Bøger udgivet af FENCE BOOKS

A somatized, personified trajectory as synaesthetically rich as that of tarot or any other hallowed divinatory tool of the ages, The Charm and the Dread brings a naturalized, dreaming body into an awake state in the traumascope of virtualized pandemic humanscape, the place in which we can again breathe, and speak.

""'On a day fresh as a haircut' writes Beth Roberts, 'I left the family for the field. / I looked hard for the body.' This is a book of setting out, of looking for the body--familial, sexual, spiritual, poetic--from which we were somehow, long ago, severed. These poems inhabit, unflinchingly, the "invented and inflicted holes" of a consciousness that is by turns grieving, ironic, self-lacerating, celebratory. Roberts' faith in the renovating powers of lyric tradition is as anxious as it is necessary. This book is gorgeous and true." (Mark Levine)"--

"Mark Baumer wrote like he was trying to have a consciousness, like he's trying to avoid feeling anything; then it's like he's working really hard to feel more. It's like he's a child of the internet plus Wendell Berry, an anti-folk folksy speaker navigating the industries of gigs and professional writing culture. Baumer's life was ended by an SUV in January of 2017 while he was walking barefoot across America for the second time to draw attention to climate change. Baumer was a prolific wizard of non sequitur and displacement, and these writings show the maturation of an absurdist conscience, applying itself to inequities of access: power, security, and meaning itself, within the confines of America and within that the contemporary professionalized writing culture."--Provided by publisher.

"Lesle Lewis's new poems give, and take, the unit of the meaning of the sentence. She rhymes with Michael Burkard, Robert Creeley, Mary Ruefle, Jean Valentine, James Tate, Fanny Howe. Who speaks here represents an esoteric, doubting, canny, coherent, chemical self which wakes-sleeps-utters all from the same mouth with wayward, roving, strabismic wall-eye. It is the generous, centering indeterminacy we may have been missing"--

"Maafa is Swahili for catastrophe or holocaust, and echoes the Hebrew word Shoah. Without a word for a traumatic event, its erasure is always in progress. Maafa killed her father in the barracoons because the sight of him in captivity beside her was too much to bear. Now she is on her hero's journey which is filled with efforts to shake the sense of shame and longing and forgetting that haunts her in her pursuit of freedom. The crime chases her into all manners of light and darkness. Through an accumulation of images she exorcises her own haunts, and is healed into complete being."--Provided by publisher.

"A debut novel by a white millennial woman eviscerates the industries which produce her freedoms and responsibilities. She removes herself through processes of acquisition and elimination. Valerie is an art worker in a big city, literally the product of an American childhood in a small place where she learned to value objects and their promise. The magic of being, thinking, speaking, and writing is all bound up for Valerie, a self-conscious creature, in the ways she can acquire and be acquired. She lives and works in a storm of things, many of which are commodities, including herself. Watch Valerie learn to love and accumulate meaning as she relates to the art she compliantly sells and the man with whom she steals things. The consumption and reflectivity of a white American young-womanhood lived in a phenomenological endzone comes delicately to life out of the sharp particulars thefted and loved in this urbane, semi-psychedelic bildungsroman"--

What happens when a dreamer explores perverse and imperfect origins? An anthropoetic meditation on colonial racial violence in Central America.

This poet's rapt, driven affect and glazed wit heralded a new strategy in the mitigation of female self-hatred in poetry.

"Catherine Wagner's fifth poetry collection"--