Bøger udgivet af Coach House Books

A lively contemporary translation of these action-packed medieval Icelandic poems.

We talk a lot about what we're doing to our environment, but what is our environment doing to us?

Glenn Gould captured the imagination of a worldwide audience, becoming an instant celebrity with his eccentric performance style and his definitive renderings of Bach. David Young has used Gould's early and late recordings of The Goldberg Variations as a structural template for the acclaimed Glenn, his dramatic exploration of the music, ideas, and remarkable life of this iconoclastic and celebrated pianist, arguably the most important artist Canada has ever produced.

A sardonic, feminist reimagining of the story of Mary Toft, infamous rabbit-birthing hoaxer.There was nothing special about Mary Toft.Mary Toft was just another eighteenth-century woman living in poverty, misery, and frequent pain.Mary Toft was the kind of person overlooked by those with power, forgotten by historians.Mary Toft was nothing.Until, that is, Mary Toft started giving birth to rabbits...In Mary and the Rabbit Dream, the sensational debut novelist Noémi Kiss-Deáki reimagines Mary's strange and fascinating story - and how she found fame when a large swathe of England became convinced that she was the mother of rabbits.Mary and the Rabbit Dream is a story of bodily autonomy, of absurdity, of the horrors inflicted on women, of the cruel realities of poverty, and the grotesque divides between rich and poor. It's a book that matters deeply - and it's also a compelling page-turner. A story told with exquisite wit, skill, and a beautiful streak of subversive mischief.

With an intimate, comic, and compassionate eye, the twelve stories in Simple Creatures consider what it means to live with less in the twenty-first century. In this debut collection, featuring stories set in locations from the Pacific Northwest and upstate New York to the English coast, Robert McGill explores the heartaches and joys of people who are desperate to uncomplicate their complicated world. Through stories consisting of YouTube monologues, pet-care instructions, school reports, and the unspoken thoughts of a young scholar obsessed by Alice Munro, Simple Creatures also shows us the sometimes hilarious, often poignant ways in which our use of language shapes our relationships with others and ourselves. Along the way, we meet a teenager who wants to live among a community of Bigfoot that he claims to have discovered in the woods; the widow of a famous endocrinologist after she gains custody of a chimpanzee from his lab; a boy whose fledgling hockey career is troubled by the fact that his name is Peter Gretzky; and a divorcee seeking out the mysterious author of a viral environmental pledge. Through their lives, Simple Creatures offers an acute, sympathetic portrait of our time.

A stolen sign, `No Jews Live Here,¿ kept John Lorinc¿s Hungarian Jewish family alive during the Holocaust.From pre-war Budapest to post-war Toronto, journalist John Lorinc unspools four generations of his Hungarian Jewish family's journey through the Holocaust, the 1956 Revolution, and finally exodus from a country that can't rid itself of its antisemitic demons.This braided saga centers on the writer's eccentric and defiant grandmother, a consummate survivor who, with her love of flashy jewelry and her vicious tongue, was best appreciated from afar. Lorinc also traces the stories of both his grandfathers and his father, all of whom fell victim, in different ways, to the Nazis¿ genocidal campaign to rid Europe of Jews. This is a deeply reported but profoundly human telling of a vile part of history, told through Lorinc¿s distinctively astute and compassionate consideration of how cities and cultures work. Set against the complicated and poorly understood background of Hungary's Jewish community, The Sign on the Door is about family stories, and how the narratives of our lives are shaped by our times and historical forces over which we have no control.

The sky¿s the limit in these funny and sad head-in-the-clouds poems.The Sky Is a Sky in the Sky is a laboratory of poetic approaches and experiments. It mines the personal and imaginary lives of Stuart Ross and portraits of his grief and internal torment, while paying homage to many of the poet¿s literary heroes. It contains new entries in Ross¿s ongoing Razovsky poems, prose poems, a remix of an entire poetry book by dear friend Nelson Ball, a couple of collaborative poems, some one-line poems, and lots more. In an era of thematic poetry and conceptual poetry books, this collection is a celebration of possibilities and miscellany.

