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Proxies
Past compunction, expressly unbeholden, these twenty-four single-subject essays train focus on a startling miscellany of topics - Foot Washing, Dossiers, Br'er Rabbit, Housesitting, Man Roulette, the Locus Amoenus - that begin to unpack the essayist himself and his life's rotating concerns: sex and sexuality, poetry and poetics, subject positions in American labor (not excluding academia), and his upbringing in working-class, Primitive Baptist, central-piedmont North Carolina. In Proxies an original constraint, a "total suppression of recourse to authoritative sources," engineers Brian Blanchfield's disarming mode of independent intellection. The "repeatable experiment" to draw only from what he knows, estimates, remembers, and misremembers about the subject at hand often opens onto an unusually candid assessment of self and situation. The project's driving impulse, courting error, peculiar in an era of crowd-sourced Wiki-knowledge, is at least as old as the one Montaigne had when, putting all the books back on the shelf, he asked, "What do I know?"
A Several World
The greatly anticipated second volume by an innovative and acclaimed talent
Proxies
'A rich and compelling personal account.' Financial Times In this memoir in twenty-four essays, Blanchfield focuses on a startling miscellany of topics – Foot Washing, Dossiers, Br’er Rabbit, Housesitting, Man Roulette, the Locus Amoenus – that begin to unpack the essayist himself and his life’s rotating concerns: sex and sexuality, poetry and poetics, and his upbringing in working-class, Primitive Baptist, North Carolina.
How To Wash A Heart
Winner of the T. S. Eliot Prize 2020. Poetry Book Society Choice, Summer 2020. Bhanu Kapil’s extraordinary and original work has been published in the US over the last two decades. During that time Kapil has established herself as one of our most important and ethical writers. Her books often defy categorisation as she fearlessly engages with colonialism and its ongoing and devastating aftermath, creating what she calls in Ban en Banlieue (2015) a ‘Literature that is not made from literature’. Always at the centre of her books and performances are the experiences of the body, and, whether she is exploring racism, violence, the experiences of diaspora communities in India, England or Am...
You, Siphon
Poetry. LGBTQIA Studies. "Brought together in this highly developed and idiosyncratic poetic project are the self-othering phenomena of serious illness and profound love. A quiet astonishment suffuses the book: that the body--medically objectified, monitored, mapped, inspected, treated, reported, cased, 'casing out'--is the same body that might betray and elicit desire, one which 'glitched all yes for you.' Such is 'our eachness' in like bodies; such is the 'graft economy' of Kerry Banazek's poetry, appropriate to the sort of experience that discontinues who you were but values anew the distinction of living on: 'the beyond and the before are different.'"--Brian Blanchfield
Pop Song
"A warm and expansive portrait of a woman’s mind that feels at once singular and universal," this collection of essays interweaves commentary on modern life, feminism, art, and sex with the author's own experiences of obsession, heartbreak, and vulnerability (BuzzFeed). Like a song that feels written just for you, Larissa Pham's debut work of nonfiction captures the imagination and refuses to let go. Pop Song is a book about love and about falling in love—with a place, or a painting, or a person—and the joy and terror inherent in the experience of that love. Plumbing the well of culture for clues and patterns about love and loss—from Agnes Martin's abstract paintings to James Turrell...
Not Even Then
Not Even Then, the debut collection by Brian Blanchfield, introduces a poetry both compressed and musically fluid, beseechingly intimate and oddly authoritative. Blanchfield conducts readers through a unique, theatrical realm where concepts and personages are enlivened into action: Continuity, Coincidence, Symmetry, and Shame keep uneasy company there with Marcel Duchamp and Johnny Weissmuller, Lord Alfred Douglas and "Blue Boy" Master Lambton, Juliet’s Nurse and Althusser’s Moses. With its kinked and suspensive language, Not Even Then draws on the lyric tradition, even as it complicates that tradition’s dualism of self and other. Likeness is always under investigation in the book’s ...
No Doubt I Will Return a Different Man
Poetry. LGBTQIA Studies. "Wray's poems are wry luxury items of intelligence, sheathed in the latent double of speech, where a word like family might mean, in the queer parlance, refuge, but also, refutation. This is an interrogative, primal, mythic collection, a poetry of privacy and disclosure, of contradiction, a disabused landscape under 'razor-wire stars.'"--Randall Mann "NO DOUBT I WILL RETURN A DIFFERENT MAN explores how complicated relationships between fathers and sons cast long shadows over the future self. In Wray's poems, eros shades at times uncomfortably into social violence and self-abnegation, making this book both love song and elegy to masculinity and its performances, to qu...
Codependence
Literary Nonfiction. Women's Studies. Fearless, haunting, and transcendently honest, Amy Long's CODEPENDENCE is a memoir of pain and its paradoxes. Long documents her coming of age as an ambitious young writer plagued by chronic headache and entangled with a boyfriend's opioid addiction. The essays that result explore the complexities of care, hurt, and hope with elegance and precision. Long exposes her every nerve, crafting a story both intimate and deeply relevant. An essential book for the opioid era.
Essayism
A compelling ode to the essay form and the great essaysists themselves, from Montaigne to Woolf to Sontag. Essayism is a book about essays and essayists, a study of melancholy and depression, a love letter to belle-lettrists, and an account of the indispensable lifelines of reading and writing. Brian Dillon’s style incorporates diverse features of the essay. By turns agglomerative, associative, digressive, curious, passionate, and dispassionate, his is a branching book of possibilities, seeking consolation and direction from Michel de Montaigne, Virginia Woolf, Roland Barthes, Theodor Adorno, Walter Benjamin, Georges Perec, Elizabeth Hardwick, and Susan Sontag, to name just a few of his influences. Whether he is writing on origins, aphorisms, coherence, vulnerability, anxiety, or a number of other subjects, his command of language, his erudition, and his own personal history serve not so much to illuminate or magnify the subject as to discover it anew through a kaleidoscopic alignment of attention, thought, and feeling, a dazzling and momentary suspension of disparate elements, again and again.
