Products

Closely observed and slyly destabilizing, The Wallet and Other Thefts is a book of short fiction shimmering with mystery and menace. This surreal, precise collection unfolds in a world beyond conventional time and space. Concerned with theft, shame, exile, tourism, masochism, God, and “Nature,” these stories are lightly linked—objects, diseases, and landscapes reappear.
Gleason’s elliptical prose refuses traditional narrative logic, resisting easy resolution. Reminiscent of the work of Anna Kavan, Jane Bowles, and Marie NDiaye, The Wallet and Other Thefts is a work of slipstream fiction that pulses with a sense of something generously withheld.

Closely observed and slyly destabilizing, The Wallet and Other Thefts is a book of short fiction shimmering with mystery and menace. This surreal, precise collection unfolds in a world beyond conventional time and space. Concerned with theft, shame, exile, tourism, masochism, God, and “Nature,” these stories are lightly linked—objects, diseases, and landscapes reappear.
Gleason’s elliptical prose refuses traditional narrative logic, resisting easy resolution. Reminiscent of the work of Anna Kavan, Jane Bowles, and Marie NDiaye, The Wallet and Other Thefts is a work of slipstream fiction that pulses with a sense of something generously withheld.

Can identity be pliant and penetrable? Can the speech act be one of attention over intention, can play and fluidity open onto an ethic? This Isa Nice Neighborhood , Farid Matuk’s first full-length collection, says yes. Yes to the rejection of any opposition between politics and aesthetics, between rhetoric and poetics. Yes to vulnerability. Yes to a poetry willing to enact the errors, uncertainties, and tangled complexities of our political, sexual, and social lives. Testing both narrative and lyric, Matuk finds desire at the root of each, a root from which, these poems suggest, compassion and permission grow intertwined.

This Isa Nice Neighborhood has been awarded an Honorable Mention in the 2011 Arab American Book Awards, named a finalist for the Norma Farber First Book Award by the Poetry Society of America, and chosen by Geoffrey G. O’

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.

We Sailed on the Lake, Bill Carty’s second collection of poetry, consists of lyrics of spiraling awareness. As a signal lamp, unused, mirrors the sky, these poems reflect approaching storms, near-misses, and the violence inherent in nature, country, and economy.

The poems in We Sailed on the Lake are closely observed, finding unexpected affinities within urban and natural environments alike. As one poem states, “to cross the lake / you’ve got to make each step / pertain to the water,” and these poems explore relationality in many forms, moving from gentrifying cities to coastal beaches, from the sculptures of antiquity to YouTube searches, cataloging passing days “of which light is the measure.”

Alternating longer, occasionally narrative poems with short lyrics, this collection plays with time and ideas of promise, from youth to parenthood, noting how the self negotiates the artifices, be they technological or of self-design, that infringe upon reality and experience."

We Sailed on the Lake, Bill Carty’s second collection of poetry, consists of lyrics of spiraling awareness. As a signal lamp, unused, mirrors the sky, these poems reflect approaching storms, near-misses, and the violence inherent in nature, country, and economy.

The poems in We Sailed on the Lake are closely observed, finding unexpected affinities within urban and natural environments alike. As one poem states, “to cross the lake / you’ve got to make each step / pertain to the water,” and these poems explore relationality in many forms, moving from gentrifying cities to coastal beaches, from the sculptures of antiquity to YouTube searches, cataloging passing days “of which light is the measure.”

Alternating longer, occasionally narrative poems with short lyrics, this collection plays with time and ideas of promise, from youth to parenthood, noting how the self negotiates the artifices, be they technological or of self-design, that infringe upon reality and experience."

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.