Brian Bradford

Coming Fall 2015

from Blue Bustard Novellas series


Available as black-on-cream paperback or…


… as full-color illustrated paperback or ebook, published in tandem with Nathan Hansen’s novella, Forget You Must Remember.





Greetings from Gravipause


a novella by

Brian Bradford

with original art by Anne Austin Pearce

“funny, heartbreaking, and unorthodox”

—BJ Ward



Greetings From Gravipause: The term gravipause is indigenous to cosmology; it identifies that point in physical space where two celestial bodies either lose their gravitational attraction for each other and break apart or collapse into each other. When applied to love relationships it takes on a whole other resonance. Greetings From Gravipause, a parallel narrative, tells the story of a 30-ish Anglo underachiever, self-professed failed bulimic, adjunct instructor of astronomy and his wife of eleven years, a Geisha wannabe with angelic mezzo soprano pipes, this juxtaposed with the story of a young father of two, soon three, on the morning he will leave his wife and children for a woman twelve years his senior. The novella explores the themes of love, and dissolution, stasis and legacy. It’s about a father and a son. Husband and wife. Falling together. Or breaking apart. A tragi-comic attempt to take the reader to that place where one comes to realize that the days ahead are as scripted and certain as the days gone by. A place where the ties that bind have become frayed and of little consequence. The postcard reads Greetings From Gravipause.


“Greetings from Gravipause is so good on so many levels, it is hard to believe it is a first book. Brian Bradford exhibits a precision and a playfulness with language that strike a rare, gratifying balance between wise guy and repenter. Moments throughout this novella tickle and punch at once, and the book itself is part exorcism, part exultation. Welcome to this new church where the guilty can find a good drink and where laughter is an absolution. For those of us who’ve desired the arrival of a fully-formed voice that’s funny, heartbreaking, and unorthodox at once, Brian Bradford is who we’ve been waiting for.”

—BJ Ward, Author of Jackleg Opera

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“Whether it’s a fully realized, multi-faceted musical composition or a unique universe, or both, in Greetings from Gravipause, Brian Bradford has crafted a whole world, at once familiar and strange, out of language very much his own, and now ours—which is what we ask of art.”

—Ellen Akins, Author of Home Movie, World Like a Knife, Hometown Brew

brian-001-6A recipient of the Henfield Transatlantic Review Award for Fiction, Brian Bradford has published work in numerous small press publications including: New Blood and Black Ice (FC2). He has studied fiction at the University of Colorado and holds an MFA in Creative Writing from Fairleigh Dickinson University.   Bradford teaches at Warren County Community College, where he is a full professor and co-director of the Creative Writing Program. When not teaching or writing, you will find him in his laboratory working diligently to create environmentally friendly foot deodorants for our astronauts and Olympic Athletes. Bradford’s first novella, Greetings From Gravipause will be released by Jaded Ibis Press in the spring of 2015. He currently resides in New Jersey with his wife Sadako, daughter Erin, two Cavapoo, and an empty birdcage.


ABOUT THE ARTIST:  Anne Austin Pearce illustrates those moments for which there is no distinct emotional adjective to employ – that ambiguous moment that occurs exclusively in one’s head or often between two people at an intersection of communication. It happens when we are grappling with a dream deferred or an expectation not met. It is the time passed shifting sensibilities, wavering between resolution and avoidance, teetering at the threshold of debilitating anxiety or liberating submission, deciding what, when and how to speak, what to distill, and whether to scream.  Anne was born in Lawrence, Kansas and studied art at the Kansas City Art Institute, Brighton Polytechnic and the University of Kansas. In 1993, Pearce received a full scholarship to James Madison University, where she received her MFA in drawing and painting. Her work has been recently acquired by the Nerman Museum of Contemporary Art and the Spencer Museum. Exhibitions include Nerman Museum of Contemporary Art, Overland Park, KS; Corcoran School of Art and Design, Washington D.C.; and the Drawing Center, New York City. Anne’s first museum show will be at MDC’s Museum of Art + Design in Miami, 2013.  Currently, Anne is a Professor of Art at Rockhurst University and Director of Greenlease Gallery.

To Bail or Not to Bail on a Book

Every writer needs to read. A lot. All the successful ones say the same thing: Read promiscuously. Which is all well and good. Those in writing programs are assigned stacks of books that may or may not wind up being relevant. Some books we love, some we don’t. At the time, it’s assumed even tedious books will have a beneficial effect — perhaps showing us what to avoid.