For bpNichol¿s 80th birthday, a selection of 80 pieces from his 1980s notebooks, an astounding trove of never-before-seen work.One of Canadäs most beloved poets, bpNichol (1944¿1988), left a huge legacy of poetry, prose, scripts, comics, and playful interrogation of language after his untimely passing in 1988. In celebration of what would have been Nichol¿s eightieth birthday, Some Lines of Poetry gathers excerpts from Nichol¿s journals across the 1980s to give a unique perspective on craft, process, and a writer¿s life. Featuring works in progress, insight into Nichol¿s thinking, previously unpublished prose and lyric, visual, and sound poems, Some Lines of Poetry documents Nichol¿s ¿apprenticeship to language¿ and his playful daily exploration of the limits of writing.Lovingly edited by noted poet-scholars Derek Beaulieu and Gregory Betts, who provide an afterword contextualizing Nichol¿s practice, Some Lines of Poetry is a map of hidden corners, a guidebook to poetic play, and a tribute to Nichol¿s ongoing influence.

The Sky Woman has returned to bring down the patriarchy!This book is about a poet who may or may not be going crazy, who is just trying to survive in Winnipeg, where Indigenous people, especially women, are being disappeared. She is talking to a crow who may or may not be a trickster, and who brings a very important message: Sky Woman has returned, and she is ready to take down the patriarchy. This is poetry, prose and dialogue about the rise and return of the matriarch. It¿s a call to resistance, a manifesto to the female self.Cree poet and broadcaster Rosanna Deerchild is an important voice for our time. Her poems ¿ angry, funny, sad ¿ demand a new world for Indigenous women.

How can we build more accessible cities? Living Disability brings together vibrant perspectives on disability justice and urban systems.Living Disability is an anthology of disabled writers analyzing urban systems and proposing more equitable approaches to city building. A musician and snow removal expert, a queer curator, a public pool aficionado, and a journalist turned city councillor ¿ these are just some of the exciting voices that explore the actions and attitudes of disability justice. Essays and interviews push the conversation about accessibility beyond policy papers and compliance checklists to show how disabled people are already creating more inclusive spaces in cities of all sizes. Living Disability is universal in scope but intimate and local in focus, grounded in personal struggles and celebrations. Decisions about public transit, affordable housing, and park design all disproportionately impact disabled communities. By sharing stories and strategies, contributors share ways disabled thinkers and doers are embracing overlooked aspects of urban design and tackling the toughest problems facing cities. Each chapter provides context to welcome non-disabled readers into conversations about the future of inclusion so that all readers can develop their own understanding of what accessible cities look and feel like. This book appeals to city builders of all stripes committed to learning from and working with underrepresented communities. It equips architects, designers, community leaders, innovators, and citizens with the key concepts they need to collaborate with rather than care for disabled neighbors.

The Empathy Exams of health anxiety: a personal, literary, and cultural examination of hypochondria from Kafka to Seinfeld.A free-wheeling philosophical essay, Hypochondria combines incisive contemporary cultural critique, colourful literary history, and the author¿s own experience of chronic health anxiety to ask what we might learn from the hypochondriac¿s discomforting experience of their body.Hypochondria is unashamedly capacious in its range of references, from the writings of hypochondriacs such as Franz Kafka and Charlotte Brontë to novel yet accessible readings of theorists such as Lauren Berlant and Maurice Blanchot. Whether he is discussing Seinfeld, John Donne, Robert Burton, Susan Sontag, FitBits, sleep ¿hygiene,¿ or the so-called narcissism epidemic, Rees treats his topic with a mixture of humour and seriousness while revealing himself to be an astute reader of all sorts of texts ¿ not sparing even himself with his own astute and irreverent takes on this popular ailment.An exercise in what Freud calls ¿evenly suspended attention,¿ Hypochondria demonstrates the rewards ¿ and perils ¿ of reading (too) closely the common but typically overlooked aspects of our lives.

