Bøger udgivet af Jaded Ibis Press

BLACK and WHITE EDITION "Inventive, searingly honest, gorgeously written, this book will both break and heal your heart." - Gayle Brandeis, author of The Book of Dead Birds ABOUT THE BOOK: Anne's sister, a bright and lovely teenager, sustains a traumatic brain injury after a near-fatal car accident. As a result, Anne and her siblings and parents are thrown into a decades-long struggle for belonging, deliverance and redemption - with surprising results. A Map of Everything intimately explores the fragile nature of family dynamics, revealing what is salvaged, what is lost, and what is gained after a tragedy hits home. MORE PRAISE: "Elizabeth Earley's A MAP OF EVERYTHING is one of the most structurally inventive and emotionally remarkable books I've come across in quite a while. So many writers traffic in the sensationalism of event, while Earley wisely knows that this is only the start of the trouble-and that our hearts truly beat and bleed in the repercussions of events. It's a book that reminds us who we are to each other and to ourselves, and it has a resilient beauty, and a confident and true voice rare in any novel, let alone a debut." -Rob Roberge, author of The Cost of Living "The writing in A MAP OF EVERYTHING is beautiful. Never shying away from the difficult, and embracing the big emotions, Earley has given us a strong, graceful and finely-etched novel." -Leonard Chang, author of Crossings "Inventive, searingly honest, gorgeously written, this book will both break and heal your heart. With A MAP OF EVERYTHING, Elizabeth Earley charts her own fresh and dazzling territory." -Gayle Brandeis, author of The Book of Dead Birds and Self Storage "In A MAP OF EVERYTHING, Elizabeth Earley has the eyesight to notice what we trample underfoot, the instinctual intelligence to know why we do the things we do, the heart to rise above obliterating darkness, and - from somewhere - the ability to write like a witch." -Peter Nichols, author of Voyage to the North Star, nominated for the Dublin IMPAC Literary Award "An exploration of love and tragedy, what we owe to others and what we owe to ourselves, A MAP OF EVERYTHING is eloquent, moody and strangely poetic. -Michelle Tea, co-founder of Sister Spit, author of The Chelsea Whistle and Valencia "In a little over 300 pages, A MAP OF EVERYTHING somehow manages to be a novel about everything: surviving tragedy, love, despair, complex family relationships, identity, how to be a good person, how to live in a world full of contradictions and dangers that are as much internal as external. This is a remarkable debut novel. Read it and weep - with both joy and sadness." -Christine Sneed, author of Little Known Facts and Portraits of a Few of the People I've Made Cry "A MAP OF EVERYTHING is a tender story of personal transformation, addiction, loss and memory. Elizabeth Earley is a welcome new voice to literature." -Ali Liebegott author of The IHOP Papers and Cha-Ching! "Elizabeth Earley's remarkable debut novel, A Map of Everything, deftly follows a family through the complicated trajectory of their lives after one devastating moment on a rain-soaked street.... Earley's rich weaving of time, science, place, point of view, and plot is created with language and form that is surprising and stunning."- Patricia Ann McNair, author of The Temple of Air

