winter 2019 catalog

winter 2019 catalog

Contents

Possum Living ...... 4

The Orphan of Salt Winds...... 6

Magical Negro...... 8

Famous Men Who Never Lived...... 10

On Cussing ...... 12

Tin House Magazine...... 14

Contact and Distribution Information...... 16 NONFICTION Possum Living: How to Live Well Without a Job and With (Almost) No Possum Living Money is being reissued with an introduction by Novella Carpenter. How to Live Well Without a Job and With (Almost) No Money by DOLLY FREED introduction by NOVELLA CARPENTER n the late seventies, at the age of eighteen Iand with a seventh-grade education, Dolly Freed wrote Possum Living about the five years she and her father lived off the land on a half-acre lot outside of Philadelphia. At the time of its publication in 1978, Possum Living became an instant classic, known for its plucky narration and no-nonsense practical advice on how to quit the rat race and live frugally. In her delightful, straightforward, and irreverent style, Freed guides readers on how to buy and maintain a home, dress well, cope with the law, stay healthy, save money, and be lazy, proud, miserly, and honest, all while enjoying leisure and keeping up a middle-class façade. Forty years later, Freed’s philosophy is world-renowned and Possum Living remains as fascinating, inspirational, and pertinent as it was upon its original publication. This updated edition includes new reflections, insights, and life lessons from an older and wiser JANUARY Dolly Freed, whose knowledge of how to live like 1 1 $15.95 · Trade Paper · 5 /2" x 8 /2" a possum has given her financial security and the ISBN: 978-1-947793-20-0 · eBook: 978-1-947793-21-7 confidence to try new ventures. Rights: World

Following her success as PROMOTION & PUBLICITY an author, DOLLY FREED grew up to be a NASA • Author profiles at key national outlets aerospace engineer. She • Influencer campaign put herself through col- lege after she aced the • High-profile radio spots SATs with an education she received from the public library. She has also been an environmental educator, business owner, and college professor. She lives in Texas with her husband and two children.

4 Praise for Possum Living

“Dolly Freed is my hero….[If] this smart, engaging, funny, and frank manifesto…doesn’t make you want to quit the rat race at least a little bit, then you must be one big, fat rat.”

—VICE

“Compulsively readable… One message comes out loud and clear. As the 18-year-old sage Dolly Freed wrote: ‘I refuse to spend the first 60 years of my life worrying about the last 20.’” —THE NEW YORK TIMES ARTSBEAT

“Dolly is a sharp writer, an autodidact and an 18-year-old of unusual competence and grit…There’s nothing precious about Possum Living: it’s genuine in a way few books are.” —JEZEBEL

“…this book will not only make you laugh but might actually inspire you to embrace a simpler life.” —O, THE OPRAH MAGAZINE

“Possum Living, a manifesto for living cheaply…is a relevant and sassy manual for the nonconsumer lifestyle.” —FLAVORWIRE

“An elegant memoir.” —PHILADELPHIA CITY PAPER

“A paean to self-sufficiency.” —COLUMBIA JOURNAL REVIEW

5 “Virginia Wrathmell knows she will walk onto the marsh one New Year’s Eve and meet her end there. She’s known it for years. Throughout her adolescence and adulthood she spent the last days of every December on edge, waiting for a sign. So when one finally arrives, in her eighty-sixth year, there’s no good reason to feel dismayed.”

Praise for THE ORPHAN OF SALT WINDS

“Like Daphne du Maurier, this novel powerfully conjures up a place, a time and a story that are unforgettable.”

—ROSAMUND LUPTON

“The Orphan of Salt Winds is an atmospheric, beautifully paced novel about sacrifice, the urge to belong, and revenge. It’s full of well-drawn characters I loved to hate, and those that I didn’t want to let go, even after I closed the last page.”

—CLAIRE FULLER

“Elizabeth Brooks’s writing has a quietly magical quality that conjures the atmosphere of Salt Winds effortlessly. This novel is a tenuous and thrilling unfolding of how events in Virginia’s past shape her actions in the present. An excellent blend of psychological mystery with a coming-of-age story, packaged in a unique historical setting—The Orphan of Salt Winds genuinely gave me goosebumps.”