White Lotus meets Shaun of the Dead in this absurdist take on the wellness retreatOur narrator and his accidental companion, K. Sohail, inadvertently find themselves on an island wellness retreat impersonating a couple, the Dhaliwals, who have probably been killed in a helicopter crash. After being welcomed by Jerome the robot, the new Dhaliwals eagerly partake of the all-you-stomach buffet, the motivational speechifyings on Trunity by the berobed Brad Beard, and some erotic counselling by Professor Seabass. Things quickly take an ominous turn when an excursion to a nearby deserted village reveals a guillotine and a haunted chapel. And then one of the retreaters is murdered and the real Dhaliwals show up. Accusations, counter-accusations, and counter-counter-accusations are made, until the whole retreat is caught up in a bizarre trial.In All You Can Kill, Pasha Malla, with his inimitable absurdist style, collides horror and humour into an utterly unforgettable satire.

Delicate poems and images show a sturdy pear tree and a fading love in this lost classic. Written after the end of a relationship, there's a persistent and gentle sadness among The Pear Tree Pomes, coloured by the intimacy of his awareness of a pear tree and its constancy. Coupled with illustrations by influential abstract painter David Bolduc, these delicate poems are part nature study, part ekphrasis, and part eulogy to recently ended romance. Kiyooka was also a painter, sculptor, musician, and teacher who cast a large shadow over Canadian literature and art. These poems are informed by the rhythm and shape of his practices of music and art, weaving across the page. Nominated for a Governor General's Literary Award, The Pear Tree Pomes won fans in well-known writers and artists across Canada. This reissue includes new archival material, giving readers the opportunity to (re)discover this graceful collaboration of poetry and art and the story behind it.

What if poetry and prayer are the same: intimate and inconclusive, hopeful and useless, a private communion that hooks you to the thrashing, imperfect world?Good Want entertains the notion that perhaps virtue is a myth that's outgrown its uses. Exploring the value and shame ascribed to our desires both silly and serious - artistic, superficial, spiritual, relational - these poems grapple with deeply rooted questions: How can there be a relationship between goodness and godliness, if god is a character with shifting allegiances and priorities? Is clarity worth the pain of redefining your experience of the world? Is privacy the same as secrecy the same as deceit? Each caveat becomes a prayer, ritual, invocation, dream, or confession, requiring a blind faith that feels increasingly more impossible to sustain. Good Want looks inward, at once both sincere and tongue-in-cheek, to confront the hum of class and intergenerational trauma. Playing with and deconstructing received notions of 'good,' 'bad,' and 'god,' these poems open up a series of further possibilities: empathy for difficult people, acceptance of our difficult selves, and joy in every difficult thing. "These are lush, provocative poems that luxuriate in unexpected detail while examining how economic precarity shapes both shame and desire. Firmly rooted in the working class, Martinello explores the hunger we inherit from our ancestors, what it means to indulge from a position of bottomless want, and to 'Waste not your wanting.' With impressive range, a sense of humor, and entrancing musicality, Good Want is a celebration of the gluttony of girlhood, the paradoxes of faith, and everyday pleasures of a "small, specific life." - Cassidy McFadzean, author of Crying Dress"Good Want is a baroque painting of Dutch aristocracy, but all the subjects' garments are secretly from Walmart. I mean this in the best way. Each poem cracks me open and out shines a never-before-seen shade of light." - Shy Watson, author of Cheap Yellow"Sometimes the confessor reckons with the confessional. In Good Want, it's a wracking and lucky sometimes, full of piss and vinegar, and one that finds Domenica Martinello performing the wonderment, the depth and push and pull, between what there is to reveal and what each revelation ruptures or binds. Happily, sadly, the poet scours a life lived and unearths inheritances, burdens, and selves destined for and not for the telling. And tells them brilliantly as she pleases."  - D.M. Bradford, author of Bottom Rail on Top

