Bøger udgivet af NOEMI PR

Peñaredondo synthesizes poetry, lyric prose, fragmented creative nonfiction, and visual art.Angela Peñaredondo's nature felt but never apprehended synthesizes poetry, lyric prose, fragmented creative nonfiction, and visual art. They voyage through the junctures of gender and environmental injustices, and its connections between Philippines' histories of foreign invasions and intimacies of survivorhood. Peñaredondo wields queer, diasporic mythmaking, affective experiences of ritual and prayer as an illuminating force in the tangles of intergenerational memory."These poems tenderly excavate a queer Filipinx history on which to build a beautifully imagined queer Filipinx future. nature felt but never apprehended is sensual and attuned to the more-than-human world and its abundant queer ecologies. In one of many refusals to be gaslit by late capitalism and the legacies of empire. Peñaredondo writes 'film the police.' Through multiple modalities, languages, and histories, Peñaredondo's impressive poetics imagine the innovative survival of a liberated diaspora."--Lillian-Yvonne BertramPoetry. Hybrid. Asian & Asian American Studies.

Poetry. Fiction. Hybrid Genre. Latinx Studies. THESE DAYS OF CANDY is a collection of mixed- genre work, including verse play, micro fiction, serial and solo poem, ekphrastic, and poem cycle riffing on the YouTube tutorial phenomenon. This collection utilizes tropes that point to fable and fairy tale, while releasing faint notes of surrealism, Dada-caca, Raskal Chicanx Poetiks, big-hearted lyric, fronterismo, collage, and elliptical dream messaging, among other gadgets derived from the deliriously ambulatory interior vita. Thematically, these works explore and respond to state-sanctioned surveillance, hyper- policing of person/hood, neighbor/hood and global/hood, atmospheric violence in its various iterations, loss and love, and the slow asphyxiation of ego addiction. In these pages, readers are introduced to characters, like Lulu, the superstar crossing guard angel, a Muppet-like addict, an eccentric stenographer dictating cosmic courtroom dramas, a band of fireflies responding to metaphysical help-hollers, military operatives renouncing war with love and art, and an immigrant child battling the exteriorly-induced attacks of otherness and distance.

Issued with English and Spanish parts bound back-to-back and inverted.

SLIM CONFESSIONS is an image-text about digital intimacy and visceral material. A work of autotheory, the book lays in parallel the history of slime as a vehicle for horror and entertainment with personal encounters with quotidian slime in the human and animal worlds. At its center is a story of farm labor: A cold spring spent birthing sheep in northern Iceland interspersed with confessions about the author's sexual past. In the lineage of Dodie Bellamy's Barf Manifesto, this is a book reveling in repulsion and attraction, a personal investigation of physical touch as approximated by visual media, a slow pour of parallel stories that chronicle a research trip gone awry.Literary Nonfiction. Women's Studies.

Poetry. LGBTQIA Studies. A memoir-in-verse about the links between movement and how it influences gender identity, perception, and performance, utilizing the bus terminal as a throughway to discuss transition. The book discusses issues that deal with safety, passing, rural and city queerness, police and prison abolition, and autonomy. GREYHOUND is one poem, routed in the authors life, that is the journey and the destination and how those two places are linked through the movement between each other. It is a book for outcasts, true-freaks, weird-o's, and forever and always anyone trans.

Literary Nonfiction. Poetry, Frost is often quoted as having said, is what is lost in translation, and American poets and critics have long taken this as their cue to subordinate translation to other forms of literary activity and to disqualify translated texts. In TRANSGRESSIVE CIRCULATION, poet, translator, and publisher Johannes Göransson reverses this dynamic, holding that we should use translation to re-assess our entire aesthetic establishment. Rather than argue against the denigration and abjection of translation--and most foreign texts--this book investigates those dark zones of expulsion as grounds for new possibilities, not just for translation but for literature as a whole.

Poetry. How do we care for a broken world, especially when we ourselves are broken-hearted? How do we nurture others when we have scarce resources? How do we maintain our own sense of self under these pressures? The work of care falls disproportionately on women and often renders them lacking and unacknowledged in their labor. GENTLEWOMEN explores personal and historical trauma, bonds between mothers and sisters, and our estrangement from the natural world and from ourselves due to an exploitative and extractive relationship to land and peoples (human and otherwise). Through an allegorical envisioning of a world that is like our own but heightened through the individual lives and responsibilities of three sisters, Natura, Providentia, and Fortuna, the poems sound out in mourning and frustration-and try to imagine the world otherwise. A transformative journey through the shadows towards reconciliation both between sisters and with oneself.

Poetry. California Interest. Latinx Studies. Winner of a 2020 American Book Award. HEART LIKE A WINDOW, MOUTH LIKE A CLIFF is a transgressive, yet surprisingly tender confrontation of what it means to want to flee the thing you need most. The speaker struggles through cultural assimilation and the pressure to act Mexican while dreaming of the privileges of whiteness. Borjas holds cultural traditions accountable for the gendered denial of Chicanas to individuate and love deeply without allowing one's love to consume the self. This is nothing new. This is colonization working through relationships within Chicanx families-how we learn love and perform it, how we filter it though alcohol abuse-how ultimately, we oppress the people we love most. This collection simultaneously reveres and destroys nostalgia, slips out of the story after a party where the reader can find God drunk and dreaming. Think golden oldiez meets the punk attitude of No Doubt. Think pochas sipping gin martinis in lowriders cruising down Who Gives a Fuck Boulevard.

