Fiction. UNCHECKED SAVAGERY, Glenn Shaheen's first collection of flash fiction, introduces the reader to a tragicomic universe where bad jokes become pathos-laden impetus, media landscapes are transformed into loci of passion and intrigue, and the intimate territory of the uncertain relationship becomes a funny, hellish adventure. Shaheen's eye for detail and ear for threats wither archetypes, seeking the sublime glimpses memorialized here: assignations on a night train, the game of love made suddenly desperate, the fragile body in unkind hands.

Unchecked Savagery

Literature & Fiction

Shaheen, Glenn

Contemporary

Ricochet Editions

Poetry. Literary Nonfiction. This book- length lyric essay provides gently incisive scrutiny of the processes (biological, social, psychological, cultural, even economic) of planned motherhood. Kiefer employs verse, memoir, reportage, and a quietly tenacious prose narrative to style a private moment- by-moment mosaic of experience. Discussions of gender and privilege blend seamlessly with larger, core interrogations of the body itself—that which perseveres and triumphs, that which fails in myriad ways and despairs helplessly of those failures—that which creates and that which betrays itself.

Nestuary

Kiefer, Molly Sutton

Poetry

Poetry. Literary Nonfiction. African American Studies. Harmony Holiday's tête-bêche book-length lyric essay collection GO FIND YOUR FATHER/A FAMOUS BLUES immerses itself and its readers in a deeply personal interrogation of perhaps the most difficult subjects of all: love and family legacy. Holiday addresses these topics in verse, prose, and, most affectingly, in letters to her father—the late singer-songwriter Jimmy Holiday. Through these notes as well as her poems bearing long, ambitious, uncompromising lines, Holiday explores how we distill our own identities from memories and responsibilities bound up in tenderness and violence. "Do any black children grow up casual? Naw, we grow up shipped, knowing that we are loved but knowing more than that, that terror, that knowing is scrawled money for our bank. We're sure-shot and avoided, singing blue devil blues like a black and blue disciple, out from Sallis, Attala off delta, change-played, flowed to that subcommon up-river fate, our Waterloo and phonic quarry, step-sharp, sharp-squared, strait- shawled, boot-sharp visitor, made for walking, talking remnant of an extra- impossible accord, then Los Angeles. Resonances and renascence of everywhere we come from, Harmony, deepest Holiday since Jason, since Jimmy, having gone to find him, makes these missive runs, assured of her allure but running from and in that into open, unsure dream. She sees it's getting late. Her archive has a microtonal blush. Sightsound, as Russell Atkins says. Can you say what it is to sing a song of love I can show you, right here, ask me now."—Fred Moten

Go Find Your Father/A Famous Blues

Holiday, Harmony

History & Criticism

Literary Nonfiction. Poetry. Hybrid Genre. A transgenre (prose poem? flash nonfiction?) exploration of fashion, style, body image, consumerism, and other related ventures into of the personal-political, LOCALLY MADE PANTIES is light- hearted, deadpan and deadly serious. After asking herself what she was truly most scared to admit in her writing—what was most taboo—Greenberg realized that, rather than sex or family history, what felt the most revealing and terrifying was to confess how much time she spent thinking about hairstyles and shoes. Stuff that, perhaps, a professor of poetry, a so-called intellectual and feminist, a person who cares about justice and activism, a busy working mother and wife, does not want to admit thinking about. So, in a series of book-length short first-person essays, Greenberg thinks about war, What Not to Wear, fat, conceptual art, lingerie, pregnancy, J. Crew, activism, breasts, street attention, vintage clothes, feminism, Project Runway and money, and the connections between it all.

Locally Made Panties

Greenberg, Arielle

Poetry. Art. BINDLE collects several series of text-image works by artist Dianne Kornberg and poet Elisabeth Frost, created over a six-year period of intensive collaboration. BINDLE explores the natural world through its traces, as a sort of mortal remains: spiders' webs, birds' nests, and oyster shells evoke dwelling places and absent bodies, scientific specimens and sites of loss. In these complex visual fields, text and image carry equal weight, and the idioms of science and lyric overlap and merge. In this singular work, Kornberg and Frost reveal that divergent ways of knowing hold us—as a paper bindle holds a specimen—tying us to the material world.

