Bøger udgivet af NOEMI PR

Winner of the 2021 Noemi Press Book Award in Poetry. Longlisted for the 2023 PEN America Open Book Award.GORGONEION explores the us or them mentality that has permeated U.S. culture since the mid 2010's. Whether personal, political or historical, this collection constantly asks the questions "what are we doing?" and "where do we go from here?" Taking on a number of social justice issues, Gorgoneion weaves in wit and humor to add levity to the more somber subject matter throughout the collection. In moments, it reflects a tender interiority and desire to belong while using this sense of alienation to poke holes in the logic of groupthink.

Poetry. Fiction. Hybrid Genre. Latinx Studies. THESE DAYS OF CANDY is a collection of mixed- genre work, including verse play, micro fiction, serial and solo poem, ekphrastic, and poem cycle riffing on the YouTube tutorial phenomenon. This collection utilizes tropes that point to fable and fairy tale, while releasing faint notes of surrealism, Dada-caca, Raskal Chicanx Poetiks, big-hearted lyric, fronterismo, collage, and elliptical dream messaging, among other gadgets derived from the deliriously ambulatory interior vita. Thematically, these works explore and respond to state-sanctioned surveillance, hyper- policing of person/hood, neighbor/hood and global/hood, atmospheric violence in its various iterations, loss and love, and the slow asphyxiation of ego addiction. In these pages, readers are introduced to characters, like Lulu, the superstar crossing guard angel, a Muppet-like addict, an eccentric stenographer dictating cosmic courtroom dramas, a band of fireflies responding to metaphysical help-hollers, military operatives renouncing war with love and art, and an immigrant child battling the exteriorly-induced attacks of otherness and distance.

Issued with English and Spanish parts bound back-to-back and inverted.

SLIM CONFESSIONS is an image-text about digital intimacy and visceral material. A work of autotheory, the book lays in parallel the history of slime as a vehicle for horror and entertainment with personal encounters with quotidian slime in the human and animal worlds. At its center is a story of farm labor: A cold spring spent birthing sheep in northern Iceland interspersed with confessions about the author's sexual past. In the lineage of Dodie Bellamy's Barf Manifesto, this is a book reveling in repulsion and attraction, a personal investigation of physical touch as approximated by visual media, a slow pour of parallel stories that chronicle a research trip gone awry.Literary Nonfiction. Women's Studies.

Poetry. LGBTQIA Studies. A memoir-in-verse about the links between movement and how it influences gender identity, perception, and performance, utilizing the bus terminal as a throughway to discuss transition. The book discusses issues that deal with safety, passing, rural and city queerness, police and prison abolition, and autonomy. GREYHOUND is one poem, routed in the authors life, that is the journey and the destination and how those two places are linked through the movement between each other. It is a book for outcasts, true-freaks, weird-o's, and forever and always anyone trans.

Poetry. How do we care for a broken world, especially when we ourselves are broken-hearted? How do we nurture others when we have scarce resources? How do we maintain our own sense of self under these pressures? The work of care falls disproportionately on women and often renders them lacking and unacknowledged in their labor. GENTLEWOMEN explores personal and historical trauma, bonds between mothers and sisters, and our estrangement from the natural world and from ourselves due to an exploitative and extractive relationship to land and peoples (human and otherwise). Through an allegorical envisioning of a world that is like our own but heightened through the individual lives and responsibilities of three sisters, Natura, Providentia, and Fortuna, the poems sound out in mourning and frustration-and try to imagine the world otherwise. A transformative journey through the shadows towards reconciliation both between sisters and with oneself.

Poetry. California Interest. Latinx Studies. Winner of a 2020 American Book Award. HEART LIKE A WINDOW, MOUTH LIKE A CLIFF is a transgressive, yet surprisingly tender confrontation of what it means to want to flee the thing you need most. The speaker struggles through cultural assimilation and the pressure to act Mexican while dreaming of the privileges of whiteness. Borjas holds cultural traditions accountable for the gendered denial of Chicanas to individuate and love deeply without allowing one's love to consume the self. This is nothing new. This is colonization working through relationships within Chicanx families-how we learn love and perform it, how we filter it though alcohol abuse-how ultimately, we oppress the people we love most. This collection simultaneously reveres and destroys nostalgia, slips out of the story after a party where the reader can find God drunk and dreaming. Think golden oldiez meets the punk attitude of No Doubt. Think pochas sipping gin martinis in lowriders cruising down Who Gives a Fuck Boulevard.