This is the black-and-white edition. Also available: color paperback, ebook, music, study guide, and documentary film. "Venus on Mars is a feast." -Dana Berry, producer of Hubble's Amazing Universe, Finding the Next Earth, and Emmy-nominated Alien Earths "A profound story full of heart, wonder and wisdom" Harriet Ellenberger, Co-Founder and Co-Editor of Sinister Wisdom "Three women - three generations - all linked by a mysterious journal, one man, and the enigmatic planet Mars. With great imagination and a lyrical flair, Jan Millsapps has fashioned an engaging tale about finding your place in the cosmos." -Marcia Bartusiak, author of The Day We Found the Universe "In a style that recalls the haiku imagery of Basho and the laconic economy of Hemingway, Millsapps writes across the unbounded interplanetary gulf that separates Earth from the brooding red planet Mars and intermingles the lives of three generations of women trapped in an involuntary struggle for gender equality that persists, even in the halls of haute science. Millsapps has a literary gift in her ability to bring the reader inside the eyes and mind of her characters. Every word is carefully crafted and delicately placed, every page magical to read. Even if the reader knows nothing about astronomy, Venus on Mars is a feast. -Dana Berry, producer of Hubble's Amazing Universe, Finding the Next Earth, and Emmy-nominated Alien Earths; author of Race to Mars and Smithsonian Intimate Guide to the Cosmos ABOUT THE NOVEL Summer 1971. A lone spacecraft is on its way to Mars. Meanwhile Venus Dawson heads toward Pasadena - and back to her job at the Jet Propulsion Laboratory, where confidence is high among rocket scientists that the red planet will soon reveal its secrets. Venus is in no hurry. Her male colleagues make lewd jokes about her, enter her in beauty contests against her will, and encourage her to wear her miniskirts even shorter. So she dawdles as she drives, examining the journal she's just inherited, written by her Great Aunt Lulu, secretary "with benefits" to a famous astronomer, and a woman who gazed at the red planet through a giant telescope long before women were allowed to do such things. The clever JPL scientists are certain their new spacecraft will discover evidence of life on Mars, but Venus finds it first - on the pages of Lulu's journal. But before she can use this information to level the workplace playing field, a cosmic misstep strands her at Lulu's old haunt, Lowell Observatory in Flagstaff. Venus must navigate the Victorian era and the space age simultaneously to claim her place in an expanding universe. In this stylish and edgy novel, author Jan Millsapps deftly teases the female experience out of a history of mostly male astronomers and rocket scientists, and tells a mesmerizing story about generations of women struck by the stars.

An extraordinary collaboration between poet and artist, this book is a collection of poems constructed by Justin Petropoulos via manipulation and redaction of Edna Keaton's The Book of Earths, published in 1928, a comprehensive history of theories about the shape of the Earth and its collective folklore. This iteration - one of multiple manifestations - includes poetry of various lengths and forms, organized as titled chapters. Ink drawings on paper produced by Carla Gannis in response to audio recordings of each poem are further informed by many of the original illustrations in The Book of Earths, most of which are variations of Earth maps. Illustrated plates from The Book of Earths Redacted text page, Word processed page, drawing done in response to recordings of recorded readings of the poems.

BLACK AND WHITE ILLUSTRATED EDITION "Family Romance is the latest novel by Tom Bradley, notorious hermit of Kitakyushu, Japan. It's a monstrosity of the imagination as if a Burroughs virus hijacked the machinery of Finnigan's Wake and replicated itself as a litera-teratus. Illustrator Nick Patterson joins Bradley in the procedure with ninety disturbing images of Bosch-like detail you don't want to see on the way home from your local head shop." - John Ivan-Palmer, Exquisite Corpse "Tom Bradley is one of the most exasperating, offensive, pleasurable, and brilliant writers I know. I recommend his work to anyone with spiritual fortitude and a taste for something so strange that it might well be genius." -Denis Dutton, Arts & Letters Daily "Tom Bradley is one of the most exasperating, offensive, pleasurable, and brilliant writers I know. I recommend his work to anyone with spiritual fortitude and a taste for something so strange that it might well be genius." -Denis Dutton, Arts & Letters Daily "I tell you that Dr. Bradley has devoted his existence to writing because he intends for every center of consciousness, everywhere, in all planes and conditions (not just terrestrial female Homo sapiens in breeding prime), to love him forever, starting as soon as possible, though he's prepared to wait thousands of centuries after he's dead." -Cye Johan, Exquisite Corpse Journal "The contemporaries of Michelangelo found it useful to employ the term 'terribilita' to characterize some of the expressions of his genius, and I will quote it here to sum up the shocking impact of this work as a whole. I read it in a state of fascination, admiration, awe, anxiety, and outrage." -R.V. Cassill, editor of The Norton Anthology of Fiction