But what about when you’re free and clear of all that? All serious writers continue devouring books — it’s how we’re built. Books — reading, in general — is our secret, nourishing narcotic. I keep at least three books going at any one time: nightstand, bathroom and car. Yes, my car. I don’t read in traffic but I will never be caught without a book, whether it’s in a restaurant, coffee shop, waiting in reception. To be caught without a book is pretty much my worst nightmare.

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Unless that book sucks. Then I’m really in trouble. One does what one can to preempt bad books: reading reviews, jacket blurbs, perhaps the first few pages. But every once in a while a bad book slips through, doesn’t it? Denis Johnson once mentioned in an interview how he seldom ever finishes a book — the author loses him, shakes his confidence in the book. Johnson said (paraphrasing here) “If I make it a hundred pages into a book it’s a masterpiece.” He said his interior editor is too strong — “I want to help.”

I’m not so dismissive. I’ll honestly hang in there until the bitter end for most books. I’m no Denis Johnson, for one thing. I have a lot to learn. That’s part of it. I always hope to be surprised. That’s what happened with A Confederacy of Dunces by John Kennedy Toole. I was almost ready to bail, but around page fifty, I began to see what Walker Percy was talking about in his preface, that this book was pretty damn amazing.

Reasons to bail:

Preciousness, sentimentality, melodrama.
Overwriting, too many pointless digressions and run-on sentences.
Pretentious Prose.
Transparent Plot.
Ideological Differences.

This last one is easy to preempt, but occasionally an author’s prejudice, political agenda or even outright misogyny will suddenly become all-too-clear midway through a book. That’s a good reason to hit “eject.” We’ve all heard the complaints about Ayn Rand’s work. But I feel it’s important for me to read (or attempt to read) one of her novels before I join the detractors. Someday.

I can count the books I’ve abandoned on one hand. Infinite Jest by David Foster Wallace was one. I may revisit it, and I like his other writing. But that particular one? Too many footnotes for me! Not that I have anything against footnotes, per se. Adroit usage of footnotes is certainly possible. For example, Dave Eggers’s A Heartbreaking Work of Staggering Genius employs them very effectively.

I’ve never met anyone who has finished or claims to understand Finnegan’s Wake by James Joyce.

Who recommends a book to me has a lot to do with it. Some people I trust implicitly. I had a mentor in my MFA Program at Antioch (Jim Krusoe) and anything he suggests to me is ordered that day. His suggestions rarely mystify, but it’s happened. He suggested Mary Swan’s short story collection The Deep and, I’ll confess, I was relieved to reach the end. But because Jim suggested it I know I’ll give it another try someday.

Which brings up a great point: sometimes it’s not the book. It’s me. Perhaps I wasn’t mature enough to appreciate The Deep. I’m reading The Collected Fictions of Jorge Luis Borges right now and all I can say is it found me at the right time. Ten or twenty years ago? I would’ve probably bailed. I wouldn’t have had the patience required. I’m actually enjoying it very much. The fact Roberto Bolaño said (again, paraphrasing) he could easily spend his entire life “sitting under a table talking to Borges” might have something to do with it. Or was it “sitting under a table reading Borges”? Either way, it influenced the way I approached Borges’ Collected Fictions. I sometimes feel Bolaño’s ghost looking over my shoulder as I read, saying, “Isn’t this fantastic?!” To which I say, “Si!”

Another reason I’m reluctant to bail on a book is simple pride. I’ve kept a list of every book I’ve read since 1990. That’s a handy thing to have, by the way. You’d surprised how many times I’ve appended this list or portions of it to an application or as a way to gain access/credibility with a mentor. I strive to have a good-looking list at the end of each year. I always post it on my Facebook page both as a way influence my friends and followers and, I’ll admit, a sort of boast.

But it’s not just a numbers game; I use that list to go back and revisit certain books, to refresh my memory. Some books need to be reread every few years, like Lolita by Vladimir Nabokov or Women in their Beds by Gina Berriault.

Do I skim the bad books? Rarely. If I’m not going to read carefully, what’s the point? I can speed-read and my retention is very good. But it’s always a sad process. I’d much rather savor each word, each sentence. That’s what I’m in it for. Speed-reading is something I did for assigned books in school. I’m in the habit of note-taking when reading; I use a buck-slip as a bookmark and write down page numbers and a word or two that grabs me. Unless the book sucks — then I’ll speed-read it in one sitting, all the time eyeing that next book, the good one, in my queue.

I asked Jim Krusoe if he ever bailed on books. He said, “All the time.” I imagine the answer is the same from all successful writers. I know I need to be a little less polite, less tolerant of bad writing. After all, there are a lot of great books out there and life is short.

