Bøger udgivet af Coach House Books

A rich portrait of the beauty of words – painted by a 15th-century illiterate scribe.

"The Sleeping Car Porter brings to life an important part of Black history in North America, from the perspective of a gay man living in a culture that renders him invisible in two ways. Affecting, imaginative, and visceral enough that you'll feel the rocking of the train, The Sleeping Car Porter is a stunning accomplishment. Baxter's name isn't George. But it's 1929, and Baxter is lucky enough, as a Black man, to have a job as a sleeping car porter on a train that crisscrosses the country. So when the passengers call him George, he has to just smile and nod and act invisible. What he really wants is to go to dentistry school, but he'll have to save up a lot of nickel and dime tips to get there, so he puts up with "George." On this particular trip out west, the passengers are more unruly than usual, especially when the train is stalled for two extra days; their secrets start to leak out and blur with the sleep-deprivation hallucinations Baxter is having. When he finds a naughty postcard of two gay men, Baxter's memories and longings are reawakened; keeping it puts his job in peril, but he can't part with the postcard or his thoughts of Edwin Drew, Porter Instructor."--

'All of Nichol's work is stamped by his desire to create texts that are engaging in themselves as well as in context, and to use indirect structural and textual devices to carry meaning. In The Martyrology different ways of speaking testify to a journey through different ways of being. Language is both the poet’s instructor and, through its various permutations, the dominant 'image' of the poem. The [nine] books of The Martyrology document a poet’s quest for insight into himself and his writing through scrupulous attention to the messages hidden in the morphology of his own speech.’ – Frank Davey

One of the World's Favorite Foods: Many culinary cultures from around the world have a version of dumplings.Cook What You Read: Readers can try cooking the dumplings featured in the book with easy-to-follow recipes.A Diverse Collection of Food Writing: For fans of food writers with an interest in history, like Michael W. Twitty, Samin Nosrat, and Tamar Adler.

What if we could love the planet as much as we love one another? "e;Warm, wise, and overflowing with generosity, this is a love story so epic it embraces all of creation. Yet another reminder of how blessed we are to be in the struggle with elders like David and Tara."e; - Naomi Klein and Avi Lewis What You Won't Do for Love is an inspiring conversation about love and the environment. When artist Miriam Fernandes approached the legendary eco-pioneer David Suzuki to create a theatre piece about climate change, she expected to write about David's perspective as a scientist. Instead, she discovered the boundless vision and efforts of Tara Cullis, a literature scholar, climate organizer, and David's life partner. Miriam realized that David and Tara's decades-long love for each other, and for family and friends, has only clarified and strengthened their resolve to fight for the planet.What You Won't Do for Love transforms real-life conversations between David, Tara, Miriam, and her husband Sturla into a charmingly novel and poetic work. Over one idyllic day in British Columbia, Miriam and Sturla take in a lifetime of David and Tara's adventures, inspiration, and love, and in turn reflect on their own relationships to each other and the planet. Revealing David Suzuki and Tara Cullis in an affable, conversational, and often comedic light, What You Won't Do For Love asks if we can love our planet the same way we love one another.

