Böcker utgivna av FONOGRAF ED

Home Movies is an essay about the day-to-day realities and unrealities of its author's hypermediated consumer life as a teacher and parent in Orlando, Florida. In each of the essay's seven sections, Wheaton explores his relationships to new media and old tech, and the people around him, with thoughtful ambivalence and humor. Altogether, the various threads of Home Movies--image, tangibility, fame, nostalgia, simulation, marijuana, and cinema history--pull together into a moving attempt to accept the tensions between watching/being watched and life/art.

Hole Studies is a book about care and the forms it may take. An essay collection on writing and labor, art and activism, attention as a transformative practice, difference and collaboration, adjuncting and the margins of the academy, whiteness and its weapons, professionalization and its discontents, the radical importance of surprise, friendship at work, the self and its public and private modes: Hole Studies keeps listening. What is it we need from each other? What could we still make happen? This book looks for forms of responsiveness and moments that matter. It honors everyday acts of thinking and trying. Essays explore the music of the Sweat Shop Boys, the literature of the US's brutal war in Iraq, the career of Sinâead O'Connor, the aesthetics of the Dirtbag Left, the legacies of the "war on terror," feminism on the job, and illness in America. Hole Studies is an intimate document and a critical guide. Hole Studies would like to work for you.--From publisher's Web site

Early Works collects Alice Notley's first four out of print poetry collections, along with 80 pages of previously uncollected material. A must have for any Notley fan. Includes original collection cover artwork by Philip Guston, Philip Whalen and George Schneeman, among others.

Firewatch lives in the porous recesses of recollection and the uncertainty felt when re-entering traumatic psychological and physical territories. White space as the natural silence of the page--the indefinable, yet present matter that pushes the text into place--permeates the collection as a kind of repression. Italicized fragments wind through the poems as an other-worldly tether that binds the speaker to the subconscious voices of its othered self. These elements grow together into a larger portrayal of the speakers' evolving relationship to the quiet violence of deterioration, to a threatening and threatened landscape, and to the fractures between perception and comprehension into which they slip.