{"title":"Akashic Books","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAkashic Books calls itself the \"reverse-gentrification of the literary world\" — and it means it. This Brooklyn-based independent has spent decades publishing urban literary fiction and political nonfiction by writers the corporate houses overlook or simply aren't built for, from its genre-defining Noir Series (Brooklyn Noir, Virgin Islands Noir, and dozens more cities worldwide) to bold voices in Black, Caribbean, and LGBTQIA+ literature. It's fiercely independent, unapologetically political, and proof that a small press can shape culture on its own terms.\u003cbr\u003e\u003cstrong\u003eNOW WITH 20% OFF THE ENTIRE COLLECTION\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"100-posters-134-squirrels-a-decade-of-hot-dogs-large-mammals-and-independent-rock-the-posters-of-jay-ryan","title":"100 Posters, 134 Squirrels A Decade of Hot Dogs, Large Mammals, and Independent Rock : the Posters of Jay Ryan","description":"\u003cp\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Jay Ryan\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTitle:\u003c\/b\u003e 100 Posters, 134 Squirrels A Decade of Hot Dogs, Large Mammals, and Independent Rock : the Posters of Jay Ryan\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBinding:\u003c\/b\u003e Paperback\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNumber Of Pages:\u003c\/b\u003e 118\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRelease Date:\u003c\/b\u003e 2010\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDetails:\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003e\"Jay Ryan's decade of rock-postering has produced some superb and arresting work . . . 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Sam and his sidekick Francis trek from dive bars to gay bars to rocker bars -- encountering skinheads, party promoters, underage drug dealers, and dominatrixes -- but they are always one step behind Vicki. It begins to seem like 131 different things are keeping the lovers apart. Before the night is over, Sam will have to wrestle with what he is really looking for.\u003cbr\u003e\u003cbr\u003e Nick Zinner--who pays guitar in the three-time Grammy-nominated band Yeah Yeah Yeahs -- provides the visual framework for this inventive novella with his intimate photography. Known for his essays and music writing for Noisey, Vice, and Penthouse, Zachary Lipez brings his pithy, multilayered, and self-deprecating voice to this debut work of fiction. The prose and photography are tied together in a playful taxonomic scheme by editor and art director Stacy Wakefield, the author of the novel The Sunshine Crust Baking Factory. 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Wistfully reflective reading.\" \u003cb\u003e--\u003ci\u003eKirkus Reviews\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\"Memoirists rarely begin their work with a stroke of genuine inspiration, and Robyn Hitchcock's ingenious idea to limit his account of his life to the titular year gives this sharp, funny, finely written book an unusually keen, wistful intensity without sacrificing its sense of the breathtaking sweep of time. I absolutely adored every line of \u003ci\u003e1967\u003c\/i\u003e and every moment I spent reading it.\" \u003cb\u003e--Michael Chabon, author of \u003ci\u003eTelegraph Avenue\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e\u003ci\u003e1967: HOW I GOT THERE AND WHY I NEVER LEFT\u003c\/i\u003e\u003c\/b\u003e explores how that pivotal slice of time tastes to a bright, obsessive-compulsive boy who is shipped off to a hothouse academic boarding school as he reaches the age of thirteen--just as Bob Dylan's \u003ci\u003eHighway 61 Revisited\u003c\/i\u003e starts to bite, and the Beatles's \u003ci\u003eSgt. Pepper's Lonely Hearts Club Band\u003c\/i\u003e explodes.\u003c\/p\u003e \u003cp\u003eWhen he arrives in January 1966, Robyn Hitchcock is still a boy pining for the comforts of home and his family's loving au pair, Teresa. 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Here, Duchovny's typically clever wordplay distills to an emotionally impactful portrayal of what the author holds most dear. His approach to poetry is beautifully encapsulated in his introduction:\nPoetry is not useful. And that is exactly why we need it. It reminds us of two important things: our ultimate lack of agency (unpopular to say, I know) and our inability to say anything plain, our inability to capture what it means to be human with the imperfect tool of words; we come face-to-face with our shadow selves, for in the end we will all die and be forgotten, and come away with nothing, nothing in the way of utility anyway, no talking points, no bullet points, no propaganda, no resolutions, no policy, no knowledge. If anything, maybe we remember a few lines . . . something like a pop song from the collective unconscious, something like wisdom . . . You see, I wanted to say it plain, but out comes that torrent of modifiers and adjustments, denials, double negatives, shading, stabs at wit, backpedaling, playing at capturing the lightning. Maybe this time. Maybe that's what a poem is-that glorious feeling of Maybe this time I'll get it right. 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Here, Percival Everett proves that his fine literary talents move far beyond the realm of the novel.\u003c\/p\u003e\u003cp\u003eIf you said \"cubism\" fifteen times, you would be getting close to some of what Percival Everett, a famous novelist and gifted painter himself, is playing with in this new book of poems. In words that mimic process, the poems here attempt to reverse the canvas, taking perspective and skewing it to reflect the world around it, spiraling into the work as a way to get out of it. Often what stands in the way of art is art itself, a lingering delusion that there is such a thing as beauty, especially universal beauty. The same is true of a belief in transcendence. 