Here are the books I read in 2013. Only one of them truly sucked (and I’m not saying which one):

The Holden Age of Hollywood—Phil Brody
Dear Life: Short Stories (story collection)—Alice Munro
Slouching Towards Bethlehem—Joan Didion
As Birds Bring Forth the Sun and other stories (story collection)—Alistair MacLeod
The Topless Tower—Silvina Ocampo
Bullfighting (story collection)—Roddy Doyle
Money: A Suicide Note—Martin Amis
Life A User’s Manual—Georges Perec
The Notebook—Agota Kristof
The Dog of the South—Charles Portis
The Proof—Agota Kristof
The Third Lie—Agota Kristof
Jacob von Gunten—Robert Walser
Crimes in Southern Indiana (story collection)—Frank Bill
Last Evenings on Earth (story collection)—Roberto Bolaño
Black Dahlia & White Rose (story collection)—Joyce Carol Oates
Blood Line (story collection)—David Quammen
The Jook—Gary Phillips
Cowboys—Gary Phillips
Chronicle in Stone—Ismail Kadare
Bring Me Your Saddest Arizona (story collection)—Ryan Harty
The Return (story collection)—Robert Bolaño
Red Cavalry (story collection)—Isaac Babel
Fitting Ends (story collection)—Dan Chaon
The Deep (story collection)—Mary Swan
Stolen Pleasures (story collection)—Gina Berriault
Volcano and Miracle—Gustaw Herling
Tenth of December (story collection)—George Saunders
All That Is—James Salter
The Fun Parts (story collection)—Sam Lipsyte
Nothing Gold Can Stay (story collection)—Ron Rash
Stoner—John Williams
Lolita—Vladimir Nabakov
The Buddha of Suburbia—Hanif Kureishi
The Iliad of Homer—Richmond Lattimore translation
Under the Volcano—Malcolm Lowry
Middle Men (story collection)—Jim Gavin
Geographies of Home—Loida Maritza Perez
Cat’s Eye—Margaret Atwood
The Color Master (story collection)—Aimee Bender
The Question of Bruno (story collection)—Aleksandar Hemon
The Street of Crocodiles (story collection)—Bruno Schulz
All Quiet on the Western Front—Erich Maria Remarque
The Education of Henry Adams—Henry Adams
Drowning Lessons (story collection)—Peter Selgin
179 ways to Save a Novel—Peter Selgin
The Bullfighter Checks Her Makeup—Susan Orlean
Strait is the Gate—Andre Gide
Batting for Castro (story collection)—Jim Shepard
No One Belongs Here More Than You (story collection)—Miranda July
Mathew Brady: Portraits of a Nation (biography)—Robert Wilson
The House of Seven Gables—Nathaniel Hawthorne
The March—E.L. Doctorow
The River Swimmer (story collection)—Jim Harrison
Photo by Brady—Jennifer Armstrong
We Live in Water (story collection)—Jess Walter
We Wanted to be Writers: Love, Life and Literature at The Iowa Writers’ Workshop— Eric Olsen & Glenn Schaeffer
The Red Badge of Courage—Stephen Crane
Wench—Dolen Perkins-Valdez
Love and Obstacles (story collection)—Aleksandar Hemon
Franz Kakfa: The Complete Stories
See Then Now—Jamaica Kincaid

Robert Morgan Fisher’s fiction has appeared in The Huffington Post, Psychopomp, The Spry Literary Journal, 34th Parallel, The Snake Nation Review, The Seattle Review, Spindrift, Bluerailroad and other publications. He’s also written for TV, radio and film. Robert holds an MFA in Creative Writing from Antioch University and teaches in their online program. He often writes companion songs to his short stories. Both his music and fiction have won many awards. Robert also voices audiobooks.

Joe DiBuduo

Coming Fall 2015

Crime a Day cover

Crime a Day

Death by Electric Chair
& Other Boyhood Pursuits

a memoir by

Joe DiBuduo


A gritty, candid, and compelling memoir.

Joe DiBuduo grew up in “Hano,” an infamous, impoverished Boston neighborhood known for its tough, hard-drinking residents. He embraced a criminal code of conduct and thought dying in the electric chair would be an honorable achievement.But obviously, embracing the wrong side of law is not the right thing to do anywhere. Let us take the case of the automated trading robots which are plagued by scams; they are immensely popular nowadays as they allow you trade from the comfort of your homes. The frauds are increasing every day because the fraud robots appear as authentic as the real robots conning the investors. But if you don’t want to become a victim you must read reviews of the top robots at Only after you ascertain the authenticity of a robot should you invest in it. Do not forget to view publisher site for more information. Though several of these scamsters escape initially the law will eventually trace them and they will have to pay the price just like Joe did.
After many run-ins with the law, Joe fled to Chicago where he finally did hard time in the notorious Cook County Jail. Crime a Day sheds a harsh and unwavering light on how youth are drawn to and into crime, and just how hard it is to get out. An important historical and cultural document.

