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
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
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
Autocinema by Gaspar Orozco
Poetry. ISBN 978-1-946104-00-7. 104 pages. $17 US.
Control and beauty, composition and precision: like one who looks through a pinhole camera and from that vantage notes and examines the unexpected, the near, the never seen before, Gaspar Orozco, a poet, almost an entomologist, almost a Buddhist monk, brings to the eyes, tongue and ears of the attentive reader wisps of a reality, a hyperreality, that flickers for a moment and then is gone. Poet of lucid verse, of contrasts and tensions, Autocinema confirms his status as that rarest of rare birds, an idiosyncratic and powerful voice amidst the crowded flock of contemporary Mexican poets. —Rocío Cerón
We see movies and become them, and then they begin another, transformed existence. The art of filmmaking has engendered a counter-art of which Gaspar Orozco shows himself a master: the making of a movie by a mind become camera, deep in the realm of the unfilmable and almost unsayable. A sunken screen image—it might be from Melies or Vigo, Wong Kar-wai or Edgardo Cozarinsky—undergoes a sea-change into a spectacle for an inner screening room. —Geoffrey O’Brien
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.
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.
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!
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.
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).