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Home , Andrea Barrett, Ha Jin, Julia Glass, The Third Man, Three Junes, Tin House

TIN HOUSE FALL 2017 CATALOG fall 2017 catalog

Contents

The Tunnel at the End of the Light...... 2

Kiss Me Someone...... 4

Grow Your Own...... 6

The Glass Eye...... 8

The Senator’s Children...... 10

The Journal of Jules Renard...... 12

Tin House Magazine...... 14

Contact and Distribution Information...... 16 ESSAYS The first book of nonfiction from one of our great The Tunnel at the fiction writers. End of the Light Essays by JIM SHEPARD iven that most proudly Gconsider themselves nonpolitical, where do our notions of collective responsibility come from? Why do we believe, for example, that our country always means well when intervening abroad? And why do we defend that idea more fiercely than other nationalities? The Tunnel at the End of the Light argues that some of our most persistent and destructive assumptions, in that regard, might come from . Shepard weaves close readings of film, cultural criticism, and personal essay to explore the ways in which movies work so ubiquitously to reflect how Americans think and act. He examines how we enter into conversations with specific genres and films— Chinatown, The Third Man, Lawrence of Arabia, and Badlands among others—in order to construct, refine, and circulate our most cherished illusions about ourselves.

JIM SHEPARD is the author of seven novels, including The Book of Aron; five story SEPTEMBER collections, including

3 Like You’d Understand, $15.95 · Trade Paper · 5" x 7 /4" Anyway—a finalist ISBN: 978-1-941040-72-0 · eBook: 978-1-941040-73-7 for the National Book Rights: North American Award and winner of The Story Prize—and editor of the anthology Writers at the Movies. He lives in Williamstown, , with his wife, three PROMOTION & PUBLICITY children, and three beagles. He teaches at Williams • Major review attention College. • National print and broadcast features • Events in Williamstown, MA; New York, NY; Austin, TX • Outreach to film publications and websites • Library marketing • Advance reading copies

2 from JIM SHEPARD’S INTRODUCTION

As anyone doing cultural criticism these days might have predicted, these essays are mostly about the power and resilience of the lies we tell ourselves as a collective. Movie genres emerged as a kind of implicit ongoing conversation between audiences voting with their feet and moviemakers doing what they could to standardize expectations and build on past successes. As those conversations became more refined, film genres began to appeal less to our experience of reality and more to the rules of the genres themselves; in other words, they created their own fields of reference. And is it possible to imagine an administration that would foreground that issue more spectacularly and urgently than our current one? We now confront a regime that presents as its public face hacks and sociopaths who have no trace of shame about lying directly in the face of contradictory evidence. Of course, in many ways the veteran political scientist’s response to that would be: so what’s new about that? Americans have been covertly demanding this for years, but recently a large percentage of us have come very close to just openly telling our leaders and media: Don’t tell me the truth anymore, and if you do, I’ going to get enraged. And now that’s earned us a government that has openly declared war on the free transfer of information and has set about punishing any allegiance to what it considers unpleasant truths. This is what empires do at the end: they refuse to face the facts that the world is changing, and they no longer have unlimited hegemonic power. And of course citizens are encouraged to refuse to face those facts by their leaders, who find denying the truth infinitely easier than answering questions about why they can’t change it. The models on display in these movies—the sentimental sociopath, suffused with self-pity; the feckless cipher bereft of any inner life who defines himself, then, by aggressive action; the isolated narcissist who imagines himself as a Hero in Disguise and takes as a matter of course his primacy over others; the movers and shakers who are now open and ebullient in their rapacity and ruthlessness; the megalomaniacs whose monstrous assurance steamrolls any doubt generated by the world of contradictory facts; the willed innocents who wreak havoc obliviously, with an outraged sense of their own virtue; and the ideologues who’ve been proven wrong time and time again but have reassured their supporters precisely by their inability to learn, by their insistence that they’re no wafflers—at this point they’re all mostly governing us, in both senses of the word.

3 PRAISE FOR KAREN SHEPARD

“Karen Shepard’s characters vibrate with desire and disappointment, so obdurately individual that a whole world springs to life around them.”

—, author of Ship Fever and The Air We Breathe

“Shepard excels in the rendering of dailiness, with lovely moments of linkage between cultures.”