Typography meets poetry at a Pink Floyd laser-light showIn Surface Tension, poetry is liquefied. Flowing away from meaning, letters and words gather and pool into puddles of poetry; street signs and logos reflected in the oily sheen of polluted gutters of rainwater. Like a funhouse mirror reflecting the language that surrounds us, the pages drip over the margins, suggesting that Madge was right, we are soaking in it!Surface Tension updates visual poetry for our post-pandemic age, asking us rethink the verbiage around us, to imagine letters as images instead of text, to find meaning in their beautiful shapes as Beaulieu stretches, torques, slides, blurs, and melts them into Dali-esque collages.Not words, letters; not letters, shapes; not shapes, figures; not figures, ciphers; not ciphers, ornaments; not ornaments, decoration; not decoration, semiotics; not semiotics, communicative possibilities; not vagrant potential, slowly forming inflection; not melting deflection, language as dance: in, out, upside down, flapping, flipping, all ways round. Charles Bernstein, recipient 2019 Bollingen Prize for American PoetryThe striking compositions youll find inSurface Tensionare being presented sequentially in book form, yet that they wouldnt be out of place hanging on the wall goes without saying. Beaulieu swerves Gomringer when writing that 'Readibility is the key: like a logo, a poem should be instantly recognizable...' yet, to this reader, these works merit sustained and enthusiastic viewing precisely because they teeter on the edge of legibility. The kinetic, glitchy quality of their 'alphabetic strangeness' keeps them unrecognizable as poems and, here, 'that is poetry as I need it,' to quote Cage. Think of them as anti- advertisings selling you nothing but bountiful manifestations of the irreducible plasticity of numbers, punctuation marks, and letter forms. No logos. Mnica de la Torre, Madelon Leventhal Rand Endowed Chair in Literature, Brooklyn College; co-editor ofWomen in Concrete Poetry 19591979With his distinctive visual palindromes and angled axes of symmetry, Derek Beaulieu has developed a signature mastery of Letraset, leveraging the twentieth-century tech- nology as a vehicle for bring concrete poetry into the twenty-first century. WithSurface Tension, Beaulieu takes the possibilities of that new idiom even further, unsettling the fixity his symmetries once reinforced and dislodging the set in Letraset as poems distort in fun-house-mirror swerves, sag as if under their own weight, pool and smear in the liquid logic of heated ink, or swoop and blur as if in motion. In the process, these poems make visible the filmic potential of the photocopier, the facture of abraded transfers from brittling stock, and the three-dimensional substrate of the page with its flexible bends in curving space. These are thus poems in part about their own modes of production. They are beautiful products of a self-aware and intelligent process. Craig Dworkin, author ofRadium of the Word: A Poetics of MaterialityWhen most of the language we consume is non-poetic, should poetry not attempt to poetically intervene within these spaces that are not traditionally poetic? The answer to Derek Beaulieus question, put forward in his beautiful essay, is surely yes: the ten bril- liantly adventurous visual poems in hisSurface Tensionmake a startling case for his fascinating Letraset /photocopier inventions. Beaulieus compositions originate in a place of clean design and logical narrative; soon, as in a dream, they open up, ushering in what he calls 'a poetry of difference, chance, eruption.' Marcel Duchamp would have called it the poetry of the infrathin: watch 'Simple Symmetry' or 'Dendrochronology' open up and come alive in their minutely evolving new spaces. This is quite simply an enchanting book a book producing new pleasures with each turn of the page. Marjorie Perloff, Sadie Dernham Patek Professor of Humanities, Emerita, Stanford University

Chinese-Mauritian Diaspora Poetry: Asian American representation in poetry spans a wide range of generations, regions, and cultures but only recently has begun to take a place on the mainstage with award-winning poets such as Ocean Vuong and Yi Sang.A New Talent in Poetry: Pulses was selected by Griffin Poetry Prize winner Liz Howard for the prestigious Writers' Trust of Canada Mentorship program. Howard wrote, "In reading Rhiannon Ng Cheng Hin's poetry, I became immersed within a deep sense memory of why I came to love poetry in the first place."

Ways of Seeing meets Mary Ruefle in these visual-art-inflected poemsThough they started from Sheryda Warreners impulse to see herself more clearly, the poems in Test Piece ended up becoming more expansive meditations on seeing and vision. They engage with the process and practice of art-making, and specifically with abstract minimalist works like those by Eva Hesse, Anne Truitt, Ruth Asawa, and Agnes Martin.Not-seeing/not-knowing is a motif, as is weave, grid, pattern, rhythm of interiors, domestic life. These poems are informed by collage, by the act of bringing images and lines together. With their echoes and reverberations (hand, mirror, body, clear, form, face), a greater complexity is revealed.In conversation with visual art, mirrors, and the traces of self we assemble through encounter, Sheryda Warreners Test Piece holds an expansive place to dwell with the phenomenological. Interacting with event and object, reflection and parataxis, the writing asks us to consider contingent spaces and the matter of matter and meaning making. The poems adhere as arrangement, as a consideration of relationality. 'What does she whimper in the dogs ear? / How earthly we behave, believing were alone.' Hoa Nguyen, author of A Thousand Times You Lose Your TreasureSheryda Warrener's newest poetry collection unspools as a complex weave of repeated motifs, ritualistic gestures, and deeply embodied observations. Im especially struck by the influence of twentieth-century women artists within the collection: meditations on Eva Hesse, Agnes Martin, and Sherrie Levines works structure much of Test Piece. Palimpsests of photographed interiors, where living and writing collide lyrically and randomly, combine with floating textual cut-ups of variegating transparency. This concretizes, perhaps, how the poems bloom forth from experimental assemblage: 'her body holds/the long blue sentence of it' Marina Roy, artist and author of Queuejumping

