It is often said that when a writer completes a book, her work has just begun. Emerging writers often find publication through small presses that struggle to compete in today’s competitive marketplace. The Face Out: Maximizing the Visibility of Emerging Writer program supports exceptional writers in partnership with their publishers to put a spotlight on important new experimental titles. This program was made possible with support from the Jerome Foundation with additional support from the New York Community Trust.
from Ugly Duckling Presse
Fantasy by Ben Fama
Ben Fama’s Fantasy operates in a world of Internet, glamor, and lonely 21st century adulthood, through various other sorts of intimacies that happen through global production. Fama’s language and affect flatten desire while they maintain a tone of struggle and longing. Fantasy works at the question of how to spend time while alive in a humanity close to burnout, where the value of one’s own labor is as inconclusive as the profits of intimacy. The need for things butts up against the living nihilism of late capitalism.
Pub Date: April 1, 2015
The Green Ray by Corina Copp
The Green Ray is relentless—in its syntactical and almost kaleidoscopic subversion of univocal emotion, its contrapuntal speed and delay, intimacy and pretense, security of sources and formal promiscuity. The poems both sense and want to, enacting a rigorous aesthetic engagement that never quite achieves synthesis, instead posing writing itself as dialogic longing. It is Corina Copp’s first full-length collection of poems.
Pub Date: April 1, 2015
Priya, a mortal woman and rape survivor, and the Goddess Parvati fight against gender-based sexual violence in India and around the world in this augmented reality mythological comic book.
Comic Book | Free
paperback & digital, 32 pages,
Publication Date: December 2014
Andrew Durbin’s Mature Themes is a hybrid text of poetry, art criticism, and memoir focused on the subject of disingenuity—and what constitutes “personal experience” both online and IRL when to “go deep” in a culture of so many unreliable communication technologies is to resend a text at 3 AM. Throughout the book, Durbin’s voice mutates into others in order to uncover the fading specters of meaning buried under the pristine surfaces of art and Hollywood, locating below them the other realities that structure our experience of both.
Publication Date: 2014
Monkeys, Minor Planet, Average Star by Gracie Leavitt
A playful, intoxicating debut by a young poet dedicated to expanding the boundaries of lyric poetry
Monkeys, Minor Planet, Average Star, Gracie Leavitt’s first full-length collection, draws on rich lyric history, the love poem as prism, in an effort to create a postmodern pastoral. Leavitt’s lines—a baroque tracery, sometimes dark, teasing prose, and pronoun-packed—and unstoppable syntax define her unique poetic vision. This idyll, with its bucolic scenery, its domestic scale, its erotic charge, charges forward into an ecofeminist future.
Poetry | $15.95
paperback, 104 pages, 6 x 8 in
Publication Date: 2014
Experience in the Medium of Destruction by Sara Jane Stoner
The anti-heroism of Sara Jane Stoner’s Experience in the Medium of Destruction is a kind of queer-critical atomization—an expression of desire for a practice and a pedagogy toward an auto-necromancy of our own nuclear dust. A book harboring a raucous community of questions, enormous and tiny, personal and political, dense and light and hard and soft, questions as numerous as bodies: what boundaries serve both self and world in motion? what do we sacrifice in self production, in legibility? what utterances raise the stakes of the present and show us to our senses? what do we need from language in order to broaden our shared understanding of the overlapping fields of our relation? how can a poetics act toward consciousness?
Experience in the Medium of Destruction submits to the loss of control and constant error that is fundamental to any act of perception, relation, and signification—any act of learning. The sonic and aleatory confessions of poetry are subject to the explanatory cadences of prose, making essayistic arguments for the senses. Orifices overflowing with the desire to participate in a rhetoric that defeats itself, a power that gives everything away. And that the actual permeability of the body is the best model for conceptualizing social bodies—reaching for a kind of “limit language” through the figure of sex, which is everything, a sticky inclusivity of touching, naming, and being touched, being named—with an ethical understanding that as far as we know, we also do not know who it is we touch, who we are, touched.
Quotidian language, normative life and all the taken-for-granted perceptions of the world are the focus of Stephanie Gray’s riveting and profoundly philosophical book, Shorthand and Electric Language Stars. Whether by rhythmic intonation of throwaway phrases that expose alternative meaning, or unraveling of common assumptions of class, feminism and queerness in the deep substructures of the social—the poems and look-again images reveal hidden truths that deeply unsettle “we thought we knew/what we knew we thought”, ripping open charged spaces of “reading between the lines” and leading readers on the best kind of poetic journey: seeing the world anew in one of the most distinctly complex and unique voices in innovative poetry today. If it is possible to be “ambushed by revelation” 24/7, this book is 100% it: you will have no chance to go back to thinking as you have before—and isn’t that the best kind of poetry?
Shorthand and Electric Language Stars is poet-filmmaker Stephanie Gray’s second full-length collection of poetry.
from Birds, LLC
Tender Data by Monica McClure
In Tender Data Monica McClure breaks down and breaks into various identities, each of them hashtagged in the discourses of their time and place, whether macha or chiflada, couture or fast fashion, acephale or technocrat: “I want to be so skinny people ask if I’m dying.” Down the blood-red lanes of gender-making, class warfare, and vexed relationships goes the unstable subject, hailed yet hailing back. Nobody comes out looking good. The slippery self, surveilled yet ready with her mask, performs a peep show—booth opens wide, yet somehow the dancer isn’t there. She’s in character. She’s “cut off the head to let the humors hose through.”
Publication Date: July, 2015
Dead Horse by Niina Pollari
Publishers Weekly describes Dead Horse as, “startling in its starkness and crisp, distinct voice; growing more evocative as it progresses… [It] blazes and stings with the intensity and ferociousness of a fresh wound.”
Publication Date: February 2015