—AMY HEMPEL, Bomb magazine

“Not since Virginia Woolf have the snares and scars of familial relationships been rendered with such brilliance, sensitivity, and icy understatement.”

—RON HANSEN, author of The Assassination of Jesse James by the Coward Robert Ford

“Riveting and deeply felt and true.”

—DAVE EGGERS, author of A Heartbreaking Work of Staggering Genius

“I love the way Shepard tells [a story] with a cool, deliciously cinematic eye . . . yet a warm and generous heart. Her characters will haunt me for some time to come.”

—, author of FICTION From the author of The Celestials, a collection of stories that will appeal to readers of Lucia Berlin, Mary Gaitskill, Kiss Me Someone and Mia Alvar. Stories by KAREN SHEPARD

old and unapologetic, Karen Shepard’s Kiss BMe Someone is inhabited by women who walk the line between two states: adolescence and adulthood, stability and uncertainty. They navigate the obstacles that come with mixed- race identity and the blending of social classes, and they use their in-between positions to leverage power. Sometimes this manifests as rage and sometimes as compassion—and often as sex—but it almost always comes in the form of self-destructive behavior. Shepard’s stories explore what we do to lessen the burden of sadness and isolation; her characters, fiercely true to themselves, are caught between their desire to move beyond that isolation and a fear that it’s exactly where they deserve to be.

KAREN SHEPARD is a Chinese-American born and raised in . She is the author of four novels, An Empire of Women, The Bad Boy’s SEPTEMBER 3 Wife, Don’t I Know You?, $19.95 · Hardcover · 5" x 7 /4" and The Celestials. Her ISBN: 978-1-941040-75-1 · eBook: 978-1-941040-76-8 short fiction has been published in theAtlantic Rights: North American Monthly, Tin House, and , among oth- ers. Her nonfiction has appeared inMore , Self, USA Today, and the Globe, among others. She PROMOTION & PUBLICITY teaches writing and literature at in Williamstown, Massachusetts, where she lives with • Major review and feature attention her husband, writer Jim Shepard, and their three • Extensive ARC distribution to chains and children. indies • Personal essays and excerpts • Author appearances in Williams, MA; . Boston, MA; New York, NY; Austin, TX • Author appearances throughout Pacific Northwest

5 NONFICTION Everything a home grower needs to understand, cultivate, and enjoy Grow Your Own cannabis. by NICHOLE GRAF, MICAH SHERMAN, DAVID STEIN, & LIZ CRAIN s prohibition wanes, and cannabis A aficionados of all stripes come out from the shadows, the old stereotypes are fading. The benefits of cannabis are undeniable— medicinally, sure, but also for stress, for creativity, and for relaxation. And as any homebrewer, winemaker, or backyard gardener can tell you, there’s a particular joy in doing it yourself. Whether you’re new to cannabis and need to walk through the basics, or you’re an experienced grower looking to hone your techniques, Grow Your Own provides all the background and instruction you need to set up a grow space, raise your plants, and harvest your buds. It will teach you how to choose a strain based on its flavors and effects, how to manage insects and molds without the use of pesticides, and how to mix just the right soil. But Grow Your Own will also give you a primer on the myriad ways to enjoy cannabis—from carving an apple pipe to punching up your favorite brownie recipe. With photography, visual aids, and illustrations from Allen Crawford (Whitman SEPTEMBER Illuminated ), Grow Your Own makes 1 $26.95 · Hardcover · 7 /2" x 9" cultivating cannabis as accessible as it is rewarding. ISBN: 978-1-941040-58-4 · eBook: 978-1-941040-59-1 Rights: World

PROMOTION & PUBLICITY

• Color illustrations and photographs • National media interviews • Print and online features • Social media campaign • Author appearances throughout Pacific DAVID STEIN, NICHOLE GRAF , and MICAH Northwest SHERMAN are owners of Raven, a recreational cannabis company in Washington state that prides • BLADs for wide mailing to chains . itself on producing environmentally and socially and indies responsible organic cannabis and cannabis-infused products, and guaranteeing good vibes. LIZ CRAIN is the author of Toro Bravo: Stories. Recipes. No Bull and A Food Lover’s Guide to Portland. 6 Interview with NICHOLE GRAF, Creative Director at Raven

TIN HOUSE: You left the fashion world and moved across the country to do something entirely different; what inspired that?