BLACK AND WHITE EDITION "These rich, spare poems are here to remind us that we are mistaken, thinking so rarely of transformations, and when we do, in thinking mostly of the ends of them. Is the room places us in contact with transformation as action, where with this book's speaker, we come alive to domestic and sentient processes rife with illusion, breakings up and down, passing, being passed, hiddenness, exposure, signs, the failure of signs, waiting, glimpses, dismantling, joy. Rosetta Ballew-Jennings shares Jean Valentine's love of silences (deep listening is there), but these poems are completely her own, and with this stunning debut collection, ours." -Kathleen Peirce, poet, The Ardors and The Oval Hour "In this debut collection Rosetta Bellew-Jennings brings an unflinching attention and a strong voice to the conversation. The site of crisis is interior - both inside the house and the that which we must go through alone. In many ways readers are housebound voyeurs, but in the end it's really us we're watching in these mirrored walls. Built on fragments that are both elegant and focused, Is The Room draws our attention to the isolation of looking, and the clarity of '[s]omething I cannot find.'" -John Gallaher, poet, Your Father on the Train of Ghosts and Map of the Folded World "Ballew-Jennings' poems have us question the nature of relationship and life as people move in and out of our lives, and us across time. If the origin of the word haunt is to pull, claim, to lead home, then Is the Room is a collection of poems that both haunts the reader and feels haunted itself. Through her mysterious and lovely collection, the poet reveals the boundaries between what/who we know and what/who we think we know, and the variety of separations, however arbitrary, that exist between them/us. Ballew-Jennings leads us, pulls us toward a home that dwells in our collective memories. -Stacy Christie, writer; editor at Hothouse "Rosetta Ballew-Jennings's poems are alive and intelligent. Their deliberate, sometimes disorienting syntax takes us on a multilayered journey through rooms, doors, hallways and windows. The physical as well as the emotional space within the poems is haunted, and everywhere we question what we see, for we witness people and colors 'change back and forth' and 'you may not be/ the you of here.' Ultimately, this book is about love, a story 'about something/ you would underline twice.'" -Katerina Stoykova-Klemer, Senior Editor, Accents Publishing "Is the room makes poetry out of dream logic and uncertainty, whether it's a location only specified as 'left of where you are' or a phone message from a woman who can't say why she's calling. Rosetta Ballew-Jennings' writing explores stark and disconcerting fragments of a domestic life where even household doors and halls don't fit together quite right, and where a conversation about cereal and milk shifts abruptly to "I don't love you, / or something like that." With mysterious lyricism and echoes of Jean Valentine, this book heeds the author's plea and applies it to the reader: 'Please do not forget / what I am afraid of.'" - Steven Schroeder, poet, Turn and Only Gifts Changing Hands

COLOR ILLUSTRATED EDITION. "These rich, spare poems are here to remind us that we are mistaken, thinking so rarely of transformations, and when we do, in thinking mostly of the ends of them. Is the room places us in contact with transformation as action, where with this book's speaker, we come alive to domestic and sentient processes rife with illusion, breakings up and down, passing, being passed, hiddenness, exposure, signs, the failure of signs, waiting, glimpses, dismantling, joy. Rosetta Ballew-Jennings shares Jean Valentine's love of silences (deep listening is there), but these poems are completely her own, and with this stunning debut collection, ours."-Kathleen Peirce, poet, The Ardors and The Oval Hour"In this debut collection Rosetta Bellew-Jennings brings an unflinching attention and a strong voice to the conversation. The site of crisis is interior - both inside the house and the that which we must go through alone. In many ways readers are housebound voyeurs, but in the end it's really us we're watching in these mirrored walls. Built on fragments that are both elegant and focused, Is The Room draws our attention to the isolation of looking, and the clarity of '[s]omething I cannot find.'"-John Gallaher, poet, Your Father on the Train of Ghosts and Map of the Folded World"Ballew-Jennings' poems have us question the nature of relationship and life as people move in and out of our lives, and us across time. If the origin of the word haunt is to pull, claim, to lead home, then Is the Room is a collection of poems that both haunts the reader and feels haunted itself. Through her mysterious and lovely collection, the poet reveals the boundaries between what/who we know and what/who we think we know, and the variety of separations, however arbitrary, that exist between them/us. Ballew-Jennings leads us, pulls us toward a home that dwells in our collective memories.-Stacy Christie, writer; editor at Hothouse"Rosetta Ballew-Jennings's poems are alive and intelligent. Their deliberate, sometimes disorienting syntax takes us on a multilayered journey through rooms, doors, hallways and windows. The physical as well as the emotional space within the poems is haunted, and everywhere we question what we see, for we witness people and colors 'change back and forth' and 'you may not be/ the you of here.' Ultimately, this book is about love, a story 'about something/ you would underline twice.'"-Katerina Stoykova-Klemer, Senior Editor, Accents Publishing"Is the room makes poetry out of dream logic and uncertainty, whether it's a location only specified as 'left of where you are' or a phone message from a woman who can't say why she's calling. Rosetta Ballew-Jennings' writing explores stark and disconcerting fragments of a domestic life where even household doors and halls don't fit together quite right, and where a conversation about cereal and milk shifts abruptly to "I don't love you, / or something like that." With mysterious lyricism and echoes of Jean Valentine, this book heeds the author's plea and applies it to the reader: 'Please do not forget / what I am afraid of.'"- Steven Schroeder, poet, Turn and Only Gifts Changing Hands

