incident at a Halloween party, as they grow up, grow apart, and grow together, in a perceptive, insightful, and compassionate exploration of art, achievement, motherhood, interconnectedness, and the enduring and evolving power of solidarity and friendship between women. Haroutunian uses significant moments as a painter might use planes of light to create a depiction that is moving, beautiful, and true...This book is brilliant in the use of its form as a novel-in-stories, fully exploring the potential for texture, connection, and space in between chapters. It gives us both the longer-term propulsion and emotional connectedness of a novel, and chapters that are beautifully crafted and satisfying on their own. Each note, image, story, in this novel causes a vibration, a ripple effect. Each note splits and multiplies. I absolutely loved this book.\" - \u003cstrong\u003eAnanda Lima\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48317566714173,"sku":"9781955992039","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781955992039ita.jpg?v=1712681568"},{"product_id":"girl-work","title":"Girl Work","description":"\u003cp\u003e\u003cstrong\u003eWINNER OF THE 2022 NOEMI PRESS BOOK AWARD IN POETRY\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGIRL WORK\u003c\/em\u003e, a book-length meditation on sexual violence and feminized labor, centers hybrid-form and prose poems exploring haunting, labor, sexual trauma, and the assertion of a gender- nonconforming self in our current political moment. Written in injunctions to the self, to past assailants, and to friends, GIRL WORK challenges canonical representations of pain as punitive, redemptive, or separable from the environmental conditions it springs from. Throughout \u003cem\u003eGIRL WORK\u003c\/em\u003e, a self is restored from the detritus of memory—flashes of sexual violence, pop cultural touchstones like the movie The Ring, the music of Ke$ha, the sudden death of a father, the paintings of Henry Darger, and more. Winner of the 2022 Book Award from Noemi Press.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eZefyr Lisowski\u003c\/strong\u003e is a poet and essayist from the Great Dismal Swamp, North Carolina. A poetry co-editor of the Whiting Award winning Apogee Journal, she's the author of two books, \u003cem\u003eBlood Box\u003c\/em\u003e (Black Lawrence Press, 2019) and \u003cem\u003eGirl Work\u003c\/em\u003e, winner of the 2022 Noemi Book Prize. A 2023 NYFA\/NYSCA Fellow and 2023 Queer|Art Fellow, Zefyr has received further support from Tin House Summer Writers Workshop, Blue Mountain Center, the Center for the Humanities, and Sundress Academy for the Arts. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"In \u003cem\u003eGirl Work\u003c\/em\u003e's opening poem, Zefyr Lisowski asks a question which is not one: 'Maybe after we give up on beauty, we enter a better world. \/\/ I've given up on beauty, but when did the betterness leave.' What follows is a beautiful collection deeply haunted by the gendered and gendering violence beauty both solicits and obscures. Also, a collection of intimate and formally-inventive works on and against the myriad coercions of intimacy, work, and form. What I am trying to say is that \u003cem\u003eGirl Work\u003c\/em\u003e, in all its 'fflawed beauty,' performs one of the most vital tasks of contemporary poetry; it sets out to contest our deadening realities and their reproduction in and through the aesthetic. And it does so not out of a desire to claim 'its own goodness' but, rather, to say something true about how to make art, life, oneself, and each other in the fraught, 'fucked,' generative zone of neither beauty nor better.\" - \u003cstrong\u003eCameron Awkward-Rich\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Zefyr Lisowski's \u003cem\u003eGirl Work\u003c\/em\u003e is, among so many other powerful things, a meditation on the passage of time. It befriends memory even as it interrogates it. Lisowski commits to the work of considering the body, and in doing so makes ethereal what could otherwise be grueling: violence, aging, beauty. Here is the rare collection that resists nostalgia, yet welcomes the past as an estranged lover or former friend. \u003cem\u003eGirl Work\u003c\/em\u003e is not merely embodied—it is hungry, it is cold, and it remembers what happened. Lisowski makes art of what one can never forget.\" - \u003cstrong\u003eCyrée Jarelle Johnson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"How do we concretize the trauma mind? In Zefyr Lisowski's G\u003cem\u003eirl Work\u003c\/em\u003e, bodily horrors encircle us like a ring. A ring is an endless shape, an echo ground into earth, a movie, the borders of combat, part of remembering what you did. In \u003cem\u003eGirl Work\u003c\/em\u003e, power is the body dripping with vengeance, having returned from nothing, from a hole, from 'a deep voice that scratched the ceilings of the well.' Lisowski writes toward a probing, asking us to consider beauty with the same lines of inquiry given to medical ethics, poverty and inheritance. To Lisowski, beauty is a gummy thing that can be scraped, inverted, wielded, and used as only the girl-body can be. What I love most about \u003cem\u003eGirl Work\u003c\/em\u003e is the language, so hardened in its possession it snaps off the page, imprints itself repeatedly until it vibrates with 'red-toothed hunger.'\" - \u003cstrong\u003eNatalie Eilbert\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48687313518909,"sku":"9781955992046","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781955992046ita.jpg?v=1715369513"},{"product_id":"nature-felt-but-never-apprehended","title":"Nature Felt But Never Apprehended","description":"\u003cp\u003eAngela Peñaredondo's \u003cem\u003enature felt but never apprehended \u003c\/em\u003esynthesizes poetry, lyric prose, fragmented creative nonfiction, and visual art. They voyage through the junctures of gender and environmental injustices, and its connections between Philippines' histories of foreign invasions and intimacies of survivorhood. Peñaredondo wields queer, diasporic mythmaking, affective experiences of ritual and prayer as an illuminating force in the tangles of intergenerational memory.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAngela Peñaredondo\u003c\/strong\u003e (she\/they) is queer, nonbinary filpinx writer and author of \u003cem\u003eAll Things Lose Thousands of Times\u003c\/em\u003e (winner of the 2016 Inlandia Institute's Hillary Gravendyk Book Prize) and the chapbook \u003cem\u003eMaroon\u003c\/em\u003e (Jamii Publishing). An interdisciplinary writer, artist and educator, their work can be found or forthcoming in The Academy of American Poets\u003cem\u003e, Pleiades, Apogee Journal, Michigan Quarterly\u003c\/em\u003e and elsewhere. They are a recipient of fellowships to Kundiman, Macondo, TinHouse, the Community of Writers and others. They are an Assistant Professor of Creative Writing at California State University, San Bernardino.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"'[W]hat do you do when all your parts bring fire,' asks Angela Peñaredondo's\u003cem\u003e nature felt but never apprehended\u003c\/em\u003e. Without answering, this book is fire's answer. When I say it is brilliant, a word I'm invoking for its hexagonal history and accuracy, I mean it is a book that is sharp while it shines; it is a turning and it is wise; it is a book to see more of the world (its histories and imaginations, its futures and its possible repair) through. If 'someone\/made you believe\/mouth's the limit,' come here. Experience what happens 'when we allow ourselves\/the final feel of our enormities.' Thank you, Angela. This book is 'light singing through the only hole in the room.'\" - \u003cstrong\u003eT.C. Tolbert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In \u003cem\u003enature felt but never apprehended\u003c\/em\u003e, Angela Peñaredondo portrays the worst of human legacy with nature, despite its glory, becoming collateral damage in human wars…The poems arise from the 'wonderment of bones splayed out … across an eroded altar.' Even a steely word like 'geometry' can't hold it together and frays into 'geo me try.' That this collection's wisdom is accented by the Filipino\/x experience makes its lessons more powerful, thus devastating. But the poems also heighten understanding, hopefully on our way to help 'hope' avoid a fate as mere 'fossil.'\" - \u003cstrong\u003eEileen Tabios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"These poems tenderly excavate a queer Filipinx history on which to build a beautifully imagined queer Filipinx future. nature felt but never apprehended is sensual and attuned to the more-than-human world and its abundant queer ecologies. In one of many refusals to be gaslit by late capitalism and the legacies of empire. Peñaredondo writes 'film the police.' Through multiple modalities, languages, and histories, Peñaredondo's impressive poetics imagine the innovative survival of a liberated diaspora.\" - \u003cstrong\u003eLillian-Yvonne Bertram\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Angela Peñaredondo is a profoundly imaginative and subversive writer. Through queer choreographies and archipelagic poetics, she\/they excavate(s) archives, unmakes maps, and inscribes mythologies. While this book can be read\/felt as a 'topography of survival,' it escapes total apprehension with 'polyphonic quiver.'\" -\u003cstrong\u003e Craig Santos Perez\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48687502721341,"sku":"9781955992015","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781955992015ita.jpg?v=1715371560"},{"product_id":"beautiful-machine-woman-language","title":"Beautiful Machine Woman Language","description":"\u003cp\u003e\u003cem\u003eBeautiful Machine Woman Language\u003c\/em\u003e extrapolates Catherine Chen's experiences as a data transcriptionist for the Amazon Echo in order to examine the emotional—often invisibilized—spaces occupied by the human workers who service AI and other emergent technologies. Beginning with a lyric romance between an unnamed data worker and the AI with whom she falls in love, the collection curates a polyphonic space for how we can imagine our languages of desire for collective dreaming, longing, and archiving.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatherine Chen\u003c\/strong\u003e is a multidisciplinary poet and performer. They have received fellowships from Theater Mitu, Lower Manhattan Cultural Council (Arts Center Residency 2021), Lambda Literary, Poets House, and Franconia Sculpture Park. Their poems appear in T\u003cem\u003ehe Rumpus, Hyperallergic, Apogee, Nat. Brut,\u003c\/em\u003e among others. Chen is the author of the chapbook \u003cem\u003eManifesto, or: Hysteria\u003c\/em\u003e (Big Lucks, 2019). They live in Brooklyn.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"'When I worked I didn't exist. I always wanted to transform a painting, e.g. vandalize it. I don't want a house.' These pre-term disclosures constitute and void \u003cem\u003eBeautiful Machine Woman Language\u003c\/em\u003e, an anti-developmental mode of writing. Chen shuffles the cyborg 'dregs' to create a book of 'machinal questions,' slogans 'ablaze in neon lights,' a text that's 'botched.' Here, the monster eats February, jots down the reader's address, lies down next to the gardenias. Come in, dear monster. Have some citron honey tea.\" - \u003cstrong\u003eBhanu Kapil\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"'I became a poet so I could complain publicly of my condition.' In their striking debut collection, Chen interrogates the obsession of naming, of defining the spaces we inhabit both physically and in our minds, at every turn. In this world of the poet's creation, line after line becomes an ars poetica, not only suggesting what is possible through language and poetry, but revealing truths about our very nature: capitalism's toll on the psyche; what it means to have a body and inhabit a physical reality; the desire to be heard, to be understood. Here is a poet whose every word punctures.\" - \u003cstrong\u003eEloisa Amezcua\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Catherine Chen's \u003cem\u003eBeautiful Machine Woman Language\u003c\/em\u003e polymorphs like polymer from poetic composition to femme body, landscape to computer terminal. Throughout, Chen refutes futurity for a present when 'fatigue is a collective noun,' engaging the cyborg as a figure of despair. Chen's disconcerting reports stream like stunned wartime kyrons; their lyric, a black box's final output. \u003cem\u003eBeautiful Machine Woman Language\u003c\/em\u003e is the crash site of individual and empire, the smoke still twisting before the poet's eyes; fire deep in their throat.\" - \u003cstrong\u003eDouglas Kearney\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48687546532157,"sku":"9781955992022","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781955992022ita.jpg?v=1715372396"},{"product_id":"a-record-of-how-the-mothers-textile-became-sound","title":"a record of how the mother's textile became sound","description":"\u003cp\u003e\u003cem\u003ea record of how the mother's textile became sound\u003c\/em\u003e is a lamentation, a memory, a deconstruction and reconstruction of the author's mother's life through an examination of the complex multilayered textile\/text\/sound axis. It is about the impossibility\/possibility of recording memory, how daughters are tethered to mothers though root language, how mothers are other to daughters, and how we are on a journey to arrive at the other within the self. It is about continuing to arrive at the other still alive even after the mother dies. Distance is not widened to elimination nor condensed to an implosion; it is at a careful proximity where the other voice that is mother is able to continue to speak. a record of how the mother's textile became sound explores how text\/textile\/sound are vehicles for memories—textile perhaps serving as a bridge between text and sound.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNawal Nader-French\u003c\/strong\u003e is a mixed-race Ghanaian Lebanese immigrant by way of the U.K. Her work appears or is forthcoming in \u003cem\u003eNorth American Review, RHINO, Fence, Texas Review, Bayou Magazine\u003c\/em\u003e and elsewhere. Her second manuscript, \u003cem\u003ean improvised song\u003c\/em\u003e \u003cem\u003eis likely to come apart and scatter in infinite directions,\u003c\/em\u003e was a finalist in both the University of Pittsburgh's 2021 Center for African American Poetry and Poetics Book Prize and the 2021 Autumn House Press Full-Length Poetry Contest. Nawal is affiliate faculty in Regis University's Master of Arts in Literature program and the founding editor-in-chief of the art and literary magazine,\u003cem\u003e Inverted Syntax\u003c\/em\u003e. She is the mother of four children and lives in Colorado with her partner and their two beagles.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Nader-French presents a formidable tapestry that activates not just an awareness and acceptance of life's opacity, but an insistent recognition that we must understand such illegibility as a vital part of the human experience — perhaps a sacred one. Personal, yes, and global, too; multilingual in story and image stretching into a building clarity. If a mother is 'told to shrink,' what can a daughter do but demonstrate her infinite expansion? Read \u003cem\u003ea record of how the mother's textile became sound\u003c\/em\u003e and allow yourself into the mind and heart of a writer stitched to the page and threaded beyond — the silence of scars gorgeously accounted for and made 'a hum for all things,' an intricate incantation composed as a place 'where the sound out of the word unfolds into light.'\" - \u003cstrong\u003eKhadijah Queen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Nawal Nader-French rides the syllabic, guttural utterance of language onto the cloth of the blank page, which becomes her mother's marked body. Part lyric, part philosophical treaty on the nature of language in relation to death, and breath, her work moves beyond eulogy or ode toward the transformative potential of language to resurrect the other within us. This book is a gorgeous debut from a poet whose work is both precise and awe-inspiring. \u003cem\u003ea record of how the mother's textile becomes sound\u003c\/em\u003e is a book I will return to often.\" - \u003cstrong\u003eAndrea Rexilius\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In \u003cem\u003ea record of how the mother's textile became sound\u003c\/em\u003e, Nawal Nader-French animates an acoustics of grief where 'the inexpressible is seized from an invariable stem.' It unfolds from intimate etymologies evoking both sympathetic and synaesthetic resonances of a life that is always several lives, intertwined. Working with threaded perceptions that live between the image and the word, Nader-French has expanded the grammar of touch into a moving sonic mosaic.\" -\u003cstrong\u003e Eric Baus\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48725459763517,"sku":"9781955992008","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781955992008ita.jpg?v=1715893680"},{"product_id":"assia","title":"Assia","description":"\u003cp\u003eBased loosely on the life of Assia Wevill, a German Jew who escaped the Nazis and eventually became the woman whose affair with Ted Hughes broke up his marriage to Sylvia Plath, \u003cem\u003eAssia\u003c\/em\u003e is the first novel from poet Sandra Simonds. Haunted by Plath's suicide and her own unfulfilled literary ambition, and abandoned by both Hughes and her husband, the real-life Assia struggled to imagine a viable life for herself in the turbulent political landscape of the 1960s. In 1969, she killed herself and her young child, in what is widely viewed as an attempt to copy Plath's famous suicide. Lending a contemporary feminist perspective to an unrecognized chapter in modern literary history, \u003cem\u003eAssia\u003c\/em\u003e is a novel that asks us to hold our judgment and to consider the personal and political histories of people who commit unthinkable acts.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSandra Simonds\u003c\/strong\u003e is the award-winning author of eight books books of poetry: \u003cem\u003eTriptychs\u003c\/em\u003e (Wave Books, November 2022), \u003cem\u003eAtopia \u003c\/em\u003e(Wesleyan University Press, 2019), \u003cem\u003eOrlando\u003c\/em\u003e, (Wave Books, 2018), \u003cem\u003eFurther Problems with Pleasure\u003c\/em\u003e, winner of the 2015 Akron Poetry Prize from the University of Akron Press, \u003cem\u003eSteal It Back\u003c\/em\u003e (Saturnalia Books, 2015), \u003cem\u003eThe Sonnets\u003c\/em\u003e (Bloof Books, 2014), Mother Was a Tragic Girl (Cleveland State University Poetry Center, 2012), and \u003cem\u003eWarsaw Bikini\u003c\/em\u003e (Bloof Books, 2009). Her poems and criticism have been published in the \u003cem\u003eNew Yorker\u003c\/em\u003e, the \u003cem\u003eNew York Times\u003c\/em\u003e, the\u003cem\u003e Best American Poetry, Poetry\u003c\/em\u003e, the \u003cem\u003eAmerican Poetry Review\u003c\/em\u003e, the \u003cem\u003eChicago Review, Granta, Boston Review, Ploughshares, Fence, Court Green\u003c\/em\u003e, and \u003cem\u003eLana Turner\u003c\/em\u003e. She is the recipient of the Readers' Choice Award for her sonnet \"Red Wand,\" which was published on Poets, the Academy of American Poets website. She went to UCLA for her BA, University of Montana for her MFA and Florida State for her PhD. She lives in Tallahassee, Florida and is an Associate professor of English and Humanities at Thomas University in Thomasville, Georgia.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"With the lyric beauty of the poet she is, Sandra Simonds gives us a fresh portrait of Assia Wevill, a woman previously conceived mostly as a consort, a homewrecker, or a femme fatale. Simonds' novel refuses to be bound by the pedantry of what we think we know about Assia Wevill's life, reimagining timelines, history, and Assia's inner life and creative work to bring her to life as never before. \u003cem\u003eAssia\u003c\/em\u003e lacks heroes and villains, a limiting theme of past renditions of this story, giving us not just Assia, but Sylvia Plath, David Wevill, Ted Hughes, and even Assia's young daughter Shura in their troubled, beautiful humanity. \u003cem\u003eAssia\u003c\/em\u003e is non-linear, but never drops the thread of Wevill's life, instead moving back and forth in time to help us better grasp the choices she, and the people in her orbit, made. The book deftly enfolds and interrogates the mysteries and mythologies of Hitler's Germany, stateless people, Sylvia Plath, Palestine on the brink, and swinging London. Simonds is as arresting a writer as Wevill was a personality; I couldn't put her book down.\" - \u003cstrong\u003eEmily Van Duyne\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This book is mindblowing. Just when we thought we knew the tragic story of Sylvia Plath or the disturbing details of Ted Hughes' behavior, these pages present Assia Wevill, poet, artist, mother, person. Simonds' brilliance is in reminding us that narratives are just that–a single perspective designed to hold our gaze. Here, \u003cem\u003eAssia\u003c\/em\u003e moves beyond and around those limited frameworks. In short, this work is more than a reappraisal or a new version of events. It is more like life: striking, messy, quietly revelatory, and beautiful, even in its darkest moments.\" - \u003cstrong\u003eMaurice Carlos Ruffin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Sandra Simonds transubstantiates into faraway lives and voices with a visionary prowess, such that halfway through I had to remind myself that several of her characters belonged to literary history.\u003cem\u003e Assia\u003c\/em\u003e-the-novel is grounded in the dailiness of houses and landscapes, of kitchen tables and writing desks, as though these places were still dreaming of the lives that had occupied them.\" - \u003cstrong\u003eJonathan Lethem\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48774936265021,"sku":"9781934819920","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819920ita.jpg?v=1716409633"},{"product_id":"akrilica","title":"Akrílica","description":"\u003cp\u003eOriginally released as a bilingual collection in 1989 by Stephen Kessler's Alcatraz Editions, Juan Felipe Herrera wrote the poems of \u003cem\u003eAkrílica\u003c\/em\u003e starting in 1977, occasioned by the energy and dialogue that he encountered upon meeting writer and co-conspirator Francisco X. Alarcón (1954-2016). Through a new interview included here and through his own Visual Introduction, archival photographs from his travels across the Americas, and new art created in conversation with the collection, Herrera offers a rich set of references, inspirations, and influences that shaped \u003cem\u003eAkrílica\u003c\/em\u003e while sharing his take on this singular book's place in his development as a poet and multimedia artist. This new edition and new translation of \u003cem\u003eAkrílica\u003c\/em\u003e arrives now to expand the political and artistic possibilities that form our current horizon. This project is not one of inclusion or recovery. This is a project of retrieval. We steal \u003cem\u003eAkrílica\u003c\/em\u003e away from literary institutions, away from the discipline of literature as such, and away from traditions of experimental poetics that should hope to claim it. Oriented toward the liveliness of the imagination, committed to fundamentally changing itself in order to meet the moment, \u003cem\u003eAkrílica\u003c\/em\u003e belongs somewhere else; it belongs in the hands of those finding one another in a gathering that has yet to take place.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJuan Felipe Herrera\u003c\/strong\u003e is the 21st Poet Laureate of the United States (2015-2016) and is the first Latino to hold the position. From 2012-2014, Herrera served as California State Poet Laureate. Herrera's many collections of poetry include \u003cem\u003eEvery Day We Get More Illegal; Notes on the Assemblage; Senegal Taxi; Half of the World in Light: New and Selected Poems\u003c\/em\u003e, a recipient of the PEN\/Beyond Margins Award and the National Book Critics Circle Award; and \u003cem\u003e187 Reasons Mexicanos Can't Cross The Border: Undocuments 1971-2007\u003c\/em\u003e. He is also the author of \u003cem\u003eCrashboomlove: A Novel in Verse\u003c\/em\u003e, which received the Americas Award. His books of prose for children include: \u003cem\u003eSkateFate, Calling The Doves,\u003c\/em\u003e which won the Ezra Jack Keats Award; \u003cem\u003eUpside Down Boy\u003c\/em\u003e, which was adapted into a musical for young audiences in New York City; and \u003cem\u003eCinnamon Girl: Letters Found Inside a Cereal Bo\u003c\/em\u003ex. His book\u003cem\u003e Jabberwalking\u003c\/em\u003e, a children's book focused on turning your wonder at the world around you into weird, wild, incandescent poetry, came out in 2018. Herrera is also a performance artist and activist on behalf of migrant and indigenous communities and at-risk youth. He runs the Laureate Lab Visual Wordist Studio at Fresno State.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"IN ONE OF \u003cem\u003eAKRILICA'\u003c\/em\u003eS ANTI-THEATRICAL WORKS, Juan Felipe Herrera invites performers as well as the audience-listeners-readers to help make a work aiming to 'create, sustain and to fire a vascular-acoustic-visual electricity.' Clearly those who participated in the production of this exhilarating volume did so in the same spirit, from its editors to its translators into English and into inspired book object. The result astonishes while insisting on the futility of borders between author and those who animate the work; between song and score; picture and document; insiders and outsiders; refusal and affirmation. Y en las venas las palabras de uno y las palabras de otros. In a word, electrifying.