—JOHANNA ALBRECHT, McIntyre’s Bookshop

“I love this story! It captivated me from the first page and I was mesmerized until the last! Elizabeth Brooks has developed such wonderful characters and I developed strong feelings about all of them. Not only are the characters such fascinating personalities but the environment played such a significant role. The description of Salt Winds created a visual picture and I could almost smell the marsh. And then add to that some mystery with an unexpected twist at the end! What more could you ask for? A must read!”

—STEPHANIE CROWE, Page & Palette FICTION For fans of Eowyn Ivey, Rose Tremaine, and Kate Atkinson, The Orphan of Salt Winds is a bewitching debut about the The Orphan of secrets that haunt us. Salt Winds a novel by ELIZABETH BROOKS ngland, 1939. Ten-year-old Virginia EWrathmell arrives at Salt Winds, a secluded house on the edge of a marsh, to meet her adoptive parents—practical, dependable Clem and glamorous, mercurial Lorna. The marsh, with its deceptive tides, is a beautiful but threatening place. Virginia’s new parents’ marriage is full of secrets and tensions she doesn’t quite understand, and their wealthy neighbor, Max Deering, drops by too often, taking an unwholesome interest in the family’s affairs. Only Clem offers a true sense of home. War feels far away among the birds and shifting sands—until the day a German fighter plane crashes into the marsh, and Clem ventures out to rescue the airman. What happens next sets into motion a crime so devastating it will haunt Virginia for the rest of her life. Seventy-five years later, she finds herself drawn back to the marsh, and to a teenage girl who appears there, nearly frozen and burdened by her own secrets. In her, Virginia might have a chance at retribution and a way to right a grave mistake she made as a child. JANUARY

Elizabeth Brooks’s gripping debut mirrors 1 1 $15.95 · Trade Paper · 5 /2" x 8 /2" its marshy landscape—full of twists and turns and ISBN: 978-1-947793-22-4 · eBook: 978-1-947793-23-1 moored in a tangle of family secrets. A gothic, Rights: North American psychological mystery and atmospheric coming- of-age story, The Orphan of Salt Winds is the portrait of a woman haunted by the place she calls home. PROMOTION & PUBLICITY

• Extensive bookseller outreach and Indie Next campaign ELIZABETH BROOKS grew up in Chester, England. She • Major print and digital review push graduated from Cambridge • Strategic online advertising University with a first-class • Book club partnerships degree in Classics, and lives on the Isle of Man • Goodreads, Amazon, and social media with her husband and two review campaign children.

7 POETRY From the breakout author of There Are More Beautiful Things Than Beyoncé, a profound and deceptively Magical Negro funny exploration of black American poems by MORGAN PARKER womanhood.

agical Negro is an archive of Black Meverydayness, a catalog of contemporary folk heroes, an ethnography of ancestral grief, and an inventory of figureheads, idioms, and customs. These American poems are both elegy and jive, joke and declaration, songs of congregation and self-conception. They connect themes of loneliness, displacement, grief, ancestral trauma, and objectification, while exploring and troubling tropes and stereotypes of Black Americans. Focused primarily on depictions of Black womanhood alongside personal narratives, the collection tackles interior and exterior politics—of both the body and society, of both the individual and the collective experience. In Magical Negro, Parker creates a space of witness, of airing grievances, of pointing out patterns. In these poems are living documents, FEBRUARY pleas, latent traumas, inside jokes, and unspoken

1 1 anxieties situated as firmly in the past as in $15.95 · Trade Paper · 5 /2" x 8 /2" the present—timeless Black melancholies and ISBN: 978-1-947793-18-7 · eBook: 978-1-947793-19-4 triumphs. Rights: North American

PROMOTION & PUBLICITY

• High-profile print and broadcast interview MORGAN PARKER is the campaign author of There Are More Beautiful Things Than • Author op-eds in major media outlets Beyoncé and Other People’s • Massive galley mailing to chains and indies Comfort Keeps Me Up At • Targeted influencer campaign Night. Her poetry and es- says have appeared in Tin • 20-city author tour House, the Paris Review, The BreakBeat Poets: New American Poetry in the Age of Hip-Hop, Best American Poetry 2016, the New York Times, and the Nation. She is the recipient of a 2017 National Endowment for the Arts Literature Fellowship, winner of a 2016 Pushcart Prize, and a Cave Canem 8 graduate fellow. “[Parker’s] language is by turns worshipful and profane, her tone colloquial and confessional . . . these exquisite poems defy categorization.”

