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Named one of 75 Notable Translations of 2024 by World Literature Today

The debut English language poetry collection by noted Mexican author Isabel Zapata, A Whale is a Country explores humanity's relationship to the natural world through a multitude of poignant angles.

Named one of 75 Notable Translations of 2024 by World Literature Today

The debut English language poetry collection by noted Mexican author Isabel Zapata, A Whale is a Country explores humanity's relationship to the natural world through a multitude of poignant angles.

In their hybrid debut collection Arrangements, Esther Kondo Heller creates stunning textual & visual language that escapes the page to utter and speak past the record, the archive, and the document.

Can words hold a note? Can language foam like a mouth? In their hybrid volume Arrangements, Esther Kondo Heller creates textual & visual language that escapes the page to utter and speak past the record, the archive, and the document. What arrangements exist between a mother and child? In listening to Black queer life in Berlin, Mombasa, and London the action of arranging becomes a means of sounding out a collective utterance of Black survival with joy amid grief, colonialism, medical racism, and loss. A revelatory debut volume, Arrangements collectively thinks with, amongst others, the works of Audre Lorde, May Ayim, Fred Moten, Raja Lubinetzki, NourbeSe Philip, Harryette Mullen, Diana Khoi Nguyen, Victoria Adukwei Bulley, Marvin Gaye, Taylor Johnson, and Octavia Rucker Gabrielle.

In their hybrid debut collection Arrangements, Esther Kondo Heller creates stunning textual & visual language that escapes the page to utter and speak past the record, the archive, and the document.

Can words hold a note? Can language foam like a mouth? In their hybrid volume Arrangements, Esther Kondo Heller creates textual & visual language that escapes the page to utter and speak past the record, the archive, and the document. What arrangements exist between a mother and child? In listening to Black queer life in Berlin, Mombasa, and London the action of arranging becomes a means of sounding out a collective utterance of Black survival with joy amid grief, colonialism, medical racism, and loss. A revelatory debut volume, Arrangements collectively thinks with, amongst others, the works of Audre Lorde, May Ayim, Fred Moten, Raja Lubinetzki, NourbeSe Philip, Harryette Mullen, Diana Khoi Nguyen, Victoria Adukwei Bulley, Marvin Gaye, Taylor Johnson, and Octavia Rucker Gabrielle.

Fonograf Editions’ first ever magazine FE builds off the genre-defining work it has released since 2016.

FE includes new material from Catherine Bresner • Suzanne Buffam • Arda Collins • Joel Craig • Michael Earl Craig • Corinne Dekkers • Mark Anthony Cayanan • Anaïs Duplan • Claire Donato • Peter Gizzi • Yam Gong (trans. Dorothy Tse and James Shea) • Brandi Katherine Herrera • Emily Hunerwadel • Federico Italiano (trans. Brenda Porster) • Krystal Languell • Nathaniel Mackey • Veronica Martin • Kristi Maxwell • Joyelle McSweeney • Ryan Mills • Alice Notley • Alexis Orgera • Gabriel Palacios • Andre Perry • Justin Phillip Reed • Joshua Pollock • Harper Quinn • Rachelle Rahmé • Megan Savage • Zach Savich • Mary Szybist • Nick Twemlow • Jan Verberkmoes • Jeffrey Yang and CL Young.

Fonograf Editions’ first ever magazine FE builds off the genre-defining work it has released since 2016.

FE includes new material from Catherine Bresner • Suzanne Buffam • Arda Collins • Joel Craig • Michael Earl Craig • Corinne Dekkers • Mark Anthony Cayanan • Anaïs Duplan • Claire Donato • Peter Gizzi • Yam Gong (trans. Dorothy Tse and James Shea) • Brandi Katherine Herrera • Emily Hunerwadel • Federico Italiano (trans. Brenda Porster) • Krystal Languell • Nathaniel Mackey • Veronica Martin • Kristi Maxwell • Joyelle McSweeney • Ryan Mills • Alice Notley • Alexis Orgera • Gabriel Palacios • Andre Perry • Justin Phillip Reed • Joshua Pollock • Harper Quinn • Rachelle Rahmé • Megan Savage • Zach Savich • Mary Szybist • Nick Twemlow • Jan Verberkmoes • Jeffrey Yang and CL Young.