\" - \u003cstrong\u003eMónica de la Torre\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"AROUND 1988, JUAN FELIPE HERRERA DROVE US TO THE MISSION in a cherried-out 1952 Chevy, I wanna say, but I don't recall the make at all, just that the roadster was gleaming, all teal, shell white and chrome glaring in the sun as we sped up 101 into the city. Here we go again, roaring into that shining city, into the ungentrified Mission, a poet's Teotihuacan! A renewed translation like a classic ranfla, hand-polished, fuel-injected and updated, teal, shell white and brilliant! The borderless energies \u003cem\u003eAkrilica\u003c\/em\u003e released flared across all the Americas, embroiled as they remain in the aftershocks of the U.S. wars in Centroamerica and U.S. money and U.S. guns in Mexico and beyond. Finally, one of the best of JFH's secret classics is available in this expertly re-tooled version!\" - \u003cstrong\u003eSesshu Foster\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"ONCE EVERY GENERATION THE COMMITTEE OF GODS \u0026amp; GODDESSES OFFERS US A ONE-OFF, a visionary behemoth so unparalleled in his talents and abilities, and in his unbridled capacity to express love, that his gravity alone is bound to pull a universal audience. For those of us who've carved a life between a nascent millennium and an ancient pandemic, Juan Felipe Herrera is our gift. He arrived fully formed, perhaps as an offering from under the cloak of Xōchipilli at the first Floricanto at USC 1973—a poet, a singer-songwriter, a payaso, artist, anthropologist and word healer—for everything that pours out of this man is a prayer for you, and every page is a liminal space bursting with possibility, the book as installation, as assemblage, as kite, a living exhibit of wonder, a scry if we heed it. And for the greater part of his life he's taken this power to the people, in the streets, in the campos, in jail cells, and in the towers of academia, and delivered it back into our empty hands better than when we lost it. For those of us who've come to rely on Juan Felipe's books, his teachings, his performances, and his mentorship, it's undeniable that \u003cem\u003eAkrílica\u003c\/em\u003e is the phosphorescent gate to a reimagined world where the poet first invited us in, wide open and without armor, where he first informed us—Here is a place where you can write and weep and soar and sing, or sit in silence, and still be counted as part of the collective heart.\" - \u003cstrong\u003eTim Z. Hernandez\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"THIS TRANSLATION CONFRONTS THE DEEP POWER OF HARM, the reality of memory, and awakens Herrera's treasures in the herenow. Each poem is a buttoned contemporary dream troubled by stalking, fractured faces but the translators dropped them off at the freestyle party at 'the crystal in the river's brow.' Some might recognize this book's system as the dark night of the soul. I recognize it as the method of the fifth dimension of Chicanismo, as told from the central valley and from the perspective of each poet involved in this translation—a glare that reminds and then annihilates with generous attention.\" - \u003cstrong\u003eSara Borjas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48775043940669,"sku":"9781934819999","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819999ita.jpg?v=1716410965"},{"product_id":"city-without-altar","title":"City Without Altar","description":"\u003cp\u003e\u003cem\u003eCity Without Altar\u003c\/em\u003e is a poetry collection and play in verse that explores what it means to live, love, heal and experience violence as a Black person in the world. The titular play in verse that sits at the center of the book seeks to amplify the voices and experiences of victims, survivors and living ancestors of the 1937 Haitian Massacre that occurred along the northwest Dominican\/Haitian border during the Trujillo Era. Between the scenes of the play are \"interludes\" that explore a different kind of \"cutting\" and what it means to feel othered because of illness, disability and blackness. Ultimately, \u003cem\u003eCity Without Altar\u003c\/em\u003e is a meditation on being\/feeling \"blacked out\" by the archive, on the world stage and in one's daily life.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJasminne Mendez\u003c\/strong\u003e is a Dominican-American poet, playwright, educator and award-winning author. Mendez has had poetry and essays published by \u003cem\u003eThe Acentos Review, The New England Review, Kenyon Review, Gulf Coast\u003c\/em\u003e, and others. She is an alumni of the Rainier Writing Workshop at Pacific Lutheran University and the author of two poetry\/prose collections \u003cem\u003eIsland of Dreams \u003c\/em\u003e(Floricanto Press, 2013) and \u003cem\u003eNight-Blooming Jasmin(n)e\u003c\/em\u003e: \u003cem\u003ePersonal Essays and Poetry \u003c\/em\u003e(Arte Publico Press, 2018), and one children's picture book \u003cem\u003eJosefina's Habichuelas\u003c\/em\u003e (Arte Publico Press, 2021) She lives and works in Houston, TX with her partner in poetry and in life Lupe Mendez and their daughter Luz Maria.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Jasminne Mendez excavates the terrain of the past, delves into personal and historic archives, and searches for fragments necessary to build a monument to the dead in service to the living…Here, theater, in combination with the interplay of cartography, medical X-Ray, and persona, perform in a powerful lyric juxtaposition. This extraordinary book urges readers to ask who will remember and how will we deal with lacunas in our histories?\" - \u003cstrong\u003eOliver de la Paz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Jasminne Mendez refocuses, re-electrifies and finally defines [documentary poetics] with this strikingly inventive exploration of how trauma scissors through borders, numbs families, feeds on the purple specter of violence and relentlessly forages for root in the body. \u003cem\u003eCity Without Altar\u003c\/em\u003e is a dazzling melange of script, prose, stanza and image. Its brash and bellowing heart is a dramatization of the callous 1937 Haitian massacre, with heart-rending resurrection of both sufferers and survivors, but the poet is relentless with her magic as she unearths deep-buried parallels to her own 'unblackening' and the way grief takes hold of her hands.\" - \u003cstrong\u003ePatricia Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Mendez's\u003cem\u003e City Without Altar\u003c\/em\u003e is a powerful testimonial to the little-known Haitian Massacre of 1937, in which over 20,000 Haitians and Afro-Dominicans were slaughtered in the space of a few days… A santera poet Mendez makes an altar for these victims and resurrects and redeems them with evocative skill and passion… Not since Ntozake Shange's \u003cem\u003eFor Colored Girls Who Have Considered Suicide When the Rainbow is Enuf\u003c\/em\u003e have I been so deeply stirred by a poet's ability to give vivid voices of those who have been silenced and forgotten. \u003cem\u003eCity Without Altar\u003c\/em\u003e is poetry that is close to ritual, and Jasminne Mendez, nuestra a visionary poet-priestess.\" -\u003cstrong\u003e Julia Alvarez\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48775126122813,"sku":"9781934819159","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819159ita.jpg?v=1716412047"},{"product_id":"damn-near-might-still-be-is-what-it-is","title":"damn near might still be is what it is","description":"\u003cp\u003e\u003cem\u003edamn near might still be is what it is\u003c\/em\u003e is part autofiction, part memoir and travelogue, part road novel, part journal entry. Beginning in New York and winding first around the country, with stops in Kansas City and Colorado, then around the world, the unnamed narrator of damn near… confronts what it means to be American, to be Black, to be a tourist and penniless and to fall in love in cities like London, Vienna, and Milan. Central to the book are questions of authenticity, memory, friendship and family. An electrifying voice takes the lead in this global journey, by turns hilarious and heart rending, harsh and tender. \u003cem\u003edamn near\u003c\/em\u003e… concerns itself with the profound questions of life through a singular focus on one person's circuit around the globe.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarcus Scott Williams\u003c\/strong\u003e is a writer and artist whose other works includes \u003cem\u003eSparse Black Whimsy: A Memoir\u003c\/em\u003e (2fast2house 2017). He loves and appreciates you.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"marcus scott williams's \u003cem\u003edamn near might still be is what it is\u003c\/em\u003e is LIT lit, a mono-travel-journal-ogue crisscrossing the US and Europe, by a brilliant Black writer capable of remaking everyday language—and everything he sees, dreams, lives—into something fresh and new. This piece is the ISH!\" - \u003cstrong\u003eJohn Keene\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Readers will want to 'fw' \u003cem\u003edamn near might still be is what it is\u003c\/em\u003e for its multi-luxe, often anti-cryptic exploration of crowded but, lone-geography of blackness and the incessant record skip of home. Lush prose poems potted in footnotes, photography and song lyrics make williams's work a gorgeous overgrown and weeded installation hosed in hip-pop-culture, history \u0026amp; the day-to- day struggles of personhood. Take this book wherever and whenever you find yourself traveling,'yfm?'\" - \u003cstrong\u003eAnastacia-Renee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Making notes in strands of emergent languaging, offering astonishingly intimate glimpses into the lives he traverses, marcus scott williams' \u003cem\u003edamn near might still be is what it is\u003c\/em\u003e is as much syntactic intervention into language's daily, desirous generation as it is journal of recount. There's a Sebaldian expansiveness to williams's prose blocks—they're both of their own discreet moment while shouldering echoes of colonialism's all seeing \/ shaping historic grip. Against said violence, wrought with the dailiness of travel, sex, social media, money woes, cicada shells \u0026amp; the veins of a lover's eyelids, damn near… sets out a project for memory creation \/ maintenance grounded in our own volition—a way towards nurturance standing against the surveillance state(s) seemingly omnipotent power. marcus scott williams writes a poetics of vital motion.\" - \u003cstrong\u003eimogen xtian smith\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48775180255549,"sku":"9781934819067","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819067ita.jpg?v=1716412670"},{"product_id":"bareback-nightfall","title":"Bareback Nightfall","description":"\u003cp\u003eJoshua Escobar's \u003cem\u003eBareback Nightfall\u003c\/em\u003e is a daring collection that works as a performance art piece acted out on the page for the reader. These poems, set in alternating coasts, written in different voices and across strained dialogue, follow the relationship between DJ Ashtrae and Doctor Electronic. Two larger than life figures that live in the world of cognates and false cognates, a world in code-switch. In the tradition of Rodrigo Toscano's Collapsible Theatre Poetics, Escobar further captures the schizophrenic nature of existing in the liminal space where anything is acceptable from extreme ecstasy to abuses of power. Here is one of our most vital new voices in Latinx Avant-Garde literature.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoshua Escobar\u003c\/strong\u003e performs as DJ Ashtrae + Little Piñata, and is the author of the chapbooks \u003cem\u003eCaliforkya Voltage\u003c\/em\u003e (No, Dear\/Small Anchor) and \u003cem\u003exxox fm\u003c\/em\u003e (Doublecross Press). His first full-length collection\u003cem\u003e Bareback Nightfall\u003c\/em\u003e is launched in the summer of 2020 from Noemi Press and Letras Latinas, and was a finalist for the 2021 California Book Award. He has received fellowships from Shandaken: Storm King and CantoMundo. He is the Director of Creative Writing and Activities Coordinator for the RISE Program at Santa Barbara City College.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHe writes about queerness, nightlife, and southern California's Inland Empire. Leila Ortiz calls his poetry \"out of context and close to the heart.\"\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEscobar was the Dean's Fellow in Writing at the Milton Avery Graduate School of the Arts at Bard College. In addition to an M.F.A. from Bard College, Escobar holds a B.A. in English, B.A. in Urban Planning, and Master of Journalism degree from the University of California at Berkeley.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Poetry's new pathbreaker has arrived! The innovations of Joshua Escobar surge forward in form and intellect while his celebratory queerness subverts the tedium of monotheistic dictates. These poems stay close long after reading, a book that deserves a cult following!\" - \u003cstrong\u003eCAConrad\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Joshua Escobar takes a post-modern jackhammer to deconstruct concrete poetry while injecting his brilliant assertions\/allusions that bring explicit ideas to creative\/intellectual\/visceral critical mass. \u003cem\u003eBareback Nightfall\u003c\/em\u003e is a blast to be experienced while reading face forward at 21st Century ground zero.\" - \u003cstrong\u003eHarry Gamboa Jr\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\"Joshua Escobar's \u003cem\u003eBareback Nightfall\u003c\/em\u003e is a daring collection that works as a performance art piece acted out on the page for the reader. These poems, set in alternating coasts, written in different voices and across strained dialogue, follow the relationship between DJ Ashtrae and Doctor Electronic. Two larger than life figures that live in the world of cognates and false cognates, a world in code-switch. In the tradition of Rodrigo Toscano's Collapsible Theatre Poetics, Escobar further captures the schizophrenic nature of existing in the liminal space where anything is acceptable from extreme ecstasy to abuses of power. Here is one of our most vital new voices in Latinx Avant-Garde literature.\" - \u003cstrong\u003eNatalie Scenters-Zapico\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48973711180093,"sku":"9781934819890","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819890ita.jpg?v=1718728658"},{"product_id":"beast-meridian","title":"Beast Meridian","description":"\u003cp\u003e\u003cem\u003eBEAST MERIDIAN\u003c\/em\u003e narrates the first- generation Mexican American girl, tracking the experiences of cultural displacement, the inheritance of generational trauma, sexist and racist violence, sexual assault, economic struggle, and institutional racism and sexism that disproportionately punishes brown girls in crisis. Narrated by a speaker in mourning marked as an at- risk juvenile, psychologically troubled, an offender, expelled and sent to alternative school for adolescents with behavioral issues, and eventually, a psychiatric hospital, it survives the school to prison pipeline, the immigrant working class condition, grueling low- pay service jobs, conservative classism against Latinxs in Texas, queerness, assimilation, and life wrapped up in frivolous citations, fines, and penalties. The traumatic catalyst for the long line of trouble begins with the death of a beloved young grandmother from preventable cervical cancer—another violence of systemic racism and sexism that prevents regular reproductive and sexual health care to poor immigrant communities—and the subsequent deaths of other immigrant family members who are mourned in the dissociative states amidst the depressive trauma that opens the book. The dissociative states that mark the middle—a surreal kind of shadowland where the narrator encounters her animal self and ancestors imagined as animals faces brutal surreal challenges on the way back to life beyond trauma—is a kind of mictlan, reimagined as a state of constant mourning that challenges American notions of \"healing\" from trauma, and rather acknowledges sadness, mourning, and memory as a necessary state of constant awareness to forge a \"way back\" toward a broader healing of earth, time, body, history.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVanessa Angélica Villarreal\u003c\/strong\u003e was born in the Rio Grande Valley to formerly undocumented Mexican immigrants. She is the author of the poetry collection \u003cem\u003eBeast Meridian\u003c\/em\u003e (Noemi Press, Akrilica Series 2017), recipient of a 2019 Whiting Award, a Kate Tufts Discovery Award nomination, and winner of the John A. Robertson Award for Best First Book of Poetry from the Texas Institute of Letters. Her work has appeared in the \u003cem\u003eNew York Times, New York Magazine's The Cut, Harper's Bazaar, Oxford American, Paris Review, Poetry Magazine\u003c\/em\u003e, and elsewhere. She is a recipient of a 2021 National Endowment for the Arts Poetry Fellowship, and a doctoral candidate in English Literature and Creative Writing at the University of Southern California in Los Angeles, where she is working on a poetry and an essay collection while raising her son in Los Angeles.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eBeast Meridian\u003c\/em\u003e is a fierce incantation, harnessing the intuition and intelligence of personae navigating a 'melancholy galaxy' full of the violences of societies and families, in which the pain of the earth and the pain of the body are not separate. In languages of tenderness and weaponry, landscapes and bodyscapes, insight and foresight, talismanic memories and imaginings, Vanessa Angelica Villareal constructs layered complications to see newly into, or grieve not being able to look beyond. Far from surrender, the poems write toward a communal resilience: 'entre todas las mujeres we kneel to push away the final night'—a unity among wounded women, their collective mythology infused with necessary interrogations and radiant intensity, as they (and their words) 'spill \u0026amp; spill until we spread \/ like a flood.'\" - \u003cstrong\u003eKhadijah Queen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Vanessa Villareal's poems are alive, haired, precise and strange with ardor, with loss, with a remembering (live and lit!) born out of the crossroads of elegy and desire. With these poems I feel I have the rare and gorgeous chance to experience a formal invention built out of urgency, and with such intimacy. Here there is a diction, a music, knived and lucid. A body, or bodies, shapeshifting across pages, possessed and dispossessing, dying-birthing-getting born, simultaneously 'I' and 'we': 'your black cervix my first egg drop \u0026amp; \/ so we hatched myself—'. There is such a brilliance everywhere here.\" - \u003cstrong\u003eAracelis Girmay\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In \u003cem\u003eBeast Meridian\u003c\/em\u003e, Vanessa Angélica Villarreal braids searing lyricism and intimate narratives into utterances and patterns that radicalize the heart and the eye. Rooted in the borderlands, Villarreal's language—scarred but alive—confronts and refutes the violence of erasure and assimilation. 'Every brutal abandoning' of the self and of the flesh is rigorously and intensely rendered. Line after line shimmers with grace and fury. Vanessa Angélica Villarreal is an innovative and necessary poet. Beast Meridian is a high watermark in Latinx poetry. I will be teaching it often.\" - \u003cstrong\u003eEduardo C. Corral\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48973735657789,"sku":"9781934819654","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819654ita.jpg?v=1718729145"},{"product_id":"besiege-me","title":"Besiege Me","description":"\u003cp\u003eA new collection six years after Nicholas Wong won the Lambda Literary Award for Gay Poetry, \u003cem\u003eBESIEGE ME\u003c\/em\u003e opens with a timely mocking tone that confronts the tension between China and Hong Kong. Poems in the book speak queerly of urban existences crushed by political and economic powers --\"What cities \u0026amp; bodies deny a sometime-crisis, \/ not knowing they're a series of which?\" Behind the portrayals of the speaker, his parents, his home city, and domestic migrant workers there, the collection boldly outlines the vulnerability of entrapment and its masochistic pleasures. \u003cem\u003eBESIEGE ME\u003c\/em\u003e seeks for a redefinition of transcultural poetics with its linguistic playfulness.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicholas Wong\u003c\/strong\u003e is the author of \u003cem\u003eBesiege Me\u003c\/em\u003e (Noemi Press, 2021), and \u003cem\u003eCrevasse \u003c\/em\u003e(Kaya Press, 2015), the winner of the Lambda Literary Award for Gay Poetry. He is also the recipient of the \u003cem\u003eAustralian Book Review\u003c\/em\u003e's Peter Porter Poetry Prize. His poem has been longlisted for the University of Canberra Vice Chancellor's International Poetry Prize in 2019. Wong has contributed writing to the radio composition project \"One of the Two Stories, Or Both\" at the Manchester International Festival 2017, and the catalogue of the exhibition \"One Hand Clapping\" at the Solomon R. Guggenheim Museum. He teaches at the Education University of Hong Kong.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The human struggle lays itself bare as the speaker in Nicholas Wong's extraordinary collection, \u003cem\u003eBesiege Me\u003c\/em\u003e, reveals. The body is a site of longing, love, wounds, and powerful intimacy. The fight for individualism and freedom is traversed through a lush linguistic and visual landscape that is characteristic of Wong's poetic invention as each poem becomes a delicate manifesto. There is so much desire in these poems, so much pain and revelation in face of what feels to be insurmountable clashes between the speaker and family, the self and home, the body and the boundaries from which it yearns to break free.\" - \u003cstrong\u003eTina Chang\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Nicholas Wong's \u003cem\u003eBesiege Me\u003c\/em\u003e is both a book of praise and an indictment of Hong Kong and himself. Within its pages, the father is often the vehicle for this work: 'Remember your first spoken word? \/ Father. \/ Like affliction? \/ Also like a wish.' These are lacerating and primal poems that question and, as a result, become haunting. These poems burn and sting more sharply than any tear gas lobbed by authorities.\" - \u003cstrong\u003eC. Dale Young\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Charting the battlegrounds of family, city, country, world with tote bags, tear gas and soufflé hairdos, the poems in Nicholas Wong's \u003cem\u003eBesiege Me\u003c\/em\u003e are tender and terrifying, intimate and capacious, reminding us that we all want alternatives, but that the world is 'slow in its giving.'\" - \u003cstrong\u003eTishani Doshi\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48973763019069,"sku":"9781934819944","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819944ita.jpg?v=1718729895"},{"product_id":"counterfactual-love-stories-other-experiments","title":"Counterfactual Love Stories \u0026 Other Experiments","description":"\u003cp\u003eFrom fragmented ransom notes to hanging footnotes, contemporary fairy tales to coded text, interconnecting pieces of modal flash fiction to backwards fractal narratives about gradual blindness, transgressive listicles to how-to guides for performative wokeness, variable destinies in downtown Chicago to impossible dating applications, counterfactual relationships to the French translation of adolescence, the conceptual, language-driven short stories in Counterfactual Love Stories \u0026amp; Other Experiments are an exploration of not just mixed-race\/hapa identity in Michigan (and the American Midwest), but also of the infinite ways in which stories can be told, challenged, celebrated, and subverted.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJackson Bliss\u003c\/strong\u003e is the award-winning, mixed-race\/Nisei author of \u003cem\u003eCOUNTERFACTUAL LOVE STORIES \u0026amp; OTHER EXPERIMENTS\u003c\/em\u003e (Noemi Press, 2021), \u003cem\u003eAMNESIA OF JUNE BUGS\u003c\/em\u003e (7.13 Books, 2022),\u003cem\u003e DREAM POP ORIGAMI\u003c\/em\u003e (Unsolicited Press, 2022), \u0026amp; the newsletter \u003cem\u003eMIXTAPE\u003c\/em\u003e. Born \u0026amp; raised in Traverse City, Michigan, until the age of fourteen, he spent his adult life in SoCal, the Pacific Northwest, \u0026amp; Chicago with stints in Argentina and Burkina Faso writing both music and non\/fiction about his global life. Jackson has a BA in comp lit from Oberlin College, a MFA from the University of Notre Dame where he was the Fiction Fellow \u0026amp; the Sparks Prize winner, a MA in English, \u0026amp; a PhD in Literature \u0026amp; Creative Writing from USC where he worked with Aimee Bender, Viet Thanh Nguyen, \u0026amp; TC Boyle. His stories \u0026amp; essays have appeared in the \u003cem\u003eNew York Times, Tin House, Ploughshares, Columbia Journal, Guernica, Longreads, Necessary Fiction, Antioch Review, Poets \u0026amp; Writers, TriQuarterly, Fiction, The Offing, Witness, Hypertext, Boston Review, Kenyon Review, Vol.1 Brooklyn, ZYZZYVA, Joyland, Santa Monica Review, Juked, Quarterly West\u003c\/em\u003e, Adroit Journal, \u003cem\u003eThe Daily Dot, Pleiades\u003c\/em\u003e, the \u003cem\u003e2012-2013 Anthology of APIA Literature, Arts \u0026amp; Letters, Fiction International, Hyphen\u003c\/em\u003e, Multi-Ethnic Literature of the United States, \u003cem\u003eLitReactor, Monkey Bicycle, \u0026amp; 3 am Magazine\u003c\/em\u003e, among others. Jackson lives in LA. You can find him on YouTube \u0026amp; Instagram.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Read this book for its endless invention, its vibrancy and intelligence, its urgency, its velocity, its enormous heart and troubled soul. Read this book for the aching poignancy of the lists, and all that is invested in that gesture. Read it for the way Jackson Bliss moves through the fleeting, fugitive, baffling world searching for the ballast and the deep consolation only fiction of the highest order attempts to find.