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"Mad Clot on a Holy Bone: Memories of a Psychic Theater is the first published collection of the work of playwright and artist Asher Hartman and his Gawdafful National Theater company. The book includes three plays by Hartman: Purple Electric Play (PEP!), Mr. Akita, and Sorry, Atlantis: Eden’s Achin’ Organ Seeks Revenge; as well as a full-color insert, contributions by Janet Sarbanes and Lucas Wrench, and a conversation between Asher Hartman and Mark Allen (who produced the three featured plays in collaboration with Machine Project) and Tim Reid (a playwright and performer who joined the Gawdafful company in 2018, as the assistant director of Sorry, Atlantis). Mad Clot on a Holy Bone is co-edited by Mark Allen and Deirdre O’ Dwyer and designed by Becca Lofchie"--Publisher's website.
Oracular Transmissions weaves together three of the most recent collaborative projects Etel Adnan and Lynn Marie Kirby have completed through processes of exchange and translation: Back, Back Again to Paris (2013), The Alhambra (2016), and Transmissions (2017). Etel Adnan is a Lebanese, Paris-based artist, essayist, and poet who was a longtime resident of Marin County and is known for her works inspired by her relationship to Mount Tamalpais. Lynn Kirby is a San Francisco-based artist who makes films, videos, and site responsive installations, often with text based components. The book also includes poems by Denise Newman, a friend to both Adnan and Kirby, and an introduction by Kadist Foundation curator Jordan Stein presenting their works and performances. Design and typography by Brian Roettinger bring these numerous transmissions - video, performance, photography, email and other texts - together in one volume.
How does sleep--or its absence--change us? At the end of another wakeful night, High Winds tears off on a hallucinatory road trip in search of his estranged half brother, led by cryptic signs and coincidences. Part modern-day pillow book, part picture book for adults, and told in an associative, elliptical style, the narrative takes readers deep into a dreamlike Western landscape. Jessica Fleischmann's atmospheric imagery amplifies the words on every page, referencing 1980s graphics, net art, and something yet unseen; Sylvan Oswald's text inhabits and draws meaning from this visual environment. Gas stations, local legends, and unlikely rock formations become terrain for explorations of fear, fantasy, masculinity, medication, spatial structures, and bodily functions--inspired by the author's experience of gender transition, insomnia, and moving to Los Angeles. Poetic and funny, surreal and beautiful--High Winds makes a delightful companion, before or instead of a good night's sleep.
The Artists' Prison looks askance at the workings of personality and privilege, sexuality, authority, and artifice in the art world. Imagined through the heavily redacted testimony of the prison's warden, written by Alexandra Grant, and powerfully allusive images by Eve Wood, the prison is a brutal, Kafkaesque landscape where creativity can be a criminal offence and sentences range from the allegorical to the downright absurd. In The Artists' Prison, the act of creating becomes a strangely erotic condemnation, as well as a means of punishment and transformation. It is in these very transformations--sometimes dubious, sometimes oddly sentimental--that the book's critical edge is sharpest. In structural terms, The Artists' Prison represents a unique visual and literary intersection, in which Wood's drawings open spaces of potential meaning in Grant's text, and the text, in turn, acts as a framework in which the images can resonate and intensify in significance.
We know you are here, our brothers and sisters . . . Pressia barely remembers the Detonations or much about life during the Before. In her sleeping cabinet behind the rubble of an old barbershop where she lives with her grandfather, she thinks about what is lost-how the world went from amusement parks, movie theaters, birthday parties, fathers and mothers . . . to ash and dust, scars, permanent burns, and fused, damaged bodies. And now, at an age when everyone is required to turn themselves over to the militia to either be trained as a soldier or, if they are too damaged and weak, to be used as live targets, Pressia can no longer pretend to be small. Pressia is on the run. Burn a Pure and Breathe the Ash . . . There are those who escaped the apocalypse unmarked. Pures. They are tucked safely inside the Dome that protects their healthy, superior bodies. Yet Partridge, whose father is one of the most influential men in the Dome, feels isolated and lonely. Different. He thinks about loss-maybe just because his family is broken; his father is emotionally distant; his brother killed himself; and his mother never made it inside their shelter. Or maybe it's his claustrophobia: his feeling that this Dome has become a swaddling of intensely rigid order. So when a slipped phrase suggests his mother might still be alive, Partridge risks his life to leave the Dome to find her. When Pressia meets Partridge, their worlds shatter all over again.
Winner of the Pulitzer Prize and a documentary from Ken Burns on PBS, this New York Times bestseller is “an extraordinary achievement” (The New Yorker)—a magnificent, profoundly humane “biography” of cancer—from its first documented appearances thousands of years ago through the epic battles in the twentieth century to cure, control, and conquer it to a radical new understanding of its essence. Physician, researcher, and award-winning science writer, Siddhartha Mukherjee examines cancer with a cellular biologist’s precision, a historian’s perspective, and a biographer’s passion. The result is an astonishingly lucid and eloquent chronicle of a disease humans have lived with—and perished from—for more than five thousand years. The story of cancer is a story of human ingenuity, resilience, and perseverance, but also of hubris, paternalism, and misperception. Mukherjee recounts centuries of discoveries, setbacks, victories, and deaths, told through the eyes of his predecessors and peers, training their wits against an infinitely resourceful adversary that, just three decades ago, was thought to be easily vanquished in an all-out “war against cancer.” The book reads like a literary thriller with cancer as the protagonist. Riveting, urgent, and surprising, The Emperor of All Maladies provides a fascinating glimpse into the future of cancer treatments. It is an illuminating book that provides hope and clarity to those seeking to demystify cancer.