— The New Yorker

The High Priestess of Soul’s Sunday Morning Visit to the Wall of Respect

The Impressionism wing strikes me as too dainty for my mood, except for one oil painting by Gustave Caillebotte, Calf ’s Head and Ox Tongue, which is described in the wall text as “visually unpleasant.” A bust of an African woman bums me out. This year, I cried at everyone’s kitchen table, I spit on the street and was late on purpose and stepped in glass and my dog died and I saw minuses over and over. I’ll figure it out. I let a man walk away and then another one. It has taken me exactly this long to realize I could have done something else. I’m being repetitive now but do you ever hate yourself?

9 Q&A WITH K CHESS

Your novel revolves around a group of refugees from an alternate timeline—another New York, somewhere across the multiverse—and one of my favorite aspects is the way you describe the differences, large and small, that set our world apart from theirs. How did you decide where our world would be familiar and where it would diverge?

I loved coming up with divergences on every scale, from the Battle Flu epidemic that killed millions in Hel’s alternate world, to the brand name of the cheap lager people drink. Even more brain-bending was figuring out what might remain the same over the course of one hundred years of alternate history. My decisions were pretty arbitrary—just like the forces that shape ordinary lives are arbitrary. Then, I had to follow my decisions to logical conclusions.

Reading about your “Universally Displaced Persons,” I couldn’t help but think of the way our society treats asylum seekers. How conscious were you of those connections? Do you think of this as a political book?

Science fiction is cool because it invites a writer to change one factor while holding other variables steady, just to see what might happen. I wanted to imagine large-scale migration divorced from the racism and xenophobia that almost always accompany it. UDPs are a lot like the New Yorkers who harbor and resent them. Their resentment has a gentler character, maybe, born of familiarity, but it’s still pretty shocking to Hel. In the real world, climate change will probably lead to more and more displaced people; I hope those of us who are lucky will learn to show compassion to those of us who are vulnerable.

Like most of my favorite speculative fiction, Famous Men tells an intimate story on a more expansive canvas, ap- proaching big ideas through a personal lens. What came first, the broader concepts or the characters’ interior lives? How did the two develop alongside each other?

Really, the situation came first. I was thinking about canonical literature I half-remember from high school, likeA Tale of Two Cities. What if every copy were destroyed, leaving no trace but my shaky recollection of the plot? Next came Hel, trying to recover a book as a way to mourn the loss of her son and everything she knew. Only then did I start trying to build a world around her.

At the center of the plot is an old copy of a classic sci-fi novel from Hel and Vikram’s world. It feels like something of a love letter to literature, and to what science fiction in particular is capable of. What books have gotten their hooks into you the way The Pyronauts did for Hel? And what authors would you say most influenced this novel?

I found this Heinlein paperback in my grandma’s house, A Door Into Summer. A time-travel narrative, it takes place in the ‘70s, ‘80s and in 2000. This was Heinlein’s future, but my past. I loved the fabulated space-age details—but also what it told me about the late ‘50s, when he wrote it. Beneath all the freedom they offer, works of science fiction actually say a lot about the place they come from. Hel seeks The Pyronauts because its familiar context comforts her in a strange land. As far as direct influences, I’d listThe Lathe of Heaven by Le Guin, The City & the City by Miéville, and The Insult by Rupert Thomson. I also admire authors like Zadie Smith, Michael Chabon, and Richard Price, who capture the weirdness of ordinary urban life. FICTION For readers of Station Eleven and Exit West, Famous Men Who Never Lived explores the effects of displacement Famous Men Who on our identities, the communities that come together through circumstance, Never Lived a novel by K CHESS and the power of art to save us.

herever Hel looks, New York City is W both reassuringly familiar and terribly wrong. As one of the thousands who fled the outbreak of nuclear war in an alternate United States—an alternate timeline—she finds herself living as a refugee in our own not-so-parallel New York. The slang and technology are foreign to her, the politics and art unrecognizable. While others, like her partner Vikram, attempt to assimilate, Hel refuses to reclaim her former career or create a new life. Instead, she obsessively rereads Vikram’s copy of The Pyronauts—a science fiction masterwork in her world that now only exists as a single flimsy paperback—and becomes determined to create a museum dedicated to preserving the remaining artifacts and memories of her vanished culture. But the refugees are unwelcome and Hel’s efforts are met with either indifference or hostility. And when the only copy of The Pyronauts goes missing, Hel must decide how far she is MARCH willing to go to recover it and finally face her 1 1 $24.95 · Trade Cloth · 5 /2” x 8 /2” own anger, guilt, and grief over what she has ISBN: 978-1-947793-24-8 · eBook: 978-1-947793-25-5 truly lost. Rights: North American