NICHOLE GRAF: I was lucky to have a job in ready-to-wear fashion that encouraged creativity, innovation, and integrity of design. That said, I was hungry for a motivator that wasn’t entirely commerce driven—I just didn’t know how to combine all of these things I was feeling into a next move. When the opportunity to partner in Raven presented itself, it took me entirely by surprise. I did so much initial research on what was happening on the West Coast in the cannabis world and came to the conclusion that I just couldn’t pass up an opportunity to be a true pioneer in this industry. To be one of the first businesses in what is essentially an entirely new industry still feels like a once-in-a-lifetime opportunity.

TH: It seems as though cannabis is moving into the specialty market. People are beginning to view cannabis like beer drinkers view craft beer or an oenophile views wine; do you think that’s true?

NG: I think the cannabis consumer base is diversifying, and that includes a customer that appreciates a product that has more thought, intention, and resources invested in its production. Luckily, that customer is also someone we hope our products speak to! We, and other brands like ours, feel very strongly that this industry needs to work to protect small businesses that not only value innovation and push to make interesting products, but also operate their businesses responsibly and ethically. We feel very protective of the integrity of this movement, and are trying in any way we can to be the other end of the spectrum from the “I want to be Budweiser!” large-scale corporate cannabis operations.

TH: Why should a person grow their own cannabis?

NG: I think there are three reasons you should at least consider it.

1. Growing something, anything, is good for the soul. That sounds so cliché, but it’s so true. Cannabis is especially rewarding, as it’s a beautiful plant to observe as it goes through its various cycles of growth.

2. This is a brand-new thing for a vast majority of people. That includes the people employed at cannabis shops. Growing a plant (or a few . . .) is a great way to learn so much more firsthand than you can from a budtender.

3. Maybe you’re becoming a regular cannabis connoisseur, or maybe you’re considering becoming one. Growing your own is a chance to try your hand at hard-to-find strains, magical nutrients that make incredible claims, time-demanding specialized curing that would cost you dearly in a retail shop—you get the idea. It’s also a cool thing to be able to offer someone your homegrown cannabis while you’re entertaining.

7 PRAISE FOR THE GLASS EYE

“Every memoir is a reckoning with the past, but only the most skilled and courageous memoirist can simultaneously inhabit the story that haunts her and the story of her reckoning with equal urgency. In The Glass Eye, Jeannie Vanasco shows us why rules should be broken: because an elegy that pulses with immediacy, a fragment that is inextricable from a whole, a book that comments on its own writing can smash what you think you know into pieces, and expose a piece of truth so bright it might be your own broken heart, handed back to you.” —MELISSA FEBOS, author of Whip Smart and Abandon Me

“One month after going away to college, Jeannie Vanasco learned that her father had died, and with him his unconditional and sometimes all-consuming love for her. In The Glass Eye the writer asks, in prose that mesmerizes with geometric precision, how we can orient ourselves to the world when our only compass is grief. What begins as an experience of profound loss becomes an obsession, the fierce intensity of which propels readers through this breathtaking book.” —LACY JOHNSON, author of The Other Side

“Jeannie Vanasco’s The Glass Eye is memoir as it ought to be, but so rarely is: beautiful and painfully raw, but also restrained and lyrical. Vanasco is brilliant, and this book proves it.” —DARIN STRAUSS, author of Half a Life

“I loved every word of The Glass Eye. It’s a story about stories, a story about the impossibility of ever telling the whole story. It’s a detective story that interprets itself as it goes, raising the stakes and thickening the plot. It’s also a love story, a ghost story, a story about the most important man who ever lived: the narrator’s dad. Her literal reason for being. But it’s also a story that I can’t help but feel was written just for me.” —DANIEL RAEBURN, author of Vessels: A Memoir

“Wise, brave and beautifully wrought, The Glass Eye signals the arrival of an exceptionally fine new voice.” —ALEXANDRA STYRON, author of Reading My Father

8 MEMOIR For fans of Maggie Nelson and Meghan O’Rourke, Jeannie Vanasco emerges as a definitive new voice in this stunning The Glass Eye portrait of a daughter’s love for her father A memoir by JEANNIE VANASCO and her near-unraveling after his death.

