Bøger udgivet af Sarabande Books, Incorporated

A 21st century homage to Blake that critiques corruptive American institutions with satire and surrealism, Fludde reads like "Songs of Innocence and Experience, written by middle management."

Contemporary fairy tales where the strange and surreal exist on the fringes of everyday life.

Stories set in rural Georgia investigate small moments that illuminate life-altering struggles, from aging families to dog fighters.

A haunted American South as told by a boy hero In lush and comedic language reminiscent of Faulkner and O’Connor.

A family history centered around three generations of women spans the Civil War through the Jazz Age.

Poems of a lived-in landscape, where beauty is the afterimage of loss, and grief is staunched by the changing seasons.

Everything you wanted to know about being a moderately successful poet, but were too tired to ask.

Michael Jeffrey Lee writes like a redneck Samuel Beckett, sketching dystopias of life along the margins in contemporary New Orleans.

A stylized and often surreal short story collection filled with sidelined characters placed at center stage.

Book-length series of poems that mimics schizophrenia's associative riffing and constructs an intimate and stirring portrait of vibrant, unsteady mind.

Poems that examine the cruelty and distance of a father, a broken marriage, and historical narratives.

Pulitzer Prize-winning author reveals an unconventional love affair that sustains political, philosophical, and sexual interest over a lifetime.

Poems structured by a wolf motif, concerned with death and beauty, urging us to retain our "wildness" as we age.

Barot solidifies and extends his reputation as a meticulous, elegant, musical contemporary American poet.

Startling, lyrical essay collection focused on trees. Moves from author’s childhood in rural Canada to Niger, the Philippines, and Greece.

In these wry, assured, incisive, intelligent poems, Townsend takes on the persona of both betrayed and betrayer.

A rollicking, wide-reaching annotated soundtrack of pop stars, phone psychics, Elvis impersonators, and other marvels of the human voice.

Latest installment in our Series in Kentucky Literature. ; Labeled as an essay collection, there is really a hybrid of forms at play here; it pulls on autobiography, audio transcripts, media, legal documents, Internet comments, and short prose pieces. Stunning. ; Farmer is the Assistant Dir. of Learning and Engagement at Utah Museum of Fine Arts. She previously worked at the University of Louisville and the Speed Art Museum (also in Louisville). ; She earned her MFA from Syracuse University. ; Farmer has won numerous prizes. Roxane Gay/Gay Magazine¿s ¿Best of 2019¿ for the book¿s essay ¿Mercy Killing¿; Rebecca Solnit selected an essay for Best American Nonfiction 2019; Farmer¿s chapbook was a finalist for the Chapbook 2019 Gold Line Press contest; Ninth Letter¿s Creative Nonfiction Award 2018; Los Angeles Review Short Fiction Award 2017; Roxane Gay¿s "Excellent Small Press Books You Should Check Out.¿ January 2017. ; Her past books have landed her on ¿best of¿ lists from Buzzfeed and Entropy. ; Other works published in Gay Magazine, TriQuarterly, Gigantic, DIAGRAM, and elsewhere. ; She is the author of three other books, one poetry, one a novella, and one short stories. ; Farmer is married to a recent Sarabande author (Ryan Ridge who wrote New Bad News, which came out 2020), and together they co-edit Juked. They also plan to tour together! ;Cities where she¿s previously lived (to consider for touring purposes): Louisville, Carson City (NV), Los Angeles.

Winner of the 2020 Mary McCarthy Prize in Short Fiction; Campbell has published one other book, JOURNEY INTO MOTHERHOOD: Writing Your Way to Self-Discovery. Though it was published with Riverhead in 1996, it¿s still relevant to note that this book sold more than 10k copies and earned Campbell a $20,000 advance at the time. ; Campbell¿s work is largely focused on, as Campbell puts it, ¿bodies marked by memory,¿ and several of these stories specifically look at women who are having to overcome a history of violations against their bodies. As Campbell herself writes, this is timely and aligns with the conversations of the #MeToo movement. Campbell, too, is very vocal about her own history dealing with rape and the judiciary processes that follow, and she has dedicated her working career to fighting for women¿s rights and helping women. These stories are SO important. ; Director of Ripe Fruit School of Creative Writing. ; In the past has worked for California Poets in the Schools, San Francisco Women¿s Building Collective, and San Francisco State University Creative Writing Department. ; Though she graduated from both in the 70s, she has contacts from her undergrad (Standford) and her MA (San Francisco State University). She earned her MFA in 2013 from Bennington Writing Seminars. Campbell has also participated in Tin House Summer Workshops, Bread Loaf Writer¿s Conference, Napa Valley Writing Conference, New Harmony Writer¿s Workshop, and Juniper Summer Writing Institute. ; In just the last few years, Campbell¿s stories have won the Thomas Wolfe Fiction Prize, the Arts & Letters Fiction Prize, the Mary C. Mohr Prize for Fiction, the Briar Cliff Review Fiction Award, and she has been named a finalist for prizes from Glimmer Train, Iowa Review, and Belleview Literary Review.

Composed entirely of words taken from the letters and public statements of the notorious segregationist Bull Connor, the poems in White Bull use language that was wielded in violence and oppression to reckon with the present moment. The city of Birmingham is a character too, with its suffocating heat and humidity, quarry pools, and mountain in the distance. Here, the truth comes out, like a child whispering in the midst of a political rally, ¿Summer separates us with the same trees.¿ And, ¿I thought if I repeated a word enough it would change its meaning.¿ Elizabeth Hughey holds up and examines the things handed down to us¿from patterned wing backs and chipped tea sets to family names and gender roles¿and asks if we should keep any of it or burn it all down and start again.

