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
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
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.
What’s the Title? TITLE
What’s the Title? TITLE, by Serge Gavronsky
The title is TITLE. What’s the title? TITLE. That means the book is the book, or “A” book, and implies that the book questions itself along the way, or perhaps just makes a lot of leaps, flops, and fade-away hook shots, though all is not in cinders. But life and words manage to burn, and if you burn too, it might be for thirst of knowledge, and you will at least have a chance to quench such thirst if you read this book, if you attempt to understand the nature of a title. You are Odysseus, and you’re trying to get home, or toward another goal, and you need a few challenges along the way; or, you’ll get them whether you need them or not.
No more silence of memory! Because you will need your memories, even as you begin to lose them. But letters hold the prospect of words, and words of sentences, sentences of paragraphs, paragraphs of chapters, and chapters of books. And what is it that a book needs? TITLE. If all the dates are her favorites, she still wants to look at a calendar, and if she misses one, or two, she needs a reminder. Or she needs to pour herself a shot of calvados. Calvados or calvary, or cavalry. Oh my avocadoes! On sunny days, he had that certitude, but Auschwitz and Dachau happened nevertheless. Half of the country was bombed out, but the afternoons kept and keep coming. And one day you will remember (or not, or who will?) that a violinist was needed for a marriage of American history to its right political place. There is no language without speech, there is no Olivetti without a green cover. Too green in the land of pairs of graphs. Life is touching each other, and may have no intertextualities. Or all may be so.
This is that book This is TITLE!
— Charles Alexander
An Intermittent Music 1975-2010, by Ted Pearson
An Intermittent Music 1975-2010, by Ted Pearson
ISBN 9780986264092. Poetry. $24.
O! learn to read what silent love hath writ:
To hear with eyes belongs to love’s fine wit.
An Intermittent Music luxuriously shows us the capaciousness of Ted Pearson’s work—surprising, perhaps, given what may have appeared to be a minimalist tack. We see that Pearson’s has always been a long game, no matter the exacting finesse of its close negotiations. The poems obey an abiding fidelity to the intervallic sway whereby capacity does indeed accrue, one suture, one synapse, at a time. This is desert island work, to be savored and to be returned to again and again.
— Nathaniel Mackey
Over the course of thirty-five years, Ted Pearson has been incrementally publishing a masterpiece, present here before us at last within the covers of this book as An Intermittent Music. He describes it as “a serial work comprising eighteen books in four movements,” and it is therefore possible to situate it alongside key serial works by poets like Jack Spicer, George Oppen, Robert Creeley, Leslie Scalapino, and Barrett Watten. As is true of work by all of these (otherwise very different) poets, the parts of An Intermittent Music resonate within an evolving dialectic, intentionally avoiding a final chord. Writing poetry that is intensely bound to both song and intellect, Pearson has been ever alert to matter in its infinite detail, to social as well as erotic desire, to liminal identities, and to the circulating systems of idiom and opinion that construct the social spaces we inhabit. This magnificent work begins almost plaintively, building to the great crescendo of its end. An Intermittent Music tracks Pearson’s ever-expanding attention to the ever-increasing associative complex that is lived experience. By the end of the book, the music is impossible and the music is everywhere, generating exquisite, ubiquitous suspense. This is a book to read avidly and over and over again.
— Lyn Hejinian
The Hero by Hélène Sanguinetti
The Hero, by Hélène Sanguinetti, translated by Ann Cefola
Sanguinetti takes on the archetype of the hero from every angle—at times many simultaneously—and in a language itself heroic in its leaps and shifts and its inventive riffs that tap into ambient legend, with its steaming horses, epic journeys, and, of course, battle. Volatile style, startling content, super-charged tone—Cefola captures them all in her splendidly nuanced translation, a rare case in which nothing at all is lost, and the English language gains a powerful and beautiful book.
The Form of Our Uncertainty: A Tribute to Gil Ott by Kristen Gallagher, Editor
This book also features interviews and responses by: Ammiel Alcalay, Charles Alexander, Bruce Andrews, Anonymous, Julia Blumenreich, Craig Czury, Rachel Blau DuPlessis, Norman Fischer, Kristen Gallagher, Eli Goldblatt, Karen Kelley, Kevin Killian, Hank Lazer, Andrew Levy, Chris McCreary, Toby Olson, Bob Perelman, Leslie Scalapino, Kerry Sherin, Ron Silliman, Heather Starr, Chris Stroffolino, and Mark Wallace.
The Deluge by Linh Dinh, Editor & Translator
Edited and translated from the Vietnamese by Linh Dinh. “Carefully selected for their literary significance as well as their antagonism towards state power, cultural orthodoxy and conventional wisdom, the hundred and sixty Vietnamese-language poems annotated, contextualized and expertly translated into English in THE DELUGE provide a stunningly original (counter) history-in-fragments of Vietnamese society from the 1960’s up till today. While Linh Dinh is typically known for his extraordinary poetry, fiction and journalism, THE DELUGE showcases his remarkable talents as a translator, anthologist and cultural historian. I love everything about this book: the sneaky-smart selections, the illuminating yet ruthlessly efficient author-bios, the fascinating addendum and, of course, the absurdly brilliant translations.”—Peter Zinoman
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