\" - \u003cstrong\u003eCarole Maso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Of course the cover color of Jackson Bliss's epochal collection for the anthropocene, \u003cem\u003eCounterfactual Love Stories \u0026amp; Other Experiments\u003c\/em\u003e, is fetching Coral. This book is made up of storied and honeycombed restless ramparts and multi-chambered reefs of intricate interlocking organic masonry, both delicate and enduring. Don't let the title fool you. These are shifting and shifty fictions, artfully articulated cantilevers levered and buttresses flying. These are walls of sound in the wakes of spectacular wrecks! Here is the geological poetry of ice age glaciers gliding on their own tectonic melting.\" - \u003cstrong\u003eMichael Martone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"It's supra-fun to hang out with Jackson Bliss's brain. These stories play and provoke, reminding us that fiction can nudge the world and that the world needs a nudge.\" - \u003cstrong\u003eRebecca Schiff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"A thrilling switchback roller coaster of a collection – by turns magical and absurd, nerdy and punk, soulful and furious. Read it\/ride it – you'll have your hands in the air, your heart in your mouth, the wind in your hair!\" - \u003cstrong\u003ePeter Ho Davies\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Energized and energizing, Jackson Bliss's \u003cem\u003eCounterfactual Love Stories\u003c\/em\u003e posits fusion and confusion as problem and possibility, from race, gender, and wealth inequality to genre, form, and perspective, all with an eye toward exploring how we might make meaning(s) out of our illegible, hyperbolic now. Every sentence is a surprising and sometimes vulnerable, sometimes satiric bite, data-dense as a shockwave ride through some video game committed to showing us what five minutes into our future will look like.\" - \u003cstrong\u003eLance Olsen\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48974184644925,"sku":"9781934819975","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819975ita.jpg?v=1718731780"},{"product_id":"defacing-the-monument","title":"Defacing the Monument","description":"\u003cp\u003e\u003cem\u003eDefacing the Monument\u003c\/em\u003e opens with the narration of an Operation Streamline hearing, a proceeding during which as many as 75 undocumented migrants are criminally prosecuted and sentenced en masse to serve jail time prior to deportation. It's an attempt to bear witness to what happens to those who do not hold the \"correct\" documents as a way to show texts always bear the marks of power. Documentary poetics offers a tradition and a form through which a writer can situate events or experiences within broad social and historical contexts. It can provide a space to record, to unearth, to witness, and to contextualize. But we can't fetishize the document. And we must use it with an eye toward our own complicity and participation in the systems we wish to investigate. Part documentary act, part lyric essay, part criticism, \u003cem\u003eDefacing the Monument\u003c\/em\u003e enacts the possibilities and limits of documentary impulses.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSusan Briante\u003c\/strong\u003e is the author most recently of \u003cem\u003eDefacing the Monument\u003c\/em\u003e, a series of essays on immigration, archives, aesthetics and the state, winner of the Poetry Foundation's Pegasus Award for Poetry Criticism in 2021. In a starred review,\u003cem\u003e Publisher's Weekly\u003c\/em\u003e calls the collection \"a superb examination of the ethical issues facing artists who tell others' stories\" and a \"dazzlingly inventive and searching text.\" Briante is also the author of three books of poetry: Pioneers in the Study of Motion, Utopia Minus, and The Market Wonders.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBriante writes creative nonfiction and essays on documentary poetics. Some of these can be found in \u003cem\u003eGulf Coast, Guernica, Black Warrior Review, Creative Nonfiction, Rethinking History, Jacket2\u003c\/em\u003e and \u003cem\u003eThe Believer\u003c\/em\u003e. Her poems and essays been collected in the anthologies \u003cem\u003eThe Best American Poetry 2021, Bodies Built for Game\u003c\/em\u003e (The Prairie Schooner Anthology of Contemporary Sports Writing), \u003cem\u003eThe Poetry of Capital\u003c\/em\u003e (Univ of Wisc.),\u003cem\u003e Poems for Political Disaster\u003c\/em\u003e (Boston Review), The Arcadia Project: the North American Postmodern Pastoral, Starting Today: Poems for Obama's First 100 Days, The Sonnets: Rewriting Shakespeare, and An Introduction to the Prose Poem.\u003cbr\u003e​\u003cbr\u003eA translator, she lived in Mexico City from 1992-1997 working for the magazines\u003cem\u003e Artes de México\u003c\/em\u003e and \u003cem\u003eMandorla.\u003c\/em\u003e Her translations have appeared in the journals \u003cem\u003eBomb, Bombay Gin, Translation Review\u003c\/em\u003e and \u003cem\u003eReview: Latin American Literature and Arts\u003c\/em\u003e (among many others) as well as in the anthologies\u003cem\u003e Reversible Monuments: Contemporary Mexican Poetry\u003c\/em\u003e and \u003cem\u003eHotel Lautreamont: Contemporary Poetry of Uruguay.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHer research and teaching interests include poetry and poetics, creative nonfiction, cross-genre writing, experimental autobiography, documentary studies, affect theory, and translation. She is a professor of creative writing at the University of Arizona and director of the MFA Program in Creative Writing. She serves as the co-coordinator of the Southwest Field Studies in Writing Program. The Southwest Field Studies in Writing program amplifies voices and expands dialogue on issues related to the border by sending three Creative Writing MFA students to engage in reciprocal research and write during a two-week residency in Patagonia, AZ, on projects unique to the borderlands.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Documents of the world beware! Poetry is after you—revising you, extending you, decentering you, complicating you, subverting you. No document has been left unturned in this\u003cem\u003e Defacing the Monument\u003c\/em\u003e: at once an intimate meditation and an analysis, a collection of maps and an indictment, a methodology, a social history, a dialogue, a bearing witness. Is it possible to write fearlessly and, at the same time, compassionately about migration and migrants in the United States today? Susan Briante writes, in addition, with urgency, posing all the necessary questions—especially the most uncomfortable ones—as she implicates herself, and implicates us, in the tragedy and the dignity of migration. I urge you to read this urgent book.\" - \u003cstrong\u003eCristina Rivera Garza\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"I felt so intellectually and emotionally nourished while reading Susan Briante's \u003cem\u003eDefacing the Monument\u003c\/em\u003e. Briante not only attributes, but asks why we must attribute; gives witness accounts but questions who she is as witness. Briante, with such incredible care and generosity, investigates every frame that contains stories of suffering; every platitude that proves our moral certitude. By laying bare these limitations, Briante breaks open possibilities where injustice can be 'newly felt.' Not only that, she asks how poetry can be a social practice and not just a feat of imagination. Anyone who's interested in writing about someone other than themselves needs to read this book. Defacing the Monument is a stunning and brilliant intervention on how poetry documents history.\" - \u003cstrong\u003eCathy Park Hong\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eDefacing the Monument \u003c\/em\u003eelucidates the powerful ways that poetry has documented the present and the absent, the visible and the invisible, the broken and the breaking. Susan Briante's investigations thread through borderlands, languages, genres and discourses to show that our words and poems and bodies always emerge in relation to the violence of the state, the violence of the bank, the violence of those who purchase, who silence, who deport. Poetry can mean something in the public sphere, though the poets don't always believe this. Here are poetries that exemplify this by archiving the erased and the eraser, the consumed and the consumer, the authoritarian bodies and those they seek to destroy.\" - \u003cstrong\u003eDaniel Borzutkzy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"'But a document can pull a nation out from under you,' writes Susan Briante in \u003cem\u003eDefacing the Monument\u003c\/em\u003e, a book that assembles itself in the form of a hybrid primer. She moves beyond the aesthetic limits of what we might refer to as a 'Documentary Poetics' that takes up the task of repairing or reviewing 'the record.' Poet Muriel Rukeyser referred to this process as 'extending the document,' and Briante indeed extends and confronts the troubled archives of our past and present in this essential and transformative text. Equal parts anthology, workbook, essay, collage, archive, and lyric, Briante's living document sets the poet's work of witness in the midst of our current entangled crises of borders, belonging, trauma, nationhood, empathy, and imagination.\" - \u003cstrong\u003eClaudia Rankine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"…a superb examination of the ethical issues facing artists who tell others' stories, within the context of undocumented immigration and her work teaching creative writing at the University of Arizona, in this dazzlingly inventive and searching text.\" - \u003cem\u003e\u003cstrong\u003ePublishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48974338031933,"sku":"9781934819906","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819906ita.jpg?v=1718734676"},{"product_id":"gentlewomen","title":"Gentlewomen","description":"\u003cp\u003eHow do we care for a broken world, especially when we ourselves are broken-hearted? How do we nurture others when we have scarce resources? How do we maintain our own sense of self under these pressures? The work of care falls disproportionately on women and often renders them lacking and unacknowledged in their labor. \u003cem\u003eGentlewomen\u003c\/em\u003e explores personal and historical trauma, bonds between mothers and sisters, and our estrangement from the natural world and from ourselves due to an exploitative and extractive relationship to land and peoples (human and otherwise). Through an allegorical envisioning of a world that is like our own but heightened through the individual lives and responsibilities of three sisters, Natura, Providentia, and Fortuna, the poems sound out in mourning and frustration—and try to imagine the world otherwise. A transformative journey through the shadows towards reconciliation both between sisters and with oneself.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMegan Kaminski\u003c\/strong\u003e is a poet, essayist, and interdisciplinary artist. She is the author of three books of poetry, \u003cem\u003eGentlewomen\u003c\/em\u003e (Noemi Press, 2020), \u003cem\u003eDeep City\u003c\/em\u003e (Noemi Press, 2015) and \u003cem\u003eDesiring Map\u003c\/em\u003e (Coconut Books, 2012) and two artists books, \u003cem\u003ePrairie Divination\u003c\/em\u003e (Sunseen Books, 2022), a book of illustrated essays and oracle deck with artist L. Ann Wheeler, and \u003cem\u003eQuietly Between \u003c\/em\u003e(A Viewing Project. 2022), a co-authored collection of poetry and photography. Her place-based sound, poetry, and art installations have appeared at museums, public gardens, and libraries across the country, and her poetry and essays regularly appear in literary magazines and journals. Her social practice includes two edited volumes of nature poetry and art, as well as hundreds of community workshops, place-based poetry walks, and community readings, talks, and performances, all centered on co-creating with and within our ecosystems towards community connection, healing, and liberatory futures.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA Professor in the English Department's Creative Writing Program and in the Environmental Studies Program with a courtesy appointment in Visual Art at the University of Kansas, she works at intersections of queer ecologies, plant studies, somatics, and ceremony. Her creative work and scholarship are informed by interdisciplinary research in social welfare, plant biology, philosophy, and theology, as well as previous work in the healing arts and at non-profit environmental organizations.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Three sisters, three narrative strands, three chords, each pushing out hidden lights, weave together into a cloth that suddenly appears in this world as a book. But then the cloth that is a book becomes a Mystery School. And within the heart of its structure: a plurality of intensities that animate the longing that loss creates. \u003cem\u003eGentlewomen\u003c\/em\u003e is an alchemical, gorgeously written movement.\" - \u003cstrong\u003eSelah Saterstrom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Once upon a time, the thinkers and writers (all men) figured nature, providence, and fortune as human and, more specifically, as women. Megan Kaminski's new work imagines the three still living and working among us today—sisters to one another other, and perhaps to herself. In her formally evocative, gorgeously baroque poems, these gentlewomen are bountiful, powerful, and tender, both exceeding man's hubris and moored in the wreck it has wrought.\" - \u003cstrong\u003eEvie Shockley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The next male politician who praises a habitat, species, or human community for its 'resilience' will get a copy of Megan Kaminski's \u003cem\u003eGentlewomen \u003c\/em\u003ein the mail from me. Written from deep inside the unsung individual and collective labor it takes to survive ecocidal injustices wrought by patriarchal capitalism, this book documents how it feels 'To be broken into so many pieces the only option to piece something new.' This book reminds us we only survive intertwined with our more-than-human communities: 'The porous body of we and I and they.' Immersed in sustaining networks of affiliation, strained by our complicity with toxic industries, this book preaches embodiment as ethics, poetics as resistance to poisons, our porousness the polis we always already are. This book's a lesson in listening to our 'collective echo' heard in the earth, our biggest sister.\" -\u003cstrong\u003e Brian Teare\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48974414741821,"sku":"9781934819913","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819913ita.jpg?v=1718736107"},{"product_id":"gentry-fication-or-the-scene-of-the-crime","title":"GeNtry!fication: Or The Scene Of The Crime","description":"\u003cp\u003eWinner of the 2019 Minnesota Book Award, \u003cem\u003eGENTRY!FICATION: OR THE SCENE OF THE CRIME\u003c\/em\u003e is a labyrinth full of folk tale and sign, definitions and the black subjects who violate them. In a time where many cities across the nation are undergoing massive shifts in who peoples them, particularly in sites once considered abandoned and without value, this book is weapon of memory a stew of din meant to haunt shallow notions of what has remained or been allowed to remain in geographies. This book will stay with you.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChaun Webster\u003c\/strong\u003e is a poet and graphic designer living in Minneapolis whose work is attempting to put pressure on the spatial and temporal limitations of writing, of the english language, as a way to demonstrate its incapacity for describing blackness outside of a regime of death and dying. Webster's debut book, \u003cem\u003eGentry!fication: or the scene of the crime\u003c\/em\u003e, was published by Noemi Press in 2018, and received the 2019 Minnesota Book Award for poetry.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"With consciousness and verve, deft wordplay and striking design, \u003cem\u003eGeNtry!fication: or the scene of the crime\u003c\/em\u003e offers epic, testimony, and premonition. Pinpointing and pulsating North Minneapolis, this book reframes a site of black imagination and resistance. Here, on the corner of Penn \u0026amp; Lowry, Chaun Webster hobnobs with Lorde, Davis, Smith, and Wells-Barnett, not to mention Baraka, Brathwaite, Rankine, and Ligon. Here, too, the maroon prophet child runs through with quantum feet reminding us to rant against trouble. Like your rent and the North Star, this book is what's up!\" - \u003cstrong\u003eGabrielle Civil\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Check this discourse of trouble. You must immediately read this radical work of black refusal and black manifest\/station. Chaun Webster is doing the subterranean cartographer's work of spatializing a people's topographies of resistance and insistence. Here in the sundown town that is the entire black diaspora-united states-north Minneapolis, Webster addresses the signs and signifiers of the collision of black bodies mapped onto the white imagination's terrorism as geography. Here is din in high contrast. Here is the runaway notice as city neighborhood, as body, as il\/legibility, as a ticket to exile and railroad and high-voltage language lightning strike. A kind of symphony to collective memory and (a) map\/s of liberation\/s passed through the glittery cosmos of black minds, as if black consciousness were always the dark, gorgeous volta, always on the move, slippery when turning our attention back onto the scene of the crime of relentless white colonial violence over black space and the body of the black citizen. Flight, fight.\" - \u003cstrong\u003eSun Yung Shin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Were I to ride the number 19 bus through North Minneapolis, there is no one else I'd rather run into than the runaway-trickster-poet, Chaun Webster. If this book doesn't make you nervous, then step back and put your ear to the ground– listen to 'what lay between and around the subject,' in that forbiDIN space, at the corners of Lowry and Penn. Along these streets lies this book, a series of rogue communiqués for those deemed 'out of place' and in need of an insurrectionary survival text.\" -\u003cstrong\u003e Lara Mimosa Montes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Chaun Webster provides not only liner notes, but typography itself for some TYPE of riot. Not just the sound of breaking it down, but also the look of what language has done and what we must do to it if we would free\/face\/find truth or possibility anywhere here (in ourselves and each other.) This is a text for saying, showing and studying, steeped in the scariest and most necessary black radical thought of our times. Run towards reading this, read this on the run, run with this and run on.\" - \u003cstrong\u003eAlexis Pauline Gumbs\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48974601322813,"sku":"9781934819739","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819739ita.jpg?v=1718738895"},{"product_id":"gorgoneion","title":"Gorgoneion","description":"\u003cp\u003e\u003cem\u003eGorgoneion\u003c\/em\u003e explores the us or them mentality that has permeated U.S. culture since the mid 2010's. Whether personal, political or historical, this collection constantly asks the questions \"what are we doing?\" and \"where do we go from here?\" Taking on a number of social justice issues, \u003cem\u003eGorgoneion\u003c\/em\u003e weaves in wit and humor to add levity to the more somber subject matter throughout the collection. In moments, it reflects a tender interiority and desire to belong while using this sense of alienation to poke holes in the logic of groupthink.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCasey Rocheteau\u003c\/strong\u003e is an author, filmmaker \u0026amp; visual\/sound artist living in Detroit, Michigan. Winner of inaugural Write A House permanent residency in 2014, Rocheteau resides in a home they won with poems. They are a Callaloo Writer's Workshop, Cave Canem, and Bread Loaf Writers' Conference fellow. Rocheteau often works with primary documentation and collage in what they call a haintological practice. This fixation upon specters of the past haunting the present\/\/living impact upon the future informs their work across genres.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Casey Rocheteau's \u003cem\u003eGorgoneion\u003c\/em\u003e presents a textured, unflinching voice that venn diagrams satire and reality to present an audacious uncanny valley effect. Both cutting and cutting up simultaneously, this collection serves as a fun house of our world, reordered and reorientated. We walk in thinking we understand the universe we are about to enter, but we leave with an entirely new perspective and new energy: one that pumps through us in waves from toes to lips.\" - \u003cstrong\u003eSuzi F. Garcia\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Casey Rocheteau's \u003cem\u003eGorgoneion\u003c\/em\u003e is a thousand-headed beauty lithely slithering from the past, present, and future as it examines the nature and pervasiveness of empire. What's found here in these poems is a study of hucksters, devils, tricksters, and 'Sudden Despot's. Personae get remixed and recontextualized like Donald Trump a la Norma Desmond and Kanye West a la Jim and Alex Jones. Through a myriad of masks, \u003cem\u003eGorgoneion\u003c\/em\u003e conjures up evil then stares it down to the realm of the 'marblestuck.' Yes, the acerbic wit and humor we've come to know from Rocheteau's work is present, yet make no mistake, this book holds back nothing in its bite.\" - \u003cstrong\u003eTommye Blount\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48974770471229,"sku":"9781934819487","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819937ita.jpg?v=1718741577"},{"product_id":"greyhound","title":"Greyhound","description":"\u003cp\u003eA memoir-in-verse about the links between movement and how it influences gender identity, perception, and performance, utilizing the bus terminal as a throughway to discuss transition. The book discusses issues that deal with safety, passing, rural and city queerness, police and prison abolition, and autonomy. \u003cem\u003eGreyhound\u003c\/em\u003e is one poem, routed in the authors life, that is the journey and the destination and how those two places are linked through the movement between each other. It is a book for outcasts, true-freaks, weird-o's, and forever and always anyone trans.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAeon Ginsberg\u003c\/strong\u003e (they\/them) is an agender trans feminine bitch from Baltimore City, MD.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"In Aeon Ginsberg's debut, \u003cem\u003eGreyhound,\u003c\/em\u003e we climb onto the bus, onto the Amtrak, into the driver's seat, and are shuttled through all the glorious and fraught miles of transness in America. Transness, of course, is not about destination, so much as it is about just being alive—until we are no longer. In \u003cem\u003eGreyhound\u003c\/em\u003e, the queer body is a pendulum swinging, never true departure, never true arrival. 'Liminality, ya know?' \u003cem\u003eGreyhound\u003c\/em\u003e is a collection that lays us 'down in an ocean without fishes,' and we can't help but to look up and search for a whole new angle of horizon, can't help but search for the future we deserve.\" - \u003cstrong\u003eKayleb Rae Candrilli\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"'There are only two genders: depressed and correct'—so declares this astonishing, often funny, politically bold, and very moving book about movement, much of it on the titular bus. Aeon Ginsberg's \u003cem\u003eGreyhound\u003c\/em\u003e calls to mind queer theorist Sara Ahmed's work on orientation and direction—how normative\/imperative narratives of gender create a path on which a body must tread, if to live a safe and recognizable life. If to live. Here is a bus restroom selfie, a bus station self, a restless shifting of selves and ongoing self-critique. Here is a trans femme poet 'trying \/ trying \/ trying \/ trying \/ trying \/ tiring \/ trying.' Here is a 'hope to move against anything \/ that could possibly grasp me – and refuse it.' Here are the dogs inside 'greyhound.' Here is refusal, then a refusal of that refusal, as gender. Here is a book of winds and departures, tattoos and returns; a beautiful book that recognizes how '[e]veryone is trying so hard to figure out \/ why we are alive,' then says, '[i]t would be a shame to find out, probably.'\" - \u003cstrong\u003eChen Chen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Ginsberg's poems take cliché by the scruff and tear it a new one, rending it asunder. Concepts of destination and journey and traveler are often invoked for people like us; \u003cem\u003eGreyhound\u003c\/em\u003e re-examines them, exploding not only identity but the categories of safety, beauty, pleasure, utility, and the elements with a rare clarity.\" - \u003cstrong\u003eDavid Davis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Aeon Ginsberg's \u003cem\u003eGreyhound\u003c\/em\u003e is a daring feat that charts a shifting conversation with the body. Modular and intimate forms merge to map the voice of friendship, grief, and transition. \u003cem\u003eGreyhound \u003c\/em\u003eis at once a lullaby and friend, but also an interrogation shot through with persistence. Ginsberg demands, 'find me a trans person who is well-fed on joy,' and embarks to embody this reinvention.\" - \u003cstrong\u003eShazia Hafiz Ramji\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48974827651389,"sku":"9781934819937","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819937ita_87995654-4004-4102-b328-92783b327380.jpg?v=1718742502"},{"product_id":"mess-and-mess-and","title":"Mess And Mess And","description":"\u003cp\u003eDouglas Kearney writes, \"If my writing makes a mess of things, it's not to flee understanding, but to map (mis-)understanding as a verb.\" The map's guide is \u003cem\u003eMESS AND MESS AND, \u003c\/em\u003ein which Kearney defines the terms that member his poetics, taking even prefixes\u003cem\u003e as\u003c\/em\u003e a call for semantic inquiry. Within are essays that explore \"the Negrotesque,\" gloss specific poems and poetry collections, the inspirations (from life, literature, and otherwise) he drew upon when putting his pen to the page—as well as studies and drafts from his journals. Simultaneously playful and cutting, Kearney's collection interrogates that which inspires, troubles, and recurs in his work, the mess(es) there.