Here is a book as joyous and painful, as mysterious and memorable, as childhood itself. I Know Why the Caged Bird Sings captures the longing of lonely children, the brute insult of bigotry, and the wonder of words that can make the world right. Maya Angelou’s debut memoir is a modern American classic beloved worldwide. Sent by their mother to live with their devout, self-sufficient grandmother in a small Southern town, Maya and her brother, Bailey, endure the ache of abandonment and the prejudice of the local “powhitetrash.” At eight years old and back at her mother’s side in St. Louis, Maya is attacked by a man many times her age—and has to live with the consequences for a lifetime. Years later, in San Francisco, Maya learns that love for herself, the kindness of others, her own strong spirit, and the ideas of great authors (“I met and fell in love with William Shakespeare”) will allow her to be free instead of imprisoned. Poetic and powerful, I Know Why the Caged Bird Sings will touch hearts and change minds for as long as people read. “I Know Why the Caged Bird Sings liberates the reader into life simply because Maya Angelou confronts her own life with such a moving wonder, such a luminous dignity.”—James Baldwin From the Paperback edition.
Death in the Afternoon is a non-fiction book written by Ernest Hemingway about the ceremony and traditions of Spanish bullfighting, published in 1932. The book provides a look at the history and what Hemingway considers the magnificence of bullfighting. It also contains a deeper contemplation on the nature of fear and courage. While essentially a guide book, there are three main sections: Hemingway's work, pictures, and a glossary of terms.
MINERVA THE MISCARRIAGE OF THE BRAIN collects a decade of work from artist, musician, and author of ON HELL, Johanna Hedva. In plays, performances, an encyclopedia, essays, autohagiography, hypnagogic, and hypnapompic poems--in texts whose bodies drift and delight in form--Minerva tunnels into mysticism, madness, motherhood, and magic. Minerva gets dirty with the mess of gender and genius. She does the labor of sleep and dreams. She odysseys through Los Angeles, shapeshifting in stygian night and waking up to wail in the light. With illustrations by Isabelle Albuquerque. "Purchase or thrash: 'genius.' Relocate an 'Ancient Greek text' to 'contemporary Los Angeles.' Does a geographical cure excrete ghosts, 'visions of strange bodies poised and moving,' or does it produce a 'deep, reverberating sound?' Johanna Hedva's MINERVA begins in this place and we go there, which is to say a reader does. Or might: float/trust this process of alchemical, pelvic, infinite, sub-maternal, and ceramic change."--Bhanu Kapil "Reverberations of this book outlast everything else in our ears, 'what felt like a skinned, feral cat breaching from my chest.' Definitely MINERVA, goddess of genius and poems! Celestial messenger Johanna Hedva gives up gold after the cult following of their book ON HELL. A (god)dess-sized reconstruction of the world we only thought we knew! Welcome home, poets!"--CA Conrad "Blood is spilled: the writer, the reader, the family, and the lovers are all brutally disemboweled. Abandonment, undeath, catharsis, and genius are all held to trial. Theatre, ritual, and memoir are cleaved open by sex, race, and the (mortal) body. MINERVA, as in all their writing, sets Hedva's astounding, somatic wisdom against an urgent, anarchistic wound. Let yourself belong to it."--Patrick Staff "Can an artist's personal history of their performances be a history of performance art? MINERVA THE MISCARRIAGE OF THE BRAIN traces both a decade of Johanna Hedva's performed works and the edges of that genre's history: bringing the intimate, fearful, feminine, traumatized, queer, and real-life-lived to look and admire and poke at the assumptions about what performance art has been: genius, unreachable, masculine, and hermetic. Hedva is both a wonderful writer in the school of Helene Cixous, Marina Tsvetaeva, and Clarice Lispector: and like them, a creator of spaces we didn't know that we're allowed."--Alexandra Grant "This text is a trouble-maker. Well, that's not quite right. The trouble was already there, we were just trying to hang a tapestry over it, maybe shove it into the dirt of our potted plant. Hedva has that knack, though, for revealing, for turning something we'd rather keep silent into a beautiful wail."--Jessa Crispin "A book about viscera and black ash; 'Blood and guts. . . soul and tears.' Dark matter and sea foam blessed by 'the tentacles of sea plants when they move. . .' This is the literature of THE VOID. I will treasure MINERVA as I do the most revelatory writings of Artaud."--Lara Mimosa Montes "I have this fantasy that upon our deaths, we each are replaced with a museum. And that in the museum, is a record, in relics, of what we made, tried to make, failed to make, and what made us. Johanna Hedvas MINERVA affirms and animates this fantasy, overlapping rapturous corporeality with the posthumous archive. It is the nomination of a life's work of laying bare negative space by way of the nebulization of the body into a museum. (MINERVA, by the way, is the goddess of everything.)"--Brandon Shimoda Poetry. Fiction. Drama. Literary Nonfiction. California Interest. Asian & Asian American Studies. Women's Studies. LGBTQIA Studies. Art. Film. Music.
Part of the regionalist movement that included Grant Wood, Paul Engle, Hamlin Garland, and Jay G. Sigmund, James Hearst helped create what Iowa novelist Ruth Suckow called a poetry of place. A lifelong Iowa farner, Hearst began writing poetry at age nineteen and eventually wrote thirteen books of poems, a novel, short stories, cantatas, and essays, which gained him a devoted following Many of his poems were published in the regionalist periodicals of the time, including the Midland, and by the great regional presses, including Carroll Coleman's Prairie Press. Drawing on his experiences as a farmer, Hearst wrote with a distinct voice of rural life and its joys and conflicts, of his own battles with physical and emotional pain (he was partially paralyzed in a farm accident), and of his own place in the world. His clear eye offered a vision of the midwestern agrarian life that was sympathetic but not sentimental - a people and an art rooted in place.