Bøger udgivet af Steerage Press

Originally conceived as three discrete books, Common Time takes pianist Glenn Gould's notion of the two-take as its procedural centerpiece, soldering together sections from each of the three finished versions and combining them to make one final work. But unlike Gould's idea of an authoritative masterwork built from multiple versions of an original piece, Chris Pusateri turns the telescope backwards, making of this brokenness a meditation on what it means to compose, to couple, to comprehend.

"If there could ever be anything like The Great American Novel, it might look like Big Man with a Shovel, an achievement that shows just how flexible and surprising the novel can be, and how, in the hands of a poet, it may still be the most incisive means we have for examining who we are as individuals and collectively as a society."Steve Tomasula, author of VAS: An Opera in Flatland"The charm and power of Amato's book is in its mutability. Amato's text moves easily through working-class narration, American folklore, high academic palaver, war narrative, editorial splashback, history and ephemera, in an intelligent, erudite, and passionate novel." Steve Katz, author of Creamy & DeliciousA work of highly unconventional literary fiction, Big Man with a Shovel is a modern-day fable in which a powerful laborer befriends a young worker only to find himself pitted against a tyrannical foreman. Set in Upstate New York in 1965, this coming-of-age drama mixes folklore, myth, and metafiction in a story that is by turns playful, suspenseful, and mysterious. Available in paperback and Kindle editions.

In A Brand New Beggar, poetry has the walking blues. A. L. Nielsen again pursues what Oliver Nelson called "the blues and the abstract truth," parsing the sundry moods of blues travelers, whether in flight or riding the rails. These lines dig deep in the American grain to remind us of who we are, and who we might be.

Disappearance enmeshes us in nested networks from which it is impossible to escape unchanged. The novel spins up an elegant series of labyrinthine, mirror-rimmed puzzles that seem intended not so much for solution as habitation - propositions that bring into alarming clarity the strangeness of domains we so casually inhabit: memory, imagination, time. Arriving in a restless tidal flow of casually virtuosic language, the novel's many mysteries twirl, invert, and disgorge more mysteries. As in other Joyce stories we could mention, we may have seen someone die this morning, or in the not too distant future, or at some point as yet unfixed in the viscous fore-and-backwardness of disappearing time. The narrator may be the victim, or perhaps a cybernetic detective who assumes the dead man's memories, a version of everyone's maze-trapped prisoner. Wayfarer, philosoph, this man may lie in the grip of dementia, or dystopian oppression, or a video game from the future - names, no doubt, for a common disorder. This is a seriously playful book, hip to all the slippery ontologies of protean path-work, evocative both of old-school games (Mindwheel, Myst) and more recent philosophical entertainments (Passage, Dear Esther, The Stanley Parable). Fans of far-sighted fiction will find parallels with Borges, Robbe-Grillet, Burroughs, Hawkes, and the newer world-games of Mark Danielewski, Steve Erickson, and Jeff Noon. Followers of the graphic novel may find sublimely paranoid resonance with visions like Warren Ellis's Planetary or Grant Morrison's Filth. In life as not in fiction, however, there is only ever one Michael Joyce, and Disappearance demonstrates that he is not simply a master of fictional craft, but of fiction itself, in its most vital and changing form. Joyce is a genuinely transformational artist capable not simply of imagining other worlds, but of extending the range of imagination itself. This is a book that may change not just the way you see fiction, but indeed the way you see. - Stuart Moulthrop