Overthinking simple actions leads to overwhelming poems about what one can lean on if promised help doesn't helpI Will Get Up Off Of is a book about trying to leave a chair. How does anyone ever leave a chair? There are so many muscles involved - so many tarot cards, coats, meds, McNuggets, and memes. In this book, poems are attempts and failures at movement as the speaker navigates her anxiety and depression in whatever way she can, looking for hope from social workers on Zoom, wellness influencers, and psychics alike. Eventually, the poems explode in frustration, splintering into various art forms as attempts at expression become more and more desperate. What is there to lean on when avenues promising help don't help? I Will Get Up Off Of explores the role art plays in survival and the hope that underlies any creative impulse. "The voice of these poems moves like a magical fish trapped in a small square bowl, dazzlingly alive inside an almost annihilating constriction. These poems play a serious game in a tight space, caught in the looping limbo between intention - "I will...", "I will...", "I will..."- and action. Simina Banu's skill and humour animate every line and gesture within this inventive drama that begins "(I will get up off of) this monobloc but I've been sentenced...." Sentenced to form and to language, Banu gives us a mind thinking its way toward freedom." - Damian Rogers, author of Dear Leader

Taking its title from lossless data compression algorithms, Lossless transmits through time and space those ‘stabs of self’ that intensify with loss of relationships, of faith, of childhood, of people. The qualities of light, colour, and movement in the book’s forty-eight sonnets conjure a sense of arrested time, of motes in the air, while chapters of Borgesian prose poems extract knowledge from information to reconstruct a subjectivity, a personality, and a life."Tierney tracks and backtracks in the realm of dispossession like a cross between a physicist and a magician from a future era. These poems are new forms for human heart and quiddity.” – Anne-Marie Turza, author of Fugue with Bedbug"In this wise, wonky, poignant avowal of error and losslessness, Matthew Tierney geotags his 'freefall of associative memory,' where the past flickers presently and futures bend toward the start. Invoking the dogmas of digital media, quantum mechanics and philosophy, Lossless is the devlog of a child becoming father of the man. A 'greybeard & tweener' at once, Tierney conjures his Gen Xer youth—neighborhood bullies, the first kiss, jogging with a Walkman on—to tweak his hi-fi output as a husband and fumbling dad. Given a spacetime continuum offering 'viaducts of alternate choices,' in which everyone, at the molecular level, is 'swappable soma' at best, Tierney parses 'compossible paths' from 'incompatibilism,' trying to track the quirks and quarks of multidimensional life. In troubleshot sonnets and corrupted prose, this book is an ode to the lost art of losing gracefully." – Andrew Zawacki, author of Unsun

"The updated edition of a Toronto favorite meanders around some of the city's unique neighborhoods and considers what makes a city walkable What is the 'Toronto look'? Glass skyscrapers rise beside Victorian homes, and Brutalist apartment buildings often mark the edge of leafy ravines, creating a city of contrasts whose architectural look can only be defined by telling the story of how it came together and how it works, today, as an imperfect machine. Shawn Micallef has been examining Toronto's streetscapes for decades. His psychogeographic reportages situate Toronto's buildings and streets in living, breathing detail, and tell us about the people who use them; the ways, intended or otherwise, that they are being used; and how they are evolving. Stroll celebrates Toronto's details - some subtle, others grand - at the speed of walking and, in so doing, helps us to better get to know its many neighbourhoods, taking us from well-known spots like Nathan Phillips Square and Pearson Airport to the overlooked corners of Scarborough and all the way to the end of the Leslie Street Spit in Lake Ontario."--