The winner of the 2023 Fonograf Editions Open Genre Book Prize contest, as chosen by Srikanth Reddy, Groceries is a book-length poem about what to do about objects. On earth everyone is worried about objects—getting them, naming them, maintaining them, destroying them, getting rid of them. Some people say objects will be the end of life on earth. Other people say objects will save us, if we get the right ones.

But as we reckon with these object-mediated futures, we live on an earth full of the stuff itself: fax machines, horseshoes, waves. Groceries is a guide for what to do about these objects—how to speak to them and how to listen for a reply.

Raised in a rural Oregon town plagued by poverty, the artist and writer Jaydra Johnson excelled in school and chased upward mobility, desperate to escape the adversity that she saw as her inheritance—and the certainty that she grew up as trash. Johnson’s powerful memoir, Low—selected by acclaimed writer Maggie Nelson as the winner of Fonograf Editions’ inaugural essay contest—tells the redemptive story of an artist who came to embrace her lineage. In the tradition of other outcast artists who have spun refuse into art, the essays in Low reclaim trash as a precious resource and a medium for storytelling.
In this bracing debut, Johnson describes her life and art, including the cut paper collages that punctuate these essays, in vivid detail while offering smart and visceral reflections on a wide range of literary and visual artists who have inspired her, from Shakespeare to contemporary conceptual artist Mierle Laderman Ukeles. As Maggie Nelson writes, “Low’s provocations and attestations stayed with me long after I turned its final page. I found myself rooting hard for its narrator—while also realizing that there is no need, as she has clearly found her way, and is now our teacher.”
An indispensable meditation on poverty and art, and a compelling corrective to conventional memoirs about overcoming disadvantage, Low announces the arrival of an important new voice in creative nonfiction.

Raised in a rural Oregon town plagued by poverty, the artist and writer Jaydra Johnson excelled in school and chased upward mobility, desperate to escape the adversity that she saw as her inheritance—and the certainty that she grew up as trash. Johnson’s powerful memoir, Low—selected by acclaimed writer Maggie Nelson as the winner of Fonograf Editions’ inaugural essay contest—tells the redemptive story of an artist who came to embrace her lineage. In the tradition of other outcast artists who have spun refuse into art, the essays in Low reclaim trash as a precious resource and a medium for storytelling.
In this bracing debut, Johnson describes her life and art, including the cut paper collages that punctuate these essays, in vivid detail while offering smart and visceral reflections on a wide range of literary and visual artists who have inspired her, from Shakespeare to contemporary conceptual artist Mierle Laderman Ukeles. As Maggie Nelson writes, “Low’s provocations and attestations stayed with me long after I turned its final page. I found myself rooting hard for its narrator—while also realizing that there is no need, as she has clearly found her way, and is now our teacher.”
An indispensable meditation on poverty and art, and a compelling corrective to conventional memoirs about overcoming disadvantage, Low announces the arrival of an important new voice in creative nonfiction.

Raised in a rural Oregon town plagued by poverty, the artist and writer Jaydra Johnson excelled in school and chased upward mobility, desperate to escape the adversity that she saw as her inheritance—and the certainty that she grew up as trash. Johnson’s powerful memoir, Low—selected by acclaimed writer Maggie Nelson as the winner of Fonograf Editions’ inaugural essay contest—tells the redemptive story of an artist who came to embrace her lineage. In the tradition of other outcast artists who have spun refuse into art, the essays in Low reclaim trash as a precious resource and a medium for storytelling.
In this bracing debut, Johnson describes her life and art, including the cut paper collages that punctuate these essays, in vivid detail while offering smart and visceral reflections on a wide range of literary and visual artists who have inspired her, from Shakespeare to contemporary conceptual artist Mierle Laderman Ukeles. As Maggie Nelson writes, “Low’s provocations and attestations stayed with me long after I turned its final page. I found myself rooting hard for its narrator—while also realizing that there is no need, as she has clearly found her way, and is now our teacher.”
An indispensable meditation on poverty and art, and a compelling corrective to conventional memoirs about overcoming disadvantage, Low announces the arrival of an important new voice in creative nonfiction.