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Each story reaffirms how fundamental 'place' is to the noir genre and how the locale shapes the story as much as the characters themselves . . . Strongly recommended.\" --Library Journal\u003c\/p\u003e\u003cp\u003e\"There's good writing as well as a strong sense of place and culture, and the reader will absorb a side of Accra that doesn't make it into the tourist brochures.\" --New York Journal of Books\u003c\/p\u003e\u003cp\u003eAkashic Books continues its award-winning series of original noir anthologies, launched in 2004 with Brooklyn Noir. 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Each story reaffirms how fundamental 'place' is to the noir genre and how the locale shapes the story as much as the characters themselves . . . Strongly recommended.\" --\u003ci\u003eLibrary Journal\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\"There's good writing as well as a strong sense of place and culture, and the reader will absorb a side of Accra that doesn't make it into the tourist brochures.\" \u003ci\u003e--New York Journal of Books\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eAkashic Books continues its award-winning series of original noir anthologies, launched in 2004 with Brooklyn Noir. 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Some are surreal--fitting for a culture where, as Mengiste writes in her introduction, 'there are men who live in the mountains of Ethiopia and can turn into hyenas.'\" --Washington Post\u003c\/p\u003e\u003cp\u003eAkashic Books continues its award-winning series of original noir anthologies, launched in 2004 with Brooklyn Noir. Each book comprises all new stories, each one set in a distinct neighborhood or location within the respective city.\u003c\/p\u003e\u003cp\u003eBrand-new stories by: Maaza Mengiste, Adam Reta, Mahtem Shiferraw, Linda Yohannes, Sulaiman Addonia, Meron Hadero, Mikael Awake, Lelissa Girma, Rebecca Fisseha, Solomon Hailemariam, Girma T. Fantaye, Teferi Nigussie Tafa, Hannah Giorgis, and Bewketu Seyoum.\u003c\/p\u003e\u003cp\u003e From the introduction by Maaza Mengiste: \u003c\/p\u003e\u003cp\u003e\"What marks life in Addis Ababa are the starkly different realities coexisting in one place. It's a growing city taking shape beneath the fraught weight of history, myth, and memory. It is a heady mix. It can also be disorienting, and it is in this space that the stories of Addis Ababa Noir reside . . .\u003c\/p\u003e\u003cp\u003e\"These are not gentle stories. They cross into forbidden territories and traverse the damaged terrain of the human heart. The characters in these pages are complicated, worthy of our judgment as much as they somehow manage to elude it. The writers have each discovered their own ways to get us to lean in while forcing us to grit our teeth as we draw closer . . .\u003c\/p\u003e\u003cp\u003e\"Despite the varied and distinct voices in these pages, no single book can contain all of the wonderful, intriguing, vexing complexities of Addis Ababa. But what you will read are stories by some of Ethiopia's most talented writers living in the country and abroad. 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Svenonius is an engaging companion . . . and he lands some scathing blows, as when he links internet porn to contemporary Christianity by noting that both are 'anti-intellectual, patriarchal, have an elitist or outsider self-image, and are aesthetically garish.'\" --Publishers Weekly\u003c\/p\u003e\u003cp\u003e Against the Written Word is the most important, most revolutionary book produced since the advent of the printing press; the book that will liberate readers from reading, writers from writing, and booksellers from peddling their despicable wares. This book ushers in a new era of freedom from reading and all its attendant bedfellows such as Enlightenment thinking and the mass alienation wrought by the phonetic alphabet. 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Nonetheless there are a few, and added to their small number ought to be Kaylie Jones.\"--New York Times\u003c\/p\u003e\u003cp\u003eMerryn Huntley is rudely awakened to the many bad decisions she has made in her life when she is told by two Dallas police officers that her wealthy husband Beau has been killed in a car accident, along with a local waitress. 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Each books comprises all new stories, each one set in a distinct neighborhood or location within the respective city. Now, one of the world's most war-town cities is portrayed through a noir lens in this chilling story collection.\u003cbr\u003e\u003cbr\u003e Brand-new stories by: Sinan Antoon, Ali Bader, Mohammed Alwan Jabr, Nassif Falak, Dheya al-Khalidi, Hussain al-Mozany, Layla Qasrany, Hayet Raies, Muhsin al-Ramli, Ahmed Saadawi, Hadia Said, Salima Salih, Salar Abdoh, and Roy Scranton.\u003cbr\u003e\u003cbr\u003e From the introduction by Samuel Shimon: \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eWhile all Iraqis will readily agree that their life has always been noir, the majority of the stories in Baghdad Noir are set in the years following the American invasion of 2003, though one story is set in 1950 and three are set in the 1970s and 1980s. Yet it is this recent history of Iraq--over the last few decades--that serves to inform its present . . . Cementing the destruction of Iraqi life was Saddam Hussein's invasion of Kuwait in 1990. But that was hardly the end of Iraq's noir story. In April 2003, the US invasion, though it precipitated the end of Saddam's dictatorial rule, killed off any possibility of a secular, modern Iraq once and for all.\u003cbr\u003e\u003cbr\u003e Taken as a whole, the stories in Baghdad Noir testify to the enduring resilience of the Iraqi spirit amid an ongoing, real-life milieu of despair that the literary form of noir can at best only approximate. Yet the contributions here manage to hold their own as individual stories, where the rich traditions of intersecting cultures transcend the immediate political reality--even while being simultaneously informed by it. 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