JOE-DIBUDUO-PHOTO-trimmed1Joe DiBuduo grew up poor in Boston. He led a troubled childhood and spent time in reform and training schools. As an adult, the house of corrections beckoned him, and he spent time there too. A quick turn of fate led him to California and then Chicago, where he married and had children. He spent the next thirty years working as a construction painter in many states, heading wherever the jobs could be found. DiBuduo is now retired and lives in Prescott, Arizona, where he studied Creative Writing at Yavapai College. Anger used to be a daily part of his life until he began to write. Now if something upsets him, he writes about it. DiBuduo is the author of A Penis Manologue: One Man’s Response to The Vagina Monologues; a children’s book; and collections of flash fiction and lyrical flash fiction. He’s also the author of poetry, short fiction, and children’s stories published in online journals and in print anthologies.

Jason Snyder

Cover painting by Jason Jägel

Coming November 2015


a #RECURRENT novel by

Jason Snyder


By turns manic and mathematical, maudlin and gut-wrenching, and delivered with an emotional intensity somewhere between Evan Dara and Dennis Cooper, Jason Snyder’s Family Album manages to construct an exhaustive experience of youth and trauma in uncompromising style. A truly heavy hitter that couldn’t have come at a more necessary time.

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Blake Butler

About the Book:

This first novel of dysfunction and personality disorder portrays a family’s attempt to adopt a second child amid its dissolution.

Praise for Family Album:

In Family Album we watch a boy being slowly unraveled by his collapsing parents, the only questions being how or if he’ll survive the damage, and if he’ll still be human when he makes it to the other side. An exacting, exquisite and merciless book brimming with expectant dread.
— Brian Evenson
Wherever love means to lie and words aren’t for speaking and pain is how you’re known, family is taking form, and its emergence is Jason Snyder’s work. Family Album is not about a boy’s refusal of his parents’ banal rage. It’s about meaning’s freedom from nothing’s grip.
—R.M. Berry
Like most great novels, Family Album is ambitious for the form itself—what can the novel accomplish? The family remains our national forum, and Jason Snyder has  found a way to reveal the family as a fun house of mirrors—not just ruin, but  endless ruin. Not just distance, but distance endlessly fragmented. His writing is at  once analytical—even artificial—and yet amazingly compassionate, with a current of pure grief running through. Family Album reminds me of a baroque opera, exquisite and horrifying, with arias and recitatives, refinements and bloodbaths.
—Robert Glück

Carol Ciavonne


The author likens the work to painting and collage, with the hoped-for effect similar to the feeling when one views an abstract but lyrical piece that will excite or move the viewer. Much of the work concerns itself with the questions common to poetry: the nature of being in the world and what we call our spirit.

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“She wears her best dress and she’s hired” describes not a poet but a mourner, but maybe it is the poet, in Carol Ciavonne’s new book Azimuth. The ways, the directions possible in language are the troubling engagements of this book in which a line might appear—for instance,  “Not speaking is foreign; the tongue is bronzed”—which is destined to stay with the reader, to nestle in the mind like a pet or a pest forever. The ways this book is beautiful are the same as the ways it is troubling. This is writing as a new necessity.

—Bin Ramke

“If there is a little extra light at the edge of seeing, it is surely captured by these diversiform universes. ‘Azimuth’ is illumined and illuminated by its relationship to the art and philosophy of the Italian Renaissance; a keen chiaroscuro suffuses these poems, creating marvelous contrasts of celebration and sadness. ‘A light diffused makes the darkness stronger,’ writes Ciavonne, and ‘fire is brightest at the top of the tongue’.”

—D. A. Powell

Via poems that take place at the partial vantage point of Azimuth, Quadrant and Meridian, the poet makes camp in the foreign, where “to recognize and to be a stranger” find shared roots. Azimuth takes direction from fire, which demonstrates “how to go forward /thinking of/ burning as a direction…” Accompanied by theologians she loves but cannot believe, Ciavonne’s urgent quest explores the physics of human separation, a separation, remarkably, which gives us insight to the condition of God,“ if god is an opening, if god is a divine withdrawal.”