Early in her powerful, affecting debut, Desautels writes: "I always mention gratitude because/people like that ending."  Unflinching in its candor, this is the story of a woman with two swellings in her belly: a nascent baby, and a cancerous tumor. The poet could focus on the particulars of the medical case, using language from a traditional illness narrative. Instead she gives us the basics, then gathers up surprising and expansive material from various landscapes-the Black Hills, the prairies of Texas, the mountains, switchgrass, and, especially, the neighboring buffalo, to which she feels a profound connection. Desautels' metaphors strike home; they are counterpoints, balm to the uncertainty and grief that make us uncomfortable. The book moves elegantly from its dark beginnings to a transcendent thankfulness.  With healing lyricism, she writes: "And I imagine the white sheets as heron wings./And the whirring machines are white eggs./And the worried voices are sunlight on water."

Tyler Barton is an OUTSTANDING literary advocate. He and his wife Erin Dorney cofounded FEAR NO LIT, a community lit organization centered on reinventing the literary event and filling gaps in writing communities. FEAR NO LIT boasts such community projects as The Submerging Writer Fellowship (https://www.fearnolit.com/fellowship), Page Match (https://www.fearnolit.com/series/pagematchseconddraft?rq=page%20match), and The Hidden Museum (https://www.fearnolit.com/t he-hidden-museum). Tyler has organized more than 50 literary events! So he is no novice in this arena and we can expect a thrilling tour from him. ; Barton has worked with journals such as Hippocampus, Blue Earth Review, The Good thunder Outreach, and he was a radio host for the KMSU Weekly Reader. ; Additionally, he received a 2019 Pennsylvania Partners in the Arts grant (https://tsbarton.com/elderlit/) for his workshops he created and offered to the elderly. Barton was able to publish a chapbook of their work called The Berries Belong to Everyone. And he plans to continue with this programming. ; Barton is the Program Coordinator for the Center for Creative Exploration (at Pennsylvania College of Art & Design). Past positions include education manager at the North Museum of Nature and Science and the conference coordinator for the Native American Literature Symposium. ; MFA from Minnesota State University, Mankato. ; Stories from this collection have been selected for 2020 Best Small Fictions, the 2020 Best Microfiction (selected by Michael Martone), as runner-up of the Kenyon Review¿s 2018 Short Fiction Contest, and as winner of The Chicago Review of Books 2017 Fall Fiction Prize (judged by Kathleen Rooney). ; Stories featured in journals like Copper Nickel, McNeese Review, Passages North, The Iowa Review, Cincinnati Review, Paper Darts, Kenyon Review, The Collagist, Gulf Coast, Split Lip, and elsewhere. ; Barton is extremely active and beloved on social media. (His post announcing his book earned almost 800 likes on Twitter!)

Wright interviews a really stellar lineup and includes lots of Sarabande authors. (Some interviewees are Lia Purpura, Wendy Walters, Ander Monsen, Kimiko Hahn, Philanese Slaughter, Sejal Shah, Raven Jackson , Dorothy Allison, Rae Armantrout, Jericho Parms, Marc Gaba, Sheep Jones, and more.)Given the wide range of topics discussed, this should appeal to wide audiences (examples: artistic form, the muse, climate change, freedo, metaphor, painting, ketchup, the environment, sex and sexuality, listening, publishing, war, sensation, slavery, authority, power, zookeeping, colonialism, faith, religion, loss, ghosts ,empathy, advice columns). It seems, too, that it could be an attractive course adoption for courses on essay writing and interviewing. Some notes on Wright: She is the author of two poetry books, one poetry collaboration, and six chapbooks, and as you'll be able to see from the group she interviews, she has a lot of solid contacts in the writing world. Her last books have positive reviews in Kenyon Review, Guernica, and Essay Daily.

In her groundbreaking and most politicized collection, Kathleen Ossip takes a hard look at the U.S.A. as it now stands. She meditates on our various responses to our country¿whether ironic, infantile, righteous, or defeated. Her diction is both high and low, her tone both elegant and straightforward. The book¿s crowning achievement, its anchor, and its centerpiece is the poem ¿July.¿ In a generous fifty pages, Ossip recounts a road trip from Bemidji, MN, to Key West, FL, with her daughter riding shotgun. Inspired by images that flick across their car windows and nurtured by intimate conversation and plenty of time to think, the poem has an entertaining cinematic sweep. There are poems based on bumper stickers, the names of churches, little shops. Traveling tests her beliefs, and Ossip fully discloses her doubts and confusions. Ossip is an unconventional, mighty magician with words.

Even Shorn takes its title from the Song of Solomon and that Book¿s equation of pastoral feminine beauty with the plenty of harvest. Isabel Duarte-Gray argues that material bounty no longer exists in the rural spaces where she was raised. Duarte-Gray¿s poetry mines local orature, family history, and folklore for the music of Western Kentucky, creating the sparse line breaks and the harsh syntax of the present. The poems describe quilt patterns with sinister shapes: ¿a snake¿s tongue is a trigger finger/Man¿s tongue pleases no one.¿ Animals proliferate: ¿One cat became five/five became nine. /Then a flood and ebb/as each moon brought its tide/below the trailer floor¿¿ A grandfather plays drunk, solitary Russian Roulette. A cousin lives in a closet. Duarte¿s poetry is shocking, whip smart, and truly unique.

In the stories of Big Bad, the mundane meets the mysterious, and the comedic collides with the catastrophic.

This amazingly wise and nimble collection investigates the horrors inflicted on so-called "witches" of the past and considers parallels to present-day questions of social justice.

This debut collection, full of natural images and fable-like storytelling, investigates the precariousness inherent to familial love, grief, and myth-making.

In Feeler, McHugh takes on the fraught subject of empathy-how much we feel, and do, for the afflicted.