Cosmogony

Glaring: a sustained look of anger, an obvious fact, a situation of such brightness and intensity that vision is obscured. In his debut book of poems, Benjamin Krusling is concerned with reading domination and violence and entering their psychotic motion, the better to do otherwise. Through the thicket of anti-blackness, militarism, surveillance, impoverishment, and interpersonal abuse and violence, Glaring investigates the things that haunt daily life and make love difficult, possible, necessary.

Benjamin Krusling's Glaring is the winner of our 2019 Open Reading Period, and was selected by guest judge Lucy Ives.

Conceptual writing is emerging as a vital 21st century literary movement and I’ll Drown My Book represents the contributions of women in this defining moment. Edited by Caroline Bergvall, Laynie Browne, Teresa Carmody and Vanessa Place, I’ll Drown My Book takes its name from a poem by Bernadette Mayer, appropriating Shakespeare. The book includes work by 64 women from 10 countries, with contributors’ responses to the question—What is conceptual writing?—appearing alongside their work. I’ll Drown My Book offers feminist perspectives within this literary phenomenon.

CONTRIBUTORS:

Kathy Acker, Oana Avasilichioaei & Erin Moure, Dodie Bellamy, Lee Ann Brown, Angela Carr, Monica de la Torre, Danielle Dutton, Renee Gladman, Jen Hofer, Bernadette Mayer, Sharon Mesmer, Laura Mullen, Harryette Mullen, Deborah Richards, Juliana Spahr, Cecilia Vicuña, Wendy Walker, Jen Bervin, Inger Christiansen, Marcella Durand, Katie Degentesh, Nada Gordon, Jennifer Karmin, Mette Moestrup, Yedda Morrison, Anne Portugal, Joan Retallack, Cia Rinne, Giovanni Singleton, Anne Tardos, Hannah Weiner, Christine Wertheim, Norma Cole, Debra Di Blasi, Stacy Doris & Lisa Robertson, Sarah Dowling, Bhanu Kapil, Rachel Levitsky, Laura Moriarty, Redell Olsen, Chus Pato, Julie Patton, Kristin Prevallet, a.rawlings, Ryoko Seikiguchi, Susan M. Schultz, Rosmarie Waldrop, Renee Angle, Rachel Blau DuPlessis, Theresa Hak Kyung Cha, Tina Darragh, Judith Goldman, Susan Howe, Maryrose Larkin, Tracie Morris, Sawako Nakayasu, M. NourbeSe Philip, Jena Osman, kathryn l. pringle, Frances Richard, Kim Rosenfeld, and Rachel Zolf.

Faced with photos of a once-tumultuous New York art world, the narrator's mind in this scathing, darkly funny novel begins to erupt. Memories jostle for center stage, just as those that they are about always did. These brilliant but broken survivors of the '80s and '90s have now reached the brink of middle age and are facing the challenge of continuing to feel authentic. Luminous with imagery, cackling with bitter humor, and with a new foreword by the author, this roman a cle spares no one.

First published in 2003, Gary Indiana's turn-of-the-millennium novel traces the lives of a loosely connected group of New York artists and the dissolution of their scene.  

During the summer of 2001, the narrator of Do Everything in the Dark, a gallery curator, receives intermittent dispatches from his far-flung friends, many of whom resemble well-known figures in the art and intellectual worlds, who are spread out across the globe, from Istanbul to Provincetown to Santa Fe. Seeking various reprieves from a changed New York, the long-festering, glossed-over incompatibilities of these aging bohemians blossom into exotic and unbearable relief. Beneath the contemporary excesses Indiana chronicles, we can see the outlines of the earlier New York bohemia captured by Dawn Powell.  

Arguably Indiana's most intimate, internal, and compassionate work to date, Do Everything in the Dark is a chilling chronicle of madness and failure, success and disappointment, and the many ways love dies in a world people find increasingly unlivable.

Name, the third novel in Constance Debré’s acclaimed trilogy, is at once a manifesto, an ecstatic poem, and a political pamphlet. By rejecting the notion of given identity, her narrator approaches the heart of the radical emptiness that the earlier books were pursuing.

Newly single, and having recently come out as a lesbian, the narrator of Debré’s first two novels embarked on a monastic regime of exercise, sex, and writing. Using the facts of her own life as impersonal “material” for literature, Playboy and Love Me Tender epitomized what Debré (after Thomas Bernhard) has called “antiautobiography.” They introduced French and American readers to her fiercely spare prose, distilled from influences as disparate as Saint Augustine, Albert Camus, and Guillaume Dustan. “Minimalist and at times even desolate,” wrote the New York Review of Books, these works defied “the expectations of personal growth that animate much feminist literature.”

Name is Debré’s most intense novel yet. Set partly in the narrator’s  childhood, it rejects Proustian notions of “regaining” the past.  Instead, its narrator seeks a state of profound disownment: “We have to  get rid of the idea of origins, once and for all, I’m not holding on to the corpses. … Being free has nothing to do with that clutter, with having suffered or not, being free is the void.” To achieve true freedom, she dares to enter this “void”—that is, dares to accept the pain, loss, and violence of life. Brilliant and searing, Name affirms and extends Debré’s radical project.

Somewhere in England, confined to a room with empty chairs and an old telephone, is I. I wasn’t born here. English is their second language. They’ve given up writing. England With Eggs depicts the psychological aftermath of migration through a personal vortex of foreign experiences. Oscillating between narrator and character, Franz Kafka and long-distance calls, I spends sleepless nights drawing eggs, rearranging the chairs and talking to an uncanny voice on the phone. The isolated protagonist’s inner life is fractured: notions of place and history grow ever more fragile, language ever less certain. Torn between stubborn expectations and the reality of a foreign country, England With Eggs unfolds against a silent backdrop of austerity, colonialism and xenophobia. It is a study of acceptance, a reminder that sometimes the things we flee from are the ones we carry along on our journey.

This publication is limited to 100 copies, which are signed and numbered by the author.

Edited by Angie Harms

Inspired by visionaries like Moses, William Blake, and Joseph Smith, Bellamy spent five months in 2009 receiving transmissions from her television set and writing brief commentaries on each. The sutras and commentaries in the present volume are the beginning of an intensive investigation into the nature of religious experience. What are cults? Are they limited to wacko marginal communities, or do we enter one every time we go to work or step into a polling place? What is charisma and why are we addicted to it? Bellamy speaks candidly and intimately to her own experience as a woman, a writer, and former cult member. This commingling of memoir, fiction, collage and essay makes room for horny gurus, visitors from outer space, the tenderness of group life, and maybe the beginnings of a hard-won individualism.