Bøger udgivet af Transit Books

A deeply felt chronicle into the wilderness of the first forty days of new motherhood.In the final weeks of her pregnancy, Ayşegül Savaş becomes fascinated by the mythology around the first forty days after giving birth, and the invisible beings that are said to surround the mother. "In Turkish, we speak of extracting the forty days, like a sort of exorcism. My grandmothers assure me that it will all get better after forty days are out." A friend lends a book that suggests forty days of rest and fortifying broths and avoiding wind and cold. In Judaism, Christianity, and Islam, forty days are seen as a period of trial and transformation. They are often journeys into the wilderness and "its vast and unruly territories." When the baby arrives, Savaş charts her own path into the wilderness of new motherhood--a space of contradiction, of chaos and care, mothering and being mothered. "What is the trial of the postpartum crossing?" writes Savaş. "Where will mother and child emerge once they have left the wild?"

"I am in need of a word," writes Lauren Markham in an email to the Bureau of Linguistical Reality, an organization that coins neologisms. She describes her desire to memorialize something that is in the process of being lost--a landscape, a species, birdsong. How do we mourn the abstracted casualties of what's to come? In a dazzling synthesis of reporting, memoir, and essay, Markham reflects on the design and function of memorials, from the traditional to the speculative--the Vietnam Memorial in Washington, DC, a converted prison in Ljubljana, a "ghost forest" of dead cedar trees in a Manhattan park--in an attempt to reckon with the grief of climate catastrophe. Can memorials look toward the future as they do to the past? How can we create "a psychic space for feeling" while spurring action and agitating for change?Immemorial is part of the Undelivered Lectures series from Transit Books.

Drawing on her own experiences as a hostess and adult film actor, Gifted--Suzumi Suzuki's first novel to be translated into English--offers a nuanced, frank, and intimate portrayal of the lives of a mother and daughter getting by (or not) in an industry rarely depicted authentically in literary fiction.In the last days of her mother's life, a young woman living in Tokyo's red-light district is thrust into a split existence. By day, she negotiates her new role as caregiver of an abusive parent. By night, she drifts home from the hospital, goes out with other sex-workers, thinks about quitting smoking, and numbly remembers Eri, a friend who died the summer before. Her sensitivity to the details of her surroundings grounds an otherwise unstable world, one where each interaction requires a subtle negotiation of economic and sexual power, and proximity rarely means intimacy or connection.

Mousse receives an unexpected visit—and forms an unlikely friendship—in a new series for early readers.

Little Elisa can’t stop crying and no one knows why. After a sleepless night, it takes a grandmother’s touch—and an explosive fart—to bring much-needed relief.One night, little Elisa begins to cry. At first her crying resembles a cat’s meow. But it soon grows so loud that the flowers wilt and the birds fly out the window. We move her bed so she can see the moon, we wrap her up warm, cool her down, and tie a red ribbon to her wrist. But nothing works. We all wonder: Why is she crying?After a long sleepless night, it takes a grandmother’s touch to finally find out. Elisa lets out a fart that sounds like a plane taking off in the middle of the living room, nine blenders whirring at full power, twenty-seven moaning hair dryers . . . An irreverent story about the wind that passes through us all, A Sleepless Night shows that seemingly complicated problems can have simpler solutions than we think.

A mother bird recalls the arrival of her new baby and the months that follow, charmingly illustrated by one of France's rising stars.

An irreverent semiotic fever dream that weighs meaning and meaning-making against idea and ideology.--We have read Proust but we're not sure--Who has really read Proust--Besides a few Proustians--We are no Proustians--Despite not being anti-Proustian...Speak / Stop comprises two interrelated texts: a chorus of unidentified voices followed by a work of literary criticism that only Noémi Lefebvre could write--a semiotic fever dream that weighs meaning and meaning-making against idea and ideology.Abstracted, irreverent, and full of biting satire, Lefebvre picks apart hypocrisies in our lives and the language of our lives, skewering our literary pieties before delving headfirst into the paradox of self-criticism. Working against conventional notions of genre and form, Speak / Stop is "a madhouse of earthworm sentences" interrogating concerns of class and taste, ease, and inclusion/exclusion that are the foundations of Lefebvre's work.

