Literary Collections

Elena Passarello is an actor, a writer, and recipient of a 2015 Whiting Fellowship in nonfiction. Her first collection with Sarabande Books, Let Me Clear My Throat, won the gold medal for nonfiction at the 2013 Independent Publisher Awards. She lives in Corvallis, Oregon.

The middle American coming-of-age has found new life in Ryan Van Meter's coming-out, made as strange as it is familiar by acknowledging the role played by gender and sexuality. In fourteen linked essays, If You Knew Then What I Know Now reinvents the memoir with all-encompassing empathy—for bully and bullied alike. A father pitches baseballs at his hapless son and a grandmother watches with silent forbearance as the same slim, quiet boy sets the table dressed in a blue satin dress. Another essay explores origins of the word "faggot" and its etymological connection to "flaming queen." This deft collection maps the unremarkable landscapes of childhood with compassion and precision, allowing awkwardness its own beauty. This is essay as an argument for the intimate—not the sensational—and an embrace of all the skinned knees in our stumble toward adulthood.

Ryan Van Meter grew up in Missouri and studied English at the University of Missouri-Columbia. After graduating, he lived in Chicago for ten years and worked in advertising. He holds an MA in creative writing from DePaul University and an MFA in nonfiction writing from the University of Iowa. His essays have appeared in The Gettysburg Review, Indiana Review, Gulf Coast, Arts & Letters, and Fourth Genre, among others, and selected for anthologies including Best American Essays 2009. In the summer of 2009, he was awarded a residency at the MacDowell Colony. He currently lives in California where he is an assistant professor of creative nonfiction at the University of San Francisco.

"The tone may vary from one essay to another, but more than anything else, these are love stories, not rose-colored romances, but love that includes doubt, violence, wrestling with angels, and devils."—From the Introduction

CONTRIBUTORS:
Eavan Boland
Madeline DeFrees
Stephen Dunn
Reginald Gibbons
Edward Hirsch
Maxine Kumin
J.D. McClatchy
Carl Phillips
Stanley Plumly
Mary Ruefle
Adam Zagajewski
and many others!

But McQuade refuses to stay within the lines that describe poetry per se. Her thoughts on the genre are also enriched by discussions of distinctly nonverbal poetic expression in painting and film, theater and dance. McQuade invigorates prosody's perennial questions-form and function, fashion and faction-and addresses the importance of humor as an elixir for thinking. She dares to define the subject of poetry itself as pleasure. "Poetry," she ventures, "doesn't need to be literary."

In every instance, these essays feature a fine mind's play on the page as well as McQuade's characteristic expertise: an awareness that is at once historically informed and hip. If metaphor itself expands the mind's capacity for contrary ideas, then McQuade is a metaphor made manifest. Among writers on writing, here is a writer who is utterly and remarkably unlike any other.

Molly McQuade's essays and criticism have appeared in The Village Voice, Hungry Mind Review, New England Review, Boston Review, Newsday, the Chicago Tribune, and elsewhere. She has served as editor of the monthly Poetry Calendar magazine and previously founded and edited the poetry review column of Publishers Weekly. Her writing has received fellowships and awards from the New York Foundation for the Arts, the Pew Charitable Trusts, the National Council of Teachers of English, and the Illinois Arts Council. Her first book, An Unsentimental Education, a collection of biographical portraits of writers, was published in 1995 by the University of Chicago Press. Her poetry, nominated twice for a Pushcart Prize, ha

From Farinelli, the eighteenth century castrato who brought down opera houses with his high C, to the recording of "Johnny B. Goode" affixed to the Voyager spacecraft, Let Me Clear My Throat dissects the whys and hows of popular voices, making them hum with significance and emotion. There are murders of punk rock crows, impressionists, and rebel yells; Howard Dean's "BYAH!" and Marlon Brando's "Stella!" and a stock film yawp that has made cameos in movies from A Star is Born to Spaceballs. The voice is thought's incarnating instrument and Elena Passarello's essays are a riotous deconstruction of the ways the sounds we make both express and shape who we are—the annotated soundtrack of us giving voice to ourselves.

Elena Passarello is an actor and writer originally from Charleston, South Carolina. She studied nonfiction at the University of Pittsburgh and the University of Iowa, and her essays have appeared in Creative Nonfiction, Gulf Coast, Slate, Iowa Review, The Normal School, Literary Bird Journal, Ninth Letter, and in the music writing anthology Pop Till the World Falls Apart. She has performed in several regional theaters in the East and Midwest, originating roles in the premieres of Christopher Durang's Mrs. Bob Cratchit's Wild Christmas Binge and David Turkel's Wild Signs and Holler. In 2011 she became the first woman winner of the annual Stella Screaming Contest in New Orleans.

