Bøger udgivet af ROOF BOOKS

Roof Books is proud to present the debut poetry collection of an exciting emerging talent, Sol Cabrini, whose work as an indie rapper under the moniker Sol Patches has already established her as a fierce and fearless artist in the vein of Mykki Blanco, Le1f, and Kevin Abstract, among others.TGIRL.JPG is a complex verse collection following a Black transgender woman's life over a decade, from teenage years to adulthood, from Chicago to New York, with hefty philosophical and existential quandaries expressed in the same dynamic, catchy, heartfelt, and challenging voice found in her music. Cabrini's hip-hop background is fundamentally intertwined through her poetics, with poems transforming into songs and back again, aided by a series of QR codes that make the reader a listener and invite them into a tapestry of interactive word and sound. This dynamic assortment of poetry, diaries, letters, and songs will take you on a strange journey from innocence to experience, exploring the intricate relationship between self-discovery, social involvement with the world, and personal development--from the perspective of a trans Woman of Color. Cabrini tells a contemporary story of resilience and struggle, reckoning with lineages while forging ahead into an avant-garde realm of Afro-Surrealism and racial intersectionality. TGIRL.JPG is as powerful as it is fun. Discover a new favorite experimentalist in the fascinating Sol Cabrini."Cabrini's Chicago, Midwest existentialism, does not relent in the tender love and affection with which it holds you, asking, 'What worlds are possible?' Poets often actualize the future, presently, for us again, and again, usually through exposing the wretchedness of the world. Peering in, we find ourselves. That transformative cut through the mundane is left open to bear the scrutiny of others and fester, but not here. Cabrini reminds us that the gaze doesn't have to dissect but can be a kiss impressed upon that scar; a note from our future self to recall that .jpg we downloaded some time ago referencing how we might be. Each wretched now ratchet song and dance transitions across these scenic worlds. Cabrini offers up a guide to curating our edits to our world, instigating a worlding in us. A future, perfect, that does not reference the completion of some act, in the meantime leaving us alone, but locates in the coming moments the very question, the object of that proposition being one's self. A world surging up in one's self, over generations. The text calls for our ever transitioning formation, playfully resounding in the dark."--Victor Peterson IIPoetry. Music. LGBTQ+ Studies.

A new collection from Lambda Literary Award finalist Ted Rees, combining poetry and essay in a defining groundbreaking new genre.HAND ME THE LIMITS attacks the taboo subject of illness and healthcare in our American dystopia with the grit, style, and panache that only Ted Rees could muster. Through a hybrid mix of memoir, experimental lyric, and essay, this Lambda Literary Award finalist tells us the story of losing a part of himself to cancer--and plumbs the deep, existential conflicts and emotions that such a loss presents to a queer dissident. Rees has long been a sly prophet of doom, insisting that this infected world must change or perish. He carries the torch of David Wojnarowicz, damning the forces of hegemonic oppression which ambiently percolate through culture, ready to pierce us and strike us down at any moment. HAND ME THE LIMITS asks: what happens when you witness a loved one succumbing to disease? What happens when you, too, succumb to disease? You find yourself on the other side of reality, in a domain ignored and scorned by polite society, suffering loss of dignity on top of potential loss of life, limb, and hole.Rees rejects traditional cancer narratives, approaching themes of sickness and healing through the lens of his youth as a wayward, slutty crust punk with anarchic values and a killer taste in music. Through the poet's rigorous and confrontational mash-up of verse and prose, intersections of bodily affliction, gay desire, and complications of family are poked, prodded, scoped, and injected with new meaning. In a culmination of his previous works and in the face of illness and mortality, Rees continues to call upon (and interrogate) his New Narrative and punk rock forebears to amplify his screams, not of pain but of dissension and love."More cry of defiance than poetry collection, more 'piece of paper with a hole in it' than cancer memoir, HAND ME THE LIMITS tests the capacity of genre to stage profound loss in unbearable conditions. Ted Rees writes into forms that poets love--punk, New Narrative, slutty lyric, epistolary appeal--without surrendering to them. He emerges on the other side with all the disconcerting resilience of a Courtney Love, and an even more willful commitment to cheeky endurance against prevailing sense and overwhelming force. Ted, I also 'love this lament /you in it too, ' where even lament is counterintuitively a form of strength."--Kay Gabriel"HAND ME THE LIMITS lends tireless wit and resistance to this sick world, illuminating poetics bent to fey rhythm and wisdom, shimmering with an invigorating hum that will never get old or die. Astute about having a body, this book seeps with integrity. A lush and sweet and wild care enacts itself in Rees' poetry, a generous work that dares to be whole and loving."--Cecily Nicholson"Ted Rees has somehow mastered a 'writing from the other end.' In this memoir of a queer punk past and lament for a body part that can no longer stand as trip or trope, it's not the heart (even when love's at stake) but the anus that's mourned. 'We begin and end in holes, ' he quips. Without succumbing to the 'redemptive arcs of cancer survival narratives, ' Rees instead waves the flag of 'multifarious orgasm'-- a term that captures not only the crescendos of his own engagement with bodies, histories, and memories but also the reader's pleasure as meaning shoots off in all directions."--Jean DayPoetry. Essay. LGBTQ+ Studies.

Peter Seaton was a poet associated with the first wave of Language poetry in the 1970s. Many of his long prose poems were published, widely read, and influential. Seaton was also a frequent contributor to L=A=N=G=U=A=G=E, one of the influential magazines and theoretical venues for the language writing group of poets.