ILLUSTRATED COLOR EDITION "Colen is not timid about addressing the perversities of American culture head-on... The subjects are dark, generating perhaps more discomfort than comfort, but Colen reminds us that the human heart is still quite functional." -D. A. Powell, Drunken Boat Waiting up for the End of the World examines 20th / 21st century conspiracy theories from a poetic standpoint. First-person narrator road trips around the globe-from New York City, Dallas, Atlanta, Georgia, and Gakona, Alaska to Area 51, Lockerbie, Scotland, London, Paris, and Indonesia-to visit firsthand the sites of alleged secret plans and alliances and their sometimes cataclysmic outcomes, investigating through verse such topics as black helicopters, chemtrails, the North American Union, the fluoride conspiracy, and the JFK assassination, and exploring possible links between government and corporate corruption and the on-the-ground results of continued global overconsumption. "So smart and quintessentially American" - Suzanne Paola, author of Body Toxic and The Lives of the Saints "The poets I long for are the ones who aim their instruments at the eyes of culture and shoot without question. Elizabeth Colen is one of those poets I always trust to let it all be done! Count the bodies afterward! The conspiracy of Waiting Up for the End of the World for instance, it's her newest, brilliant collection. 'Arsonists are such failures at love.' See, she just tells us where fire fails. And as the house burns down THIS BOOK is what you should grab when running to the door. Wave it in the faces of failure, which is another magic of waking us." -CAConrad, author of THE BOOK OF FRANK "In Elizabeth J. Colen's Waiting Up for the End of the World, conspiracy theories provide the dark and obsessive scaffolding for poems woven with myths of paranoia as well as fragmented scenes of psychological tension. Colen transforms her sensational subjects with an eerie calm or giddy perversity, committed to juxtapositions and details that shiver with a grotesque luminosity: wig strands "read" a palm, coffee grounds in a mug form the shape of a skull, a brother staples a girl's arm to her sleeve. The duende who beckons from these poems is both pulsing alarm and violent seducer. In Colen's realm of danger, we've "followed the sound of the siren." -Anna Journey, author of If Birds Gather Your Hair for Nesting "In Waiting Up for the End of the World: Conspiracies, Elizabeth Colen gives us a book of poems built around conspiracy tales, those guiding myths of our culture, a book so smart and quintessentially American it feels both uniquely personal and blazingly collective. Colen probes the nature of belief and gives us paranoia as resistance, storytelling as power, and the personal as inextricably tied to the social and political. 'I am eating this piece of cake./The first piece was for me, /the second for the end of the world, ' she writes in 'Day After, Over London, ' a poem that reimagines the crash of Pam Am Flight 103. The poems, stylistically flawless and each a jagged shard of the American dream, challenge us to rethink what we believe we know about the defining tales of our culture." -Suzanne Paola, author of Body Toxic and The Lives of the Saints

