Editor's Picks New Book Arrivals (251)
Etel Adnan’s evocative new book places night at its center to unearth memories held in the body, the spirit and the landscape. This striking new book continues Adnan’s meditative observation and inquiry into the experiences of her remarkable life.
Happy Anyway: A Flint Anthology is Flint at its funniest, its weirdest, and its saddest. A collection of essays and personal narratives, the book, edited by Scott Atkinson, captures a confounding, contradictory city, proving that Flint is far more than the common narrative of an industrial town picking itself up after the big company that fed it left, or the site of a devastating public health crisis. Including work from Gordon Young, Jan Worth-Nelson, Connor Coyne, Layla Meillier, Andrew Morton, and many others.
Brad Manford, a successful attorney and loving husband and father, has a dire secret: He used to be someone else. And his memories of that former life? Gone. Replaced, inexplicably, by false recollections from a life he never lived. Who, really, is Brad Manford? And what was he doing during those forgotten years? In his debut novel, Vince Wheeler spins a story of surreal self-discovery, leading, ultimately, to an unimaginable truth.
Souvenirs and Other Stories contains six absurd and surreal stories—a father evaporates, items mysteriously appear and fill an apartment, an eye surgery causes optical hallucinations, and more. Souvenirs is a fantastic, whimsical, darkly funny collection from the author of Studies in Hybrid Morphology.
WoO is a hagiography written under the spiritual guide of a heretic, or a creative translation of the original 116 pages of The Book of Mormon lost by Joseph Smith, never found, and subsequently rewritten as The Book of Mormon which is now circulated for free around the world. WoO unchurches and unmoors an American religion that operates within violent, racist and misogynistic contexts. Mormonism is no longer the fringe or fundamentalist culture society has come to expect, yet it is the “mongrel” status of the book that Angle continues to reckon with as a descendent of Mormon pioneers and a former Mormon.
BAX 2015 is the second volume of an annual literary anthology compiling the best experimental writing. This year’s volume features seventy-five works by some of the most exciting American poets and writers today, including established authors—like Dodie Bellamy, Anselm Berrigan, Thomas Sayers Ellis, Cathy Park Hong, Bhanu Kapil, Aaron Kunin, Joyelle McSweeney, and Fred Moten—as well as emerging voices. Best American Experimental Writing is also an important literary anthology for classroom settings, as individual selections are intended to provoke lively conversation and debate.
“For all the ways we pad our language with qualifier, with apology, with hedge, Anaïs Duplan is antidote. Her poems are talkative, inappropriate, obsessive, and sexy. They put everything on the table and if there’s no table, she erects one: of the mechanic’s lobby, of men selling peanuts at her door, of the George Washington Bridge underpass, of the ocean. Sometimes the poems hang the air with obsession like tangential rope. like snake. Sometimes they pick up their skirts and dust the ground. Duplan’s work is at once this methodical, and this unhinged. . . . ” – advance praise from francine j. harris
The winner of the 2015 James Laughlin Award, Kathryn Nuernberger’s The End of Pink is populated by strange characters—Bat Boy, automatons, taxidermied mermaids, snake oil salesmen, and Benjamin Franklin—all from the annals of science and pseudoscience. Equal parts fact and folklore, these poems look to the marvelous and the weird for a way to understand childbirth, parenthood, sickness, death, and—of course—joy.
Through a combination of lyric, narrative, and fractured essay, Sympathetic Little Monster attempts to make a space and a shape for the little girl who haunts our cultural/personal narratives about blackness and transmasculinity. As a trans coming-of-age text, the work is intensely inward-focused, but it resists the imperative of linear autobiography. Instead, it uses the personal as a tool to explore what kind of thing a “self” is, its relation to trauma and objectification, and its capacity to be multiple.
What do you do when your father kills himself, or your mother is committed to a psych ward, or your daughter starts hearing voices telling her to harm herself—or when you yourself start hearing such voices? Addressing bipolar disorder, OCD, trichillomania, self-harm, PTSD, and other diagnoses, these original true stories vividly depict the difficulties and sorrows—and sometimes, too, the unexpected and surprising rewards—of living with mental illness.
This book contains a play about a woman who dies twice, a treatise on why there are no female absurdists, and several unfortunate references to goldfish. In fact, the book was almost called “The Fish” in the way that Gogol’s story is called “The Nose,” except that unlike the olfactory organ of the Gogol story, neither the woman nor the fish has yet developed of life of her own, and it is perhaps beyond the powers of the author to indicate whether this is a happy or sad undevelopment.
The autobiographical essays in The Girls in My Town create an unforgettable portrait of a family in Los Angeles. From her grandmother’s childhood to her own girlhood, to the present, Angela Morales contemplates moments of loss and longing, truth and beauty, motherhood and daughterhood. She remembers fighting for equal rights for girls as a sixth grader, calling the cops when her parents fought, and to Helen Reddy’s “I Am Woman,” the soundtrack of her parents’ divorce. Poignant, serious, and funny, Morales’s book is both a coming-of-age story and an exploration of how a writer discovers her voice.
A feral boy comes of age on a campus decadent with starched sheets, sweating cocktails, and homemade jams. Stub is the cause of that missing sweater, the pie that disappeared off the cooling rack. Then Stub meets Billy, who takes him in, and Asthma, who enchants him, and all is found, then lost. A fragrant, voluptuous novel of imposture, misplaced affection, and emotional deformity.