The poems in American Gramophone are menacing—spiked with hazards, threats, warnings and spells—yet the contained lines and composed forms temper the peril with delicacy: a pin curl in the palm, glass shelves full of violets. The collection explores this sharpness and splendor in an agrarian landscape where earth is both burden and livelihood. Here, beneath the music of machinery and birdsong, the trap is set.
Read an excerpt from American Gramophone, and then come back Wednesday for another book cover debut from our upcoming 2015 catalogue. For automatic updates, follow this blog in the right bottom corner.
Find out more about Carey McHugh and American Gramophone. And don’t forget…
Augury’s Reading Period Is Open for Prose and Poetry May 1 – July 31, 2015
The Community of Literary Magazines and Presses (CLMP) released the nominees for their new Firecracker Awards. Inspired by the Firecracker Alternative Book Awards, CLMP’s awards strive to honor and support literary works from independent publishers and self-published writers.
Poet Carey McHugh was recently published in Tin House’s latest issue. Her poem, “Diagram of Select Cuts,” is featured amongst poets such as Dorothea Lasky, Richard Siken, and Deborah Landau. McHugh will be publishing her new manuscript, American Gramophone, with Augury in the spring.
For more information on Tin House’s latest issue, head over to their site!
A year ago this month, friend of Augury Suzanne Guillette (Much to Your Chagrin: A Memoir of Embarassment, Atria Books, 2009) published an essay on memoir in Tin House. Dealing with the roles of perspective and content, Guillette navigates personal experiences which help us to rethink whether or not plot needs to be “memoir-worthy.”
Though Rushdie and Auster may have gone on the record with other reasons for stepping out of the first-person memoir convention, other motivations were probably also at work: not only does crafted distance in memoir inure the writer against calls (internal and otherwise) of self-importance, but it also sets us further adrift in a dreamlike state, allowing the intersection of present consciousness with past events to be, indeed, a very trippy place. Quieting the memoir-worthy debate, writers can go granular, entering a uniquely conjured, not to mention lived, world.”