LAMBDA LITERARY OCTOBER'S MOST ANTICIPATED LGBTQIA+ LITERATUREIs love real if the beloved isnt? Girl, Interrupted meets Rebecca in this taut tale of love and madnessWhen Tia meets Pacifique, its a once-in-a-lifetime love. They spend five wild days and nights together, and then Tia wakes up in an ambulancewith a collarbone broken in a bike accident and no trace of Pacifique. Unable to convince anyone that Pacifique exists, Tia winds up in a psychiatric ward, forced to face the possibility that this perfect lover may be a figment of her imagination. While there, Tia meets Andrew, a contemplative man with schizophrenia, who falls in love with Tia. He, too, tells her to forget Pacifique. Who to believe? The medical establishment and her fellow patients? Or her frail human memory? And if Pacifique truly is a figment, is life in the real world with Andrew enough?In concise and vibrant prose, Sarah L. Taggart illuminates the dark corners of delusion (or is it delusion?) and a mental-health system that consigns people to endless limbo. Lucid and destabilizing, graceful and raw, this novel asks: is losing ones sanity so different from falling in love? Deborah Willis, author of The Dark and Other Love StoriesPacifique turns the psychological thriller on its head, allowing madness to be a meaningful lens through which to see the world instead of a cheap plot twist. Taggart has created a stunning, smart and revolutionary novel here - one that forces its readers to see clearly what so often remains hidden. This book means so much to me. One of the best I've read in years. Alicia Elliott, author of A Mind Spread Out On The Ground

Literary Fantasy: This joins recent books such as Black Leopard, Red Wolf by Marlon James that are rooted in current issues (challenging male power, denunciation of sexual violence), but take place in a place and time more like a fairy tale.French-Canadian Critical Darling: Marie-Hélène Poitras is already highly praised in French Canada, with outstanding reviews from Le Devoir, La Presse, Journal de Montreal, and many more. A Rhonda Mullins Translation: Rhonda Mullins has translated many popular Coach House titles from French including Suzanne, And the Birds Rained Down, and The Laws of the Skies.Weird shit going on in the woods: describes many Coach House translations; Sing, Nightingale may be the ne plus ultra of this list.

All talk, no action: The Mezzanine meets Ducks, Newburyport in this meandering and captivating debut Its a hot summer night, and Hugh Dalgarno, a 31-year-old clerical worker, thinks his brain is broken. Over the course of a day and night in an uncannily depopulated public park, he will sift through the pieces and traverse the baroque landscape of his own thoughts: the theology of nosiness, the beauty of the arbutus tree, the pathos of Gene Hackman, the theory of quantum immortality, Louis Riels letter to an Irish newspaper, the baleful influence of Calvinism on the Scottish working class, the sea, the CIA, and, ultimately, thinking itself and how it may be represented in writing. The result is a strange, meandering sojourn, as if the history-haunted landscapes of W. G. Sebalds The Rings of Saturn were shrunk down to a mere 85 acres. These digressions are anchored by remarks from the letters of Keats, by snatches of lyrics from Irish rebel songs and Scottish folk ballads, and, above all else, by the world-shattering call of the red-winged blackbird.From the first page to the last I felt wholly captivated byFalling Hourand Hughs sensitive and far-ranging digressions. Morrison has captured the magic of Sebald and made it entirely his own, a curiously anti-capitalist exploration of what it means to live in a fake country. Andr Babyn, author ofEvie of the DeepthornFalling Houris a profound incantatory exhalation a quiet triumph; to read it is to engage in a smart, humane and at times very funny conversation that you will never want to end.Simon Okotie, author ofAfter AbsalonA stellar debut novel by a stellar new talent. Falling Hour is written in a prose style that enlivens every page. Mauro Javier Crdenas, author of Aphasia: A Novel

Now that we've sold ourselves to ourselves, shuffling letters and sounds around to hide the pain, how do we represent the uncanny valley in which we've set up shop? In Cursed Objects, Jason Christie recoils in horror at the thoroughness of his self, then begins to write toward a new understanding brokered between all the things that define him and who he thinks he should be and interrogates how we reduce people to words, especially online, turning them into objects.