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDouglas Kearney\u003c\/strong\u003e has published eight books ranging from poetry to essays. A Howard University and CalArts alum, Kearney teaches Creative Writing at the University of Minnesota-Twin Cities where he is a McKnight Presidential Fellow. Born in Brooklyn, raised in Altadena, CA, he lives with his family in St. Paul.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The joy in reading \u003cem\u003eMess and Mess and\u003c\/em\u003e comes from the way Douglas Kearney's writing performs and transforms the sensations of the historic, imagined and real black body into a kind of jive signification system of pun, gesture and resistance through time, space, etymology, gloss. Jive meaning: some mess, some movements, some secrets glyphed behind the hand, continually decoding and decoying the code. 'Here, the body shifts to its proxy, language,' as Kearney creates his own methods for naming and theorizing not just creative process but the experience of art and utterance as a relationship with the various phenomena of living, dying and getting free. Evoking the heady erotics of Nathaniel Mackey and the critical interventions of Adrian Piper, Douglas Kearney's meticulous and playful ars poetica illustrates the unseen dimensions of what makes his work necessarily graphic, totally vulnerable and admirably outrageous.\" - \u003cstrong\u003eTisa Bryant\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Now and then, in Altadena, Arkansas and elsewhere, mess is a unit of measure, enough of something to feed anyone that needs to be fed. It's in this regard that measure is poetry—how we sustain and share, in sound and flavor, our capacity to make a living, to live beyond our means, which they keep on trying to keep all for themselves. What you're holding in your hands bears all of that. Shit is hard and terrible, and what you're holding in your hands, which is most definitely the shit, bears all of that, too. Humans have made a mess of things and nothing but swarm, sheen, shimmy, stagger and stutter is gonna get us in deep enough to get us out of it. An old-new analexical word search and blackword research project, an anamessianic mess for the end of time that no one can tell us how to use,\u003cem\u003e Mess and Mess and\u003c\/em\u003e is Miss Ann's apocalypse, Amos 'n' Andy's undermanumission, Douglas Kearney's antimassapiece.\" - \u003cstrong\u003eFred Moten\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This book is a Mess. It's a theory of Black cultural production that does its work by refusing to be straight(ened) up. It's Doug doing his do(o). Dig it. Like a mess of greens, this Mess is gritty to start with, but you know it's going to be goooood. Dig in. It won't read itself—but it might read you.\" -\u003cstrong\u003e Evie Shockley\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48979565543741,"sku":"9781934819517","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819517ita.jpg?v=1718825098"},{"product_id":"slim-confessions-the-universe-as-a-spider-or-spit","title":"Slim Confessions: The Universe as a Spider or Spit","description":"\u003cp\u003e\u003cem\u003eSlim Confessions\u003c\/em\u003e is an image-text about digital intimacy and visceral material. A work of \"autotheory,\" the book lays in parallel the history of \"slime\" as a vehicle for horror and entertainment with personal encounters with quotidian slime in the human and animal worlds. At its center is a story of farm labor: A cold spring spent birthing sheep in northern Iceland interspersed with confessions about the author's sexual past. In the lineage of Dodie Bellamy's \"Barf Manifesto,\" this is a book reveling in repulsion and attraction, a personal investigation of physical touch as approximated by visual media, a slow pour of parallel stories that chronicle a research trip gone awry.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSarah Minor\u003c\/strong\u003e is a writer and interdisciplinary artist and the author of \u003cem\u003eSlim Confessions: The Universe as a Spider or Spit\u003c\/em\u003e, winner of the Noemi Press Book Award for Prose (2021), \u003cem\u003eBright Archive\u003c\/em\u003e, a collection of visual essays (Rescue Press, 2020), and the chapbook \u003cem\u003eThe Persistence of The Bonyleg: Annotated,\u003c\/em\u003e selected by Joseph Harrington (Essay Press, 2016). Her prose and visual poems appear in places like \u003cem\u003eGulf Coast, The Kenyon Review, The Columbia Review\u003c\/em\u003e, and \u003cem\u003eBRINK Magazine\u003c\/em\u003e and have been collected in anthologies like \u003cem\u003eBest American Experimental Writing, A Harp in the Stars\u003c\/em\u003e, and \u003cem\u003eWelcome to the Neighborhood.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMinor is the recipient of a Research Fellowship to Iceland from the American Scandinavian Foundation, a 2019 Ohio Arts Council Individual Excellence Award, and her essay \"Something Clear\" was awarded the 2018 Barthelme Prize in Short Prose. She has held fellowships to the Vermont Studio Center and the Hambidge Center for Creative Arts and was the 2018 Peter Taylor Fellow at the Kenyon Writer's Workshop.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMinor serves as curator of the visual essay series at Essay Daily and as the Video Essay and Cinepoetry Section Editor at \u003cem\u003eTriQuarterly Review\u003c\/em\u003e. She holds a PhD from Ohio University, an MFA from the University of Arizona, and is an Assistant Professor at the University of Iowa.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"'Slime, the digester, suspender, timeeater, slow-sleeper' — you might prop yourself up on Laura Hyunihee Kim's \u003cem\u003eEntering the Blobosphere: A Musing on Blobs\u003c\/em\u003e (if you loved that blobservation, and have wanted ever since to slit a blob and think what spills) and meanwhile you could sink your toes into Jenny Hval's \u003cem\u003eParadise Rot\u003c\/em\u003e (that dripping, moist and leaking novel) as you read Sarah Minor's \u003cem\u003eSlim Confessions\u003c\/em\u003e. You might also want to use as your lamp, if it is nighttime, Johanna Hedva's\u003cem\u003e Minerva the Miscarriage of the Brain\u003c\/em\u003e to remind yourself of a kind of writing that moves (an exuberant, felt report) on top of previous art experiences and collaborations. Now you are ready: This is a slide covered in slime. It slides from Gak to cum, porn to horror, from books to skin to screens eating the world it seems with the all-mouth that Minor— intensively and with a beaming personal touch— theorizes as slime.\" - \u003cstrong\u003eCaren Beilin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Sarah Minor wants to show us what shifts and slithers, what sticks and thwacks (or thwocks). She wants us to think about 'what we can read in slime about ourselves through its tropes and scaffolding.' From work on a sheep farm in Iceland helping lambs through the birthing season to a series of scholarly takes on horror films and pornography, from Blobs to 'star jelly' to money shots, Minor takes us on an inquiry into the interactions of our environment and our skin, our pleasures and our fear. 'I write toward what I'm afraid of' she explains '…or perhaps toward something just past that gore that I have wanted to see all along.' Slim Confessions: The Universe as a Spider or Spit is a masterly crafted provocation against our aversion to the frighteningly formless.\" - \u003cstrong\u003eSusan Briante\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Sarah Minor digs elbow deep into primordial drives of hunger, fear, sex, getting our muck under her nails. SlímConfessions stretches—assimilating an account of birthing lambs in Iceland, analyses of 'the Blob' horror genre cum cumshots, and a dive into adolescent thwocking—without tearing. This is smart, brisk writing, overflowing with potent, pungent sensuousness and vicious, viscous dirt.\" - \u003cstrong\u003eDouglas\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48979578585405,"sku":"9781934819968","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819968ita.jpg?v=1718825951"},{"product_id":"still-nowhere-in-an-empty-vastness","title":"Still Nowhere in an Empty Vastness","description":"\u003cp\u003e\u003cem\u003eStill Nowhere in an Empty Vastness\u003c\/em\u003e is a collection of essays and manifestos engaging hemispheric desires and borderland eventualities in the geopolitical imagination of the Americas. The book enlivens a capacious Latinx poetics, spanning to include 16th- and 17th-century imperial accounts, 20th-century images of Mexico pictured by U.S. artists and writers, the neo-baroque pageantry of José Lezama Lima in post-Revolution Havana, as well as contemporary poets Reina María Rodriguez, from Cuba; Mexican fabulist Pablo Helguera; and Chicano multimedia wordsmith Harry Gamboa Jr., from Los Angeles. Explored also are many-sided masculinities, from conquistador castaway Cabeza de Vaca, stripped and disempowered in the New World; Lezama Lima's \"prison baroque\" of syntactically queer desire; George Oppen's craftsmanship manhood; Jay Wright's Yoruba and Toltec body-doubles, hidden figures of exile and self-foreignness; and the man-child constructed in the media spectacle of modern castaway Elián González. These essays configure a poetics of the Americas, mirror-occasions for reflecting the fear and fantasies prompted by metaphors of occupation, displacement, and counter-conquest.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoberto Tejada\u003c\/strong\u003e is the award-winning poet and author of art histories that include \u003cem\u003eNational Camera: Photography and Mexico's Image Environment\u003c\/em\u003e (Minnesota, 2009) and \u003cem\u003eCelia Alvarez Muñoz \u003c\/em\u003e(Minnesota, 2009); a Latinx poetics of the Americas, \u003cem\u003eStill Nowhere in an Empty Vastness\u003c\/em\u003e (Noemi, 2019), and catalog essays in Now Dig This!: Art and Black Los Angeles, 1960-1980 (Hammer Museum, 2011) and Allora \u0026amp; Calzadilla: Specters of Noon (The Menil Collection; Yale, 2021). His poetry appears in the collections \u003cem\u003eWhy the Assembly Disbanded\u003c\/em\u003e (Fordham, 2022), \u003cem\u003eFull Foreground\u003c\/em\u003e (Arizona, 2012),\u003cem\u003e Exposition Park\u003c\/em\u003e (Wesleyan, 2010), \u003cem\u003eMirrors for Gold\u003c\/em\u003e (Krupskaya, 2006), and \u003cem\u003eTodo en el ahora\u003c\/em\u003e (Libros Magenta, 2015), selected poems in Spanish translation. Tejada's writing spans method, discipline, and form to address the political imagination and impurity of time in shared image environments; configurations of art, life, and language inclined to the future. He was awarded The John Simon Guggenheim Memorial Foundation Fellowship in Poetry (2021).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTejada lived in Mexico City where he worked as an editor of \u003cem\u003eVuelta\u003c\/em\u003e magazine and as executive editor of \u003cem\u003eArtes de México\u003c\/em\u003e. He founded the multi-lingual literary journal \u003cem\u003eMandorla: New Writing from the Americas\u003c\/em\u003e. Co-edited with Kristin Dykstra and Gabriel Bernal Granados, the publication featured innovative writing in its original language—English or Spanish—and high-quality translations of existing material, together with visual art and other forms of critical inquiry. All sixteen issues of the journal are available in digital form at Northwestern University's Open Door Archive.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHe has taught at the National Autonomous University of Mexico, Dartmouth College, University of California San Diego, University of Texas Austin, SMU Meadows School of the Arts, Naropa University's Summer Writing Program, and the Milton Avery Graduate School of the Arts at Bard College. Committed to poetics and open sites of cultural inquiry—regional, transnational, and diasporic—Tejada's research and creative interests involve the language arts and image worlds of Latin America, especially Mexico, Brazil, the U.S.-Mexico Borderlands, and other sites of U.S. Latinx cultural production. He is the Hugh Roy and Lillie Cranz Cullen Distinguished Professor at the University of Houston where he teaches Creative Writing and Art History.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Roberto Tejada's stunning survey demonstrates that our contemporary 'crisis' (rendered in border walls and family separations) constitutes no exception to the politics of the Americas. \u003cem\u003eStill Nowhere in an Empty Vastness \u003c\/em\u003econsiders a poetics of encounters ('the historically contingent events by which a subject is shaped') across the contact zones of the Americas, offering 'provisional glimmers' across a variety of poetic and image-making practices. Tejada lays claim to an ever-present exile, as subjectivities are wrought and dismantled on the wreckage of utopias. And from this elsewhere, Still Nowhere makes clear the imperative that our poetics and our politics must be bound to alternative modes of self-fashioning.\" - \u003cstrong\u003eSusan Briante\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Kin to Eduoard Glissant's \u003cem\u003ePoetics of Relation\u003c\/em\u003e, Roberto Tejada's \u003cem\u003eStill Nowhere in an Empty Vastness\u003c\/em\u003e charts a counter-conquest through transhistorical and transcultural waters to trace the competing desires, dazzling simulations, and 'ostensible selfhoods' that have informed—and continue to activate—a Poetics of the Americas. The remarkable breadth of these essays—joining colonial encounter narratives with the media spectacle occasioned by Elián González's arrival on U.S. shores—stimulates with its pleasure of inquiry and richness of form. And with its needle trembling toward a 'future imperfect,' satisfies with an unfolding relevance to our current political and cultural moment.\" - \u003cstrong\u003eRosa Alcalá\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Throughout these elegant, devastating essays, Roberto Tejada illuminates the fantasies Europeans brought with them as they contacted and colonized the New World. These illusions—repressed, sexual, and manifest in explosive violence and bloodshed—have never ceased haunting this landscape and its people. But the essays collected here are also powerful meditations on varied American masculinities, timely innocence, and the gaze. Engaging with classic texts—from La relación of Álvar Núñez Cabeza de Vaca (1542) and A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson (1682) to Williams's In the American Grain and José Lezama Lima's La expresión americana—Tejada's criticism will soon find its place among the seminal texts that continue to reflect and define the Americas.\" - \u003cstrong\u003ePeter Ramos\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48979698286909,"sku":"9781934819555","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819555ita_1.jpg?v=1718827387"},{"product_id":"lo-terciario-the-tertiary","title":"lo terciario\/ The Tertiary","description":"\u003cp\u003eAkrilica, a co-publishing venture between Noemi Press and Letras Latinas — the literary initiative at the Institute for Latino Studies at the University of Notre Dame — showcases innovative Latino writing. The series name recalls the groundbreaking, bilingual book from the eighties by distinguished Chicano writer, and United States Poet Laureate Emeritus, Juan Felipe Herrera.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWritten in response to the PROMESA bill (Puerto Rico Oversight, Management, and Economic Stability Act) Bill, \u003cem\u003elo terciario \/ the tertiary\u003c\/em\u003e offers a decolonial queer critique and reconsideration of Marx. The book's title comes from Pedro Scaron's, \u003cem\u003eEl Capital\u003c\/em\u003e, the 1976 translation of Karl Marx's classic. Published by Siglo Veintiuno Editores, this translation was commonly used by the Puerto Rican left as part of political formation programs. lo terciario \/ the tertiary places this text in relation to the Puerto Rican debt crisis, forcing readers to reconsider old questions when facing colonialism's newest horrors. This re-release of \u003cem\u003elo tercario \/ the tertiary\u003c\/em\u003e features a new introduction by Urayoán Noel and images by José Ortiz Pagán.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoque Salas Rivera\u003c\/strong\u003e (he\/they) is a poet, translator, and editor from Mayagüez, Puerto Rico. In 2018, he was named poet laureate of Philadelphia, Pennsylvania. Rivera is the author of several collections of poetry, including \u003cem\u003eantes que isla es volcán\/ before island is volcano\u003c\/em\u003e (Beacon Press, 2022); \u003cem\u003ex\/ex\/exis\u003c\/em\u003e(University of Arizona Press, 2021), which won the 2018 Ambroggio Prize; \u003cem\u003ewhile they sleep (under the bed is another country)\u003c\/em\u003e (Birds, LLC, 2019), which was long-listed for the 2020 PEN America Open Book Award and was a finalist for CLMP's 2020 Firecracker Award; and \u003cem\u003elo terciario\/ the tertiary\u003c\/em\u003e(Timeless, Infinite Light, 2018, and Noemi Press, 2019), which was longlisted for the 2018 National Book Award and won a 2018 Lambda Literary Award for Transgender Poetry.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRivera is the coeditor of L\u003cem\u003ea piel del arrecife: Antología de poesía trans puertorriqueña\u003c\/em\u003e (approximately translated \"The Skin of the Reef: An Anthology of Puerto Rican Trans Poetry\") (La Impresora \u0026amp; Atarraya Cartonera, 2023), and\u003cem\u003e Puerto Rico en mi corazón\u003c\/em\u003e (Anomalous Press, 2019), a collection of contemporary Puerto Rican poets. From 2016 to 2018, he was a coeditor and translator for the literary journal \u003cem\u003eThe Wanderer.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRivera's translations include \u003cem\u003eDeudas coloniales: El caso de Puerto Rico by Rocío Zambrana\u003c\/em\u003e (Editora Educación Emergente, 2023) and\u003cem\u003e The Rust of History\u003c\/em\u003e (Circumference Press, 2022), a selection of the poetic work of their grandfather, Sotero Rivera Avilés. Their translation of Ada Limón's poem dedicated to NASA's Europa Clipper mission will be traveling to Jupiter's moon in 2024.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRivera earned a PhD in comparative literature and literary theory from the University of Pennsylvania, and he lives, teaches, and writes in Puerto Rico. With a three-year grant from the Mellon Foundation, they worked as investigator and head of the translation team for El proyecto de la literatura puertorriqueña\/The Puerto Rican Literature Project (PLPR), a free, bilingual, user-friendly and open access digital portal that anyone can use to learn about and teach Puerto Rican poetry.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eUrayoán Noel\u003c\/strong\u003e is a Puerto Rican poet, critic, translator, and performer who teaches at New York University and at Stetson University's MFA of the Americas. He is the author of the critical study \u003cem\u003eIn Visible Movement: Nuyorican Poetry from the Sixties to Slam\u003c\/em\u003e (University of Iowa Press, 2014), winner of the LASA Latino Studies Book Award, and of eight books of poetry, including \u003cem\u003eBoringkén \u003c\/em\u003e(Ediciones Callejón, 2008), named a Book of the Year by El Nuevo Día, and \u003cem\u003eTransversal\u003c\/em\u003e (University of Arizona Press, 2021), named a Book of the Year by the New York Public Library Book and also longlisted for the PEN Open Book Award. Noel's translations include\u003cem\u003e No Budu Please \u003c\/em\u003eby Wingston González (Ugly Duckling Presse, 2018) and \u003cem\u003eadjacent islands\u003c\/em\u003e by Nicole Cecilia Delgado (UDP\/DoubleCross Press\/La Impresora, 2022). He has been a finalist for the National Translation Award, the Best Translated Book Award, the International Latino Book Awards, the National Poetry Series Paz Prize for Poetry, and the Modern Language Association book prizes, and he has been honored with a National Books Critics Circle Small Press Highlights selection as well as fellowships from the Howard Foundation, the Ford Foundation, and the Schomburg Center and a Letras Boricuas fellowship in poetry from the Mellon and Flamboyán Foundations. Noel's work has been exhibited at the Museum of the City of New York and the Museo de Arte de Puerto Rico and has been published in \u003cem\u003eThe New York Times,\u003c\/em\u003e \u003cem\u003ePoetry\u003c\/em\u003e, and \u003cem\u003eGoogle Arts \u0026amp; Culture.\u003c\/em\u003e His international performances include Poesiefestival Berlin, Barcelona Poesia, and the Toronto Biennial of Art, and he has been both fellow and faculty at CantoMundo and the Macondo Writers Workshop. Originally from Río Piedras, Puerto Rico, Urayoán Noel lives in the Bronx and is an editorial advisor for the Latino Poetry initiative (Library of America). He serves on the board of the Clemente Soto Vélez Cultural and Educational Center, and is a founding member of The Latinx Project at NYU, as well as Editor-in-Chief of its online publication \u003cem\u003eIntervenxions,\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48979883426109,"sku":"9781934819821","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819821ita.jpg?v=1718831869"},{"product_id":"heart-like-a-window-mouth-like-a-cliff","title":"Heart Like A Window Mouth Like A Cliff","description":"\u003cp\u003e\u003cem\u003eHeart Like a Window, Mouth like a Cliff \u003c\/em\u003eis a transgressive, yet surprisingly tender confrontation of what it means to want to flee the thing you need most. The speaker struggles through cultural assimilation and the pressure to \"act\" Mexican while dreaming of the privileges of whiteness. Borjas holds cultural traditions accountable for the gendered denial of Chicanas to individuate and love deeply without allowing one's love to consume the self. This is nothing new. This is colonization working through relationships within Chicanx families—how we learn love and perform it, how we filter it though alcohol abuse—how ultimately, we oppress the people we love most. This collection simultaneously reveres and destroys nostalgia, slips out of the story after a party where the reader can find God \"drunk and dreaming.\" Think golden oldiez meets the punk attitude of No Doubt. Think pochas sipping gin martinis in lowriders cruising down Who Gives a Fuck Boulevard.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSARA BORJAS\u003c\/strong\u003e is a Xicanx pocha, is from the americas before it was stolen and its people were colonized, and is a Fresno poet. George Floyd. Delaina Ashley Yaun Gonzalez. Heba Abu Nada. Xiaojie Tan. Say their names. Refaat Alareer. Her debut collection of poetry, \u003cem\u003eHeart Like a Window, Mouth Like a Cliff\u003c\/em\u003e was published by Noemi Press in 2019 and won a 2020 American Book Award. Mustafa Al-Sawwaf. Breonna Taylor. Daoyou Feng. Sara was named one of Poets \u0026amp; Writers 2019 Debut Poets and the recipient of the 2014 Blue Mesa Poetry Prize. Hamza Al Dahdouh. Ahmaud Arbery. Suncha Kim. Sara has received fellowships from MacDowell, CantoMundo, Ragdale, Sewanee Writers' Conference, Monson Arts, Art Omi, Storyknife and VCFA Postgraduate Writers' Conference. Her work can be found in \u003cem\u003eThe Rumpus, The Gettysburg Review, Catapult, Ploughshares, Poem-a-Day by The Academy of American Poets, Alta\u003c\/em\u003e and \u003cem\u003eThe Offing,\u003c\/em\u003e amongst others. Sandra Bland. Soon Chung Park. Ahmed Fatima. She teaches innovative undergraduates at CSU East Bay, believes that all Black lives matter and all Palestinian lives matter and will resist white supremacy until Black liberation is realized and Palestine is free. Sara lives in Oakland and stays rooted in Fresno. Find her @saraborhaz or at saraborjas. Free Palestine. Say their names.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Sara Borjas' \u003cem\u003eHeart Like a Window, Mouth Like a Cliff\u003c\/em\u003e is fiercely particular. In poem after poem, Borjas explores her heritage, her family and herself with a near-pitiless eye. And it is that very eye that distinguishes her poems—the particularness of Borjas' vision arises from her final refusal to be pitiless. Everyone Borjas' eye sees, it sees with an overwhelming empathy that surpasses the empathy one encounters in all but the most generous poems. It is a testimony to, and a triumph of, an imagination informed by love.\" - \u003cstrong\u003eShane McCrae\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Sara thinks about love then not-love, she examines the ashes, shadows, the nostalgia of nostalgia destroyed. 'Bothering the neighborhoods,' somewhere in the past, present, in who she is. Mother, father, brother and grandmother appear before her and argue as ghosts argue. Sara is the poem, of course. She drives away. It is the 'driving away' from where you bask, that interests me, that will captivate you. This is a groundbreaker. Good-bye to fashionable old stuff, adios to the graspable that can never be touched. Come to the fearless. A brava-shaking collection.\" - \u003cstrong\u003eJuan Felipe Herrera\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Part honest autobiography and part lyrical ode to the complex California landscape, this book is an entrancing invitation. These full-throated poems let the reader stand fully in the speaker's world where trauma, familial ties, and a bond to home converge to form a triumphant debut.