Bindle

Frost, Elisabeth

Literary Nonfiction. This anthology is a collection of some of the most exciting voices in the field of writing, art, and activism. Each contributor considers different aspects of aesthetics, from what beauty means to them to how disability has informed their practice. Here artists and writers dive deep into how notions of identity, language, and history play out in their work. Contributors include Kazim Ali, Jennifer Bartlett, Josh Bell, CA Conrad, Camille T. Dungy, Mary Gaitskill, Maria Mazziotti Gillan, Carmen Giménez Smith, Arielle Greenberg, Elizabeth Hall, Brenda Hillman, Kenyatta A.C. Hinkle, Bob Holman, Bhanu Kapil, Douglas Kearney, Paul Legault, Sandra Lim, MANDEM, Shane McCrae, Lynn Melnick, Philip Metres &amp; Mark Nowak, Ben Mirov, Eileen Myles, Hoa Nguyen, Alice Notley, James Romberger &amp; Marguerite Van Cook, giovanni singleton, Molly Sutton Kiefer, Mathew Timmons, Derek White, Simone White, Joshua Marie Wilkinson, Emily Wolahan, and Maged Zaher.

Among Margins

Poetry. African American Studies. LGBT Studies. 2017 Lambda Literary Award Finalist in Transgender Poetry. Through a combination of lyric, narrative, &amp; fractured essay, SYMPATHETIC LITTLE MONSTER attempts to make a space &amp; a shape for the little girl who haunts our cultural/ personal narratives about blackness &amp; 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 &amp; objectification, &amp; its capacity to be multiple.

Sympathetic Little Monster

Awkward-Rich, Cameron

Poetry. Music. African American Studies. FUGUE MEADOW listens to, thinks alongside, dwells within Don Cherry and Ed Blackwell's legendary Mu sessions, one of the twentieth-century music's unclassifiable masterpieces. Recorded in Paris in 1969, Cherry and Blackwell accumulate vast silences, harmonies and disharmonies, vast plural and interlaced musics to think and counter, to protest, to heal the violences of what the Vietnamese called "The American War," Richard Nixon's Law and Order racists police state, and something of the general world situation through a studied and richly complex "world" music. The poems of FUGUE MEADOW are a patient response to this recording session's embedded colonial and post-colonial histories. As their poems unfold, or enfold, FUGUE MEADOW seeks to understand, and conjure the other kinds of thought and history that open up and are made possible by Cherry and Blackwell's singularly aesthetic and conceptual flight, their exile to the Old World, their burrowing out of and into old and new ways of thinking and feeling and being. Through their tracings and erasures and in their music, these poems hope to awaken, to voice, to re-score, to re-learn, to say again, and to widen the mythic's ensembles.

Fugue Meadow

Jones, Keith

Fiction. The small future parables of ASSUMPTIONS WE MIGHT MAKE ABOUT THE POSTWORLD take place in a world very much like our own--and not--weaving what amounts to a beguiling meditation on inconsolable loss. In the mundane dailiness of this world, men and women of forbearance and good nature embrace world-altering anomalies of difference--a missing part, a troubling cough, a lack of body altogether--with carefree insouciance, while somewhere just the next story over, amorphous aliens gorge on seconds, vast schools of glittering fish appear out of nowhere for secret visitations in the night, and a tiny private tear rends an opening in the fabric of the universe itself. Meantime, all they ever wanted-- all any of them ever wanted--was something they might call grace before everything disappears altogether in the postworld, when herds of unrecognizable animals inherit the earth.

Assumptions We Might Make About the Postworld

Haake, Katharine

Genre Fiction

"Unputdownable. Young gay sex and super mundane details--two things I love, together." --Miranda July, author of The First Bad Man "Surprisingly touching, People I've Met From the Internet is a brilliantly written, taxonomic account of growing up queer in turn-of-the-millennium Albuquerque, Los Angeles, and beyond." --Chris Kraus, author of I Love Dick "This is an impressive work, modern, relevant, powerfully startling in its effect." --John Rechy, author of City of Night Stephen van Dyck's PEOPLE I'VE MET FROM THE INTERNET is a queer reimagining of the coming-of-age narrative set at the dawn of the internet era. In 1997, AOL is first entering suburban homes just as thirteen-year-old Stephen is coming into his sexuality, constructing selves and cruising in the fantasyscape of the internet. Through strange, intimate, and sometimes perilous physical encounters with the hundreds of men he finds there, Stephen explores the pleasures and pains of growing up, contends with his mother's homophobia and early death, and ultimately searches for a way of being in the world. Spanning twelve years, the book takes the form of a very long annotated list, tracking Stephen's journey and the men he meets from adolescence in New Mexico to post-recession adulthood in Los Angeles, creating a multi-dimensional panorama of gay men's lives as he searches for glimpses of utopia in the available world.

People I've Met From The Internet

Biographies & Memoirs

Stephen van Dyck

Regional U.S.

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