"Like a great conversationalist, Hanick paints a generous canvas, and I rode the length of this powerful book much like I first experienced the American interstate: songs on the stereo, windows down, and the bittersweet sense that youth is fleeting. Three Kinds of Motion holds open a wild and beautiful journey, not to be missed."—Thalia Field

In 1943, Peggy Guggenheim commissioned a mural from Jackson Pollock to hang in the entryway of her Manhattan townhouse. It was the largest Pollock canvas she would ever own, and four years later she gave it to a small Midwestern institution with no place to put it. When the original scroll of On the Road goes on tour across the country, it lands at the same Iowa museum housing Peggy's Pollock, revitalizing Riley Hanick's adolescent fascination with the author. Alongside these two narrative threads, Hanick revisits Dwight D. Eisenhower's quest to build America's first interstate highway system. When catastrophic rains flood the Iowa highways with their famous allure and history of conquest, they also threaten the museum and its precious mural. In Three Kinds of Motion, his razor-sharp, funny, and intensely vulnerable book-length essay, Hanick moves deftly between his three subjects. He delivers a story with breathtaking ingenuity.

Riley Hanick is an essayist, journalist, and translator. His work has received support from the Jentel and McKnight foundations and he has served as a writer-in-residence for the University of Iowa Museum of Art. He teaches at Murray State University.

"It is impossible for me to write about the imagination; it is like asking a fish to describe the sea," Mary Ruefle announces at the start of her essay. With wit and intellectual abandon, Ruefle draws inspiration from Wittgenstein, Shakespeare, Jesus, Steve Jobs, Johnny Cash, and Emily Dickson to explore her subject. The chapbook features original interior illustrations.

Mary Ruefle is the author of numerous volumes of poetry and prose, including Madness, Rack, and Honey: Collected Lectures, a finalist for the National Book Critics Circle Award in Criticism, and Selected Poems, winner of the William Carlos Williams Award from the Poetry Society of America.

"What a strange and unexpected treasure chest this is, filled with all manner of quirky revelations, all about the mundane sublime and the ineffable extraordinary. Most extraordinary of all, perhaps, through, is the haunting perfection, sentence by sentence, paragraph by paragraph, of the writing itself. Who is this Angela Pelster and where has she been all our lives?"-Lawrence Weschler

Angela Pelster's startling essay collection charts the world's history through its trees: through roots in the ground, rings across wood, and inevitable decay. These sharp and tender essays move from her childhood in rural Canada surrounded by skinny poplar trees in her backyard to a desert in Niger, where the "Loneliest Tree in the World" once grew. A squirrel's decomposing body below a towering maple prompts a discussion of the science of rot, as well as a metaphor for the ways in which nature programs us to consume ourselves. Beautiful, deeply thoughtful, and wholly original, Limber valiantly asks what it means to sustain life on this planet we've inherited.

Angela Pelster's essays have appeared in Granta, the Gettysburg Review, Seneca Review, the Globe and Mail, Relief Magazine, and others. Her children's novel The Curious Adventures of India Sophia won the Golden Eagle Children's Choice award in 2006. She has an MFA from the University of Iowa's nonfiction writing program and lives with her family in Baltimore, Maryland, where she teaches at Towson University.

In her daring essay collection Dear Sound of Footstep, author Ashley Butler engages the reader in an exploration of her mother's death and an estranged paternal relationship. As illusions of a celestial umbrella slowly disappear, she begins a search for answers within the infinite. The candid narrative evolves into a stunning, abstract deconstruction of time and space, piloting the reader precariously close to the unanswered question, "Why are we here?" Among the subjects she touches on: the fastest man on earth, wind farms and tunnels, and the anechoic (without echo) chamber at Harvard University. We hear about some of history's oddest seekers of spiritual and scientific knowledge: Konstantin Tsiolkovsky, the father of cosmonautics; Yves Klein, the "artist of space"; Russian futurist Nikolai Federov; and Harry Houdini, hanging headfirst over a crowd in Times Square. The essays are a blend of conventional narrative, aphorism (“The aphorism is a form of eternity,” said Nietzsche), lyrical imagery, and language, with insights like, "A voice begins with the thought that must be set apart from a body." Butler's collection has a true magic of its own, at times both brutal and gorgeous, but always coming back to an empathy of spirit and intelligence far beyond Butler's years.