PROMOTION & PUBLICITY

K CHESS was a W.K. • Indies Introduce and Indie Next push Rose Fellow and her • Library and book club marketing campaign short stories have • Desksides with New York media been honored by the Nelson Algren Award • High-profile excerpt placement and the Pushcart Prize. She earned an MFA from Southern Illinois University and currently teaches at GrubStreet. She lives with her wife in Boston, MA. 11 #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##* %#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%#@#$*#@@^^@#$#*%#@# NONFICTION Cult hero and National Book Award finalist Katherine Dunn teaches us how to curse with maximum effect. On Cussing #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!! Bad Words and Creative Cursing @##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%#

by KATHERINE DUNN uck the Fuckity Fuckin’ Fucker. Readers of F Katherine Dunn won’t be surprised that #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#* this was her father’s favorite sentence, or that, %#@##@#**@#%@@&$$!!@##*%#@#$*#@@^^@#$#*%#@# as a young girl, she heard it as a kind of profane poem, a secret song. For many of us, the language of Geek Love carries a similar staying power, born of Dunn’s agile use of language and her strange, %#^@#$#*%#@##@#**@#%$$*^%#@&@!#&&*@#%#@##@##@#**@#%$$*^%#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@# beautiful diction. And as a true exegete of the $#*%#@##@#**@#%$$*^%#@&@!#&&*@#%#@#@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#% expletive, she remained undividedly devoted to obscenity—both as scholar and practitioner. In On Cussing, Dunn sketches a brief history of swear words and creates something of a field guide to their types and usages, from the #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#* common threat (“I’ll squash you like a shithouse %#@@&$$!!@##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@# mouse”) to the portmanteau intensifier (“Fan- #*%#@#$*#@@^^@#$#*%#@# fucking-tastic”). But she also explores their physiology—the physical impact on the reader or listener—and makes an argument for how #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@@@&$$! and when to cuss with maximum effect. Equal !@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$# parts informative and hilarious, this volume will delight Dunn’s legion of fans, but it’s also a must-have for anyone looking to more MARCH successfully wield their expletives, be it in 1 1 $9.95 · Trade Paper · 4 /2" x 6 /4" writing or in everyday speech. ISBN: 978-1-947793-26-2 · eBook: 978-1-947793-27-9 Rights: North American #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@& $$!!@##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&#@&@!#&&*@#%#@#& PROMOTION & PUBLICITY KATHERINE DUNN was a #@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$# novelist and boxing journal- • Point-of-purchase displays ist who lived and worked in • Extensive academic outreach Oregon. She is the author of three novels—Attic; Truck; • Social media influencer campaign and Geek Love, which was a #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@@@ • Featured title at AWP 2019 finalist for both the National &$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%#@#$*#@@^^@#$#*%#@# Book Award and the Bram Stoker Prize—as well as the essay collection One Ring Circus. She died in 2016. #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^ @@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%#@#$*#@@^^@#$#*%#@#

12 #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@@@ &$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$# %#^@#$#*%#@##@#**@#%$$*^%#@&@!#&&*@#%#@##@##@#**@#%$$*^%#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@## @#**@#%$$*^%#@&@!#&&*@#%#@#@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%

#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##* %#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%#@#$*#@@^^@#$#*%#@#

#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!“[Dunn’s prose is] a pyrotechnic medium so far removed from our workaday speech that it @##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%#feels unfair and inaccurate to call that fire-language ‘English.’” —KAREN RUSSELL, in Wired %#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%$$ *^%#@&@!#&&*@#%#@#&#@!!%#^@*&* #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*“Dunn grafted vaudeville vernacular onto a cool classicism, a prose style at once effortless and extravagant . . . [she] once said%#@##@#**@#%@@&$$!!@##*%#@#$*#@@^^@#$#*%#@# her ambition was ‘to write something that will punch out through time,’ and almost 30 years on, Geek Love does exactly that.” %#^@#$#*%#@##@#**@#%$$*^%#@&@!#&&*@#%#@##@##@#**@#%$$*^%#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*% —The Atlantic

%#^@#$#*%#@##@#**@#%$$*^%#@&@!#&&*@#%#@##@##@#**@#%$$*^%#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@# $#*%#@##@#**@#%$$*^%#@&@!#&&*@#%#@#@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#% From “HOW WE CUSS”