\" - \u003cstrong\u003eAda Limón\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In Heart Like a Window, Mouth Like a Cliff, Sara Borjas unearths subtext, syllables and terms for decolonization and identity; what it is to be Mexican, Xicana, Pocha, and even, poet. Yet, precisely because Borjas is a poet, familiar tropes and structures for these terms scatter at the feet of experience and living. Here, decolonization is not an undoing or expelling, so much as pulling close and centering in. It is intimate and feeling. And it happens now, in the daily, in this place, in Borjas' Fresno where there are oranges, walnuts, and grapes; chain link fences, neon signs, car horns; drinking, jokes, longing, confession, pride, desperation; above all, mother, father, and family. Even as the poet sits at the kitchen table to write a love poem, her mother's wooden blinds, her father's tomato plants, and 'a wound like a whole city sprawled inside' remind her that she is 'not allowed to forget where I came from.' In Borjas' collection, I realize that understanding one's identity is not through the intellect nor even through poetry alone, but through painful, truthful, very real, and utterly tender love.\" - \u003cstrong\u003eLayli Long Soldier\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48979995820349,"sku":"9781934819791","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819791ita.jpg?v=1718830819"},{"product_id":"the-ghost-in-us-was-multiplying","title":"The Ghost In Us Was Multiplying","description":"\u003cp\u003eWhere does one body end and another begin? In\u003cem\u003e The Ghost in Us Was Multiplying\u003c\/em\u003e, Brent Armendinger explores the relationship between ethics and desire, between what is intimate and what is public. Although grounded in lyric, these poems are ever mindful of how language falls apart in us and - perhaps more importantly - how we fall apart in language. Armendinger asks, \"What ratio of news and light should a poem deliver?\" This book is a continuous reckoning with that question and the ways that we inhabit each other.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrent Armendinger\u003c\/strong\u003e was born in Warsaw, NY, and studied at Bard College and the University of Michigan, where he received an Avery Hopwood Award in Poetry. He is the author of \u003cem\u003eStreet Gloss\u003c\/em\u003e (The Operating System, 2019) and \u003cem\u003eThe Ghost in Us Was Multiplying \u003c\/em\u003e(Noemi Press, 2015), both of which were finalists for the California Book Award in Poetry. Brent is also the author of two chapbooks, \u003cem\u003eUndetectable\u003c\/em\u003e (New Michigan Press, 2009) and \u003cem\u003eArchipelago\u003c\/em\u003e (Noemi Press, 2009). His poems and translations have appeared in many journals, including \u003cem\u003eAnomaly, Asymptote, Aufgabe, Bennington Review, Bloom, Colorado Review, Denver Quarterly, Georgia Review, Ghost Proposal, Hayden's Ferry Review, Interim, LIT, Puerto del Sol, Tinfish, Volt\u003c\/em\u003e, and \u003cem\u003eWeb Conjunctions\u003c\/em\u003e. He has been awarded residencies and fellowships at Willapa Bay AiR, Mineral School, Blue Mountain Center, Headlands Center for the Arts, and the Community of Writers. Brent teaches creative writing at Pitzer College and lives in Los Angeles.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\"The poems in Brent Armendinger's 'The Ghost in Us Was Multiplying' are hushed, as if spoken the morning after a heavy snow. They are also admirably attentive to sadness, breath, and desire. Their speaker laments being 'too permeable,' but it's precisely that translucence that matters here: it makes audible the music of his 'almost way of touching,' as well as delivering the sometimes melancholy, perennially essential sound of 'how the heart opening always feels.'\" - \u003cstrong\u003eMaggie Nelson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"To 'multiply.' To ' devote.' To 'ferment inside a hush.' Brent Armendinger writes through and from the body, recollected [contravened] at all turns by the ferocity of its accompanying landscapes, affinities and the heart itself. 'How else can I survive?' writes the poet, deep inside a book that traces the index of an intense need: the kind of contact that can't be assuaged by touch alone. I was so interested in this other, longitudinal and 'surpassing' touch that happened again and again in a book both measured and dreamed: the 'pictogram,' for example, that's heard rather than seen; the blood that's mailed 'back north' — a 'stain, my zero.' What does it mean to encounter a zero — a 'stranger' — that doesn't diminish in repetition, but which strengthens, glitters, hurts to look at directly or feel? Brent Armendinger writes into this quality or 'crucial' space with an emotional and soulful approach to the 'amniotic' potential of vocabularies, human and otherwise. 'What do the birds think?' I loved this book so much, for what it senses into as much as it expresses: a longing for radical company; studies of water and cosmic flows of all kinds. 'Where will you live now,' asks the poet, 'and can you hear it,\/the way your voice has changed?' Brent Armendinger is a rare experimental writer who writes deeply and passionately from the soul. I am extremely honored to write in support of his poetry.\" - \u003cstrong\u003eBhanu Kapil\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"I'm full of admiration for Brent Armendinger's queer lyrics, which bravely convey desire's atmospheric density and disturbing power through elegant and mysterious figuration. Though these poems tell stories about gay life in the age of AIDS, they're stories written with a 'wet alphabet' capable of rendering the incredibly porous and vulnerable state of the desiring mind. Moving through simile and metaphor, substitution and displacement, these poems portray queer subjectivity as 'a double preposition,\/a corridor in briefly,\/the mind outside the mind in me.' Everywhere in this singular work, language that seems to lead inward instead leads outward. I love Armendinger's passionate commitment to that paradox. And I love his ambitious central task: 'I type a letter to the otherness I call you.'\" - \u003cstrong\u003eBrian Teare\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Armendinger is a master at using fragmented language with precise purpose. His poems experiment with language and form—this collection includes a poem delivered in the form of an instant messenger conversation, and a poem placed as a footnote within another poem—but never read as mere avant-garde posturing. Instead, Armendinger again and again finds new ways to use defamiliarized language to access the unsayable. It's a rare and wonderful thing to find a poet who can so powerfully, vividly, and gracefully engage with the problems of language and the world. The Ghost In Us Was Multiplying is a vital book: experimental, substantial, fragmented, unified, unsettled, and unsettling, Armendinger's work is key reading for all those who care about what our broken words can do.\" - \u003cstrong\u003eJ.G. McClure\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":48980032651581,"sku":"9781934819357","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819357ita_1.jpg?v=1718831665"},{"product_id":"these-days-of-candy","title":"These Days of Candy","description":"\u003cp\u003eAkrilica, a co-publishing venture between Noemi Press and Letras Latinas — the literary initiative at the Institute for Latino Studies at the University of Notre Dame — showcases innovative Latino writing. The series name recalls the groundbreaking, bilingual book from the eighties by distinguished Chicano writer, and United States Poet Laureate Emeritus, Juan Felipe Herrera.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eManuel Paul López creates a psychedelic hybrid collection that brings humor and pop art together through verse plays, micro fiction, and poems that engage in an ever-shifting reality.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eManuel Paul López\u003c\/strong\u003e's books include\u003cem\u003e Nerve Curriculum\u003c\/em\u003e (Futurepoem), \u003cem\u003eThese Days of Candy\u003c\/em\u003e (Noemi Press, Akrilica Series), \u003cem\u003eThe Yearning Feed\u003c\/em\u003e (University of Notre Dame Press), winner of the Ernest Sandeen Poetry Prize, and \u003cem\u003eDeath of a Mexican and Other Poems\u003c\/em\u003e (Bear Star Press). He also co-edited three anthologies, \u003cem\u003eReclaiming Our Stories: In the Time of Covid and Uprising\u003c\/em\u003e (City Works Press),\u003cem\u003e Reclaiming Our Stories 2\u003c\/em\u003e (City Works Press) and \u003cem\u003eReclaiming Our Stories \u003c\/em\u003e(City Works Press), all three generated from a community-based writers' workshop of the same name that he's co-facilitated in Southeast San Diego. A CantoMundo fellow, his work has been published in \u003cem\u003eBilingual Review, Denver Quarterly, Fairy Tale Review, Hanging Loose, Huizache, New American Writing, Puerto del Sol,\u003c\/em\u003e and \u003cem\u003eThe Rumpus\u003c\/em\u003e, among others. López was also awarded a Creative Catalyst Fund grant from the San Diego Foundation. He lives in San Diego and teaches at San Diego City College.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"López (The Yearning Feed), a sort of psychedelic stenographer, writes what feels like a puckish manifesto from inside a dream in this shape-shifting collection. 'To avoid bad luck hum the first verse of the greatest poem of all time,' he writes, 'though use discretion, because many will disagree with your choice and attempt to cut you.' Most of López's cross-genre work displays a storytelling quality, recalling jokes and anti-jokes, parables and anti-parables. Whether López is working through lyric poetry or playlist-fueled verse dramas (which comprise the majority of this volume) or prose experiments, each piece remains stealthily comic, with biting turns and bursts of imagination that recall such figures as Leonora Carrington and Gabriel García Márquez. Each piece slides on a fabulist tilt: a person comes to grips with possibly being a Muppet, a boy with an apple on his head dies of hunger, and 'the angel of Marlboro Smoke Road' emerges from 'its coral reef like a small, ornate necktie.' The greatest act of prestidigitation that López achieves is maintaining a big heart throughout his work: 'You're a real imagination. That's what your grandmother always said, a real imagination, mijito. Now keep stenographing your big heart away because the world needs to change with beauty in mind.' López's absorbing hybrid forms are full of humor, ingenuity, and sly politics.\" -\u003cstrong\u003e Anonymous\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In his latest book, These Days of Candy, Manuel Paul López writes: 'I'm a mouth with your laughter trapped in me.' That laughter is streaked with 'tears,' 'dried fireflies,' 'blood,' and 'long inspired verses.' Walt Whitman may have contained multitudes, but López brings us 'The Warriors' (there are dozens of them, all memorable), 'Mouse Pad Becky,' 'Radio Mind,' 'Mr. Signal,' 'The Saddened Man,' and 'the superhero towel'– determined, defiant, and stunted individuals whose voices (the ones Mr. 'White' Whitman ignored) are shrill, sharp, sensuous, and snappy. They bounce us around the expanding universe of warehouses and vacation hideaways, as they burrow into our lives, persistent as worms. 'I am disoriented from the daily blood donations extorted from the body via black and white bloodmobiles.' Lopez's poems are 'a walking coagulant,' a 'One angel wheelbarrowed inflation,' and a 'Global Positioning System.' The only way to release the laughter is to read Lopez's testimonies, as necessary as the poisonous air that we have to breathe.\" - \u003cstrong\u003eJohn Yau\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49231671329085,"sku":"9781934819722","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819722ita.jpg?v=1723493004"},{"product_id":"gospel-of-regicide","title":"Gospel of Regicide","description":"\u003cp\u003ePoetry. \u003cem\u003eTHE GOSPEL OF REGICIDE\u003c\/em\u003e takes the Gnostic text The Gospel of Judas as a loose primer in the production of fundamental rupture. The book interrogates the construction of insurrection predicated on a designed\/planned treachery. It takes seriously the disconcerting claim that our current political narratives rely on biblical meaning—and fixates on the composition of rupture as poetic fodder. Here, story itself becomes the very place that works against nostalgia, autobiography, the reification of memory in all its forms.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEunsong Kim\u003c\/strong\u003e is an Associate Professor in the Department of English at Northeastern University. Her practice spans: literary studies, critical digital studies, poetics, translation, visual culture and critical race \u0026amp; ethnic studies. Her writings have appeared in: \u003cem\u003eLateral: Journal of the Cultural Studies Association, Journal of Critical Library and Information Studies\u003c\/em\u003e, and in the book anthologies, \u003cem\u003eDeep Fakes from the Algorithm's \u0026amp; Society \u003c\/em\u003eseries\u003cem\u003e, Poetics of Social Engagement\u003c\/em\u003e and \u003cem\u003eReading Modernism with Machines.\u003c\/em\u003e Her poetry has appeared in the \u003cem\u003eBrooklyn Magazine, The Iowa Review, Minnesota Review\u003c\/em\u003e amongst others. She is the author of \u003cem\u003egospel of regicide,\u003c\/em\u003e published by Noemi Press in 2017, and with Sung Gi Kim she translated Kim Eon Hee's poetic text\u003cem\u003e Have You Been Feeling Blue These Days? \u003c\/em\u003epublished in 2019. Her forthcoming academic monograph, \u003cem\u003eThe Politics of Collecting: Race \u0026amp; the Aestheticization of Property\u003c\/em\u003e (Duke University Press 2024) materializes the histories of immaterialism by examining the rise of US museums, avant-garde forms, digitization, and neoliberal aesthetics, to consider how race and property become foundational to modern artistic institutions. She is the recipient of the Ford Foundation Fellowship, a grant from the Andy Warhol Art Writers Program, and Yale's Poynter Fellowship.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"In Gospel of Regicide, Eunsong Kim develops a thrilling method for unwriting lyric even as she reimagines it, creating a socially engaged poetry of and for our time. Anticapitalist, feminist and anti-racist yet critical of non-intersectional understandings of identity and selfhood, she is unafraid of drawing the sacred from the pedestrian, and unbeholden to whiteness as foundation. These poems, mutable in form and style, yet cohesive in their vision, suggest a complex and different order allowing us to 'complete the story.' Kim kills the king, and blesses us with a superlative collection as a result.\" - \u003cstrong\u003eJohn Keene\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Eunsong Kim's debut is stunning, a necessarily traitorous rebuke of the systems and hierarchies that strangle. Replete with a webbing of Judas Escariot, the economics of raced and gendered performances that shape non-white experiences within the staging of capitalism—it is 'the story of money,' of debts; the story of lies that are the 'only foundation;' the story of how to be a non-white body in white spaces is to be a 'them'; a plotting that is a living, breathing, and subjective body—a body that experiences a world that builds them out of it. Gospel of Regicide is satisfyingly unapologetic in its propositions for alternate futures, histories, and homes. In this regicide, home is only safe when and where the king has been deposed. You must read this book. When Kim states that 'Traitors are more prepared than you are,' you will shiver to think of what side you're actually on.\" - \u003cstrong\u003eLillian-Yvonne Bertram\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Near the start of Gospel of Regicide, Eunsong Kim writes: 'i hate everything about your presence.' It's a turn in the work that ruptures the phatic communion between vocal, inhibited and non-maternal participants: the agreed-upon exchange of what is uttered and then named. It's not simply, in this instant, that a colonial self splits off, but also, that the economic category of compensation has reached its limits. Ardor, aversion and courage are all present in this line, a charge which carries this much longed-for book by a writer who has been dazzling me since I first heard her present an incredible talk, Rogue Count, at a conference on race and creative writing in Spring 2015. I also want to note the experience of narrative time in this extraordinary work: the 'stories that do not remember them.' Here, story itself becomes the very place that works against nostalgia, autobiography, the reification of memory in all its forms. Instead, Kim writes the void-pivot of 'a plot without faith.' By evoking a space that can't be catalogued or recuperated by conventional means, Kim is able to develop her work in the axial space of duration, performance and the extreme poetry that accompanies the 'revisions' [deletions, mutations] of both these scripts. Gospel of Regicide is a brilliant book. I want to start a trans-global book club to think about it more. Would you like to join?\" - \u003cstrong\u003eBhanu Kapil\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49231750103357,"sku":"9781934819692","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819692ita.jpg?v=1723496685"},{"product_id":"the-reveal","title":"The Reveal","description":"\u003cp\u003eChloe Garcia Roberts writes with keen attention to sound and with mythic insight in this addition to Noemi Press's Akrílica Series. In a book whose titles themselves are resonant miniature poems, a reader experiences 'a silver stitch in death between the walked and the walking' and arrives at a place 'where an I is hemorrhaging into smoke.' It's a world where 'the silk griefblossom of a new face' is indelible, and the speaker is simply 'in front of the glass.' This book is a marvelous debut.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eChloe Garcia Roberts\u003c\/strong\u003e is a poet and translator from the Spanish and Chinese. She is the author of a book of poetry, \u003cem\u003eThe Reveal\u003c\/em\u003e, which was published as part of Noemi Press's Akrilika Series for innovative Latino writing and her second book, \u003cem\u003eFire Eater: A Translator's Theology\u003c\/em\u003e is forthcoming in 2024. She lives outside Boston and works as deputy editor of Harvard Review and as a lecturer of poetry at MIT.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"In Chloe Garcia Roberts' haunted poems, the notion of what's undone—in both senses of yet unfulfilled and finally destroyed—takes on luminous force. The world in her poems wavers between these limits; sometimes what's undone is a presence, sometimes it is an absence, but the speaker's need for understanding becomes a potent spell of potential. It is what makes for the heated tension in these fine lyrics.\" -\u003cstrong\u003e Sandra Lim\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The depth of Garcia Roberts' work is as brave and elemental as Nietzsche's radical questioning: what is love? what is creation? what is longing? what is a star? But the force of her voice comes from generosity rather than resistance, an appetite for perceptual splendor in the midst of scarcity, and an utterly unique ability to embody, not simply describe, the spiritual complexity apparent in everyday experience. The glorious table of contents of The Reveal lists luxurious titles that combine effusion and a delicate sharpness (you must stop and read it alone, for it is itself a poem). I'm going to keep The Reveal right between Gerard Manley Hopkins and Adrienne Rich, poets who could keep watch over our humanity's sustained, but so often muted, emergency. How could Garcia Roberts have made a 'dark night of the soul' as buoyant as this, so full of the ability to make words rise?\" - \u003cstrong\u003eKatie Peterson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Garcia Roberts has made a map, here, in and with her language. A language so rendered by body and intellect and loss that I find myself whispering them aloud. Whispering because I both want to know their wisdoms, but am afraid of them—their brazenness and powers of saying. The Reveal is utterly elegiac, blistering, imaginative, urgent—rendered out of reverence for life, but also a quiet daring to wrestle to say something true about loss, grief, and the strange logic of a world seemingly governed by time. 'I knew were I to raise a hand to stop you,\/ I would find I could not raise a hand to stop you.' 'Nothing is stable. Air can step out of water. Water can step out of air.' Revelation sitting so close to woe. The terror and blessing of a poetics (a world) built on inversions. 'May the terrible eye of god\/ swim over you.\/\/ May it at once:\/\/ Recognize you, forget you.' I leave these poems astonished by how they undo the hem of my thinking, my seeing.\" - \u003cstrong\u003eAracelis Girmay\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49231768682813,"sku":"9781934819456","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819456ita.jpg?v=1723497045"},{"product_id":"the-university-of-pennsylvania","title":"The University of Pennsylvania","description":"\u003cp\u003eOlivia Knox has womb duplicatum, a rare affliction of continuous menstruation. Blood—it is not just blood!—tumbles unstoppably during her freshman year at the University of Pennsylvania. This problem of excess—blood full of marbles and beans, something thick enough to be black, sometimes sick enough to be brown, sometimes wild, almost violet again—foregrounds Beilin's revision (queer and erotic) of Pennsylvania's foundations. Tracing a relationship between George Fox and William Penn, Bethlehem's industrial boom, Jewish suburbia and Amish farming, and the origins of surgical education in America, \u003cem\u003eThe University of Pennsylvania\u003c\/em\u003e convenes at the University of Pennsylvania, where Olivia Knox confronts a surgical solution.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCaren Beilin\u003c\/strong\u003e is the author of the novel \u003cem\u003eRevenge of the Scapegoat\u003c\/em\u003e (Dorothy, a publishing project, 2022), winner of the Vermont Book Award for Fiction. Her other books are \u003cem\u003eBlackfishing the IUD\u003c\/em\u003e (Wolfman Books, 2019), \u003cem\u003eSpain\u003c\/em\u003e (Rescue Press, 2018),\u003cem\u003e The University of Pennsylvania \u003c\/em\u003e(Noemi Press, 2014), and the chapbook \u003cem\u003eAmericans, Guests, or Us\u003c\/em\u003e (Diagram\/New Michigan Press, 2012). A new novel, \u003cem\u003eSEA, POISON\u003c\/em\u003e, is forthcoming from New Directions in 2025.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Angry and ecstatic, The University of Pennsylvania is the highly metaphorized story of woman's education into a potentially limited and limiting series of institutions embodied best in the image of a surreal slaughterhouse. The novel's prose is astonishing. An important new voice has just entered the literary party. Listen.\" - \u003cstrong\u003eLance Olsen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"No one writes like Caren Beilin. If Angela Carter got commingled with Gary Lutz in Lara Glenum's Miraculating Machine, they might have produced the kinds of sentences found in The University of Pennsylvania, clausal bell-ringers that rewire your brain. Part family gothic, part queer historiography, Beilin's book conjures a Pennsylvania made of butter, gelatin, and blood, a murderzone in which bleeding girls and boneless horses, patricides and founding fathers interpenetrate, become portmanteau creatures that gorge on taboo. Every emotion is an image. Every image packs an erotic depth charge. Prepare to feel language at its most vandalous, its most painfully exciting. I had to read parts aloud, to use my mouth as a release valve, or I would have exploded on the spot. Finally, language has an orgasm.\" -\u003cstrong\u003e Joanna Ruocco\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49231793160509,"sku":"9781934819371","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819371ita.jpg?v=1723497840"},{"product_id":"titulada","title":"TITULADA","description":"\u003cp\u003eelena minor has described her work as \"words of exploration\" that \"well up on their own terms — who can know what those truly are.\" Which brings to mind that perhaps loaded term, \"indeterminacy\"—meaning not only what Marjorie Perloff has in mind in her groundbreaking volume from the early 80s arguing against what she deemed a tired way of looking at the poetics of the day, but also John Cage, when he states that a piece of music can be \"performed in substantially different ways.\" In elena minor's case, you'll find a plethora of ways she deploys her poems, not only linguistically (English and Spanish are on equal footing here), but also the various topographies she has at her disposal when arraying her words (and numbers!) on the page. \u003cem\u003eTITULADA\u003c\/em\u003e, then, is deliciously indeterminate in the best sense of the word. This is her artistic lineage.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eelena minor\u003c\/strong\u003e's work is provoked by a basic curiosity about the mystery, paradox and possibilities of spaces, symbols and juxtapositions in language. Her work has appeared in more than two dozen print and online journals, including \u003cem\u003eRHINO, Mandorla, Hot Metal Bridge, OCHO, 26, Puerto del Sol, Diner, Poetry Midwest, Quercus Review\u003c\/em\u003e, and \u003cem\u003eSegue\u003c\/em\u003e. She is a recipient of the Chicano\/Latino Literary Prize and is founding editor of \u003cem\u003ePALABRA A Magazine of Chicano \u0026amp; Latino Literary Art\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"elena minor remembers the city as its traffic breaks making gaps for words to stretch [collude] pop. Flows out of its limits into a great expanse, where contrasts bulwarking thought threaten to slide away. Her poems warm, uncoil, slither across the page; only to cycle back cold as a desert night. Corrientes de sangre, sendero seco. What's left? Some rattling west. And this body wanting to confide in you: 'bone breathe down.'