Bøger udgivet af Invisible Publishing

Featured on 49th Shelf's Most Anticipated: 2023 Fall Fiction Preview"Things used to be easier, but even in those carefree days, the rules were in place for a reason. And that reason is: so we can all agree. So we can all have the same standard applied across the board. So there is no special treatment, which no one should receive. This is why we need the rules."The stories in Avalanche combine humor with an earnest examination and indictment of white entitlement, guilt, shame, and disorientation in the wake of waking up to the reality of racism. Focusing on the perspective of white, cis, straight, and mostly middle-aged and middle-class characters, this collection shines a light on the obliviousness of white privilege, the violence of polite, quiet racism hiding just under the surface of mundane, everyday situations, and the anguished flailing of "well-intentioned white ladies" desperate to confirm their essential goodness at all costs. Westhead writes with compassion and empathy for both her frustrating and frustrated white protagonists and the racialized characters who encounter them, and uses humour not to comfortably distance white readers from the harmful behaviour of her self-absorbed protagonists, but to pull them in close to recognize—and reckon with—those familiar parts of themselves, and to become more aware of the insidious systems of white supremacy at work behind the scenes.

A GLOBE AND MAIL BEST BOOK OF 2022For readers who love Mark Haddon, Miriam Toews, and Sally RooneyPaisley Ratchford is trying to keep it together, but in eight weeks, the Toronto apartment building she lives in will be demolished. A last-ditch effort to reclaim her abandoned childhood home on Amherst Island plunges Paisley into memories of growing up in the tight-knit community, and into the obsessive compulsive disorder that has only ever offered a semblance of control. Her compulsion to count in sets of eight had little effect on thwarting bullies, her fathers bad luck, and her mothers mental illnessall of which return to haunt her.When help arrives in the form of Paisleys old classmate and tormentor Garnet Mulligan, her predicament only worsens. For a shot at a future, Paisley needs to stare down her past, including all the habits that have stopped her from thriving. At Last Countis a wise and often laugh-out-loud funny tale that proves we dont always need to believe everything our brain tells us.

For fans of Chuck Palahniuk, Joyce Carol Oates, and Karen Russell, the stories in Francine Cunninghams debut collection God Isnt Here Today ricochet between form and genre, taking readers on a dark, irreverent, yet poignant journey led by a unique and powerful new voice.Driven by desperation into moments of transformation, Cunninghams characters are presented with moments of choicesome for the better and some for the worse. A young man goes to Gods office downtown for advice; a woman discovers she is the last human on Earth; an ice cream vendor is driven insane by his trucks song; an ageing stripper uses undergarments to enact her escape plan; an incubus tires of his professional grind; and a young woman inherits a power that has survived genocide, but comes with a burden of its own.Even as they flirt with the fantastic, Cunninghams stories unfold with the innate elegance of a spring fern, reminding us of the inherent dualities in human natureand that redemption can arise where we least expect it.

A visually and lyrically beautiful debut that celebrates the landscapes we take for granted. Harbour Grids is a long poem in four parts that investigates ideas of community and belonging. Beginning as a meditation on the surface of New York Harbor, the poem radiates outward through issues of labour, location, history, belonging, and subjectivity. How do we experience our complex relations to the world we live in? Harbour Grids seeks to answer this question by combining Stephen Ratcliffes attention to daily observation and formal repetition, Lyn Hejinians investigations of the linguistic structures, Larry Eigners textural sense of language and compositional space of the page, and Juliana Spahrs ethical attention to the ways we inhabit the world.

Minimalist poetry for maximalist times.Sheets: Typewriter Works extends the minimalist explorations of Cameron Anstees first collection, Book of Annotations. Prompted by receiving the Olivetti Lettera 30 typewriter that belonged to poet William Hawkins after his death in 2016, the works in this book explore how small poems operate through the freedoms and constraints of the typewriter as both a decaying machine and a mode of composition. Through engagement with writers and artists like Jiri Valoch, Barbara Caruso, Leroy Gorman, Cia Rinne, William Hawkins, Dani Spinosa, Kate Siklosi, and Norman McLaren, Sheets: Typewriter Works re-embeds the minimalist poem in the typewritten page.