In order to convey urgency or severity:

#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*The language needs to be brief and sharp%#^@#$#*%#@##@#**@#%$$*^%#@&@!#&&*@#%#@##@##@#**@#%$$*^%#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##—the attraction of the sadly overusedfuck , fuck you, @#**@#%$$*^%#@&@!#&&*@#%#@#@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#% %#@@&$$!!@##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@#or fuck off works in terms of brevity as well as an aggressive attack tone. It’s perfect for a stung response. However, finding#*%#@#$*#@@^^@#$#*%#@# a less #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%hackneyed way to accomplish this is a challenge. #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^Overuse of any word decimates its#@@&$$!!@##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##* power. During WWI, fuck became a military norm. The @@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$ linguists of the time wrote that the%#@#$*#@@^^@#$#*%#@# word #no longer signified anything except as a warning that #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@@@&$$! a noun is on its way. For a sergeant to shout, “Get your fucking rifles” was routine. To express !@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$# urgency, the sergeant had to not cuss. If he said, “Get your rifles,” his men jumped to it.

Intensifiers:

As substitute for very or really, etc. As in, I’m fucking cold, or, It was fucking big. %#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%$$ *^%#@&@!#&&*@#%#@#&#@!!%#^@*&* Portmanteau intensifiers: #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@& $$!!@##*%#@#$*#@@^^@@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&#@&@!#&&*@#%#@#&Fan-fucking-tastic has been around since the 1920s. Catastro-fuck was a word that recently appeared on The #@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#Daily Show.

Fillers#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^ (expletive): @@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%# To enhance or complete a lingual rhythm or to set up a particular negative tone of discontent,

#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@@@bitterness, boredom, etc. As in, I’m just waiting on the fucking corner. &$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%#@#$*#@@^^@#$#*%#@# Tone setting, as a substitute for an ordinary word:

My shit was squared away, but his shit was all over the place. #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^ @@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&$$!!@##*%#@#$*#@@^^@#$#*%#@#

13 #@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#*%#@##@%#^@**#@@#^#*%#@@&$$!!@##*%#@#$*#@@^^@@@ &$$!!@##*%#@#$*#@@^^@#$#*%#@##@#**@#%@@&#@&@!#&&*@#%#@#&#@!!%#^@*&*@@&$$!!@##*%#@#$*#@@^^@#$#

∏ınHouseMAGAZINE An award-winning quarterly, Tin House started in 1999, the singular love child of an eclectic literary journal and a beautiful glossy magazine.

COMING SOON

20th Anniversary Issue SPRING 2019

We can hardly believe it ourselves: it’s our china anniversary! But we won’t be giving you plates and tea sets in this issue. We’ll be serving up the spicy mix of fiction, poetry, and nonfiction that readers have come to expect from us over the years. Expect work from our perennial favorites like Anthony Doerr, Jo Ann Beard, and Sharon Olds, and from exciting new voices we hope become household names.

