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Runaway
From Erin Keane, editor in chief at Salon , comes a touching memoir about the search for truths in the stories families tell. In 1970, Erin Keane's mother ran away from home for the first time. She was thirteen years old.
Death-defying Acts
What does the Tattooed Lady fear? "Some day I'll run out of skin." Erin Keane's new book, Death-Defying Acts, is a collection of monologues by a varied cast of circus performers--the Aerialist, Zorada (a fortune teller), the Clown, the Tattooed Lady, the Lion Tamer and even the Lion. They're living on the "existential edge" says Richard Cecil, and their stories are crazily, eerily familiar to all of us.
Demolition of the Promised Land
"Confession: I did not love Bruce Springsteen until I turned thirty and set my own home on fire, walked away from the ashes and looked my declining self in the face. Like love, Bruce is wasted on the young." Welcome to journalist and pop culture critic Erin Keane's third and finest poetry collection. With Bruce Springsteen appearing throughout as guide, ghost, and accidental guru, Keane sharply articulates the universal bangs and bruises that march us toward our middle years. Smart, entertaining poems that highlight the multitude of reasons Keane is a unique and rising voice in modern letters.
The Gravity Soundtrack
In her debut collection of poetry, The Gravity Soundtrack, Erin Keane explores subjects ranging from classic myth, philosophy and religion, to rock 'n roll, pop culture and children's book characters. With a "confident and alert use of language" (Greg Pape), each poem shows keen insight into the nature of what it means to be human.
The Louisville Anthology
hat is Louisville’s identity in the twenty-first century? Is it the Southernmost Midwestern city, the Midwestiest Southern town, or somewhere in between? Living on the border of two regions creates a hybrid sensibility full of contradictions that can be difficult to articulate beyond “from Louisville, not Kentucky.” In this collection of evocative essays and poems by natives and transplants, The Louisville Anthology offers locals and visitors a closer look at compelling private and public spaces in an attempt to articulate what defines Louisville beyond—but also inclusive of—its most recognized cultural exports.
The Hands of Gravity and Chance
The Hands of Gravity and Chance is a spell-binding story in which parents find themselves promising and then rescinding what they do not have to give. The story opens with the fall of a thirteen-year-old girl down the stairs of the family house, an event that generates fault lines that spread both forward and backward in time, releasing an explosive energy of love and fear, bitterness and remorse.
The Louisville Anthology
What is Louisville's identity in the twenty-first century? Is it the Southernmost Midwestern city, the Midwestiest Southern town, or somewhere in between? Living on the border of two regions creates a hybrid sensibility full of contradictions that can be difficult to articulate beyond "from Louisville, not Kentucky." In this collection of evocative essays and poems by natives and transplants, The Louisville Anthology offers locals and visitors a closer look at compelling private and public spaces in an attempt to articulate what defines Louisville beyond--but also inclusive of--its most recognized cultural exports.
Political Brands
From ‘I Like Ike’ to Trump’s MAGA hats, branding and politics have gone hand in hand, selling ideas, ideals and candidates. Political Brands explores the legal framework for the use of commercial branding and advertising techniques in presidential political campaigns, as well as the impact of politics on commercial brands. This thought provoking book examines how branding is used by citizens to change public policy, from Civil Rights activists in the 1960s to survivors of the 2018 Parkland massacre.
Taryn Simon
Was wir wahrnehmen, nehmen wir auch für wahr. Keinem Organ wird hierbei mehr Evidenz zugesprochen als dem Auge. Dabei ist das Sehen keineswegs unvoreingenommen. Perspektive, Wissen und Intuition prägen die Visualität. Was Realität ist und was Einbildung lässt sich hier kaum noch auseinanderhalten. Eindrücklicher Beleg hierfür ist Taryn Simons neue Fotoserie The Innocents. Zu sehen sind Menschen an unterschiedlichen Orten, die eint, irrtümlich anhand von Zeugenaussagen und Fotografien für Gewaltverbrechen verurteilt und inhaftiert worden zu sein. Wenn sie für die Aufnahmen nun an die Orte ihrer Verhaftung, des Verbrechens, der falschen Bezichtigung oder ihres Alibis zurückkehren, dann werden sie selbst Zeugen. An Kreuzungen, an denen Realität zu Fiktion und Einbildung zu Wahrheit erklärt wurde, blicken sie fragend in die Weite oder in die Kamera, um der lebende Beweis für die vermeintliche Objektivität und die Ambivalenz der Sinne zu sein.