Ashley Butler was born and raised in Virginia. She has a BA from Columbia University and an MFA from the University of Iowa. Her work has appeared in Ninth Letter,jubilat, Gulf Coast, Creative Nonfiction, and POOL. She lives in Texas.

“Jenny is the future of nonfiction in America. What an absurdly arrogant statement to make. I make it anyway. Watch.”—John D’Agata

“Yes, Aristotle, there can be pleasure without ‘complete and unified action with a beginning, middle, and end.’ Jenny Boully has done it.”—Mary Jo Bang

A book with only beginnings and endings, all invented. Jenny Boully opens and closes more than fifty topics ranging from physics and astronomy to literary theory and love. A brilliant statement on interruption, impermanence, and imperfection.

Jenny Boully is the author of The Body: An Essayand [one love affair]*. Born in Thailand, she currently divides her time between Texas and Brooklyn.

Elena Passarello is an actor, a writer, and recipient of a 2015 Whiting Fellowship in nonfiction. Her first collection with Sarabande Books, Let Me Clear My Throat, won the gold medal for nonfiction at the 2013 Independent Publisher Awards. She lives in Corvallis, Oregon.

These Hands I Know offers readers the first-ever intimate view of the inner workings of black family life from the point of view of prose and poetry writers. This collection of seventeen essays includes portraits of fathers, mothers, nieces, brothers, grandparents, husbands, wives, and daughters—in short the full spectrum of absolute humanity in contemporary black families. Here, in letter form, a man speaks to his aunt, the family matriarch. A daughter rejects her father’s ideas of African-American identity. A young woman holds her niece in her hands for the very first time. And a son faces his father as an old man and finally comes to terms with his failings. These Hands I Know seeks to gather a resolutely honest picture of family life, however painful or joyous that truth may be.

"Family life is an insistent vessel traveling the space of our struggles to love and to be loved. . . . Africans and their descendants in America have always been nothing more and nothing less than human. If anything is constant and universal, it is suffering—personal, social, and political. If these essays offer anything, it is the affirmation of humanity."—From the Introduction by Afaa Michael Weaver

Marketing Plans:
Advertisements in key literary and trade magazines
Newsletter, brochure, catalog, and postcard mailings
Reader copies available to booksellers through participation in Book Sense Advance Access Program

Contributors include:
Fred D'Aguiar
Tara Betts
Gwendolyn Brooks
Karen Chandler
Edwidge Danticat
Jarvis Q. DeBerry
Gerald Early
Henry Louis Gates, Jr.
Lise Funderburg
Walter Warren Harper
Honorée Fanonne Jeffers
Trent Masiki
E. Ethelbert Miller
Marilyn Nelson
Kalamu ya Salaam
Della Scott
Alice Walker

Also available by Afaa Michael Weaver
Multitudes: Poems Selected and New
TC $24.00, 1-889330-40-X • CUSA
TP $14.95, 1-889330-41-8 • CUSA

Edie Meidav is the author of three novels—The Far Field, Crawl Space, and Lola, California. Her honors include a Lannan Literary Award, the Kafka Award for Best Novel by an American Woman, the Bard Fiction Prize, a Whiting Award, and a Howard Fellowship. She teaches in the University of Massachusetts MFA program and lives in Amherst.

"Buy this book, it's a barn burner!"—Dorothy Allison

In an extraordinarily diverse anthology of poetry, fiction, nonfiction, and graphic narratives by contemporary Appalachian writers, Red Holler takes us over and beyond the stock imagery of rural mountain communities. We travel into housing projects, forest-stripped ravines, and trailer parks, to explore vibrant hometown and migrant Appalachian cultures. Editors John E. Branscum and Wayne Thomas have assembled a collection spanning ten years and communities in locales ranging from Mississippi to New York, placing fresh new voices alongside widely known and celebrated authors. Drawing on Appalachian literature’s roots in Native American myth, African American urban legend, and European folk culture, and embracing Appalachian urban fiction, the Southern Gothic, gritty no-holds-barred realism, and magical realism, the stories and poems of Red Holler elegantly cohere to perfectly depict what makes Appalachia so fascinating: its irreverent and outlaw challenges to mainstream notions of propriety and convention.