"It's the week of her gallery opening and none of Paty's paintings are ready. She asks her friends to pose in her studio, and the outcome is... just dreadful. After seeing the way Paty has portrayed them, one after the other, they leave in a huff. Paty wonders whether she should cancel the whole thing. Fortunately, Michou, the gallery owner, forbids it. And Paty is in for a surprise on opening day..."--Provided by publisher.

"A heartwarming story about family, resilience, fashion, and staying true to who you are-told through three generations of tailors in a rapidly changing Seoul. When Deokgu opens a brand new tailor shop in town, all of Seoul is skeptical of his modern styles. Who would want to wear such funny-looking suits? But Deokgu remains devoted to his craft, and it's not long before the shop begins to flourish, becoming a beloved fixture in the community. Written and illustrated by Ahn Jaesun, The Tailor Shop at the Intersection follows three generations of tailors weaving themselves and their business into the fabric of their community in a rapidly changing Seoul. Ahn's award-winning illustrations convey with great affection a more complicated story about the pressures that rapid development place on culture, commerce, and local business. In The Old Tailor Shop at the Intersection, Ahn Jaesun shows how commitment, adaptability, and staying true to yourself help pave the way for success-and how embracing change and honoring tradition can go hand in hand"--

"There's a monster living in the attic. Not a loud monster but a quiet one. It's probably making a kid trap. Each night, it grows in the dark. Everyone knows monsters feed on darkness. This is Monster-Scared. With humor and charm, award-winning author Betina Birkjµr and illustrator Zarah Juul show us how the things we can't see grow bigger and scarier, how the slightest sound or shadow can send shivers down our back, and how monsters are--perhaps--mostly scary in our imagination" --

"Originally published in Korean by Changbi Publishers, Inc. in Korea in 2011."--Title page verso.

"The narrator of the novel is between lovers. She is in and out of psychiatric wards, where she is forced to undergo electroshock treatments. She is between Berlin and Paris. She returns to Istanbul, in search of freedom, happiness, and new love. Set across the rambling orchards of a childhood in the Turkish provinces and the smoke-filled cafes of European capitals, Cold Nights of Childhood offers a sensual, unflinching portrayal of a woman's sexual encounters and psychological struggle, staging a clash between unbridled feminine desire and repressive, patriarchal society"--

A recently bereaved woman takes walks in an Italian village, reflecting on loss and the Italy of her youth.

Disappeared artworks, effaced histories, abandoned futures: No Document is an exploration of loss in many forms. It is an elegy for a friendship and artistic partnership cut short by death, an attempt to make a dear friend emerge from a field of memory that also encompasses histories of protest and revolution, art-making, and cinema, border policing and the abattoir. No Document shows how love, kinship, and resistance echo through time.Anwen Crawford is an Australian writer, best known for her writing as a critic, and here she also draws on her background in poetry, visual art and zine-making in a formally daring work of composition and collage. At once intimate and expansive, No Document reimagines the boundaries that divide us-as people, nations, and species-and asks how we can create forms of solidarity that endure.

A long-anticipated debut announces the arrival of one of the most exciting new voices in Latin America.

Winner of the PEN Translation PrizePondering revolutionary Cuba, the Berlin Wall, and the caves of Cappadocia, these essays explore themes of memory, war, movement, and home.The New YorkerA thoughtful, roving meditation on migration, language, and home.Publishers WeeklyIn her prize-winning debut, Mexican essayist Mariana Oliver trains her gaze on migration in its many forms, moving between real cities and other more inaccessible territories: language, memory, pain, desire, and the body. With an abiding curiosity and poetic ease, Oliver leads us through the underground city of Cappadocia, explores the vicissitudes of a Berlin marked by historical fracture, recalls a shocking childhood exodus, and recreates the intimacy of the spaces we inhabit. Blending criticism, reportage, and a travel writing all her own, Oliver presents a brilliant collection of essays that asks us what it means to leave the familiar behind and make the unfamiliar our own.