A rediscovered classic, Yesterdays turns colonialism on its head. After years of suffering at the hands of white missionaries trying to convert Trinidadians to Christianity, Poonwa has decided, as payback, to go to Canada and start a Hindu mission. His father, Choonilal, doesn't want to borrow the money Poonwa needs from the corrupt local priest. The whole village gets dragged into the fight, a distraction from the usual arguments over latrines and sexual dalliances. First published in 1974, Yesterdays is a ribald, outrageous portrait of Trinidadian village life, and a prescient proto-parody of what would become the archetypal immigrant story. Sacred cows both literal and figurative are skewered in a series of increasingly absurd encounters between villagers who can't keep their noses - and other body parts - out of their neighbours' business. A foreword by Kevin Jared Hosein contextualizes this important book, which was politically and aesthetically ahead of its time but lost after the untimely death of Harold Sonny Ladoo. "Yesterdays upends conventional narratives that find sexual liberation in the postindustrial city. Ladoo's agrarian villagers inhabit the fullness of their complex humanities in audaciously funny and often uncomfortable ways, and are radically at ease with their fluid sexual appetites. An under-appreciated gem, his novel is as much a testament to Ladoo's skillful observation and rendering of the world that surrounded him as it is to the value of being tellers of our own stories." - Andil Gosine, author of Nature's Wild: Love, Sex and Law in the Caribbean"Yesterdays is the novel, underappreciated on its initial release and since forgotten, that should have charted a deviant, audacious path through the staid self-seriousness of Canadian literature. Let's hope there's still time." - Pasha Malla, author of All You Can Kill

"Pillow Wilson, a past-his-prime boxer, trains for his last title shot. Shenanigans ensue. Having recently undergone an ethical awakening, Pillow has converted to veganism and is in the middle of trying to rehome his menagerie of exotic pets (including Jersey Joe the sloth and Rigoberto the shark) in humane animal shelters. His roommate, Sherlock Holmes, has recently faked his own death by waterfall, and has now gone incognito and is Pillow's in-house doping expert. The thing is, Pillow doesn't feel all that motivated to train for his next big fight, and he's further distracted from his training when his car and pet shark mysteriously disappear. Luckily, Sherlock is a master of deduction. What follows is part underdog sports story, part work of Neozoological Surrealism, and part existential mystery novel."--

WINNER OF THE HILARY WESTON WRITERS' TRUST PRIZE FOR NONFICTIONTHE GLOBE AND MAIL: BOOKS TO READ IN FALL 2023THE GLOBE AND MAIL BEST 100 BOOKS OF 2023CBC BOOKS BEST CANADIAN NONFICTION OF 2023Martha Baillie’s richly layered response to her mother’s passing, her father's life, and her sister’s suicide is an exploration of how the body, the rooms we inhabit, and our languages offer the psyche a home, if only for a time. Three essays, three deaths. The first is the death of the author’s mother, a protracted disappearance, leaving space for thoughtfulness and ritual: the washing of her body, the making of a death mask. The second considers the author’s father, his remoteness, his charm, a lacuna at the centre of the family even before his death, earlier than her mother’s. And then, the shocking death of the author’s sister, a visual artist and writer living with a diagnosis of schizophrenia, who writes three reasons to die on her bedroom wall and then takes her life.In this close observation of a family, few absolutes hold, as experiences of reality diverge. A memoir of cascading grief and survival from the author of The Incident Report."Martha Baillie’s novels are thrillingly, joyously singular, that rare combination of sui generis and just plain generous. That There Is No Blue, her memoir, is all of those things too, is no surprise; still, she has gone somewhere extraordinary. This triptych of essays, which exquisitely unfolds the “disobedient tale” of the lives and deaths of her mother, her father, and her sister, is a meditation on the mystery and wonder of grief and art making and home and memory itself. It made me think of kintsugi, the Japanese art of repair, in which the mending is not hidden but featured and beautifully illuminated. Baillie’s variety of attention, carved out of language, is tenderness, is love." – Maud Casey, author of City of Incurable Women"This is a stunning memoir, intense and meticulous in its observations of family life. Baillie subtly interrogates and conveys the devastating mistranslations that take place in childhood, the antagonism and porousness of siblings, and the tragedy of schizophrenia as it unfolds. I couldn’t put it down." – Dr. Lisa Appignanesi, author of Mad, Bad and Sad and Everyday Madness""Exquisite." – Souvankham Thammavongsa, author of How to Pronounce Knife"I am grateful for this profound meditation on family and loss.” – Charlie Kaufman, filmmaker"This strange, unsettling memoir of outer life and inner life and their bizarre twining captures the author’s identity by way of her mother’s death, her sister’s failing battle with mental illness, and the mysterious figure of her father. It combines anguished guilt, deep tenderness, and bemused affection in highly evocative, often disturbing prose. Its brave honesty is amplified by a persistent lyricism; its undercurrent of fear is uplifted by a surprising, resilient hopefulness. It is both a plea for exoneration and an act of exoneration, an authentic meditation on the terrible difficulty of being human." – Andrew Solomon, author of The Noonday Demon