What started as a small sequence of poems about the Starbucks logo grew to monstrous proportions after the poet fell under a siren spell herself. All Day I Dream About Sirens is both an ancient reverie and a screen-induced stupor as these poems reckon with the enduring cultural fascination with siren and mermaid narratives as they span geographies, economies, and generations, chronicling and reconfiguring the male-centered epic and women's bodies and subjectivities.

Like the neutrino observatory of its title, Midday at the Super-Kamiokande seeks "e;glimpses of the obscure"e; to carve out meaning, alternately a resistance to rationalism and its champion. It aims to tear through abstraction with the concrete, either catastrophic -- road accidents, nuclear explosions, floods, extinction, eviction, suicide -- or quotidian, finding threads of love, empathy, and belief within the fray. These poems delight in aphorism, paradox, puns, and wit, each stanza a closure that moves tangentially to the next, each poem more bricolage than narrative, more shuffle than playlist. These are poems with no middle. These are poems of beginnings, and of ends.

Night Became Years is poetry in the sauntering tradition of the flaneur. Stefanik loafers his way over sacred geography and explores his own mixed heritage through the lexicon of Elizabethan canting language. Comparing the terminology of fifteenth--century English beggar vernacular with a contemporary Canadian inner--city worldview, the poems in Night Became Years unfold as separate entities while at the same time forming a larger narrative on the possibilities of poetry today and the nature of mixed--blood identity.

Following the Fratellini Family of clowns, Jeramy Dodds astonishes readers and non-readers alike. Techniques such as his patented triumph, the Grand Mal Caesura, along with other favourites, are on display inside. Dodds is a warlock of words, only to be outdone by them, enslaved by them, freed by them maybe even loved by them. A haunting, yet hilarious depiction of a journey to and from the furthest limits of the human experiment.

With an alternating sense of wonder and detachment, Jay Ritchie's first full-length collection of poetry grapples with death, disappointment, love, emails - the large and small subjects of daily life. His unflagging sense of humour and aphoristic delivery create a work that is personable yet elevated, witty, and honest.

Common Place negotiates intimacy while navigating the complexities of memory, addressing shifting, resilient bodies and landscapes challenged by systems of capital and power. From thin threads of text messages across borders to encounters with strangers in the crush of rush hour transit, Sarah Pinder explores seeing and being seen in our most private and public of moments. With considered, quiet urgency, these poems name our ambiguous, aching present and look towards what comes next.

Featuring a series of color poems sparked by a job writing nonfiction magazine articles about synaesthesia and Fisher Price refrigerator magnets, the poems in this collection are as alive as the world from which they borrow. Besner plumbs the depths of alternative physics, glamour, economics, and virtual reality with great attention to prosody and a bleak sense of humor.

What do you get when you cross Lao Tzu and an application for a university teaching application? What do you get when you give W. G. Sebald and Clarice Lispector the ability to speak from the afterlife? What happens if a girl is stopped at a red light for an entire year? In on the Great Joke is a palace of hybridity, where film structure informs poetry, poetry alters the essay, the essay recalibrates the joke. Broadbent has lent her ear to the dead, the living, the voiceless, to give us the punchline of what it means to be intellectually alive.Laura Broadbent is the author of Oh There You Are I Can't See You Is It Raining?, which won the 2012 Robert Kroetsch Award for Innovative Poetry. She lives in Montreal, Queceb, where she is working on her PhD in Literature.

A bold stage adaptation of Robert Louis Stevenson’s beloved coming-of-age adventure story by internationally celebrated playwright Nicolas Billon.

A contemporary clinical abortion in the spirit of a Western.

The long-lost fiction of avant-garde hero bpNichol collected into one groundbreaking volume.