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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
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 ...
The Apocalypse and the End of History
How the political violence of modern jihad echoes the crises of western liberalism In this authoritative, accessible study, historian Suzanne Schneider examines the politics and ideology of the Islamic State (better known as ISIS). Schneider argues that today’s jihad is not the residue from a less enlightened time, nor does it have much in common with its classical or medieval form, but it does bear a striking resemblance to the reactionary political formations and acts of spectacular violence that are upending life in Western democracies. From authoritarian populism to mass shootings, xenophobic nationalism, and the allure of conspiratorial thinking, Schneider argues that modern jihad is ...
Proxies
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.
Readings in Contemporary Poetry
-Culled from Dia Art Foundation's -Readings in Contemporary Poetry- series, this anthology includes ninety-four poets who have participated in the reading series from 2010 to 2016. Edited by poet and author Vincent Katz, the book stresses the experimental aspects of contemporary poetic practice, highlighting commonalities among poets and placing their diverse voices in conversation with one another---
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.
Spellbound
Spellbound: The Art of Teaching Poetry offers a range of exciting ideas to inspire students of all ages to explore their potential as writers and creators. Featuring original lesson by 26 contributors, including Aracelis Girmay, Bianca Stone, Jason Koo, and Brian Blanchfield, this collection draws on model texts by contemporary poets such as Jericho Brown, Marie Howe, Harryette Mullen, Chen Chen, and Danez Smith. Spellbound is a vital addition to Teachers & Writers Collaborative's catalogue of resources to support innovation in the classroom and learning through the literary arts.
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.