"Cowboy erotica meets Kathy Acker in this smart, raunchy look at a queer sexual awakening Part memoir, part literary study, part formalist exercise in excitement, Daddy Lessons is a transgressive text of pleasure, bodies, the Lord, and the West. In this post-gender, post-sexuality, queer prairie Decameron, Steacy Easton's sexual anxiety becomes textual anxiety. This is a messy history of Mormon missionaries, bathhouses, Anglican boarding schools, the back rooms of prairie bars, Montreal classrooms, and the many religious spaces that have tried to snuff out queer desire while turning a blind eye to abuse. These are provocative tales to turn on, offend, and sentimentalize. Easton explores the seminal texts of their sexuality, from Frank O'Hara to Neil LaBute, Kip Moore to Lorelei James, and delves into their own encounters as they came of age. These daddy lessons are blunt about the ambivalences of trauma and the pleasures of disobedience, slippery and difficult, reveling in the funk of memory and desire."--

"A phenomenology of the mall: If the mall makes us feel bad, why do we keep going back? In a world poisoned by capitalism, what makes life worth living? In less than a century, the shopping mall has morphed from a blueprint for a socialist utopia to something else entirely: a home to disaffected mallrats and depressed zoo animals, a sensory overload and consumerist trap. Kate Black grew up in West Edmonton Mall - a mall on steroids. It's the site of a notoriously lethal rave for teenagers, a fatal rollercoaster accident, and more than one gun-range suicide; it's where oil field workers reap the social mobility of a boom-and-bust economy, the impossibly large structure where teens attempt to invent themselves in dark Hollister sales racks and weird horny escapades in the indoor waterpark. It's a place people love to hate and hate to love - a site of pleasure and pain, of death and violence, of (sub)urban legend. Can malls tell us something important about who we are? Blending a history of shopping with a story of coming-of-age in North America's largest and strangest mall, Big Mall investigates how these structures have become the ultimate symbol of late-capitalist dread - and, surprisingly, a subversive site of hope. Ultimately, a close look at the mall reveals clues to how a good life in these times is possible."--

"What can we remove from ourselves and still be ourselves? Written after a brain tumour diagnosis early in the pandemic, The King of Terrors is a meditation on living with illness and the forces required to heal. These forces are not always what we expect - they may not even be medical. Jim Johnstone implies that language, relationships, and our immersion in the natural world can free us from the spectre of impending collapse. Haunted by the decimation of the North American landscape and the anxiety of living in a polarized society, Johnstone's poems are bodily reflections that ask how we can reframe our past to make sense of the present. The King of Terrors oscillates between the personal and the public, the clinical and the spiritual, so we're never quite sure what we are seeing, no matter how familiar."--