\" - \u003cstrong\u003eKrystin Dykstra\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49235121209661,"sku":"9781934819319","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819319ita.jpg?v=1723581926"},{"product_id":"transgressive-circulation","title":"Transgressive Circulation","description":"\u003cp\u003ePoetry, Frost is often quoted as having said, is what is lost in translation, and American poets and critics have long taken this as their cue to subordinate translation to other forms of literary activity and to disqualify translated texts. In \u003cem\u003eTransgressive Circulation\u003c\/em\u003e, poet, translator, and publisher Johannes Goransson reverses this dynamic, holding that we should use translation to re-assess our entire aesthetic establishment. Rather than argue against the denigration and abjection of translation - and most foreign texts - this book investigates those dark zones of expulsion as grounds for new possibilities, not just for translation but for literature as a whole.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohannes Göransson\u003c\/strong\u003e is the author of ten books of poetry and criticism - including \u003cem\u003eThe New Quarantine \u003c\/em\u003e(2023) and \u003cem\u003eSummer\u003c\/em\u003e (2022) - and is the translator of several books of poetry, including works by Aase Berg, Eva Kristina Olsson, Ann Jäderlund, Helena Boberg and Kim Yideum. His poems, translations and critical writings have appeared in a wide array of journals in the US and broad, including \u003cem\u003eFence, Lana Turner, Poetry Magazine, Spoon River Review, Modern Poetry in Translation\u003c\/em\u003e (UK), \u003cem\u003eKritiker\u003c\/em\u003e (Denmark) and \u003cem\u003eLyrikvännen\u003c\/em\u003e (Sweden). His is a professor in the English Department at the University of Notre Dame and - together with Joyelle McSweeney, Paul Cunningham and Katherine Hedeen - edits Action Books.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"This irreverent book proves that translation's 'violent embrace' of foreign poetry turns words into little girls, whales or pigs ⎯words that have lost their mojo thanks to overuse in familiar contexts. In an argument constructed in nine tempos, an expanding chorus resoundingly proves that being infected by a hoard of dead pigs from a country like Korea performs the very surgical intervention into our brains that we've needed for so long: the one that will make us poets, translators, and moreover, 'humans,' in a way that has never occurred to us in our tight centripetal orbits. It's the farther planets, the ones closest to dark matter, that shatter the symmetry that is not only fake but far more dangerous than the infected, erotic, filthy, womanly asymmetry of the foreign when it finally, in the hands of courageous translators ⎯ like Don Mee Choi has been for Kim Hyesoon — gives poetry the chance to remain untamed.\" - \u003cstrong\u003eValerie Mejer Caso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In Transgressive Circulation, Johannes Göransson offers poignant diagnoses of how translation is viewed in the isolated zones of US poetry. He uses a multivalent, interdisciplinary approach to analyze how discussions about translation become microcosms for larger discussions of nationalism and disdain for the foreign. Transgressive Circulation is at its most acute in its case studies of translations of Swedish poet Aase Berg and Korean poet Kim Hyesoon. Göransson ultimately demonstrates not only how translation serves as a language-moving device, but also how it becomes a vital generator for 'first-language' poetry 'in a toxic state of circulation.'\" - \u003cstrong\u003eDaniel Borzutzky\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49235180060989,"sku":"9781934819593","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819593ita.jpg?v=1723583941"},{"product_id":"travesty-generator","title":"Travesty Generator","description":"\u003cp\u003eLike a ghost in the machine, \u003cem\u003eTravesty Generator\u003c\/em\u003e remixes programming codes and turns them to ruminate on the intersections of race and gender. Rhythmic, hypnotic, and percussive, the poems are iterative and suggest the infinite recursions of nano data. The poems pay homage to lives taken too soon, those of Trayvon Martin, Eric Garner, pulls heroes like Harriet Tubman into the present, and offers the wisdoms spoken by Black mothers to their children. \u003cem\u003eTravesty Generator\u003c\/em\u003e reminds us that programming languages and computer codes are not neutral. But while oppressive algorithms abound, the poems hack their way into new connections and possibilities for Black life.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLillian-Yvonne Bertram\u003c\/strong\u003e is an Associate Professor of English, Africana Studies, and Art \u0026amp; Design at Northeastern University. Previously they directed the MFA in Creative Writing at UMASS Boston. They have previously taught at St. Lawrence University, Ithaca College, and Williams College. They also direct the Chautauqua Institution Writers' Festival.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBertram has published poetry, prose, and essays in numerous journals, their honors include a 2017 Harvard University Woodberry Poetry Room Creative Grant, a 2014 National Endowment for the Arts Poetry Fellowship, finalist nomination for the 2013 Hurston\/Wright Legacy Award, a Vermont Studio Center Fellowship, and fellowships to the Bread Loaf Writers Conference, Cave Canem, and others.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBertram holds a PhD in Literature \u0026amp; Creative Writing from the creative writing program at the University of Utah, among degrees from Carnegie Mellon University and the University of Illinois at Urbana-Champaign.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Through code poems where glitches are refrains, we witness systems that have made patterns of their errors. When in the process do we process that such glitches need scare quotes? That some accidents are power in action? Lillian Yvonne-Bertram's ominous Travesty Generator works the problem again and again, a cyberBlues of permutating loops both automated and desperate. So, when she (re)writes, 'The story does not compute,' I hear a robot and vulnerability, like AutoTune in 808s and Heartbreak. I also hear a brilliant Black shade in the machine, playing counter 'rithm in the operating systems of racial and gender violence, poetic form, and the lyric voice.\" - \u003cstrong\u003eDouglas Kearney\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In the wake of a racist microaggression, two people of color might look at each other and say, 'That was random'—ironically meaning it was anything but. By the same token, the poems of Lillian-Yvonne Bertram's Travesty Generator use computational processes to demonstrate that randomness offers no escape from the patterns that grief and outrage form in black lives. Composed with (and sometimes of) permutation programming code and algorithms, these poems run relentless procedures on the language of black death and black survival. Bertram's poetic 'output' will confuse and frustrate you, then mesmerize and haunt you—feelings generated by the poetry, as by the very terms of black life in this country.\" - \u003cstrong\u003eEvie Shockley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Combining digital tools and prestidigital artistry, Lillian-Yvonne Bertram's Travesty Generator powerfully breaks and remakes contemporary poetry's 'small machine of words.' Timely in its sociopolitical critique and visionary in its formal inventiveness, Bertram's collection offers a guide to a poetics of the new Afro\/future.\" - \u003cstrong\u003eJohn Keene\u003c\/strong\u003e MacArthur Fellow\u003c\/p\u003e\n\u003cp\u003e\"Travesty Generator is so carefully crafted and considered from a standpoint of musicality. Where some would consider the voice as the sole instrument, Lillian-Yvonne Bertram understands language as the true vehicle for instrumentation. These poems sprawl generously, drift a reader seamlessly between percussive urgency and gentle harmonies. The words cascade until entire symphonies are created. What a joy, to see a book this brave and unafraid of its own many possibilities.\" - \u003cstrong\u003eHanif Abdurraqib\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"I am astonished by Lillian Yvonne Bertram's trailblazing poetry in Travesty Generator. Bertram uses open-source coding to generate haunting inquiring elegies to Trayvon Martin, and Eric Garner, and Emmett Till. By framing her 'counter-narratives' of black lives in code and social media optimization, Bertram brilliantly conveys how black experience becomes codified, homogenized, and branded for capitalist dissemination. Code, written by white men, is part of the hardwired system of white supremacy, where structural violence begets itself. But Bertram hacks into it. She re-engineers language by synthesizing the lyric and coding script, taking the baton from Harryette Mullen and the Oulipians and dashing with it to late 21st century black futurity. Travesty Generator is genius.\" - \u003cstrong\u003eCathy Park Hong\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49235198607677,"sku":"9781934819845","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819845ita.jpg?v=1723584513"},{"product_id":"uncountry-a-mythology","title":"Uncountry: a mythology","description":"\u003cp\u003e\u003cem\u003eUncountry: a mythology\u003c\/em\u003e is divided into four histories: \"History of Ash,\" \"History of Breath,\" \"History of Hunger,\" and \"History of Future.\" This naming is perhaps Friedland's first gesture to push us toward the very displacement that is at the center of her narrative. These are not histories of the four natural elements—fire, water, earth, and air—or of certain individuals or families, or certain time periods that we might have expected. The world of this book has its own natural elements, its own histories, geographies, peoples, dreams, and memories. It has its own tradition, its own language.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYanara Friedland\u003c\/strong\u003e is a German-American writer, translator, and teacher. Her first book \u003cem\u003eUncountry: A Mythology\u003c\/em\u003e was the winner of the 2015 Noemi Press Fiction award. \u003cem\u003eAbraq ad Habra: I will Create As I Speak\u003c\/em\u003e, a digital chapbook, is available from Essay Press. She is the recipient of research grants from the DAAD and Arizona Commission on the Arts, supporting her current book project \u003cem\u003eGroundswell\u003c\/em\u003e, a chorography of border regions in the Germany-Polish and Sonoran borderlands. She teaches at Fairhaven College of Interdisciplinary Studies and curates an occasional reading series Mutter Courage.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"As a descendent of Chantal Akerman and Unica Zürn—among others—Friedland reimagines the origin myth. Friedland's permeable pages allow the reader entryway into a 'mirror [that] becomes an open door,' a door through which we hear the echo of Ana Mendieta telling us 'There is no original past to redeem: there is the void.' Uncountry is an invitation to that void, and Friedland serves as dream guide through this blend of the personal, political, and stunningly poetic.\" -\u003cstrong\u003e Lily Hoang\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Those patriarchs and matriarchs of Genesis wander through the tales of creation as if creation has never stopped, Abram still seeking that singular God in another land, his faith making him a nomad; Sarah still watching her son Isaac walk away with his father to Mount Moriah, a sacrifice in the making. Such stories—like the myths and fairy tales so easily excluded from the reality of the world they are bedrock to—tend to be kept in the airtight container of holy into which the imagination gazes but from which the mouth never takes a breath. The ease of such approach is—thankfully, fearfully, gracefully—not the case in Yanara Friedland's beautiful book, Uncountry. Deep in the ethical vision of these prose pieces (each so dreamlike it seems the dream itself is dreaming) arrives the suggestion that the events of history—the heart-nulling wars, the Holocaust, the refugees broken by their own resistence; but also the personal fact, the harm of being anyone—reach back into the ancient tales and refuse them their pre-ordained eternity. The vision is reciprocal.\" - \u003cstrong\u003eDan Beachy Quick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Uncountry: A Mythology demands of us the kind of journey into time and space that cannot be planned, but rather needs to be experienced and revealed, requiring a trust of the unknown.\" -\u003cstrong\u003e Poupeh Missaghi\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49237347303741,"sku":"9781934819616","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819616ita.jpg?v=1723651851"},{"product_id":"unmanned","title":"UNMANNED","description":"\u003cp\u003eIn \u003cem\u003eUNMANNED\u003c\/em\u003e, Jessica Rae Bergamino guides readers into a sustained, inventive reimagining of space—its travelers, its machines, its mappings, its strange paths to finding love. With feet firmly planted in earthly references and a boldly interstellar head, Bergamino's poems call out new ways of imagining myths of femme figures. They invite me to an exhilarating reconsideration of how one might see the stars and life beneath them. Inside the subjectivity of the Voyager space probes, we find enough dazzling distance to embrace all our zodiac selves and queer desires. We are a lucky galaxy to get this book!\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJessica Rae Bergamino\u003c\/strong\u003e is the author of\u003cem\u003e UNMANNED,\u003c\/em\u003e winner of Noemi Press' 2017 Poetry Prize, as well as the chapbooks \u003cem\u003eThe Desiring Object or Voyager Two Explains to the Gathering of the Stars How She Came to Glow Among Them\u003c\/em\u003e (Sundress Publications), \u003cem\u003eThe Mermaid, Singing\u003c\/em\u003e (dancing girl press), and \u003cem\u003eBlue in All Things: a Ghost Story\u003c\/em\u003e (dancing girl publications). Individual poems have appeared in publications such as \u003cem\u003eThird Coast, Black Warrior Review, The Journal\u003c\/em\u003e, and \u003cem\u003eGulf Coast\u003c\/em\u003e. She is a doctoral candidate in Literature and Creative Writing at the University of Utah, and lives in Seattle, WA.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\"In insistent, interstellar music; in otherworldly, temporal portals; in language that refuses to distinguish between scientific and poetic approaches to knowing; Jessica Rae Bergamino delivers us into the state of being UNMANNED. Inside the subjectivity of the Voyager space probes, we find enough dazzling distance to embrace all our zodiac selves and queer desires.\" - \u003cstrong\u003eChristine Hume\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"UNMANNED is a beautiful, poetic, whimsical romp, ransacking the genres of apocalyptic fiction, spaghetti western, space opera, and all the while it is a deeply and sincerely felt prayer for salvation. As the Voyager satellites lance far beyond our solar system in search of any intelligent life, the Earth it left behind careers wildly towards unsustainable climate change and its attendant devastating impacts. Barbarella, Princess Leia, post-Symbionese Liberation Army Patty Hearst, Miss Piggy, and Peter Allen in Liza Minnelli drag are but some of the science-goddesses through whose aspects Bergamino explores both human and stellar condition. Astronomy, astrology, divination, and divinity collide in these wild, ardent poems. Would that we'd had this book to include on the golden record; at very least we can add it to the archive of the literature of the late life of the chthulucene.\" - \u003cstrong\u003eKazim Ali\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The full-throated syllables of Jessica Rae Bergamino's UNMANNED, shot through with the myths and legends of the achingly near future, trace an arc between body and machine that collapses the distance between their errant desires. A space ship might be 'brutal as a body,' but 'any body can be an experiment \/ in exhalation': these lyrical, interstellar excursions, by turns laser-sharp and tender, left me breathless in their frothy wake. Bergamino's poems queer our space canon in a way that reveals what's been there all along: it may be true that 'distance is a lovely thing \/ when stripped of meaning' but distance, like desire, 'is always relative.' In wanton hyperdrive, this poetic critique of imperialist reach feels like it could tear a big hole in the galactic mesh that holds our whole history together.\" - \u003cstrong\u003eJulia Bloch\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49237968519485,"sku":"9781934819777","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819777ita.jpg?v=1723664169"},{"product_id":"upend","title":"Upend","description":"\u003cp\u003eThe book loosely navigates the archived immigration trial of Hong On, a biracial Alaska Native-Chinese man, in 1912 on Angel Island, CA during the Chinese Exclusion Act. Hong On was born in San Francisco, CA in 1895 and was orphaned shortly after. The concepts of U.S. government-designated recreational spaces, genocide, and intergenerational trauma are examined by Hong On's granddaughter, the author, who sees imperialistic residue in product, place, and color naming. At the core of this book is the speaker's Alaska Native great grandmother who is named \"Unknown: Indian\" on Hong On's birth certificate.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClaire Hong \u003c\/strong\u003eis a poet and agricultural worker whose daily life and writing practice involve researching and searching for cross-cultural, interspecies, and intergenerational relationships that have formed and form outside of, or despite, imperialism. Dedicated to traditional foodways, land stewardship, and multigenerational community work, Hong works to provide arid-adapted seeds and resources to gardeners and food security projects of the Southwest.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHong is the author of \u003cem\u003eUpend\u003c\/em\u003e (Noemi Press 2020), which was longlisted for the PEN\/Voelcker Award. She is a recipient of a Foundation for Contemporary Arts Grants to Artists award (2023). Hong received a Stegner Fellowship in Poetry from Stanford University (2019-2021) and has creative writing degrees from the University of Arizona (MFA) and Pratt Institute (BFA). She was born in San Francisco, CA and currently lives in Tucson, AZ.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Claire Hong takes us back to the immigration trial of her grandfather Hong On, more than a century ago. The violent, racially motivated forces behind US colonialism burn through these poems, showing how Manifest Destiny has resulted in a people and land still vibrating with trauma. 'what about immobilizing guilt \/ organized resistance \/ the land not wanting you?' Here is a poet doing the real work to examine not only where we have been, but how to save ourselves from further destruction. This is a book I want everyone to put inside our lives, and to do so right now!\" -\u003cstrong\u003e CA Conrad\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"UPEND is a call to action, a living archive, a mirror of our shared public and private HIStories, a conjuration of ancestral lineages, the unknowns and the unearthed, a summoning the hypocrisy of codification and a continuous glimpse of the violence and residue that ripples throughout geographies, family lineages and into our present day. Upend is a riveting poetic journey of scholarship, retrieval and speaking truth to power.\" - \u003cstrong\u003eKenyatta A.C. Hinkle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"On August 2, 1912, a man named Hong On was interrogated by US Immigration officials on Angel Island, CA. 100 years later, his granddaughter, Claire Hong, discovered the transcript of her grandfather's interrogation. One of the results of that discovery is Upend—a book that exists in and cultivates the ongoing aftermath of an ancestor's subjection; mends the spaces of distress, by re-embodying them, through the perpetual rooting and uprooting—disembodiment—of the present; and reimagines—upends—the fraught order of inheritance, therefore the orientation of poetry: that what we are given, and what we make with what we are given, we give back: to the past.\" - \u003cstrong\u003eBrandon Shimoda\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49238002794813,"sku":"9781934819876","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819876ita.jpg?v=1723664683"},{"product_id":"winter-effulgences-devotions","title":"Winter: Effulgences \u0026 Devotions","description":"\u003cp\u003eIn \u003cem\u003eWinter: Effulgences and Devotion\u003c\/em\u003es, Sarah Vap documents the obstacles to writing a single poem over a twelve-year period. Her account becomes a confrontation with the insidious, radiating, pliant character of late capitalism. She encounters it as a rootless system, an airborne contagion, a toxin in the walls of our homes. Pursuing her distractions across the years, Vap makes certain commitments: to remember the wars that her country is waging, which are meant to be invisible to her; to mourn the deaths of whales by sonar; to hear though she is deaf; to be present for the loss of winter, as she knows it, from earth; and to herself, a profane and multifarious creature who possibly has a soul. Reeling from the nonstop \"competition\" that sustains the anthropocene's profiteers, Vap offers an unapologetic case study of encroachment, susceptibility, tenderness, porousness and endurance.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSarah Vap\u003c\/strong\u003e grew up in Missoula, Montana. She attended Brown University, where she studied English and American Literature. She received her MFA from Arizona State University, and is completing her PhD at the University of Southern California. Vap is the author of four collections of poetry. Her first book, \u003cem\u003eDummy Fire\u003c\/em\u003e, was selected by Forrest Gander to receive the Saturnalia Poetry Prize. Her second, \u003cem\u003eAmerican Spikenard, \u003c\/em\u003ewas selected by Ira Sadoff to receive the Iowa Poetry Prize. Her third book, \u003cem\u003eFaulkner's Rosary\u003c\/em\u003e, was released by Saturnalia Books in 2010. Her fourth book, \u003cem\u003eArco Iris\u003c\/em\u003e (Saturnalia, 2012) was named a Library Journal Best Book of 2012. She was a 2013 recipient of an NEA Fellowship for Poetry.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The world is ending; or the world is always ending; or the worlds within the world are continually ending: this is what Sarah Vap's Winter so hauntingly teaches. Winter is a deep and arresting disclosure of interruption, rupture, and letting go. The world does not put itself back together again; the ending resists. In haunting and shifting and vibrant prose, Vap displays what it is to be interrupted, to see the thing one loves slowly and suddenly go out of the world. To read Winter is to tread deep and deeper and deeper still into a terrifying yet sublime vortex.\" - \u003cstrong\u003eJenny Boully\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Winter is a book of thrilling beauty. Pain. Curiosity. Intimacy. Motherhood. Death. Ecstatic joy. Violence and resistance to violence. Above all, or at the center of all, the maternal body, and 'the astonishing porousness that motherhood has created.' Around her, the awesome and awful and endangered world, in language slick as ice melting, fluid as milk straight from the nursing animal. Sarah Vap is one of the finest and fiercest writers of her generation.\" - \u003cstrong\u003eAlicia Ostriker\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49238021505341,"sku":"9781934819838","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819838ita.jpg?v=1723665084"},{"product_id":"you-ask-me-to-talk-about-the-interior","title":"You Ask Me To Talk About the Interior","description":"\u003cp\u003e\u003cem\u003eYou Ask Me to Talk About the Interior\u003c\/em\u003e emerges out of the ontological shock and double-bind of there being a world (rather than nothing at all), and inhabiting this world that \"depends on violence.\" Still, Carolina Ebeid writes, \"I have wanted \/ to make you something \/\/ beautiful.\" Drawing on influences such as Roland Barthes's notion of the punctum (the photographic detail that pierces the viewer) to the repertoire of circles and twirls--the veronicas--bullfighters make with the red cape to attract the bull, Ebeid explores a poetics that is at once intricate and intimate. The poems in this book move by way of metaphors and poetic turns that reveal and wound; they cover territories ranging from personal confession and diagnosis to political catastrophes such as war and exile. Witnessing again to the lyric as art of ethical reckoning, each poem in \u003cem\u003eYou Ask Me to Talk About the Interior\u003c\/em\u003e is an ardent fathoming of our most interior selves, each poem in Ebeid's long-awaited first collection is a momentary \"allegory for the soul.\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarolina Ebeid\u003c\/strong\u003e is a multimedia poet. She is the author of \u003cem\u003eDauerwunder: a brief record of facts\u003c\/em\u003e, a limited edition out from Albion Books, and \u003cem\u003eYou Ask Me to Talk About the Interior\u003c\/em\u003e was published by Noemi Press as part of the Akrilica Series, and selected as one of ten best debuts by Poets \u0026amp; Writers. Her work has been supported by the Stadler Center for Poetry at Bucknell University, Bread Loaf, CantoMundo, the NEA, as well as a residency fellowship from the Lannan Foundation.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFrom 2023-2025 she is the Bonderman Assistant Professor of poetry at Brown University.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA longtime editor, she currently edits poetry at\u003cem\u003e The Rumpus\u003c\/em\u003e, as well as the multimedia zine \u003cem\u003eVisible Binary\u003c\/em\u003e.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCarolina grew up in West New York, New Jersey in a Cuban and Palestinian family.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Ebeid paints a landscape where ordinary objects possess a luminescent edge in her elusive and airy debut. This brightness works as a sleight-of-hand though, asking readers to focus on origami nautiluses and bee-hives made of glass while something dark lurks: 'We live in a copy\/ of Eden, a copy\/\/ that depends on violence.' Each poem is an act of emotional chiaroscuro, the harsh shadows finding balance with all the blinding light. 