A GLOBE AND MAIL BEST BOOK OF 2022A reclamation of female rage and a horrifyingly deformed Bildungsroman.Frances is quiet and reclusive, so much so that her upstairs roommates sometimes forget she exists. Isolated in the basement, and on the brink of graduating from university, Frances herself starts to question the realities of her own existence. She cant remember there being a lock on the door at the top of the basement stairsand yet, when she turns the knob, the door wont open. She cant tell the difference between her childhood memories, which bloom like flowers in the dark basement, and herdreams. Worse still, she cant ignore the very real tapping sound nowcominginsistently, violentlythreatening to break through her bedroom wall.With the thematic considerations of Mary Shelley and Shirley Jacksons work, and in the style of Herta Mller and Daisy Johnson, Tearis both a horrifyingly deformed Bildungsroman and a bristling reclamation of female rage. Blurring the real and the imagined, this lyric debut novel unflinchingly engages with contemporary feminist issues and explores the detrimental effects of false narratives, gaslighting, and manipulation on young women.

A novel from the dark heart of early twentieth-century Alberta, featuring a new introduction by Dr. Lily Cho.A bully cattle rancher upends the lives of everyone he encounters and a pandemic makes those lives even more precarious. A full century after its first publication, Cattle remains a story of brutality. A curious Canadian mixture of Hardy and Steinbeck,Cattle is built on the deep contradictions of a settler ideology, asking readers to not look away from the many modes of violence bound up in Canadian history.Our Throwback books also give back: a percentage of each book’s sales will be donated to a designated Canadian cultural organization. Royalties from sales of Cattle benefit Central Alberta Women’s Emergency Shelter.

Prince Edward County is no longer an "up-and-coming" wine region in Canada, having garnered international acclaim for its wineries. Oenophiles across the world should be interested in this book.Prince Edward County is a day trip from upstate New York and an attractive vacation destination for travellers from the northeastern US.

A collection that careens from Ancient Greece to the Klondike Gold Rush, for readers of A. S. Byatt and Margaret Atwood. "It is the part that is missing that I am drawn to, that I try to pin down. My gaze is always divided by what is here and what is no longer here. That, for me, is where the deepest pleasure lies, where the sweet overcomes the bitter."A couple coping with a recent loss are tasked with taking stock of a late biology enthusiast's hoard. A support worker dedicated to rehabilitating young women suffering from, among other things, a certain unexpected effect of the climate apocalypse faces a truth that shatters the illusion separating her work and her personal life. An archaeologist formerly working in Syria struggles with her decision to flee from unrest, while the people she has left behind face an uncertain fate. In Jennifer Falkner's richly imagined first collection, past and present glancingly converge, making the familiar outlines of myth, history, and everyday life seem suddenly strange. With spare, elegant prose, Falkner introduces the reader to those whose narratives are written in the language of empty space. Above Discovery is a stunning debut collection from an author to watch.

An off-beat examination of the denials that underpin extractive capitalism. From the cratered lake of Chennai, India to the environmental racism of Neon Genesis Evangelion's Tokyo-3, Sunny Ways oscillates between images of environmental collapse and resistance. Standing waist deep in the massive tailing ponds of Alberta's Tar Sands, Sunny Ways wades through the tangled complicities of climate catastrophe. In the process, the book grapples with the failure of political hope and the intransigence of climate change denialism. Fitzpatrick channels his experiences growing up in the big sky economic pragmatism of Calgary, where oil pays the rent and puts food on the table, into an essayistic pair of long poems that echo the ecological poetics of writers like Rita Wong, Stephen Collis, and Juliana Spahr.