Sonic and typographic experimentation collide in this book-length poem in seven sections. MOTHER IS A BODY is a visceral and immediate exploration of the female body, and that which is continually forced upon it, as Herrera considers what it means to be mothered, and to mother in return.

Through a cyclical process of imagining, conceiving, assigning, emptying, MOTHER IS A BODY at once renounces and reveres the notion of the sacred feminine, to illustrate “mother” in her many actualities — a complex figure, at times unsightly, that both is and isn’t what we most often ascribe to her as an archetype of the divine.

Overseen by Gilles Deleuze and Félix Guattari, Clarice Lispector, Miriam Medrez, and Yoko Ono, Herrera pieces together material excavated from within Instagram’s endless scroll, Wikipedia’s citations, and even the U.S. Department of Agriculture’s archives to create a layered inscription — musically, emotionally, philosophically — to the idea of motherhood, and the children she never had.

Sonic and typographic experimentation collide in this book-length poem in seven sections. MOTHER IS A BODY is a visceral and immediate exploration of the female body, and that which is continually forced upon it, as Herrera considers what it means to be mothered, and to mother in return.

Through a cyclical process of imagining, conceiving, assigning, emptying, MOTHER IS A BODY at once renounces and reveres the notion of the sacred feminine, to illustrate “mother” in her many actualities — a complex figure, at times unsightly, that both is and isn’t what we most often ascribe to her as an archetype of the divine.

Overseen by Gilles Deleuze and Félix Guattari, Clarice Lispector, Miriam Medrez, and Yoko Ono, Herrera pieces together material excavated from within Instagram’s endless scroll, Wikipedia’s citations, and even the U.S. Department of Agriculture’s archives to create a layered inscription — musically, emotionally, philosophically — to the idea of motherhood, and the children she never had.

To say Harry Stables’s life has hit a bit of a low patch lately is an understatement. In his mid-20s, he’s been kicked out of his MFA program for fighting, his ex-girlfriend turned down his spur-of-the-moment marriage proposal, and he’s spent the last ten days in his dad’s falling-down Montana fishing cabin with his dog Greta trying to find out how his mother really died when he was a baby, something his father – now dying himself of cancer – has refused to tell either him or his sister their whole lives. On top of all this, he’s just been to a party outside Missoula where he received a nasty dog bite and where he may have been an accessory to a fatal shooting. Ignoring the advice of both his sister and Calvin Hogan – fishing guide, old friend of his father’s, and companion to the lovable mutt Herkimer – Harry first tries to untangle the details of the shooting himself and eventually winds up on the lam, pursued by persecutors both real and imagined. As the cops and the accumulated psychic weight of his actions bears down on him, Harry must ultimately reckon with what sort of man he will be. To say Harry Stables’s life has hit a bit of a low patch lately is an understatement. In his mid-20s, he’s been kicked out of his MFA program for fighting, his ex-girlfriend turned down his spur-of-the-moment marriage proposal, and he’s spent the last ten days in his dad’s falling-down Montana fishing cabin with his dog Greta trying to find out how his mother really died when he was a baby, something his father – now dying himself of cancer – has refused to tell either him or his sister their whole lives. On top of all this, he’s just been to a party outside Missoula where he received a nasty dog bite and where he may have been an accessory to a fatal shooting. Ignoring the advice of both his sister and Calvin Hogan – fishing guide, old friend of his father’s, and companion to the lovable mutt Herkimer – Harry first tries to untangle the details of the shooting himself and eventually winds up on the lam, pursued by persecutors both real and imagined. As the cops and the accumulated psychic weight of his actions bears down on him, Harry must ultimately reckon with what sort of man he will be.

