Fiction. Poetry. Hybrid Genre. Latino/Latina Studies. BLACK LAVENDER MILK is an experimental lyric that dreamt of becoming a novel only to wake up as notebook. Employing and smudging elements of poetry, prose and memoir, BLACK LAVENDER MILK offers the space of a 'novel' as a site of mourning, inquiry and recuperation. Through a complex, hypnotic blur of language, the lyric-as-novel functions as an extended meditation on Writing in relation to the Body; Time, Loss, Ancestry and Dreaming. "Paranormal poetics never sounded more redundant, more welcome and welcoming. Angel Dominguez writes, 'I occupy a continent within my body. / I am going there today to bury my grandfather.' He has a continent in his body of the most extraordinary poetry turning the dream over to the soil and water of the dreamer. From orchard to ocean his omnipresent tenderness maps our way to the poet as shaman. I shudder with disbelief at his words and want them to knock on all our closed doors. There's a home in this book like strategy where we meet to stop the hemorrhaging loss. Please read it NOW!"—CA Conrad "Angel Dominguez's BLACK LAVENDER MILK is a poignant debut that brilliantly tethers between alchemist's notebook and somnambulist's reflection, where 'water thickens with memory, and begin[s] to pour…' In what Dominguez subtitles 'a failed novel,' are powerful reclamations of family histories, and self evolutions fused through carefully attuned modes of seeing, dreaming and feeling: 'I ran downtown and up a mountain, found him sleeping in my bloodstream still smiling as the sun beamed beyond the reach of the pack of clouds bringing down a soft rain…' Perhaps this fluid notion of failure is bound up in the author's rendering of memory as what must be held onto, even if it cannot be fully grasped. If this novel is 'failed,' then it is necessarily so, delicately captured as '—the trace trapped in a molecule,' Dominguez's 'liquid-watch,' a site of richly widening realization and recognition, where 'colloidal materials…form a constellation.'"—Ronaldo Wilson "To read Angel Dominguez's debut novel BLACK LAVENDER MILK is to slowdive into a deep cenote of the psyche, where murmuring dreams and vivid memories slide up against the silky, aqueous skin of ancestral unknowns. Each section rises in soft permutations, emerging as a book in perpetual arrival—with suspension, like a series of perfectly timeless clouds. I'm stunned at his intuitive intellect, touched by the quiet reverence expressed in his endless search for Xix—a body, a history, what remains yet always eludes."—Sueyeun Juliette Lee

Black Lavender Milk

Domínguez, Ángel

Literature & Fiction

Timeless, Infinite Light

Poetry. California Interest. Politics. COMMUNISM IS UP THERE AND WE ARE DOWN HERE... stages the playing out of that old adage and historical tragedy: Communism is better than communists. This friction, this incommensurability, constitutes it and wears us down. Blackburn writes of the necessary demand for partisanship and its uncomfortable relation to aesthetic norms. Her negative humor refuses to tip easily into despair, however close to the edge it approaches. What renews us, then, but it and poetry and each other, sometimes. Here is "communist ecstasy for recovering defeatists." If you swap the word feminism, it's still true and different. It's the same.

Communism is up there and we are down here but it is happening now (Tract, 1)

Blackburn, Olive

Poetry

Poetry. California Interest. Women's Studies. LGBT Studies. Politics. Occult. With spells by Z. Ozma. "For all its gnostic scholarship, the writing of Zoe Tuck always sounds absolutely contemporary. In TERROR MATRIX, we witness drones tracking the smell of cooking onions, Amazon putting its books to death, the queer body dragged to a xenophobic Liam Neeson vehicle, and everywhere, everywhere, witches on the torture rack again. It couldn't be more 2014. Zoe's privileged form is the interruption, the break within the break, another glaring condition of the now. 'This bare life's made possible by constant rupture.' Not wonderful, not horrible, just possible. Zoe has a crystalline sense of rupture as hope, as eventful change, as the fractures in the boundaries of identity, but at the same time understands it as a most useful tool for state terror, as the violent partitioning of bodies, as the multi-media cloud cutting into and across itself in order to splinter resistance and distract from its own amorality. All who share a sense of rupture's ambiguity will treasure this 'safe poetic exercise in S&amp;M.'"—Brent Cunningham

Terror Matrix

Tuck, Zoe

Poetry. Art. Silk screen printed glow-in- the-dark covers. Ebenkamp cracks open the mundane with jaded humor and uncanny horror. This collection of poems is densely packed and of psychedelic duration. "Between boredom and shock we oscillate" in a data-rich language forest continually interrupted by bursts of scrawling, full-color text art.

