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
THE HINDRANCES OF A HOUSEHOLDER hand-colored edition
CHAX PRESS announces THE HINDRANCES OF A HOUSEHOLDER, by Jennifer Bartlett
Poetry. Literature. $50.00.
The author/artist, Jennifer Bartlett, has hand-colored several copies of this book which includes a few drawings. These books are being offered to the public for $50, $35 of which goes directly to the author/artist.
Jennifer Bartlett writes, “a word here, a word there,” yet, somehow, never manages to write like anyone else. These poems concern themselves with the messiness of relationships and how those relationships operate in both real and fanciful worlds. Her poems comment on one another, on themselves, and on this fascinating character named Jennifer who weaves in and out of the poems. She writes about swimming pools, sex, neurology, the duality of names, and friendship. Along the way she offers no hindrances for the reader. Instead this book shows poems by a poet writing at her joyful, dizzy best. —Mike James, author of Crows in the Jukebox and My Favorite Houseguest
Flow-Winged Crocodile & A Pair/Actions Are Erased/Appear by Leslie Scalapino
Flow–Winged Crocodile & A Pair/Actions Are Erased/Appear
“For myself and the cast, directing Leslie Scalapino's FLOW has been an extraordinary journey into language and the language in breath, the rhythms of effort to say as precisely as her savage delicacy of thought, her forcing us all to assume nothing in examining the fineness of our implication in each other”–Fiona Templeton.
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
A Mere Rica, by Linh Dinh
Poetry/Literature, including an interview with Linh Dinh. ISBN 9781946104045. 234 pages.
Getting back to the theme of writing from the outside, I published this in the American Poetry Review in 2004, “I’ve come to realize that I much prefer to live on the periphery of the English language, so that I can steer clear of the tyranny of its suffocating center. In this sense, I am a quintessential American. A Unapoet, I like to homestead just beyond the long reach of Washington […] Hearing the rapid syllables of a foreign language, a bigot is infuriated because he’s reduced to the status of an infant. Poets, on the other hand, should welcome all opportunities to become disoriented. To not know what’s happening forces one to become more attentive and to fill in the blanks. Hence, poetry.” (Linh Dinh, from the Interview with Tahseen Alkhateeb)
Linh Dinh is the author of five previous books of poems, plus two collections of short stories, a novel and a non-fiction account of the economic, social an political unraveling of the USA, Postcards from the End of America (Seven Stories Press 2017). His political essays are regularly published at Unz Review and other webzines.
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
Reason and Other Women by Alice Notley
Reason and Other Women
“This is an immense book, one in which Notley takes language, as she has it, 'from hearsay to heresy' by the speed and awe of an unwavering attention to the seams, seems and semes of words and sentences. This is the work of an iconoclast, a semioclast, where semantics become seme-antics, and the byz-antics and -antiques from Christianity to Christine are molten down & recast into 21st Century mental shapes in the red-hot heart-red retort of a present day alchemist of mind. Alice Notley has the uncanny ability to go from the everyday mundane to the psycho-cosmic in one warp-speed stutter or typo-graphical stumble, at what Andre Breton called 'la vitesse grand V.' This is writing of the highest order.”—Pierre Joris
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
Jam Alerts by Linh Dinh
“Linh Dinh is one of the most consistently surprising writers around. One can find sources & roots for his writing, explain the traces of surrealism through the presence, say, of the French in Vietnam (tho they were driven out a decade before he was born), note that he is hardly the only good or successful Vietnamese American poet, let alone the only poet to come from a working class background, yet he is not writing ‘about’ or even ‘toward’ nor ‘from’ any one of these contexts so much as he is through them—they are lenses, filters, that condition his perspective on everyday life. Imagine what any other poet with this strong a sense of form would have had to become in order to write such poetry. Ted Berrigan, for example. Berrigan shares Linh’s class background, which enables him to be as ruthless in a different way as Linh is in his. But the comparison stops there. Linh is writing straightforward poetry, but from a perspective shared by almost no one else. This kind of exile is far deeper than mere geography…you can feel Linh’s deep loneliness on every page & realize that there are aspects of his poetry that you can’t find anywhere else. We probably haven’t had a writer this singular since the death of William Burroughs.”—Ron Silliman
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).