he night before her father dies, eighteen- Tyear-old Jeannie Vanasco promises she will write a book for him. But this isn’t the book she imagined. The Glass Eye is Jeannie’s struggle to honor her father, her larger-than-life hero but also the man who named her after his daughter from a previous marriage, a daughter who died. After his funeral, Jeannie spends the next decade in escalating mania, in and out of hospitals—increasingly obsessed with the other Jeanne. Obsession turns to investigation as Jeannie plumbs her childhood awareness of her dead half-sibling and hunts for clues into the mysterious circumstances of her death. It becomes a puzzle Jeannie feels she must solve to better understand herself and her father. Jeannie Vanasco pulls us into her unraveling with such intimacy that her insanity becomes palpable, even logical. A brilliant exploration of the human psyche, The Glass Eye deepens our definitions of love, sanity, grief, and recovery. OCTOBER

1 1 JEANNIE VANASCO has $15.95 · Trade Paper · 5 /2" x 8 /2" written for The Believer, ISBN: 978-1-941040-77-5 · eBook: 978-1-941040-78-2 Little Star Journal, Rights: World NewYorker.com, the Times Literary Supplement, Tin House, and elsewhere. PROMOTION & PUBLICITY Born and raised in Sandusky, Ohio, she now • Major review and feature attention lives in Baltimore and teaches at Towson University. • Extensive ARC distribution to chains and indies • Personal essays and excerpts • National print and broadcast features • Library marketing • Digital promotion via Goodreads, Facebook, Instagram

9 FICTION In a country that loves second chances, are some transgressions The Senator’s simply unforgivable? Children A novel by NICHOLAS MONTEMARANO isters Betsy and Avery have never met, but Sthey have both spent their lives under the scrutiny of prying cameras and tabloid journalists. Their father, David Christie, was a charismatic senator and promising presidential candidate until infidelity destroyed his campaign and his family’s life. In the aftermath, Betsy grieves her broken family, while Avery struggles with growing up estranged from her infamous father yet still exposed by the national spotlight. Years later, as David’s health declines, Betsy and Avery are forced to face their complicated feelings about him—and about each other. With delicacy and empathy, Nicholas Montemarano brings these sisters together in a parallel of grief and grace. In The Senator’s Children, Nicholas Montemarano brilliantly distills the American family under pressure.

NICHOLAS MONTEMARANO is the author of two previous novels, The Book of Why (2013) and A Fine Place (2002), and a collection, If the Sky Falls NOVEMBER (2005), a New York Times 3 $15.95 · Trade Paper · 5" x 7 /4" Book Review Editors’ Choice. ISBN: 978-1-941040-79-9 · eBook: 978-1-941040-80-5 His short stories have been published in Esquire, Tin House, Zoetrope: All-Story, The Pushcart Prize, and Rights: North American elsewhere, and have received special mention in The Best American Short Stories four times. He is the PROMOTION & PUBLICITY recipient of fellowships from the National Endowment for the Arts, the MacDowell Colony, Yaddo, and the • Major review and feature attention Bread Loaf Writers’ Conference. Montemarano grew up in Queens and now lives in Lancaster, Pennsylva- • Extensive ARC distribution to chains and indies nia, where he is a professor of English at Franklin & Marshall College. • Personal essays and excerpts • Digital promotion via Goodreads, Facebook, Instagram

10 praise for NICHOLAS MONTEMARANO

“Nicholas Montemarano is a brilliant storyteller with a ’s heart.”

—CLAUDIA EMERSON, Pulitzer Prize–winning author of Late Wife

“An American stylist capable of redeeming our darkest dreams.”

—JAYNE ANNE PHILLIPS, author of Lark and Termite

“Montemarano is a brilliant illuminator of the outer reaches of hope.”

—JULIE ORRINGER, author of How to Breathe Underwater and The Invisible Bridge

“I love Nicholas Montemarano’s writing. He turns the lights up so bright on the beauty of daily life that the dark places he goes leave you gasping.”