Poetry. Asian & Asian American Studies. THE FISH & THE DOVE considers the history of occupation, the legacy of the Korean War, and the ways in which official and institutional language of war obfuscates lived experience. In it, I bear witness to what girlhood, womanhood, and motherhood might mean in the context of family, nation, and history. The legendary Assyrian warrior goddess Semiramis haunts this book, and by giving her voice, I attempt to foreground women's experience in narratives that so often tokenize, dehumanize, and exclude them. The text is informed by and appropriates institutional language, including reports of the South Korean Truth and Reconciliation Commission on governmental atrocities committed during the Korean War.--Mary-Kim Arnold

Poetry. Latino/Latina Studies. LGBTQIA Studies. Women's Studies. BEAST MERIDIAN narrates the first- generation Mexican American girl, tracking the experiences of cultural displacement, the inheritance of generational trauma, sexist and racist violence, sexual assault, economic struggle, and institutional racism and sexism that disproportionately punishes brown girls in crisis. Narrated by a speaker in mourning marked as an at- risk juvenile, psychologically troubled, an offender, expelled and sent to alternative school for adolescents with behavioral issues, and eventually, a psychiatric hospital, it survives the school to prison pipeline, the immigrant working class condition, grueling low- pay service jobs, conservative classism against Latinxs in Texas, queerness, assimilation, and life wrapped up in frivolous citations, fines, and penalties. The traumatic catalyst for the long line of trouble begins with the death of a beloved young grandmother from preventable cervical cancer--another violence of systemic racism and sexism that prevents regular reproductive and sexual health care to poor immigrant communities--and the subsequent deaths of other immigrant family members who are mourned in the dissociative states amidst the depressive trauma that opens the book. The dissociative states that mark the middle--a surreal kind of shadowland where the narrator encounters her animal self and ancestors imagined as animals faces brutal surreal challenges on the way back to life beyond trauma--is a kind of mictlan, reimagined as a state of constant mourning that challenges American notions of healing from trauma, and rather acknowledges sadness, mourning, and memory as a necessary state of constant awareness to forge a way back toward a broader healing of earth, time, body, history.

Originally released as a bilingual collection in 1989 by Stephen Kessler's Alcatraz Editions, Juan Felipe Herrera wrote the poems of AKRÍLICA starting in 1977, occasioned by the energy and dialogue that he encountered upon meeting writer and coconspirator Francisco X. Alarcón (1954-2016). Through a new interview included here and through his own Visual Introduction, archival photographs from his travels across the Americas, and new art created in conversation with the collection, Herrera offers a rich set of references, inspirations, and influences that shaped AKRÍLICA while sharing his take on this singular book's place in his development as a poet and multimedia artist. This new edition and new translation of AKRÍLICA arrives now to expand the political and artistic possibilities that form our current horizon. This project is not one of inclusion or recovery. This is a project of retrieval. We steal AKRÍLICA away from literary institutions, away from the discipline of literature as such, and away from traditions of experimental poetics that should hope to claim it. Oriented toward the liveliness of the imagination, committed to fundamentally changing itself in order to meet the moment, AKRÍLICA belongs somewhere else; it belongs in the hands of those finding one another in a gathering that has yet to take place.Edited by Anthony Cody, Carmen Giménez, & Farid MatukPoetry. Latinx Studies.

"A new collection six years after Nicholas Wong won the Lambda Literary Award for Gay Poetry, BESIEGE ME opens with a timely mocking tone that confronts the tension between China and Hong Kong. Poems in the book speak queerly of urban existences crushed by political and economic powers --"What cities & bodies deny a sometime-crisis, / not knowing they're a series of which?" Behind the portrayals of the speaker, his parents, his home city, and domestic migrant workers there, the collection boldly outlines the vulnerability of entrapment and its masochistic pleasures. BESIEGE ME seeks for a redefinition of transcultural poetics with its linguistic playfulness."--Publisher's description.

Literary Nonfiction. Poetry. DEFACING THE MONUMENT opens with the narration of an Operation Streamline hearing, a proceeding during which as many as 70 undocumented migrants are criminally prosecuted and sentenced en masse to serve jail time prior to deportation. It's an attempt to bear witness to what happens to those who do not hold the correct documents as a way to show texts always bear the marks of power.Documentary poetics offers a tradition and a form through which a writer can situate events or experiences within broad social and historical contexts. It can provide a space to record, to unearth, to witness, and to contextualize. But we can't fetishize the document. And we must use it with an eye toward our own complicity and participation in the systems we wish to investigate. Part documentary act, part lyric essay, part criticism, DEFACING THE MONUMENT enacts the possibilities and limits of documentary impulses.... a superb examination of the ethical issues facing artists who tell others' stories, within the context of undocumented immigration and her work teaching creative writing at the University of Arizona, in this dazzlingly inventive and searching text.--Publisher's Weekly

Place of publication from publisher's website.