Experimental blending of visual poetry and traditional verse.Visual / experimental poetry by a woman in a field dominated by men.Timely discussions of personhood, belonging, human rights, ancestry, our relationship with / working with the land.By interrogating and plundering the Canadian Charter of Rights and Freedoms, this work forms a feminist interrogation of patriarchal, colonial, and legal scripts of being and personhood.A poetic wrestling with foundational nation-state documents in North America, similar to Tracy K. Smith’s poem “Declaration” (Wade in the Water, Graywolf)  and the United States’ Declaration of Independence.Siklosi asks what humans can stand to learn from listening to the trees talk to one another, from tapping into the languages under our feet and above our heads. Readers are certainly interested in this topic in both fiction and nonfiction, as evidenced by the massive success of books ranging from Finding the Mother Tree and The Hidden Life of Trees to The Overstory and Greenwood.Exploration of the rich history of women's handicraft as a feminist poetic praxis.  Ecocritical and feminist in tone, and with a healthy dollop of social justice, Selvage would appeal to anyone interested in poetry that blurs boundaries across different genres and formats, those who enjoy some politics with their poetry, as well as those who enjoy poems about nature and our precarious place within it.

An A-to-Z compendium that finds the wonder in information overload.The Truth About Facts makes intimate the seeming noise of information and facts by using the tradition of the alphabet book to get back to basics: to make room for wonder, devotion, and a reinvigorated role for poetry in both quick and methodological thought. Vautour leads his readers on an info-drenched, abecedarian jaunt that is both tongue-in-cheek and unquestionably earnest. Ranging from topics as assorted as Brazil Nuts and Juggling to meditations on Rememoration and the Zodiac, The Truth About Facts moves between the surety of aphorism and the anxieties of critique."If, like me, you find yourself randomly clicking through Wikipedia articles late into the night, you will love this delightful ramble through the facts."--Sachiko Murakami

An experiment in hybrid and versatility of voice, these texts stutter around the slipperiness of language and the transience of desire.The first section is an exercise in paradox wherein language as medium breaks free of signification and desire, knowing very well that language is inextricable from desire. The second section concedes that language may be inescapable yet its borders and meanings must and can be moveable, so that through the decomposition of what has been said or written the new may sustain itself on the dregs of the past. The third section is a burlesque reflection on the kaleidoscopic incarnations of Eros as it passes through assorted personalities and neuroses, that is, a chorus of anonymous men, all in various states of confusion about love. Each man is but a different face on the ten-thousand-sided-dice of the same drive wherein gender stereotypes are inflated to show their contours, exposing romantic desire as it is: essential, absurd, random, hideous, and blind.

Easy Peasy assumes nothing, but ass you me severything! Part instruction manual for the comfortably literate, part picture book for the uncommitted spectator, these poems insist upon the simple beautiful error of words and the imaginative potential of miscommunion! If you enjoy spending time outdoors, eating chocolate bars, watching movies, drinking tea with friends, avoiding death, taking baths and understanding the world, then this book most definitely is not for your!

In Generator, poet, musician and performance artist Ian Goodman explores the parameters of bardic cybernetics and robot love. Morphing forms of digital interface with traditional poetic structures, Goodman creates new media out of archaic lyric artifacts. Generator invites us to see the world through the reality-twisted lens of Goodman's eye-pod goggle. The result is a poetics of sensitive observation for the seriously insane. Pretend robots develop fatal crushes on novella-collaborators through lavalife.com, pretend poets seduce potential lovers by imagining poetry out of existence, seagulls suffer from jet-fuel envy, and a comet-girl's sneeze sends "a tsunami/ of dust bunnies towards Mercury." Whether generating interplanetary ballads, cyber chat-room conversation poems or spam-filtered versions of Pale Fire, Goodman's fearless approach to formal experimentation makes the world strange for us again. Ian Goodman is the 21st century's answer to the Martian school of poetry.

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