—RACHEL DEWOSKIN, author of Big Girl Small

from THE SENATOR’S CHILDREN

David knew there was a fine line between sincerity and show. Actually, he thought, they often overlapped. He’d had to negotiate the relationship between the two during the campaign and, before that, as a trial lawyer. Both jobs required sincerity as well as exaggeration. How things were and how others perceived them. Genuine emotions and manufactured emotions. Most of his clients had been injured in car accidents, many caused by drunk driving, injuries ranging from whiplash to paralysis. Some clients were the families of those killed, survivors suing for damages. As an attorney, he understood how to put a number on such loss, some figure the family tried to believe could compensate for even a fraction of their pain. It was never enough, but there was a number. When he spoke about a family’s grief, he did feel it—not exactly what they felt, but something—and he never doubted that the work he did on behalf of his clients was valuable. He believed that he was good at what he did at least in part because he could sufficiently imagine the pain of a man who would never walk again or have sex with his wife again, or the sorrow of a mother who’d had to bury her child. He felt for them and channeled his emotions into his work, even before the accident that took Nick. But now he knew that there really was no number.

11 N

From the journal:

In order to do certain things, it is necessary to behave like a coachman who has let go of the reins and fallen asleep. •

Andre Gidé is clean-shaven, has a cold in the nose and throat, an exaggerated jaw, eyes between two welts. He is in love with Oscar Wilde, whose photograph I perceive on the mantel: a fleshy gentleman, very refined, also clean-shaven, who has recently been discovered. •

Sarah Bernhardt. When she comes down the winding staircase of the hotel, it looks as though she were standing still, while the staircase turned around her. •

I turn home, my heart filled with anguish because I have watched the sun set and heard the bird sing, and because I still have had so few days on this earth I love, and there are so many dead before me. •

One does not grow old. Where the heart is concerned, the fact is accepted, at least in matters of love. Well, it is the same in the mind. It always remains young. You do not understand life any more at forty than you did at twenty, but you are aware of this fact, and you admit it. To admit it is to remain young. •

Books have lost their savor. They no longer teach me anything. It is as though one were to suggest to a painter that he copy a painting. O nature! There is only you left. •

I don’t understand life at all, but I don’t say it is impossible that God may understand it a little. MEMOIR “Directly, or indirectly, Renard is at the origin of contemporary literature.”

—JEAN-PAUL SARTRE The Journal of Jules Renard rom 1887 to a month before his death A memoir by JULES RENARD Fin 1910, French author and playwright Jules Renard composed an autobiographical masterpiece. Celebrated abroad and cited as a principal influence by writers as various as Somerset Maugham, , and Donald Barthelme, The Journal of Jules Renard has developed a cultish following. Over the course of the decades, Renard develops not only his career and artistic convictions but also his humanity. He reflects on art and literature—and their accompanying social scenes—and moments from his personal life that he so often mined in his work (his love interests, his position as a socialist mayor of Chitry, the suicide of his father). A mix of aphorisms, observations, short scenes, gossip, jokes, and meditations, The Journal of Jules Renard anticipated the lyric essays and memoir of the twenty-first century, but it’s a unique work all its own.

JULES RENARD (1864– 1910) was a French author and playwright and member of the Académie Goncourt, most famous for the works Poil de NOVEMBER Carotte (Carrot Hair) 1 1 $16.95 · Trade Paper · 5 /2" x 8 /2" and Histoires Naturelles ISBN: 978-0-979419-87-4 · eBook: 978-1-935639-59-6 (Natural Histories). Rights: North American LOUISE BOGAN (1897–1970) was an author, transla- tor, editor and the fourth Poet Laureate of the . PROMOTION & PUBLICITY • Outreach to literary publications and ELIZABETH ROGET was born in French Switzerland websites before relocating to the United States. In addition to her translation work, she was the author of the • Academic outreach novel Shagbark Hill and her short stories appeared • Online promotion, including extensive . in the New Yorker. Twitter campaign

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∏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

True Crime FALL 2017

Grand and slight, gritty and slick, our fall issue will be packing stories, essays, and poems inspired by the true crime genre. The long con is on you if you miss out on this one!

$12.95 · Ships August 2017 ISBN: 978-1-942855-13-2 · eBook: 978-1-942855-14-9

Winter Reading WINTER 2017

An eclectic mix of established and emerging writers, including Nicholson Baker, Bianca Stone, and Patricia Smith.

$12.95 · Ships November 2017. ISBN: 978-1-942855-15-6 · eBook: 978-1-942855-16-3 · 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 · · 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 · · · DOROTHEA LASKY · ELISSA SCHAPPELL · ANN HOOD · WALTER MOSLEY · BEI DAO · ELENI SIKELIANOS · WAYNE KOESTENBAUM Tin House Books , 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 543 Union Street, Unit 2B 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 Fall 2017 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 TINHOUSE.COM