The Louder the Room the Darker the Screen

Ebenkamp, Paul

Poetry. GHOST BOX is based on the story of Emily. In the fall of 2012, Emily arrived in the parking lot of a vacant big-box store, or "ghost box," near downtown Los Angeles with 45-pound bags of cat food. She converted the otherwise vacant property into an impromptu bird sanctuary, and evaded arrest by the LAPD for months. Emerson Whitney adventures into the weirdness of Emily's story and the strangeness of vacant urban space, writing wildness and ferocity into the strip mall. GHOST BOX is gross and wry, gorgeous and feral, a hoarse cry from abandoned city space: "we want to be beautiful too." "Emerson Whitney's Ghost Box is a poetic detective story whose scene of the crime is nothing less than contemporary capitalism and its threat to--or decimation of--wilderness, wildness. That said, this is an intimate tale, populated by our (intrepid, lucid, sly) narrator, "the man with the rake," wheeling birds, and most importantly, "Emily," placeholder for / ghost of disobedience, conscience, craziness, and beauty. From the detritus of a vacant lot, Whitney wrestles a poetic document that bears witness, winks, invents, and soars." - Maggie Nelson, Author of Bluets and The Art of Cruelty "Poetry where everyone gets the Love is rare. Something like being stroked by the still-warm hands of a freshly collapsed empire, or maybe it's warmth from the fire building around it, but Emerson Whitney has slapped us into the frame with the other way to belong here. 'And I wanted to shout, but I whispered what looks like almost nothing is wild.' I love these poems so much, making me be nowhere but Whitney's brand new way of being present. I'm grateful to be alive with them!" - CAConrad, Author of ECODEVIANCE

Ghost Box (Tract, 3)

Whitney, Emerson

Literary Nonfiction. Women's Studies. Disability Studies. TENDER POINTS is a narrative fractured by trauma. Named after the diagnostic criteria for fibromyalgia, the book-length lyric essay explores sexual violence, gendered illness, chronic pain, and patriarchy through the lenses of lived experience and pop culture (Twin Peaks, Teenage Mutant Ninja Turtles, noise music, etc.). "TENDER POINTS does precisely what people are always saying can't be done—it combines a moving, distilled, literary journey with advocacy and even pedagogy, here about trauma, chronic pain, patriarchy, and more. Call it "écriture féminine en homme," if you want (as Berkowitz does, with acid wit)—but whatever you call it, this is firm, high- stakes speech speaking truth to power, radiating beauty and fierceness from its inspiring insistence and persistence."—Maggie Nelson "'Trauma is nonlinear,' writes Berkowitz. I am impressed by the sensing form she makes. That has the day in it, as well as the night. The body, that is, in variable settings, frames and weathers. The stairs that 'climb up my arms and neck.' The 'I am bitterly jealous of people who can always go back to being a barista for a while.' This book is a kind of clutching and being there for real, and that is what I like. A book. That takes up. A visceral form."—Bhanu Kapil "TENDER POINTS is one of those books that feels necessary. It takes on rape culture and cops and doctors, the whole long history of who gets to speak and how, who gets heard and who doesn't and why not. I wish this book wasn't as necessary as it is, but I'm so grateful to Amy for writing it."—Stephanie Young

Tender Points

Berkowitz, Amy

History & Criticism

Poetry. FACE DOWN is an abject, fantastic inquiry into forging new ways of relating, set against the brutal materialist realities of empire. It focuses on gender, economics, opportunity, sexuality, and all the distinctive devices of social stratification. With unflinching wit, Whitener connects "literature's devices, knowledges, and affective relationships...to the new problematics of experiencing, worlding, and its sensorium of trauma."

Face Down

Whitener, Brian

Poetry. SLABS is a collection of poetry dealing in and out of the body through various sites including; home, memory, books, and ritual. It is a meditation on self care, sexuality, and identity through a dis/embodied subject in the water, the home, and in the streets. It is a collection of tender sincerities and queer awakening.

Slabs

Billmeyer-Finn, Brittany

Poetry. DISASTER is an investigation into what is possible when everything goes perfectly wrong; when planes crash, trains derail, and structures collapse. The details are put forward as a way to examine how each disaster is mourned as a catastrophic exception to the order of things. Ultimately, looking at these events creates space to explore the connection between the collective trauma experienced in the wake of a large scale disaster and a personal story of mourning.

Disaster (Tract, 5)

Davis, Madison

Poetry. Latinx Studies. THE EASY BODY is a love letter from hell. In these poems, a fiery account of loss combines with a multi-lingual prophecy of stained, stunning beauty. In deep suffering and impure solidarity, the Latinx, matrilineal, colonized body of this text will never be 'easy.' Get ready for the birth of a riot and the death of the world.

The Easy Body

Luboviski-Acosta, Tatiana

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