This paperback includes only the It Happened One Christmas: Falling for the Billionaire book. Separately, also see the It Happened One Christmas Wedding: Wedding the Billionaire book. My plan to move to New York City, away from my small town and everyone I know, does not involve falling for the grumpy, hot, annoyingly handsome playboy billionaire at my new job. But I do-every time Rex Buchanan walks into my deli with his smirk as he eyes my soon-to-be award-winning pastrami sandwich. While I'm finally following my dream and taking over my Uncle's Manhattan deli, how dare Rex put down my culinary skills? Just because I add a little flare to New York's most popular sandwich? I'll show him, and soon, thanks to my mad social media skills, people are lining up out the door for my daily specials. Despite the size of the city, now I seem to run into Rex everywhere. It's almost as if people are conspiring to put us in the same places at the same time, and the more time I'm forced to spend with him, I realize how much we have in common. While he may grumble at everyone else, I think I've found a way into his softer side-through his stomach. Soon, I can hardly believe it, but I might reform the playboy bosshole and fall for him. By this time next year, I could have Rex saying I do and eating wedding cake out of my hands. This could be my last Christmas as a Miss. When challenges arise, though, he's oddly there for me at every turn-or is he the person behind everything that could ruin my dreams? ***Introducing: The Betting On Christmas CollectionA big city billionaire with a bride from a small town.A high society New York City wedding with a momzilla being bossy boots.And a bridal party with one crazy bet.Will the bridesmaids and groomsmen find their own dates to the wedding of the century this Christmas, or will they all fall victim to Momzilla's decree?Find out in this romance collection by ten bestselling authors.

He's more than a rebound heating up my autumn nights. My heart could be in trouble. Police Chief Robbie Boyd has sworn to protect-me. Beefing up security around me, thanks to a pathetic stalking fan, means my eyes can feast on the chief's beefy build regularly. His two sides appeal to me. The tough lawman can cuff me, take me to bed, and use all his dirty words to seduce me. While the soft sweeter man, when he's not in uniform, talks to me like I'm a normal person, not some rock star on a pedestal. Yes, he can do whatever he wants to me. I'm ready, and this is more than a rebound. The only trouble is...Can I trust this small town police officer won't be like all the other men in my life before him who have taken advantage of my star status?

Poetry. This is the third full-length book of poetry from Jena Osman, following her highly praised work The Character, published by Beacon Press. Osman teaches in the graduate Creative Writing Program at Temple University in Philadelphia and co-edits the literary arts journal CHAIN with Juliana Spahr. Unimaginable is a word I think of a lot when reading Jena Osman's poetry. Rather like the optical illusion of the face/vase silhoutte, Osman's work proceeds exactly through this process of making the unimaginable obvious, forcing us to rethink the entire project of the poem--and our lives--from the ground up--Ron Silliman.

Poetry. Michael Gottlieb's DEAR ALL strikes a note of change to both Gottlieb's style and his intentions to change society by holding up a mirror to it. The resulting social vanitas in DEAR ALL's short lines make us think that the world might be different than we think it is. And the poetry certainly is different than we expect. The sonorous, lexical intricacy, social indignation and attention to imaginative, formal detail DEAR ALL presents to us undresses our intention in the public square.In DEAR ALL Michael Gottlieb introduces a shorter line and a pared-down style, as paratactic as ever but with a new clipped clarity. Of course, Gottlieb is writer enough to abolish the neatness of this progression, as he does in the final long poem of this book, a wild mash-up of medical spam that reframes the book in terms of its formal inconsistency: Great stuff.--Steve Zultansky

The materials of the Japanese poet Araki Yasusada (1907-1972) were published in Grand Street, CONJUNCTIONS, Abiko Quarterly, FIRST INTENSITY, Stand and The American Poetry Review. Gradually, the rumor began circulating that Araki Yasusada did not exist and that the poems were a hoax perpetrated by the Japanese-American author Tosa Motokiyu or by his literary executor, the American poet Kent Johnson. "The 'scandal' of these poems lies not in the problematics of authorship, identity, persona, race or history. Rather, these are wonderful works of writing that also invoke all of these other issues, never relying on them to prop up a text. This book makes the argument for anti-essentialism."(Ron Silliman). "This is essentially a criminal act"--Arthur Vogelsang.Poetry. Literary Criticism. Asian American Studies.

"The poems collected here, in Melanie Neilson's Civil Noir, are not idees fixes but incitements, instigations. Developing out of remarkable particularities and juxtapositions, each of which may serve as a rapid and beautiful preparation for thinking about the virtue of vitality-they engender it too. But the book is not about momentum. It is about the expansion of any moment of perception into all of its parts, and it is to this purpose that the works are so carefully shaped on the page."- Lyn Hejinian

"Excursive roves through a miscellany of experience and observation, responding to everything from gerrymandering to Krakatoa to beauty. Robinson offers lyric responses and disruptions in a collection of poetry that observes and interrogates the world in poems that are by turns curious, indignant, irreverent, and tender"--

Jean Day has been an admired presence in the poetry avant-garde landscape for decades. In 1988, her first Roof title heralded the arrival of a scrappy initiate to the scene, A Young Recruit. Now Day is at the top of her game, becoming a "Secret Agent," sweeping across the US on a noir-tinged cross-country road trip. We all feel that " The bomb went off a little too soon" and are left contemplating the rubble. In lieu of a clear itinerary, the poems offer instances of shimmer in the continuous present. Threads of story, macro and mini, form the warp for the book's overall texture. The sound of resistance, the urgency of movement, and the flowering of detail are the book's matter and material. Lyric is its shape.