"The term "Love Language" can be read at least three ways: as an imperative, as the signoff to a letter, and as a contemporary way of talking about relationship styles. None of these would be wrong in this book. In his followup to the acclaimed SKY WRI TEI NGS, written entirely in airport codes, Nasser Hussain moves toward a more expansive version of experimentation; in a time of physical lockdown, his pandemic poetics refuse to be confined. And so we have poems that repeat and hypnotize as English becomes more and more absurd, that compare an affair to a relationship with Apple, that list love poems the poet loves. But most of all, we see a deep affection for language: its multiple meanings, the ways it makes us feel, and for the ways that language lets us talk about complicated things playfully, like love. Generously handing out tenderness like a child with a sack full of Valentine's Day cards, the poems of Love Language revel in love's warm glow and make sure there's enough room for anyone to join."--

"A reimagining of an instructional text on tumbling supports poems about the amateurishness of being human. Tumbling for Amateurs is a reimagining of James Tayloe Gwathmey's 1910 book of the same name, published as part of Spalding's Athletic Library. Bookended with "Propositions" on why tumbling is a skill that everyone should learn and "Extracts from Letters of Support," each verso poem in this collection pairs with a recto illustration based on drawings from the source text. In the spirit of William Blake's Songs of Innocence and of Experience, word and image work for each other, creating something more than just an instructional manual. Tumbling is, well, a metaphor for everything. And we all are, well, amateurs. Experimentation abounds in these poems and manipulated pictures. There are anaphoras, list sonnets, erasures, palimpsests and concrete poems, all working from tumbling's limited vocabulary and central focus of acrobatics and gymnastics. In this experimentation of form and text is a search for the lyric, for an emotional connection when one isn't always possible, in bodies, in movement, in desire. "We measure our lives by what our bodies can do.""--

"From the author of Maidenhead, a reverse cautionary tale about a young woman exploring the boundaries of sex and belonging in the early 2000s. Distraught that her teenage daughter is in love with a woman a decade older, Yara's mother sends Yara away from their home in Brazil on a Birthright trip to Israel for Jewish youth. Freed from her increasingly controlling and jealous girlfriend, Yara is determined to forge her own path and follow her desires. But Birthright takes a debaucherous turn, and Yara flees Israel for Toronto, where she begins to see her relationship in the new, uncertain light of sexual abuse; then California, where she plays with the line between erotic film and real life. As Yara wanders, she tries to keep her head above water, connecting the dots between the lands in which she finds herself, the places she has been, and the places she is headed."--

"Dickinson after her death: a novel of the women who brought Emily Dickinson's poems out of the shadows Grieving the loss of her sister and alone in a big house, Lavinia goes through Emily's things and wonders what to do with her sister's poems. She enlists the help of Susan, Emily's best friend and brother Austin's wife, who rouses herself from a deep depression to put the poems into some order to approach a publisher. Lavinia also brings Austin's mistress, Mabel, into the project for her worldliness and connections. In the wings, there is Millicent, Mabel's daughter, a little girl like Emily in spirit, wise and strong-willed, and fascinated by things big and small in the world around her. Delicate like lacework with dark threads running through it, Pale Shadows picks up the story of Emily Dickinson where Paper Houses left off, to explore the place of women in history, their creativity, and the enduring power of Dickinson's poetry."--

"'I just don't believe that man is made of flesh and blood.' -- Jack Johnson, World Heavyweight Boxing Champion Pain was Joe Grim's self-expression, his livelihood and reason for being. In 1908-09 the Italian-American boxer toured Australia, losing fights but amazing crowds with his showmanship and extraordinary physical resilience. On the east coast Grim played a supporting role in the Jack Johnson-Tommy Burns Fight of the Century; on the west coast he was committed to an insane asylum. In between he played with the concept and reality of pain in a shocking manner not witnessed before or since. Michael Winkler braids the story of Grim in Australia and meditations on pain with thoughts on masculinity and vulnerability, plus a talking goat and questionable jokes, in a haymaker of experimental non/ fiction."--