According to George Saunders, “literature is a form of fondness-for-life. It is love for life taking verbal form” and so it is with Trouble Finds You, a modern-day Portis-like quixotic road trip replete with stumbling beauty and searing folly. Set against the beauty of the American West, this is a novel of many colors: a thriller, a mystery, a coming-of-age story, and a family drama. It is populated with characters – these men and their excellent dogs – who are sometimes frustrating, frequently stupid, often funny, but always full of life. Harry Stables bears more than a passing resemblance to the Coen brothers’ Llewyn Davis, a lovable curmudgeon committed to a quest of his own design.

To say Harry Stables’s life has hit a bit of a low patch lately is an understatement. In his mid-20s, he’s been kicked out of his MFA program for fighting, his ex-girlfriend turned down his spur-of-the-moment marriage proposal, and he’s spent the last ten days in his dad’s falling-down Montana fishing cabin with his dog Greta trying to find out how his mother really died when he was a baby, something his father – now dying himself of cancer – has refused to tell either him or his sister their whole lives. On top of all this, he’s just been to a party outside Missoula where he received a nasty dog bite and where he may have been an accessory to a fatal shooting. Ignoring the advice of both his sister and Calvin Hogan – fishing guide, old friend of his father’s, and companion to the lovable mutt Herkimer – Harry first tries to untangle the details of the shooting himself and eventually winds up on the lam, pursued by persecutors both real and imagined. As the cops and the accumulated psychic weight of his actions bears down on him, Harry must ultimately reckon with what sort of man he will be. To say Harry Stables’s life has hit a bit of a low patch lately is an understatement. In his mid-20s, he’s been kicked out of his MFA program for fighting, his ex-girlfriend turned down his spur-of-the-moment marriage proposal, and he’s spent the last ten days in his dad’s falling-down Montana fishing cabin with his dog Greta trying to find out how his mother really died when he was a baby, something his father – now dying himself of cancer – has refused to tell either him or his sister their whole lives. On top of all this, he’s just been to a party outside Missoula where he received a nasty dog bite and where he may have been an accessory to a fatal shooting. Ignoring the advice of both his sister and Calvin Hogan – fishing guide, old friend of his father’s, and companion to the lovable mutt Herkimer – Harry first tries to untangle the details of the shooting himself and eventually winds up on the lam, pursued by persecutors both real and imagined. As the cops and the accumulated psychic weight of his actions bears down on him, Harry must ultimately reckon with what sort of man he will be.

According to George Saunders, “literature is a form of fondness-for-life. It is love for life taking verbal form” and so it is with Trouble Finds You, a modern-day Portis-like quixotic road trip replete with stumbling beauty and searing folly. Set against the beauty of the American West, this is a novel of many colors: a thriller, a mystery, a coming-of-age story, and a family drama. It is populated with characters – these men and their excellent dogs – who are sometimes frustrating, frequently stupid, often funny, but always full of life. Harry Stables bears more than a passing resemblance to the Coen brothers’ Llewyn Davis, a lovable curmudgeon committed to a quest of his own design.

Ahmad Almallah’s third collection considers the impossible task of being a Palestinian in the world today.

When genocide is the question, can the answer be anything but wrong? In Wrong Winds, written during the first months of Israel’s genocidal assault on Gaza, Palestinian-American poet Ahmad Almallah converses with the screams echoing throughout the West. Traversing European cities, Almallah encounters the impossibility of being a Palestinian, left alone in a world full of sympathizers and enemies. Through a continuous unsettling of words and places, considering the broken voices of Western poetry (Eliot, Lorca, Celan among others), the poems in Wrong Winds discover the world again and form an impossible dialogue with the dead and dying.

Ahmad Almallah’s third collection considers the impossible task of being a Palestinian in the world today.

When genocide is the question, can the answer be anything but wrong? In Wrong Winds, written during the first months of Israel’s genocidal assault on Gaza, Palestinian-American poet Ahmad Almallah converses with the screams echoing throughout the West. Traversing European cities, Almallah encounters the impossibility of being a Palestinian, left alone in a world full of sympathizers and enemies. Through a continuous unsettling of words and places, considering the broken voices of Western poetry (Eliot, Lorca, Celan among others), the poems in Wrong Winds discover the world again and form an impossible dialogue with the dead and dying.