'Lackofempathy could be a fern,' Ebeid writes in one poem, and in another a flower 'resembles a person's\/ cut-off tongue clasped in the teeth of a pig.' Amid a veritable garden of botanical imagery, Ebeid often asks her readers to get between her lines, to ask themselves if the beauty with which they are presented is merely an artifice meant to distract from the cruel reality of a world where humans kill other humans via drone strikes. The beautiful language and images also contrast with the complicated family history Ebeid intersperses throughout. In one of the final poems, she makes her position clear: 'I continue to believe that poetry contains revolutionary power.' Ebeid's shocking metaphors and sharp imagination serve to remind her readers that there is a surprising amount of power that resides within us.\" - \u003cstrong\u003eAnonymous\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In Ebeid's poems, the lens is always in motion, sweeping across eras and lighting on artifacts that turn to facsimiles before our eyes. The flowers in 'In Lieu of Flowers' are 'toy replica[s] of the authentic thing,' the jets are cardboard, haloed angels in the cloister arches become satellites 'in their seraphic orbits, taking photographs of us.' Continual metamorphosis and fast-track collaging produce a tornado effect where everything is caught up, and nothing remains unchanged. Scenes from the movie of the mind are projected onto the page while the reader remains stationary, like a museum visitor paused in front of a painting, or the film viewer who arrives primed to see a made world.\" - \u003cstrong\u003eMary Jo Bang\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Carolina Ebeid's mesmerizingly beautiful first book, You Ask Me to Talk About the Interior, is a book of the blues discovered in the matrilineal line. 'We live in a copy of Eden,' she writes, 'a copy that depends on violence.' Autism, illness, and lead lend their traces to these poems that pulse, like all blues, with 'world-sorrow,' while rising from the root of that sorrow which is love. The voice of mother, of lover, and of friend spills from every page, charged with fierce and protective passion, a passion that is contagious because it is song.\" - \u003cstrong\u003eJulie Carr\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"You Ask Me to Talk About the Interior is a book of listening and responding and listening again, 'the way a searchlight listens over a lake.' Ebeid's poems recognize that no question is answered completely by the first words spoken in response, nor by the first glimpse of the discovered thing, but that every response, every glimpse, is itself an extension of the initial question—they seek what is to be found there, in the extended question, when the interrogated speaks back, and so they are as wise as any poems I know.\" - \u003cstrong\u003eShane McCrae\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Carolina Ebeid's voice is a lament, it is a singing, a mourning, a beautiful and yet sorrow-filled lyric. Her poems—of sons, of husbands, war and flowers, revolution and reading Celan on the subway—are deeply American, while, at the same time, they are not. They are both from everywhere and from nowhere—Ebeid's voice is both deeply familiar and surprisingly original. These poems are love poems to the world—passionate and essential.\" - \u003cstrong\u003eCynthia Cruz\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49238056337725,"sku":"9781934819586","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819586ita.jpg?v=1723665624"},{"product_id":"you-da-one","title":"You Da One","description":"\u003cp\u003eA part of the Akrilica Series at Noemi Press. Akrilica, a co-publishing venture between Noemi Press and Letras Latinas — the literary initiative at the Institute for Latino Studies at the University of Notre Dame — showcases innovative Latino writing. The series name recalls the groundbreaking, bilingual book from the eighties by distinguished Chicano writer, and United States Poet Laureate Emeritus, Juan Felipe Herrera. \u003cem\u003eYou Da One\u003c\/em\u003e explores Internet culture, how it creates and how it dismantles the self as a body. In this second edition, Tamayo expands their original collection in a conversation about the pervasive and personal nature of rape culture.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJennif(f)er Tamayo\u003c\/strong\u003e (they\/them) is a poet, performer and essayist whose works reimagine the narratives about and politics of undocumented figures in the contemporary U.S. In their books, performances, and digital media, the \"illegal\" immigrant is recast as a punk figure that queers the norms of personhood and citizenship. They are the author of the hybrid poetry collections [Red Missed Aches, Read Mistakes] selected by Cathy Park Hong for the Gatewood Prize and \u003cem\u003eYOU DA ONE\u003c\/em\u003e (Noemi Books). Their latest chapbook,\u003cem\u003e to kill the future in the present\u003c\/em\u003e (Green Lantern Press) blends lyric forms and critical theory to explore how conditions of displacement and incarceration shared by Black, Indigenous and undocumented communities are sites for collective struggle. JT's writing is widely published and has been anthologized in Best American Experimental Poetry, New Latin@ Writing, and HarperCollins. JT has received fellowships from the Cynthia Woods Mitchell Center for the Arts, Hemispheric Institute's EmergeNYC, CantoMundo, and the University of California Berkeley's Arts Research Center. They have staged performances at The Brooklyn Museum, BAMPFA, Midtown Arts \u0026amp; Theatre Center Houston, and La Mama Theatre.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThey are a formerly undocumented, uninvited visitor born on Muisca territory (Bogota, Colombia) currently living on Sapponi territory.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The landscape of Jennifer Tamayo's debut collection, YOU DA ONE, is spellbinding, mirroring the aesthetics of the Internet with its inclusion of spam and graphics. Tamayo cuts through the chaos in order to reveal a narrative about the speaker's experiences and thoughts on the body. YOU DA ONE explores the ways in which the Internet creates and\/or diminishes the body and other bodies that surround the self: 'there is no WE here\/there is barely an I.' appears several times throughout the collection, first in 'There is a chemistry I want to know about like how you are mine in mine'.\" - \u003cstrong\u003eSimone Savannah\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"By turns violent, political, romantic, incestual, cerebral, bodily, and personal, this second full-length from Tamayo (Red Missed Aches) bears the formal markings of the hypermodern in its deployment of digital, pop, and intertextual elements.\" - \u003cstrong\u003eAnonymous\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Jennifer Tamayo's playful, personal, and disturbingly sincere You Da One (2014) quickly pulls the reader into its disobedient clutches. Vacillating between moments of explosive volume and more subdued, heartfelt sentiment, You Da One introduces a speaker who wades through the language of modern technological excess on her journey to meet her father for the first time in her native Colombia. Its narrative is also made up of linguistic play that portrays an engagement with the internet and its effect on how we produce language and articulate our multiple identities—its clutter and chaos contaminating the pages just as it contaminates our daily lives. In an early section, email correspondence between the speaker and her family (replete with lingo, typos, and lax grammar) appears between repeated internet ads such as, 'FIND SINCERE JEWISH SINGELS IN YOUR AREA.' These ads dominate the page, distracting from the emotionally genuine and comparatively minute email messages. Still, despite being formally overwhelmed, the emails retain their powerful resonance.\" -\u003cstrong\u003e Ronnie Peltier\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49238110503229,"sku":"9781934819678","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819678ita.jpg?v=1723666206"},{"product_id":"fish-and-the-dove","title":"Fish and the Dove","description":"\u003cp\u003e\u003cspan\u003ePoetry. Asian \u0026amp; Asian American Studies. \"\u003cem\u003eTHE FISH \u0026amp; THE DOVE\u003c\/em\u003e considers the history of occupation, the legacy of the Korean War, and the ways in which official and institutional language of war obfuscates lived experience. In it, I bear witness to what girlhood, womanhood, and motherhood might mean in the context of family, nation, and history. The legendary Assyrian warrior goddess Semiramis haunts this book, and by giving her voice, I attempt to foreground women's experience in narratives that so often tokenize, dehumanize, and exclude them. The text is informed by and appropriates institutional language, including reports of the South Korean Truth and Reconciliation Commission on governmental atrocities committed during the Korean War.\"--\u003cstrong\u003eMary-Kim Arnold\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eMary-Kim Arnold\u003c\/strong\u003e is a writer, artist, and educator. She currently serves as Dean of the Faculty \u0026amp; Academic Affairs at Vermont College of Fine Arts. She is the author of \u003cem\u003eThe Fish \u0026amp; The Dove \u003c\/em\u003e(Noemi Press) and \u003cem\u003eLitany for the Long Moment\u003c\/em\u003e (Essay Press).\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOther writings have appeared in \u003cem\u003eHyperallergic, Conjunctions, The Denver Quarterly, The Georgia Review\u003c\/em\u003e, and elsewhere.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMary-Kim has received several fellowships and awards, including the 2020 Howard Foundation Fellowship, the 2018 MacColl Johnson Fellowship, and the 2017 Fellowship in Fiction from the Rhode Island State Council on the Arts.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShe serves as Senior Editor for Collaborative \u0026amp; Cross-Disciplinary Texts at \u003cem\u003eTupelo Quarterly.\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 2021, she was appointed by the Governor to serve on the Board of the Rhode Island State Council on the Arts. She also serves on the Board of the Providence Athenaeum.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdopted from Korea and raised in New York, Mary-Kim lives in Rhode Island with her husband and children.\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49238148710717,"sku":"9781934819883","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819883ita.jpg?v=1723666677"},{"product_id":"starlight-in-two-million-a-neo-scientific-novella","title":"Starlight in Two Million: A Neo-Scientific Novella","description":"\u003cp\u003eAmy Catanzano's \"neo-scientific\" novella considers the forces that compose the cosmos, a recomposition of the music of the spheres. Here, narrative flow becomes a kind of quantum fluid, bifurcating into character systems and poetry. Tinctures of the inhuman spread through this writing, causing language to convulse in forms as vivid and varied as the multiverse itself. Alternately explosive and meditative, at once lyrical and conceptual, Catanzano's work renews the pataphysical claim of literature on science.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRecipient of the PEN USA Literary Award in Poetry and the Noemi Press Book Award in Fiction, \u003cstrong\u003eAmy Catanzano\u003c\/strong\u003e publishes poetry and fiction, nonfiction prose, poetic theory, and multimodal literary art, including web-expanded literature. Writing in parallel to cutting-edge physics as well as the literary and artistic subcultures of the avant-garde, she forges innovative connections between literature, science, and the arts. Drawing from invited residencies and visits to scientific research centers such as CERN, and as the lead co-founder of \u003cem\u003eThe Entanglements Network\u003c\/em\u003e—an international collective of transdisciplinary writers, scientists, artists, and scholars—Catanzano collaborates with scientists in addition to her independent projects. An associate professor of English and the poet-in-residence at Wake Forest University in North Carolina, she has a Master of Fine Arts degree from the Iowa Writers' Workshop.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Amy Catanzano's writing is a vector, releasing sparks. To read her work is to emit\/receive—something. From a distant yet intimate point. What will happen next? Where will you go? This novella is a guidebook to a future that has not arrived yet. To 'predicate.' To 'devolve.' To 'shimmer.' In a book that is a like a nerve.\" - \u003cstrong\u003eBhanu Kapil\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Amy Catanzano's 'neo-scientific' novella is a metafictional tour de force: a tour of the forces that compose the cosmos, a recomposition of the music of the spheres. Here, narrative flow becomes a kind of quantum fluid, bifurcating into character systems and poetry. Tinctures of the inhuman spread through this writing, causing language to convulse in forms as vivid and varied as the multiverse itself. Alternately explosive and meditative, at once lyrical and conceptual, Catanzano's work renews the pataphysical claim of literature on science. In this work, American literature has found its own Jarry.\" - \u003cstrong\u003eAndrew Joron\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49238380413245,"sku":"9781934819395","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819395ita.jpg?v=1723670075"},{"product_id":"and-the-girls-worried-terribly","title":"And the Girls Worried Terribly","description":"\u003cp\u003eWhy did the girls worry terribly? The title was found in Oliver Statler's book, \u003cem\u003eThe Black Ship Scroll\u003c\/em\u003e. This has been an important book to Devota's partner, Brandon Shimoda. A caption beneath a sketch of two women in kimonos reads: \"The foreigners said they wanted to take pictures of beautiful Japanese ladies, so the government officials ordered that some of the singing girls be chosen as subjects. Later a rumor spread that anyone who was photographed would die within three years, and the girls worried terribly.\" There was a deep-rooted superstition about having one's portrait made: the soul might leave to take up residence in the \"new self,\" causing the fatal \"shadow-sickness.\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDot Devota\u003c\/strong\u003e is the author of \u003cem\u003eThe Division of Labor \u003c\/em\u003e(Rescue Press, 2015), \u003cem\u003eAnd The Girls Worried Terribly \u003c\/em\u003e(Noemi Press, 2014), and \u003cem\u003eThe Eternal Wall \u003c\/em\u003e(BookThug, 2013). Born in St. Louis, Missouri, she writes prose about the Midwest and has traveled full-time since 2010. Excerpts from her book, \u003cem\u003eMW: A Field Guide to the Midwest\u003c\/em\u003e \u003cem\u003e(Pages from a Diary Never Written)\u003c\/em\u003e are published in PEN America, \u003cem\u003eThe Offing, Fanzine, Entropy, Make Magazine, Denver Quarterly\u003c\/em\u003e, and \u003cem\u003eThe Volta\u003c\/em\u003e. Her poems have been translated into Arabic and French and appear on walls.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49238407119165,"sku":"9781934819326","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819326ita.jpg?v=1723670487"},{"product_id":"beasts-youll-never-see-stories","title":"Beasts You'll Never See: Stories","description":"\u003cp\u003eThis diverse collection of short stories confronts the boundaries of love, communication, agony and authority. It seeks to unearth the inevitable paradoxes of comedy and tragedy lurking under the skin of every human relationship, and it does so while also challenging its reader to question the emotional mechanisms that underpin conventional narratives. A brother attempts to protect his anorexic sister, a family tries to rebuild itself around the hole of a father killed in combat, a professor succumbs to the ravages of a brain tumor but refuses to ceases teaching—these are just a few of the multivalent plotlines that are subject to tangled, fragmented, startlingly fresh gazes that comprise this somehow uncollected collection.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNate Liederbach \u003c\/strong\u003eis the author of the collections \u003cem\u003eDoing a Bit of Bleeding\u003c\/em\u003e (Ghost Road), \u003cem\u003eNegative Spaces\u003c\/em\u003e (Elik), and the forthcoming \u003cem\u003eTongues of Men and of Angels: Nonfictions Ataxia\u003c\/em\u003e (sunnyoutside). He lives in Eugene, Oregon, and Olympia, Washington.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"In this rivetingly dark and edgily off-kilter collection of stories, Nate Liederbach—with surgical linguistic precision—deftly scalpels open the weird interiors of the postmodern psyche. With tour-de-force panache, the stories in Beasts You'll Never See ricochet wildly between awkward hilarity, mortal wounding, philosophy, and the absurd. Like some scary roller coaster ride, these stories will take you—laughing and shrieking—places you never knew you wanted to go.\" - \u003cstrong\u003eLee Ann Roripaugh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Each story in Nate Liederbach's Beasts You'll Never See is indeed a kind of wild literary animal, alive with the improvisational nature of survival and the locomotion of urgent perception. The result is an astonishingly good collection of stories: one that is at turns hilarious, profane, brave, tragic, and chock to the gills with life.\" - \u003cstrong\u003eMatthew Vollmer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Across ten stories of linguistic acrobatics and high-wire prose, Nate Liederbach offers readers a glimpse into an altered world of beauty and humor, one where time bends and words shine like diamonds on the page. From the growing menace of a controlled burn to fathers and daughters fighting in rounds, Beasts You'll Never See is a stunning collection of innovative fiction from a wonderfully talented writer.\" -\u003cstrong\u003e Anne Valente\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In Beasts You'll Never See, Nate Liederbach's characters rage and tear at each other, yet, even in their pain, they reach through the bars of their cages to offer what care and comfort they can. A war widow collapses in a bowling-alley bathroom and is offered Sprite and Cup O'Noodles by the manager. A young English professor attempts to protect his cancer-addled mentor from the consequences of his decay. Liederbach's razor wit and maniacal flare for language never wound, are always at the service of his generosity. As one of his characters puts it, 'Showing and Telling drop their distinction, and the writing knows for itself, of itself, and its self is universal …'\" -\u003cstrong\u003e Eileen Pollack\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49242283213117,"sku":"9781934819463","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819463ita.jpg?v=1723753647"},{"product_id":"between-grammars","title":"Between Grammars","description":"\u003cp\u003eFirst in a trilogy of texts, \u003cem\u003eBetween Grammars\u003c\/em\u003e is a book-length narrative poem composed of prose-fragments that investigates the boundaries between books, language, and the bodies that read and write them. Within these pages, language becomes a living organism as \"Grammars cohere, lap, unfold. A slanting field upon the other.\" This text explores the porous architectures built between people and their vocabulary — how we meet inside these architectures and what we're able to exchange there. As we read, \"Language tides the skinline,\" collapsing the distinctions between \u003cem\u003eself \u003c\/em\u003eand \u003cem\u003eother\u003c\/em\u003e.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDanielle Vogel\u003c\/strong\u003e is a poet, interdisciplinary artist, and professor based in the Connecticut River Valley where she teaches at Wesleyan University and makes work at the intersections of queer and feminist ecologies, somatics, and ceremony. Her hybrid poetry collections include \u003cem\u003eA Library of Light\u003c\/em\u003e (Wesleyan 2024), \u003cem\u003eThe Way a Line Hallucinates Its Own Linearity\u003c\/em\u003e (Red Hen 2020), \u003cem\u003eEdges \u0026amp; Fray \u003c\/em\u003e(Wesleyan 2020), and \u003cem\u003eBetween Grammars \u003c\/em\u003e(Noemi 2015). Her work also appears in anthologies including, \u003cem\u003eThe Book: 101 Definitions,\u003c\/em\u003e edited by Amaranth Borsuk (Anteism 2021), \u003cem\u003eA Forest on Many Stems\u003c\/em\u003e (Nightboat 2021), edited by Laynie Brown, and \u003cem\u003eCounter-Desecration: A Glossary for Writing Within the Anthropocene\u003c\/em\u003e (Wesleyan 2018), edited by Linda Russo and Marthe Reed.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"I felt very much in an experience in Between Grammars, as if I was relearning to read, but not just inside my own mind. I encountered reading. Between Grammars does something no other book does: it 'floods' you with an image of itself. It moves through itself as a wave. You as the reader are in the wave too. I think this is miraculous.\" - \u003cstrong\u003eAmina Cain\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Because 'a body loosens itself across an alphabet,' because 'an absent word unsettl[es] the collarbone's concavity,' because 'the vowels layering, breathe,' Danielle Vogel's ravishing and profound work resides in one as a thrilling visceral experience. Never has a reading encounter felt so fully embodied—the vibration and motions and shapes of language inside, transforming the day, long after the book is closed.\" - \u003cstrong\u003eCarole Maso\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"You arrive at that place between grammars to find enabled an occasion of sound forms, even as the continuity of vision tells you were meant to emerge as another's body. So your speech, prompted by that of the poet, breaks the surface into a unit of lines compressed to convey the encounter of thought animated as a 'receptacle of noise,' now pressed against your measured edge, first at the skin, then along the oblique dissolution of the person you were, divided now by the reader you've become: against the undertow, letter's liability, knob of your spine, an overflowing. Such allegiance to the dubious figure receded and re-emerging herein makes the duration of these pages a singular affirmation. Syllables incline the volume, effervescence of your tongue over these markings, expectant as lips are to arrival.\" - \u003cstrong\u003eRoberto Tejada\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"What is the relationship between book and body? This lovely text, both spare and voluminous, invokes an intimate register in which letters become liquid garments. Vogel adeptly 'lets the ledge of a sentence wax.' Her white space brims. Her parentheses cup breath to your ear. This book invites you to stand in an alphabetic current, abandon the distance between reader and text, pet words with your eye. Between Grammars transcribes lament for the limits of language and simultaneo\u003cimg\u003eusly conveys a hopefulness for poetry as an innately connective impulse.\" - \u003cstrong\u003eLaynie Brown\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49242307100989,"sku":"9781934819432","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819432ita.jpg?v=1723754084"},{"product_id":"bicycle","title":"bicycle","description":"\u003cp\u003eComposed of five movements, \u003cem\u003ebicycle\u003c\/em\u003e's predominant imaginings, that of circles and bridges, bond the worlds of the Americas through all their interior levels. In such marriage—where these interiors settle in silence and repose, where attachment and aversion are seen as different sides of one coin, where the wheels turn to resist and to empower the nameless, where refuge locations are made to allow the liminal to resolve itself and transcend—\u003cem\u003ebicycle\u003c\/em\u003e's America unleashes frame-breaking force to bare these uncharted worlds within our supposed divided countries and continents. Harrison's poetic opens spaces where all dichotomies come together as an boundaryless egg of being; here, without and beyond language, the poetry of \u003cem\u003ebicycle \u003c\/em\u003eagitates and argues what is most real be witnessed in completion as a shapely gourd throbbing with prayers for both these unities and these differences, for the reception and the flowing through of a Being refusing to be stilled.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePoet \u003cstrong\u003eRoberto Harrison\u003c\/strong\u003e was born in Oregon to Panamanian parents; he and his family moved to Panama when he was a year old, and then to Delaware in 1969. Harrison pursued studies in mathematics and computer science as an undergraduate; after a year of graduate work in mathematics at Indiana University in Bloomington, he traveled in the United States, Europe, and North Africa.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHarrison's collections of poetry include \u003cem\u003eOs\u003c\/em\u003e (subpress, 2006), \u003cem\u003eCounter Daemons\u003c\/em\u003e (Litmus Press, 2006), \u003cem\u003ebicycle\u003c\/em\u003e (Noemi Press, 2015), \u003cem\u003eculebra\u003c\/em\u003e (Green Lantern Press, 2016), \u003cem\u003eBridge of the World\u003c\/em\u003e (Litmus Press, 2017), \u003cem\u003eYaviza\u003c\/em\u003e (Atelos, 2017), as well as many chapbooks. \u003cem\u003eCounter Daemons \u003c\/em\u003emakes use of computer science and programming terminology. Harrison edited the poetry journal \u003cem\u003eCrayon\u003c\/em\u003e with Andrew Levy from 1997 to 2008, and he is also the editor of the Bronze Skull Press Chapbook series and coeditor for the Resist Much\/Obey Little anthology. In 2008 a show of his drawings and journal entries, entitled \u003cem\u003eIneffable Isthmus,\u003c\/em\u003e was featured at the Woodland Pattern Book Center gallery. Harrison is the Milwaukee Poet Laureate for 2017-2019, where he lives with his wife, poet Brenda Cárdenas.