$12.95 · Ships February 2019 ISBN: 978-1-942855-25-5 · eBook: 978-1-942855-26-2 SUSAN CHOI · BEN OKRI · MOLLY RINGWALD · PER PETTERSON · DANIEL HANDLER · JO ANN BEARD JAYNE ANNE PHILLIPS · MARY RUEFLE · CLAIRE VAYE WATKINS · “Tin House is an invaluable repository of fine American writing and American fiction” —STEPHEN KING · HA JIN · ETGAR KERET CHARLES BAXTER · JOSHUA FERRIS · BILLY COLLINS LYDIA DAVIS · ANNE CARSON · JAMES PATTERSON “When you crave fiction that’s crafted with daring and passion and precision, Tin House is the only place to turn.” — · SAMANTHA HUNT · KURT VONNEGUT MATTHEA HARVEY · MARIE HOWE · · MARY HIGGINS CLARK · ERNEST HEMINGWAY · JODI ANGEL · “With each issue you finish, you’re more awake, erudite, socially aware, and alert to exciting new writers. What more do you want between two covers, anyway?” —JIM SHEPARD · ALISSA NUTTING · DAVID LEHMAN · RON CARLSON · DARCEY STEINKE · AMY BLOOM · KEVIN YOUNG · BINYAVANGA WAINAINA “Tin House magazine is a port in the storm for people who love language. —KAREN RUSSELL · LYNNE TILLMAN JAMES SALTER · STEVEN MILLHAUSER · MAGGIE SHIPSTEAD · MATT BELL · INGER CHRISTENSEN GINGER STRAND · STACEY D’ERASMO · ROXANE GAY CÉSAR AIRA · “Tin House is a human habitat, an abode for the bodacious, an apartment for the artful, a bullpen for writers, a castle, a cave.”—DORIANNE LAUX · · DENIS JOHNSON · DOROTHEA LASKY · ELISSA SCHAPPELL · ANN HOOD · WALTER MOSLEY · BEI DAO · ELENI SIKELIANOS · WAYNE KOESTENBAUM Tin House Books United Kingdom, Ireland, Europe, People’s Republic of China: 2617 NW Thurman Street the Middle East, Africa: Everest International Publishing Services Portland, OR 97210 W. W. Norton & Company Ltd. Wei Zhao, Director 503-473-8663 15 Carlisle Street 2-1-503 UHN Intl [email protected] London W1D 3BS 2 Xi Ba He Dong Li www.tinhousebooks.com United Kingdom Beijing 100028 Tel (44) 20 7323 1579 Tel (86) 10 5130 1051 Publisher: Win McCormack Fax (44) 20 7436 4553 Fax (86) 10 5130 1052 Editorial Advisor: Rob Spillman email: [email protected] Mobile (86) 13 6830 18054 Sales & Marketing: Nanci McCloskey email: [email protected] Australia and New Zealand: Tin House Magazine John Wiley & Sons Australia, Ltd. Singapore, Malaysia, Brunei: 2601 NW Thurman Street 42 McDougall Street Pansing Distribution Pte Ltd. Portland, OR 97210 Milton, Queensland 4064 1 New Industrial Road 503-219-0662 Tel (61) 7 3859 9755 Times Centre [email protected] Fax (61) 7 3859 9715 Singapore 536196 www.tinhouse.com email: [email protected] Tel (65) 6319 9939 Fax (65) 6459 4930 126 13th Street #4R Japan: email: [email protected] Brooklyn, NY 11215 Rockbook – Gilles Fauveau 718-788-1116 Exprime 5F 10-10 Ichibancho Thailand, Cambodia, Laos, Vietnam, [email protected] Chiyoda-ku Myanmar: www.tinhouse.com 102-0082 Tokyo Hardy Bigfoss International Co., Ltd. Japan 293 Maenam Kwai Road, Tambol Tha Publisher: Win McCormack Tel (81) 90 9700 2481 Makham Editor: Rob Spillman Tel (81) 90 3962 4650 Amphur Muang Managing Editor: Cheston Knapp email: [email protected] Kanchanaburi 71000 Circulation: Laurie Levasseur, email: [email protected] Thailand Circulations Specialists, Inc. Tel (66) 3451 1676 Taiwan and Korea: Fax (66) 3451 1746 Distributed in the United States by B. K. Norton Ltd. email: [email protected] W. W. Norton & Company, Inc. 5F, 60 Roosevelt Road 500 Fifth Ave Sec. 4, Taipei 100 Mexico, South and Central America, the New York, NY 10110 Taiwan Caribbean: Tel (212) 354 5500 Tel (886) 2 6632 0088 US PubRep, Inc. Order Dept. Tel (800) 233 4830 Fax (886) 2 2368 8929 5000 Jasmine Drive Order Dept. Fax (800) 458 6515 email: [email protected] Rockville, MD 20853 Customer Service (800) 233 4830 USA Special Sales (800) 286 4044 Hong Kong and Macau: Tel (301) 838 9276 www.wwnorton.com Transglobal Publishers Service Ltd. Fax (301) 838 9278 27/F Unit E Shield Industrial Centre email: [email protected] Canada: 84/92 Chai Wan Kok Street Penguin Random House Canada Tsuen Wan, N.T. 320 Front Street West, Suite 1400 Hong Kong Toronto, Ontario M5V 3B6 Tel (852) 2413 5322 Tin House Books Winter 2019 Catalog Tel (888) 523-9292 Fax (852) 2413 7049 Printed by Brown Printing Fax (888) 562-9924 email: [email protected] Portland, Oregon email: customerservicescanada@ www.brownprn.com penguinrandomhouse.com ∏ıın Hou se Bo oks Portland, Oregon & Brooklyn, New York www.tinhouse.com