A 2013 "Books of the Year" -Times Literary Supplement & John Ashbery "6 Great Books to Read"-Readers Digest "19 Books You Shouldn't Have Overlooked in 2013"-Slate "An impressionistic portrait of literary subjectivity...revealing the opportunities for pleasure and refuge available to the inveterate reader." - Lambda Literary "A masterful act of literary ventriloquism." - Huffington Post Books Inspired by the task of unpacking his library, the narrator returns to writing an autobiographical novel about the sudden appearance his son, Joe, who at age nine shows up on the narrator's doorstep for the first time. The narrator, unnerved by the prospect of sharing his life with his extremely precocious child, is nonetheless moved by Joe's arrival. He has to change his own life by accepting the responsibility of fatherhood, a role he shares slightly with his young English boyfriend, David. Joe's unpredictable mother, Eleanor Sullivan, seeks her own satisfactions. The domestic scene is affected when David introduces a new friend, Roy Hardeman, a strange gay cop who dies as mysteriously as he arrived. The heart of the novel is the ghostly, persistent, unreliable qualities of literary and personal memory, and the ways in which a narrative can hold onto, recapture, and transform memory. Rick Whitaker's semi-autobiographical novel, An Honest Ghost, consists entirely of sentences appropriated from over 500 books. Whitaker limited himself to using 300 words per book (in accordance with Fair Use); never taking two sentences together; and never making any changes, even to punctuation. In the iBook version, touching a sentence brings up its original source: a book's title, author, and page number. The experience of acknowledging each sentence as literary artifact, combined with the imagined accretion of books that built An Honest Ghost, deftly mirrors the burgeoning nostalgia in the narrator's voice and, fittingly, in the careful reader's heart. MORE PRAISE "Rick Whitaker's An Honest Ghost is both narrative and objet, a singular work of art whose singularity keeps beckoning to the reader. He has put the force back into tour de force." - John Ashbery, poet and recipient of the National Book Foundation Medal for Distinguished Contribution to American Letters "Reading An Honest Ghost is an exhilarating, percussive experience, proof that literature is capricious and exalted... People always praise fiction for being lifelike but Whitaker proves that fiction is better than life - more interesting, much more thrilling, though it is inhabited by posturing, irresponsible, self-dramatizing characters.... The tension and excitement of this prose, constantly buffeting the reader, derives from all the different and unique authors who have contributed to it." - Edmund White, novelist and recipient of Award for Literature from the American Academy of Arts and Letters and the National Book Critics Circle Award "An Honest Ghost is sheer genius, the uber novel, the ultimate palimpsest. It is a writer's truth and a reader's dream. Above all, it is a uniquely gripping read." - Jenny McPhee, author of A Man of No Moon and No Ordinary Matter "I am struck by how deeply personal this book feels, even revelatory, as if the author had solicited other voices to perform an autopsy on his most private, intimate self.... Whitaker has performed such a work of genius and pushed it ad absurdum: the extreme bending appears effortless and forms a perfect circle, wherein full authorship of book, i.e. all the citations at the end of the book, are truly at the discretion of the reader, with all the responsibilities, pangs and joys this entails." - Filip Noterdaeme, artist, author of The Autobiography of Daniel J. Isengart