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The outcome of two of four years' ascetic endurance in the form of biking, meditation, and writing through all sublimities and cruelties of quotidian life and Milwaukee weather, Roberto Harrison's perseverant sentences--issuing forth as spliced tensile lines--enact in their cycling a vulnerable concatenation of multitudes across the segregated poles of north and south, surveyor and surveilled, bleach and wound. Harrison's verse might at first appear surrealist, but it labors to divulge actual material and philosophical linkages in spite of all 'social \/ crevices'--and to spite the complicity of participation in the mere 'network,' which 'begins and ends with ownership.' Listen 'in this \/ that places all \/ the planets \/ on the phone' for the 'dust of disconnected mouths' that, consolidated, builds both the hope of solidarity in the welter of ache and 'the stitched exit that a mind makes.\" - \u003cstrong\u003eJennifer Scappettone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The accumulation of almost four years of daily exercises in bike riding, meditation and writing, bicycle works through the ineluctable phenomenon of appearances to the essence of existence, a process that is, for Harrison, as it is for certain strands in Western (Plato, Heidegger, etc.) and Eastern (Buddhism, Hinduism, etc.) thought, temporal. These poems' emphatic celebration of process and connectivity put the lie of ritual to ritual. Thus lines like 'the caskets\/full of faces\/and hands\/that leak' and 'this leak for hate that bleeds' collapse physical death and moral outrage back into their 'places' within an infinite continuum. For Harrison, his homeland of Panama, 'the snake that pulls its own\/ from oceans,' is 'the kiss\/ that is always an isthmus,' a literal and metaphoric connector. And though Panama, like all lands, appears set in the stone of culture and geographic stability, this is an illusion, an index of historical myopia. . . .bicycle is an enactment of movement itself, a series of anti-narrative narratives that move back and forth as healing cauterizations, as geographical and cultural sediments, the residues of what comes next, the fate of every form of sentient and non-sentient being, e.g., human and empire: 'i am proof\/that America\/will die.'\" -\u003cstrong\u003e Tyrone Williams\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"A book of transformation, Roberto Harrison's bicycle proposes the incredible two-wheeled velocipede as the newest vehicle of enlightenment. The lines of the verse are spokes, the stanzas the strokes of the thighs as they peddle through a recurrent but new teaching. At once subtle and earnest, bicycle is magically perceptive and gentle and wise. There is nothing else like it. Harrison is a master.\" - \u003cstrong\u003ePeter O'Leary\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49242326040893,"sku":"9781934819401","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819401ita.jpg?v=1723754622"},{"product_id":"book-of-the-given","title":"Book of the Given","description":"\u003cp\u003eIn this rigorously crafted collection, Rusty Morrison observes the fraught and alluring givens of eroticism, the authority of the script we think we are following and the demands of generosity where \"expectation must be abandoned.\" The script, in this case, is by George Bataille. His passages, fractured and dispersed, are assembled into a text that speaks to us as a lover, not a philosopher, might, that intimately and that audaciously, with all the punning, sparring, avowals and reversals we expect from erotic charge.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRusty Morrison\u003c\/strong\u003e has been the co-founder, co-publisher of Omnidawn since 2001. Her five books include \u003cem\u003eAfter Urgency\u003c\/em\u003e (won Tupelo's Dorset Prize), \u003cem\u003ethe true keeps calm biding its story \u003c\/em\u003e(won Ahsahta's Sawtooth Prize, James Laughlin Award, N.California Book Award, \u0026amp; DiCastagnola Award from PSA), and most recently: \u003cem\u003eBeyond the Chainlink\u003c\/em\u003e (Ahsahta; finalist for the NCIB Award \u0026amp; NCB Award). Her new book, \u003cem\u003eRisk\u003c\/em\u003e, will be published by Black Ocean on Spring 2024. She was awarded a fellowship by UC Berkeley Art Research Center's Poetry \u0026amp; the Senses Program (in the program's inaugural year of 2020). Her poems have appeared on the Poetry Foundation website, on their podcast series \u003cem\u003ePoetry Now,\u003c\/em\u003e in \u003cem\u003eColorado Review, Fence, Iowa Review, Poetry Daily,\u003c\/em\u003e and elsewhere. Her creative nonfiction \u0026amp; poetry has appeared in \u003cem\u003eEntropy\u003c\/em\u003e; and her nonfiction at \u003cem\u003eHarriet\u003c\/em\u003e. Her critical essays appeared at \u003cem\u003eKenyon Review\u003c\/em\u003e and \u003cem\u003ePleiades\u003c\/em\u003e among other places. She is a recipient of fellowships from UC Berkeley's Arts and Research Center, Civitella Ranieri, Djerassi, and other artist residencies. She has taught in MFA programs, been a visiting poet at colleges, and teaches workshops through Omnidawn and elsewhere. She offers private consultations.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"The paradox of sex: what starts as corporeal turns to the in-corporeality of the interior. What begins as reach toward the other brings us back to ourselves, 'eyes closed, seeing night herons.' In this rigorously crafted book, Rusty Morrison observes the fraught and alluring givens of eroticism, the authority of the script we think we are following and the demands of generosity where 'expectation must be abandoned.' The script, in this case, is by George Bataille. His passages, fractured and dispersed, are assembled into a text that speaks to us as a lover, not a philosopher, might, that intimately and that audaciously, with all the punning, sparring, avowals and reversals we expect from erotic charge.\" - \u003cstrong\u003eMelissa Kwasny\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The openness of this sequence is heartfelt and heartbreaking...Morrison courts those regions of thinking and being that society instructs us to suppress or ignore; and she does so by declaring, 'Every object I am\/is the rupturing it is built on.' At the same time, she writes, 'Pretend instead that words can make a humanness between us.' What started and moved this reader is the calm forceful music, its tonal shifts and use of different registers, with which Morrison proceeded, her willingness to 'plunge into the silence that most frightens us.'\" - \u003cstrong\u003eJohn Yau\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49242358481213,"sku":"9781934819098","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819098ita.jpg?v=1723755175"},{"product_id":"boxing-the-compass","title":"Boxing the Compass","description":"\u003cp\u003eSandy Florian's novella, \u003cem\u003eBoxing the Compass\u003c\/em\u003e, begins with kinds of unfolding, a sort of anti-origami of intention and desire: like love letters or lovers' bodies, exposing and withholding simultaneously. Any reader who opens herself, himself to this book is risking a special kind of pleasure. But the presiding engagement is not pleasure itself, but experience of unfolding, which can also be violent—an earthquake is a cosmic origami, and an accurate account of the mind awakening in this book.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePoet \u003cstrong\u003eSandy Florian\u003c\/strong\u003e was born in New York to parents of Colombian and Puerto Rican heritage and raised in Latin America. She earned an MFA from Brown University and a PhD from the University of Denver. Her collections include the novella \u003cem\u003eBoxing the Compass\u003c\/em\u003e (2013), which launched the Akrilica series, a collaboration between Noemi Press and Letras Latinas; \u003cem\u003eOn Wonderland \u0026amp; Waste \u003c\/em\u003e(2010); \u003cem\u003ePrelude to Air from Water\u003c\/em\u003e (2010); \u003cem\u003eThe Tree of No\u003c\/em\u003e (2008); \u003cem\u003eTelescope\u003c\/em\u003e (2006); and the chapbook \u003cem\u003e32 Pedals \u0026amp; 47 Stops\u003c\/em\u003e (2007). Her criticism appears widely, and she serves on the editorial board of \u003cem\u003eEventual Aesthetics\u003c\/em\u003e. Florian produces an experimental movie series, Nameless Films, with Talan Memmott. Her many honors and awards include residencies at Caldera Arts and the Vermont Studio Center and awards from Elixir Press, New Voices, and Brown University. She has taught at West Virginia University.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Sandy Florian's gorgeous meditation, Boxing the Compass, begins with kinds of unfolding, a sort of anti-origami of intention and desire: like love letters or lovers' bodies, exposing and withholding simultaneously. Any reader who opens herself, himself to this book is risking a special kind of pleasure. But the presiding engagement is not pleasure itself, but experience of unfolding, which can also be violent—an earthquake is a cosmic origami, and an accurate account of the mind awakening in this extraordinary book.\" - \u003cstrong\u003eBin Ramke\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This novella of compressed, accreting, hungry paragraphs is full of sparkling diction and pinching rhythms; mysteriously, it silhouettes its interlocking motifs. Geography, family sadness, facts about the Old and New Worlds come into play. A real pleasure of a book.\" - \u003cstrong\u003eStacey Levine\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49242378240317,"sku":"9781934819289","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819289ita.jpg?v=1723755765"},{"product_id":"careen","title":"Careen","description":"\u003cp\u003eIf life is but a series of contiguous movements, \u003cem\u003eCAREEN\u003c\/em\u003e investigates the reasons one might momentarily lose all control and fall out of line. What is the nature of a desire? What are the consequences of uninhibited longing? How do we come to terms with the systematic conditions and lineages tethered to our individual lives? Any hunger for inclusion calls back to a long history of displacement. Then, \"eventually, every color careens into its own lack,\" and the carte blanche of whiteness that envelopes a racialized nation is deftly overturned. On a journey in search for a home, \u003cem\u003eCAREEN\u003c\/em\u003e is a love note plunging headlong into its objects of unattainable desire.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGrace Shuyi Liew\u003c\/strong\u003e (she\/they) is a queer writer \u0026amp; poet. Born \u0026amp; raised in Malaysia, a former British colony, Grace writes of migration, sexuality, and transnational lineages. She is currently revising her first novel, a queer thriller set in a fictional gambling city in Malaysia.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGrace has been awarded a Center for Fiction Fellowship, Tin House writer-in-residence, MacDowell Fellowship, the Lucille Clifton Poetry Fellowship from the Community of Writers, \u003cem\u003eAesthetica Magazine\u003c\/em\u003e Creative Writing Award (Finalist 2022), Associate Artist at the Atlantic Center for the Arts with US Poet Laureate Joy Harjo, Aspen Summer Words scholarship, resident writer at Can Serrat in Barcelona, Watering Hole Fellowship, Ahsahta Press Chapbook Prize, and many others.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGrace has written a poetry collection, \u003cem\u003eCareen \u003c\/em\u003e(Noemi Press, 2019), named Electric Literature's \"14 Unmissable Poetry Books of 2019, \"Bustle's\" 26 New Poetry Collections By LGBTQIA+ Writers To Look Out For In 2019, \"Entropy Magazine's\" Best Poetry Books of 2019, \"Bookriot's\" Queer Poetry Collections to Read During National Poetry Month,\" and more. She has been anthologized in 2019 Best of the Net.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGrace lives in Brooklyn, New York, with their partner, dog, and cat. They studied philosophy and now teaches various workshops, serves The Trevor Project as a crisis counselor, and sometimes hosts a local queer collective.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Careen is a battlefield of conflicting desires, a place where words are dragged from the liminal engine of Grace's 'kinetically charged' soul into the broad daylight of racial politics. A place where it's impossible to dodge the inevitable bullets aimed at whiteness and its whitened landscape. Her work swells with infinite breast songs shaped to evoke and choke all exit doors towards a place where poetry doesn't exist as an aftermath. Her poetry is designed to stay current, to enrapture, and also a place to 'reveal [her] private galaxy of bruises.' Are her words bruises? Grace's Careen will drape a white sheet over you.\" - \u003cstrong\u003eVi Khi Nao\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Sharp in their vulnerability, the poems in Grace Shuyi Liew's Careen are injurious wounds, moving through a cavernous politics, breaking off, turning in, and restructuring memory as scaffolding, pain as terrifying recurrence. This work is jolting in its refusal to reign in its rageful grief. Shuyi Liew disarms language in order to disarm us, leaving us little room burrow in our fear.\" - \u003cstrong\u003eRaquel Salas Rivera\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"'To whom do you give the potential to seize the whole space of you?' Grace Shuyi Liew, of course. She brings it all: fairy tales and video games, fetish, sex, and politics, perennial mothers and daughters jumping off cliffs, global cities and statelessness. Here dreams are real, and worlds careen refracted in and across time. Go for the ride.\" - \u003cstrong\u003eGabrielle Civil\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49242451542333,"sku":"9781934819784","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819784ita.jpg?v=1723756872"},{"product_id":"critique-of-pure-reason","title":"Critique of Pure Reason","description":"\u003cp\u003eIn \u003cem\u003eCRITIQUE OF PURE REASON\u003c\/em\u003e, Gabriel Blackwell bends found forms to story, repurposes history, sets mathematics and a programmer's logic to generating emotion and wonder. This is the work of a talented storyteller slyly taking the stance of a documentary filmmaker, or else of a first-rate bureaucrat, perhaps rising quickly through our Ministry of Imagination—and with each new diagram and footnote and well-made sentence the philosopher in Blackwell provides us another piece of that most illusive of proofs, a verification of our shared humanity, captured here in all its absurdity and horror and glory.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGabriel Blackwell\u003c\/strong\u003e is the author of \u003cem\u003eCORRECTION\u003c\/em\u003e, the short fiction collection \u003cem\u003eBabel,\u003c\/em\u003e the collection of essays and fictions \u003cem\u003eCritique of Pure Reason\u003c\/em\u003e, and the novels \u003cem\u003eMadeleine E., The Natural Dissolution of Fleeting-Improvised-Men\u003c\/em\u003e, and \u003cem\u003eShadow Man: A Biography of Lewis Miles Archer\u003c\/em\u003e. Since 2013, he has been editor-in-chief of the magazine \u003cem\u003eThe Rupture\u003c\/em\u003e (formerly \u003cem\u003eThe Collagist\u003c\/em\u003e). His short fiction and essays have appeared in \u003cem\u003eConjunctions, Tin House\u003c\/em\u003e and \u003cem\u003eTin House Online, Post Road, Puerto del Sol, DIAGRAM, The Adroit Journal\u003c\/em\u003e, the \u003cem\u003eLos Angeles Review of Books, wigleaf​, Always Crashing​\u003c\/em\u003e, and many other places. He lives in Spokane, Washington.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"In Critique of Pure Reason, Gabriel Blackwell bends found forms to story, repurposes history, sets mathematics and a programmer's logic to generating emotion and wonder. This is the work of a talented storyteller slyly taking the stance of a documentary filmmaker, or else of a first-rate bureaucrat, perhaps rising quickly through our Ministry of Imagination—and with each new diagram and footnote and well-made sentence the philosopher in Blackwell provides us another piece of that most illusive of proofs, a verification of our shared humanity, captured here in all its absurdity and horror and glory.\" - \u003cstrong\u003eMatt Bell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Unique and compelling as the very souls they depict—from the unknown to the famous to the infamous—these stories are wildly inventive, sly, astute. There's a bit of Sir Thomas Browne (Borges, too) for the twenty-first century in these wizardly, magical narratives. The notion of 'pure reason' has rarely had a more subtle, comical, yet deeply humane alchemist at work in the great lab of fiction than Gabriel Blackwell.\" - \u003cstrong\u003eBradford Marrow\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Gabriel Blackwell's Critique of Pure Reason is a transgeneric textual labyrinth. Readers will take great pleasure in wandering these peculiar dark halls, encountering the shadows of Raymond Chandler, Sid Vicious, The Marx Brothers and David Lynch, to name a few.\" - \u003cstrong\u003eAdam McOmber\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49256520974653,"sku":"9781934819265","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819265ita.jpg?v=1724100024"},{"product_id":"deep-city","title":"Deep City","description":"\u003cp\u003e\u003cem\u003eDEEP CITY \u003c\/em\u003erenders the city and the body as architectures in crisis. The poems explore the city and suburbs as container and contents of collective memory and investigate how space shapes the body\/ how we create space. They examine language and identity in the pathology of late capitalism, with its unaffordable housing, healthcare, and educational systems, exploitive labor practices, and continuous violence on its citizens.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDEEP CITY\u003c\/em\u003e captures city as site for these myriad interactions, locating the body in space in relation to people, animals, architectures, and technologies. The city also becomes site to explore the self in relation to its urban exteriority, working to question the limits of the construction of self and subjectivity. Riffing on themes of urban decay, suburban housing developments, and the works of Julia Kristeva, Young Jeezy, and Honoré de Balzac, \u003cem\u003eDEEP CITY\u003c\/em\u003e explores what happens when narrated identity becomes both essential and unbearable.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMegan Kaminski \u003c\/strong\u003eis a poet, essayist, and interdisciplinary artist. She is the author of three books of poetry, \u003cem\u003eGentlewomen\u003c\/em\u003e (Noemi Press, 2020), \u003cem\u003eDeep City \u003c\/em\u003e(Noemi Press, 2015) and \u003cem\u003eDesiring Map\u003c\/em\u003e (Coconut Books, 2012) and two artists books, \u003cem\u003ePrairie Divination\u003c\/em\u003e (Sunseen Books, 2022), a book of illustrated essays and oracle deck with artist L. Ann Wheeler, and \u003cem\u003eQuietly Between\u003c\/em\u003e (A Viewing Project. 2022), a co-authored collection of poetry and photography. Her place-based sound, poetry, and art installations have appeared at museums, public gardens, and libraries across the country, and her poetry and essays regularly appear in literary magazines and journals. Her social practice includes two edited volumes of nature poetry and art, as well as hundreds of community workshops, place-based poetry walks, and community readings, talks, and performances, all centered on co-creating with and within our ecosystems towards community connection, healing, and liberatory futures.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA Professor in the English Department's Creative Writing Program and in the Environmental Studies Program with a courtesy appointment in Visual Art at the University of Kansas, she works at intersections of queer ecologies, plant studies, somatics, and ceremony. Her creative work and scholarship are informed by interdisciplinary research in social welfare, plant biology, philosophy, and theology, as well as previous work in the healing arts and at non-profit environmental organizations.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eShe writes, 'what if I split it open \/ melon ripe and red \/ let them all out' but there is no 'what if' about it as these beautiful poems dispatch us around the world where everyone awaits. The vivid reimagined anatomy of the page in Megan Kaminski's brilliant Deep City is host to the unexpected 'slide from languid to louche' listening with our enthusiastic ears. You will be wild about this book with me!\" - \u003cstrong\u003eCA Conrad\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"In Deep City Megan Kaminski continues her role as cartographer of desire, of longings both 'feudal,' futile, and refined. Her delicate poems loiter at the intersection of bodies and letters (both alphabetic and epistolary), where objects and imagination collude. Kaminski's poems beautifully illustrate how our sense perceptions insistently puncture through even the most rational arrangement. Deep City—not so much a place as a literary pleasure.\" - \u003cstrong\u003eJennifer Moxle\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49256556298557,"sku":"9781934819531","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819531ita.jpg?v=1724100507"},{"product_id":"dream-of-the-trenches","title":"Dream of the Trenches","description":"\u003cp\u003ePart autofiction, part sequential critical engagement, the eponymous essay in \u003cem\u003eDREAM OF THE TRENCHES\u003c\/em\u003e investigates and builds upon narrative recursion, self-reflexivity and subjective treatments of time in modern and contemporary writing. Winding through the work of Ben Lerner, it also addresses Ashbery, Woolf, Stein, Lessing, Mathews, Knausgaard and others. An accompanying sequence of 20 micro-essays—each of exactly 150 words—explores the possibilities of formal constraint with torqued language ranging across topics from beauty to popular music to the senescence of lobsters.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKate Colby\u003c\/strong\u003e is author of nine books of poetry and prose. She has received awards and fellowships from the Poetry Society of America, Rhode Island State Council for the Arts, the Dodd Research Center at University of Connecticut, and the Woodberry Poetry Room at Harvard University. Her work has been featured at the Beauport Sleeper-McCann, deCordova, Isabella Stewart Gardner and RISD museums, and her poems and essays have recently appeared in \u003cem\u003eA Public Space, Bennington Review, Boston Review, The Brooklyn Rail, Chicago Review, Conjunctions, Fence, Jubilat, Lana Turner\u003c\/em\u003e and \u003cem\u003eThe Nation.\u003c\/em\u003e She was a founding board member of the Gloucester Writers Center in Massachusetts, where she now serves on the advisory board. Colby grew up in Massachusetts and currently lives in Providence, where she teaches at Brown and UPenn, and performs with the Spatulate Church Emergency Shift.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"If the onset of middle age unleashes a reckoning both with time ('The midpoint of my life will be the midpoint of time one day. Is it ahead of or behind me?') and with material and psychological stuff ('my slurry of assimilated interests'), then one way to think about the measure of a self in media res is as time-plus-stuff. Colby's ambitious, labyrinthine, and wildly intimate eighth book takes this measure, fractally, propositionally, as if from within a hall of purportedly false mirrors that are still the only accessible mirrors on earth. No wonder the mise en abime that recurs as a (self-conscious) trope; no wonder the playful fiction of an entire book being somehow composed during a single drive to a memorial service; no wonder the relentless probing of sincerity and irony, reality and verisimilitude, both in literature—real criticism of actual novels is in here, too—and in life. I want to say this is a meaty book, but it's really a fleshy book, concerned with the tender membrane between a body and time, an involuntary record reflected in 'language's rim.' Think of it as the parentheses in one of its more dizzying droste-effect lines: '(I'll never survive myself).' Dream of the Trenches is generous, dangerous, exquisitely written and quietly charismatic: it will leave you thrilled, unsettled, and alive.\" - \u003cstrong\u003eAnna Moschovakis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Not long ago, apropos of her recent book of poetry, I heard Colby speak about stripping back and whacking language until only essential articulations remained. Do not quote me on this. I'm providing a not entirely reliable narrative around her unsettling use of whacking. It's just that a similar fierceness drives (almost literally) Colby's unrelenting intelligence in Dream of the Trenches. As she tracks memory's workings, the writing races forward and backward at once. And the language starts taking itself apart. This matters. Speaking of matter, as Colby would have it, the journey is apace with controlled, delirious entropy.\" - \u003cstrong\u003eMónica de la Torre\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Kate Colby lays bare the very mechanisms of vulnerability in this stunning performance of self-portrait through a wry critical commentary on several other masters of the form—John Ashberry, Virginia Woolf, Harry Mathews, Julianna Spahr, Ben Lerner. Dream of the Trenches generates and implodes self through collision with the self-portraits others—cancelling and revising, redrafting, new noms de plume, new noms de guerre—a self-machine which is also a meditation on the durational aspect of auto-portrait, and on the precarity of living as oneself on a gantry of slow structures, moveable as type, which threaten to collapse even as they launch our next avatar.\" - \u003cstrong\u003eJoanna Howard\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Noemi Press","offers":[{"title":"Default Title","offer_id":49256624030013,"sku":"9781934819807","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934819807ita.jpg?v=1724101348"}],"url":"https:\/\/itascabooks.com\/collections\/noemi-press.oembed","provider":"Itasca Books","version":"1.0","type":"link"}