Poetry. Asian & Asian American Studies. THE FISH & THE DOVE considers the history of occupation, the legacy of the Korean War, and the ways in which official and institutional language of war obfuscates lived experience. In it, I bear witness to what girlhood, womanhood, and motherhood might mean in the context of family, nation, and history. The legendary Assyrian warrior goddess Semiramis haunts this book, and by giving her voice, I attempt to foreground women's experience in narratives that so often tokenize, dehumanize, and exclude them. The text is informed by and appropriates institutional language, including reports of the South Korean Truth and Reconciliation Commission on governmental atrocities committed during the Korean War.--Mary-Kim Arnold

Poetry. Latino/Latina Studies. LGBTQIA Studies. Women's Studies. BEAST MERIDIAN narrates the first- generation Mexican American girl, tracking the experiences of cultural displacement, the inheritance of generational trauma, sexist and racist violence, sexual assault, economic struggle, and institutional racism and sexism that disproportionately punishes brown girls in crisis. Narrated by a speaker in mourning marked as an at- risk juvenile, psychologically troubled, an offender, expelled and sent to alternative school for adolescents with behavioral issues, and eventually, a psychiatric hospital, it survives the school to prison pipeline, the immigrant working class condition, grueling low- pay service jobs, conservative classism against Latinxs in Texas, queerness, assimilation, and life wrapped up in frivolous citations, fines, and penalties. The traumatic catalyst for the long line of trouble begins with the death of a beloved young grandmother from preventable cervical cancer--another violence of systemic racism and sexism that prevents regular reproductive and sexual health care to poor immigrant communities--and the subsequent deaths of other immigrant family members who are mourned in the dissociative states amidst the depressive trauma that opens the book. The dissociative states that mark the middle--a surreal kind of shadowland where the narrator encounters her animal self and ancestors imagined as animals faces brutal surreal challenges on the way back to life beyond trauma--is a kind of mictlan, reimagined as a state of constant mourning that challenges American notions of healing from trauma, and rather acknowledges sadness, mourning, and memory as a necessary state of constant awareness to forge a way back toward a broader healing of earth, time, body, history.

Originally released as a bilingual collection in 1989 by Stephen Kessler's Alcatraz Editions, Juan Felipe Herrera wrote the poems of AKRÍLICA starting in 1977, occasioned by the energy and dialogue that he encountered upon meeting writer and coconspirator Francisco X. Alarcón (1954-2016). Through a new interview included here and through his own Visual Introduction, archival photographs from his travels across the Americas, and new art created in conversation with the collection, Herrera offers a rich set of references, inspirations, and influences that shaped AKRÍLICA while sharing his take on this singular book's place in his development as a poet and multimedia artist. This new edition and new translation of AKRÍLICA arrives now to expand the political and artistic possibilities that form our current horizon. This project is not one of inclusion or recovery. This is a project of retrieval. We steal AKRÍLICA away from literary institutions, away from the discipline of literature as such, and away from traditions of experimental poetics that should hope to claim it. Oriented toward the liveliness of the imagination, committed to fundamentally changing itself in order to meet the moment, AKRÍLICA belongs somewhere else; it belongs in the hands of those finding one another in a gathering that has yet to take place.Edited by Anthony Cody, Carmen Giménez, & Farid MatukPoetry. Latinx Studies.

Placed in the context of ongoing moral disaster, PLACE is a discussion of language and poetic usefulness, specifically how collective discourse survives the unimaginable through personal recourse. It examines the ideology of cultural superiority and intellectual migration in public squares and private homes. With skepticism and love, this poetry and poetics attempts to explain the failure and potential at the heart of revolutions: the impulse to launch the experience of an individual into a communal existence across time. It is meant to speak, with many voices, beyond these known failures and into our many futures. It is a defense of the art of poetry as a means to evoke the necessary accommodations human beings can make to survive what is unsurvivable. These political and/or personal poems demonstrate the culture-bound logistics and flourishings and shortcomings of certain poetic voices during the Cuban Revolution of 1953-59, the Cultural Revolution in China of 1966-79, the Civil War of Lebanon of 1975-90 and the Arab Spring in the MENA region of 2010-11, as well as ongoing revolutions in the lands currently known as the United States and Canada. The poems center around healing these wounded places in the often more ambitiously universal interiors of the psyche.Poetry.

"A new collection six years after Nicholas Wong won the Lambda Literary Award for Gay Poetry, BESIEGE ME opens with a timely mocking tone that confronts the tension between China and Hong Kong. Poems in the book speak queerly of urban existences crushed by political and economic powers --"What cities & bodies deny a sometime-crisis, / not knowing they're a series of which?" Behind the portrayals of the speaker, his parents, his home city, and domestic migrant workers there, the collection boldly outlines the vulnerability of entrapment and its masochistic pleasures. BESIEGE ME seeks for a redefinition of transcultural poetics with its linguistic playfulness."--Publisher's description.

Literary Nonfiction. Poetry. DEFACING THE MONUMENT opens with the narration of an Operation Streamline hearing, a proceeding during which as many as 70 undocumented migrants are criminally prosecuted and sentenced en masse to serve jail time prior to deportation. It's an attempt to bear witness to what happens to those who do not hold the correct documents as a way to show texts always bear the marks of power.Documentary poetics offers a tradition and a form through which a writer can situate events or experiences within broad social and historical contexts. It can provide a space to record, to unearth, to witness, and to contextualize. But we can't fetishize the document. And we must use it with an eye toward our own complicity and participation in the systems we wish to investigate. Part documentary act, part lyric essay, part criticism, DEFACING THE MONUMENT enacts the possibilities and limits of documentary impulses.... a superb examination of the ethical issues facing artists who tell others' stories, within the context of undocumented immigration and her work teaching creative writing at the University of Arizona, in this dazzlingly inventive and searching text.--Publisher's Weekly

Place of publication from publisher's website.