BLACK AND WHITE EDITION "So smart and quintessentially American" - Suzanne Paola, author of Body Toxic and The Lives of the Saints Waiting up for the End of the World examines 20th / 21st century conspiracy theories from a poetic standpoint. First-person narrator road trips around the globe-from New York City, Dallas, Atlanta, Georgia, and Gakona, Alaska to Area 51, Lockerbie, Scotland, London, Paris, and Indonesia-to visit firsthand the sites of alleged secret plans and alliances and their sometimes cataclysmic outcomes, investigating through verse such topics as black helicopters, chemtrails, the North American Union, the fluoride conspiracy, and the JFK assassination, and exploring possible links between government and corporate corruption and the on-the-ground results of continued global overconsumption. "Colen is not timid about addressing the perversities of American culture head-on... The subjects are dark, generating perhaps more discomfort than comfort, but Colen reminds us that the human heart is still quite functional." -D. A. Powell, Drunken Boat "The poets I long for are the ones who aim their instruments at the eyes of culture and shoot without question. Elizabeth Colen is one of those poets I always trust to let it all be done! Count the bodies afterward! The conspiracy of Waiting Up for the End of the World for instance, it's her newest, brilliant collection. 'Arsonists are such failures at love.' See, she just tells us where fire fails. And as the house burns down THIS BOOK is what you should grab when running to the door. Wave it in the faces of failure, which is another magic of waking us." -CAConrad, author of THE BOOK OF FRANK "In Elizabeth J. Colen's Waiting Up for the End of the World, conspiracy theories provide the dark and obsessive scaffolding for poems woven with myths of paranoia as well as fragmented scenes of psychological tension. Colen transforms her sensational subjects with an eerie calm or giddy perversity, committed to juxtapositions and details that shiver with a grotesque luminosity: wig strands "read" a palm, coffee grounds in a mug form the shape of a skull, a brother staples a girl's arm to her sleeve. The duende who beckons from these poems is both pulsing alarm and violent seducer. In Colen's realm of danger, we've "followed the sound of the siren." -Anna Journey, author of If Birds Gather Your Hair for Nesting "In Waiting Up for the End of the World: Conspiracies, Elizabeth Colen gives us a book of poems built around conspiracy tales, those guiding myths of our culture, a book so smart and quintessentially American it feels both uniquely personal and blazingly collective. Colen probes the nature of belief and gives us paranoia as resistance, storytelling as power, and the personal as inextricably tied to the social and political. 'I am eating this piece of cake./The first piece was for me, /the second for the end of the world, ' she writes in 'Day After, Over London, ' a poem that reimagines the crash of Pam Am Flight 103. The poems, stylistically flawless and each a jagged shard of the American dream, challenge us to rethink what we believe we know about the defining tales of our culture." -Suzanne Paola, author of Body Toxic and The Lives of the Saints

"Strange, timely and wonderful" -Mark Wunderlich The Art Courage Program is a hybrid book combining two literary genres: self-help and cultural criticism. This book offers readers the tools needed to overcome anxieties associated with all aspects of art. The step-by-step program encourages readers to move beyond negative art reactions, learn from and be healed by their experiences, and find acceptance and even appreciation of art. The Art Courage Program is comprised of interactive chapters, which invite readers to assess the acuteness of their own "art anxiety" and to adopt various coping strategies for their affliction. Illustrations depicting scenarios of instances of "art anxiety" and the practice of therapeutic treatments are featured throughout the text. Readers of The Art Courage Program are offered access to an MP3 download of the recorded text and related therapeutic products (the COURAGE series of Wellness Fragrances, The Art Courage Program's Book of Aphorisms, and The Art Courage Program Special Edition Audio Cassette with MP3 download card) after the conclusion of the program text. The Art Courage Program book is just one of the iterations of the program-the reader is encouraged to experience the program in trans-media, through auditory, olfactory, physical, and literary modalities. The Art Courage Program can be sold in the "Positive Psychology" genre, and other categories including but not limited to "Cultural Criticism," "Humor," and "Art." The Art Courage Program uses humor in its approach to popular culture, and can be taken at therapeutic face value, while at the same time it pokes fun at the American obsession with the personal empowerment movement.

[SIC] includes public domain works published under Davis Schneiderman's name, including everything from the prologue to The Canterbury Tales to Wikipedia pages to genetic codes, along with a transformation of the Jorge Luis Borges story: "Pierre Menard, Author of Don Quixote." [SIC] is part of DEAD/BOOKS trilogy of conceptual works by Davis Schneiderman from Jaded Ibis Press. Other books in the trilogy are BLANK (2011), and INK (forthcoming).