Chax Bundle of 13
One of the new offerings from Chax, A Bundle of Books at Significant Savings to our Great Readers
Looking to jump into Chax? Now we offer you a great way to do it. Please keep coming to our site for a new bundle or two every month.
13 books at a special discount. The average price of these books is more than $17, but here you can have all 13 for just $100 (less than $8 per book) plus shipping. This is a limited time offer that will expire at the end of February 2018. Links below lead to the regular product pages for the books, with more information about the book. But you must return here to purchase this bundle at the discounted price.
Ted Pearson, An Intermittent Music
Kit Robinson, Leaves of Class
James Sherry, Entangled Bank
Ben Hollander, The Letters of Carla
Sarah Riggs, Waterwork
Will Alexander, Inside the Earthquake Palace
Michael Gottlieb, What We Do
Gil Ott, arrive on wave
Linh Dinh, ed.and trans., The Deluge
Gaspar Orozco, Autocinema
Leonard Schwartz & Simon Carr, Salamander
Alice Notley, Reason & Other Women
Susan Thackrey, Andalusia
Waterwork by Sarah Riggs
“In five stunning sequences, Sarah Riggs has created a poetics of elastic migrations that imagines the world as clusters, skeins, and motions whose innate peril is miraculously saved in hte act of naming: ‘each name for a thing seems intent to curl from its shelled meaning.’ Places, histories, persons, myth and object, intimacy and incident, are precision shorelines of simultaneous apprehension and erasure. In this subtle and luminous first book, Sarah Riggs has engaged our most fundamental quandaries in a poetry that announces, in Stevens’ phrase, ‘a new knowledge of reality.'”—Ann Lauterbach
“[Riggs] turns her acute eye to contemporary culture as well as natural history and her ear to the subtle balances of rhythm and assonance. The result is a beautiful attention that illuminates nuance, making the everyday world more detailed and thus more grand.”—Cole Swensen
Sarah Riggs is the author of WATERWORK (Chax Press, 2007), Chain of Miniscule Decisions in the Form of a Feeling (Reality Street Editions, 2007), 60 TEXTOS (Ugly Duckling Presse, 2010), 36 Blackberries (Juge Editions), and . Her book of essays, Word Sightings: Poetry and Visual Media in Stevens, Bishop, and O’Hara was published by Routledge in 2002. She has translated or co-translated from the French the poets Isabelle Garron, Marie Borel, Etel Adnan, Ryoko Sekiguchi, and, most recently, Oscarine Bosquet. Several of Riggs’s books of poetry have appeared in French translations by Françoise Valéry and others, with the publishers Éditions de l’attente and Le Bleu du ciel. A member of the bilingual poetry collective Double Change and founder of the interart non-profit Tamaas, she divides her time between the U.S. coasts and Paris, where she is a professor at NYU-in-France.
Salamander: A Bestiary
Poems by Leonard Schwartz / Images by Simon Carr
64 pages; 24 poems with 24 images plus title/cover image
What do you get when you put ten frogs in a coffee pot? Answer: Salamander, the latest in a long, imaginative line of animal inventories that began in classical Greece, if not on Noah’s Ark, became popular during the medieval period, and includes such modern innovators as Leonardo da Vinci and Lewis Carroll, Jorge Luis Borges and J.K. Rowling. A collaboration among a father, his daughter, and a woodcutter, this poetic menagerie celebrates the intelligence and ingenuity of two dozen creatures, from elk to eel, orca to owl. A labor of filial laughter, this carved, quirky rolodex is also a mirror in which we see ourselves, as “Wildness withheld,” for the endangered species we are.
— Andrew Zawacki
Woodcuts — are they black on white or white on black?—cut through the woods of words. The wood shows what the words mean. And the other way round. You can’t be sure with animals.
Animals are there just enough for us to glimpse (a woodcut is more shadow than flesh) and have some working poet explain them to themselves.
This book is all explanation. Read “Blonde Raven” to learn what it means to live in a visible world
The poems are sparse — light shows through them — and tell us things about animals, and tell animals about themselves — so much so that I’m not sure, after reading through the 24 panels, whether I’m being explained or being enlightened. That’s a perplexity that comes when reading Rilke and Dickinson too, poets who can’t always tell themselves from what they see.
— Robert Kelly
photo by Carlos David
A Message Back and Other Furors by Leonard Schwartz
A Message Back and Other Furors
“Between what's perceived and how one adds meaning spells a moment of infinite duration, an admixture of sense and thinking, of mirror-clear images and impressionistic language. A MESSAGE BACK reads like an infinity sign, an unending process of journey and return, specific identity and underlying oneness, the poetry of open thinking in a time of war. With provocative borrowings and stinging insights, Leonard Schwartz transcribes an unforgettable conversation”—Thalia Field.
Some Kind of Cheese Orgy by Linh Dinh
“The ever-precise and brilliant James Schuyler characterized Vladimir Mayakovsky’s poetry as brimming with the ‘intimate yell.’ Frank O’Hara got that energy pulsing in his work, but was tenderer, while Linh Dinh is more preposterous and full of outrage than either. Imagine a concoction that mixes Shakespeare’s Falstaff and Celine’s Bardum, frank, rollicking humor and hair-raising disgust. After adding fish sauce, a smelly cheese and sexual sweat, shake vigorously. Out of the bottle rises Linh Dinh. God talks to him and he talks about everything, including the body parts that Renaissance painters left out. No one does it better.”–John Yau
Linh Dinh was born in Saigon, Vietnam in 1963, came to the US in 1975, and has also lived in Italy and England. He is the author of two collections of stories and four books of poems. His work has been anthologized in Best American Poetry 2000, Best American Poetry 2004, Best American Poetry 2007 and Great American Prose Poems from Poe to the Present, among other places. Linh Dinh is also the editor of the anthologies Night, Again: Contemporary Fiction from Vietnam (Seven Stories Press, 1996) and Three Vietnamese Poets (Tinfish, 2001), and translator of Night, Fish and Charlie Parker, the poetry of Phan Nhien Hao (Tupelo, 2006). Blood and Soap (Seven Stories Press, 2004) was chosen by the Village Voice as one of the best books of 2004. His poems and stories have been translated into Italian, Spanish, German, Dutch, Portuguese, Japanese and Arabic, and he has been invited to read his works all over the US, London, Cambridge and Berlin. He has also published widely in Vietnamese. He lives in Philadelphia. His works from Chax Press are AMERICAN TATTS (2005), JAM ALERTS (2007), and SOME KIND OF CHEESE ORGY (2009).
Leaves of Class, by Kit Robinson
Poems by Kit Robinson
The title of Kit Robinson’s latest is a nod to the Great Includer, and its pages share something of that earlier writer’s peripatetic energy, his constant welcoming. Think also of Monk’s sidewinding testaments, Saul Leiter’s carefully sudden Manhattan kodachromes, Top 40 radio when it (sometimes) used to be challenging. But the call of thought is the tone most often heard—the summons to consider, to praise, to inveigh. Time now to roll up those “vernacular shirt sleeves” and get down to “tuning the work of days.” These are irresistible poems.
— George Albon
Like Whitman, Kit Robinson celebrates himself, the world, and the amplitude of time. In Leaves of Class, we are treated to poetic clarity and a sense of rectitude. Whimsical forays into the boundaries of meaning and language, “You could say poetry publicity puberty probity,” he characterizes planetary currents, of which he knows he is an intrinsic part, as “vertiginous, lofty, cerebral, lazy, and light.” In this collection, Robinson leaves the ecology of self to discover new wilderness. Powerful stuff.
— Anne Tardos
Entangled Bank, by James Sherry
Entangled Bank, by James Sherry.
Poetry. ISBN 978-0-9862640-8-5. 90 pages. Published November 1, 2016.
Entangled Bank opens with a set of five line poems dedicated to the “beauty” of various poets, a nuanced and generous version of Joseph Kaplan’s infamous Kill List, and concludes with a wrenchingly honest prose piece on Sherry’s correspondence with the late poet Stacy Doris on the limits of empathy. Between these gestures towards a troubled yet significant human connection, Sherry places poems in a variety of styles, as if styles were species in an ecosystem, a veritable “entangled bank.” Often he writes with scathing wit on the degradation of the environment and the fraudulence of the financial system. One line admonishes, “Wake up, this is about you.” And it is. You’re going to want it. — Rae Armantrout
Taking his theme from Darwin’s “entangled bank,” James Sherry pries open present life on the planet to reveal a tangled flow of vegetation, money, politics, beauty, selves, distributed networks, fish, nation states, death and friendship. “Couching nature as bundles and linkages,” he does not side-step the perils of hybridity but dives in head first: “Tamales of Sparta rolled global.” A dazzling display of formal invention leads up to an intimate, brutally candid chronicle of friendship and illness that is as clear-headed as it is passionate. And how can you not love a poem called “Memoir” that begins, “Dawn again / Fuck!” — Kit Robinson
Unbeauty will take you about as far as you can throw it, appeasing no one and nothing, all for good measure. James Sherry does not beware of entangling alliances, he foments them. — Charles Bernstein
Arrive On Wave: Collected Poems, by Gil Ott
Arrive on Wave: Collected Poems, by Gil Ott, edited by Trace Peterson, Gregory Laynor, & Eli Goldblatt
Poetry: 330 pages
published Nov 1, 2016
Foreword by Eli Goldblatt
Introduction by Trace Peterson
Afterword by Charles Alexander
Alas, here are poems that serve as evidence we had among us a spirit of a man whose fertile generosity was not limited to his literary and arts activism, but very much the warp and woof of his art and intellect. Gil Ott’s poetry aims to disintegrate powers of meaning while simultaneously presages radical possibilities of thought and speech which reflect the full-range of his restorative vision.
— Major Jackson
Gil Ott has always been this gigantic presence in poetry to me. For a while I thought maybe it was because he was one of the first real poets I met as a teenager. But it is actually because he is a real poet, an absolute poet, always kept in the present tense no matter how far away his body we knew has become. To garner and sustain the favor of the Muse is a skill apparent in this extraordinary book. If you believe in the strength of poetry, in poems as heat-seeking missiles capable of intercepting a bleak disregard for life then here is a gigantic poetry to smother the worst!
Traffic by Gil Ott
Traffic by Gil Ott. CHAX edition.
“As an architect of the gap, Gil Ott provides many doors whereby this place may be entered and whereby you may encounter and be part of the ‘traffic’ of that occurrence. It’s not a house of many mansions, but it is poetry, a place which may not take place unless you enter. So: a different sort of gesture, one of welcome invitation. Think it over. What have other hands offered you lately?” – John Taggart