—Claudia Keelan

CAROL-CIAVONNE-PHOTO-trimmedCarol Ciavonne’s poetry is both lyrical and experimental and has been noted for its visual imagery. Poems have appeared in Denver Quarterly, Boston Review, Colorado Review, New American Writing and How2, among other journals. She was the recipient of the PSA Lyric Poetry Prize in 2004. Her essays and reviews have appeared in Poetry Flash, Xantippe, and Pleiades. She was selected as a workshop participant at the New York Center for Book Arts in 2007, and was a writer in residence at the Pécs Writers Program in Pécs, Hungary, in 2013. She recently published, along with artist Susana Amundaraín,  an art/poetry dialogue (Birdhouse Dialogues, LaFi 2013).  Ciavonne has also collaborated with Amundaraín on several theater pieces, and has worked with the innovative Imaginists theater collective. Ciavonne has a B.A. in Art, and an M.A. in Poetics from New College of California. She lives in Santa Rosa, California.

Beth Couture

Women Born with Fur: a biography

a novella

by Beth Couture

Fiber art by Rachel May


“An intoxicating book and brew.”

–Frederick Barthelme



“Where the magic of invention meets up with the heft of the human heart. That’s what has been delivered to us here in the form of this short novel. A memorable and singular debut. Women Born with Fur is its own language animal that brings speech to its own human heart.”

–Peter Markus, author of The Fish and the Not Fish


“Never mind the author’s little hat trick of coming on with prose so unassuming, so disarmingly ‘Who, me?’ it hovers above the page, practically while whispering in your ear — just before turning on you with a bite that pierces the skin. So there’s that, yes, but still. I cannot think of another writer who could possibly tell this story with such sincerity and conviction and authenticity, no one. Then again, before reading Beth Couture’s Women Born With Fur, I never could have imagined that the hirsute could be so utterly heartbreaking.”

–Courtney Eldridge, author of Unkempt and The Generosity of Women


“Beth Couture’s Women Born with Fur is a marvelously strange concoction, a cocktail of super-realism, fantasy, surrealism, occultism, and pop art, Rosenquist style. She develops her lovely conceit with care and kindness, leading us into a heartbreaking world we’ve never imagined, but in which we feel strangely comforted and right at home. An intoxicating book and brew.”

–Frederick Barthelme, author of Waveland and There Must Be Some Mistake


“You have never read anything like Beth Couture’s Women Born with Fur, because the writing is utterly reinventing what we mean when we say fiction or novella with sly and brilliant misdirections, tricks of the eye and ear and heart, glorious lies and precise fabrications. I had to read the whole thing without stopping. I nearly put it in my mouth.”

–Lidia Yuknavitch, author of The Chronology of Water and Dora: A Headcase

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beth-couture-photo-01Beth Couture received her Ph.D. in Creative Writing from the Center Center for Writers at the University of Southern Mississippi, MFA from the University of Notre Dame, MA from SUNY-Binghamton, and her Bachelor’s from Hollins University. Her fiction has appeared in GargoyleThe Southeast ReviewThe Georgetown Review, Drunken Boat, The Yalobusha Review, Ragazine, and in the anthology, Thirty Under Thirty. She is an assistant editor and the social media coordinator of Sundress Publications. She is an active volunteer in a number of community organizations in the Bloomsburg area.

Jorge Armenteros

Jorge Armenteros is a practicing psychiatrist and graduate from Harvard University. In addition to his medical training, he completed an MA in Spanish and Latin American Literature from New York University, and MFA in Creative Writing from Lesley University. Born in Cuba, Armenteros now divides his time between Florida, Georgia, and the south of France.


Jorge Armenteros Books


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The Book of I

a novel

by Jorge Armenteros

art by Liselott Johnsson
music by Sarah Wallin Huff

“Powerful…fierce, fresh.”

—Laird Hunt


LISTEN TO PODCAST: “Breaking Rules, Innnovative Fiction & Writing in the Moment: A Dialogue w/ Author Jorge Armenteros””In this powerful novel, Jorge Armenteros takes us deep, deep and deeper still into the mind of a painter who has come to the edge of his cliff.  The Book of I‘s fierce, fresh language buoys us through the many-textured darkness, shoots the whole through with crucial light.  Cortazar is an apt analog here.  So is Artaud.”

— Laird Hunt, author of Neverhome and Kind One, the 2013 PEN/Faulkner Award finalist and winner of the Anisfield-Wolf Book Award


“In a French village, painter Teaston has witnessed a woman’s fatal jump off a nearby cliff. Growing lost in the ‘whiteness’ of his schizophrenia, he paints out the faces on his canvases, searching for the ‘holes where eyes could fall in.’ Dipped in the ink of South American surrealists like Julio Cortazar, Jorge Armenteros’s The Book of I slowly and achingly unveils Teaston’s tormented inner life. For Teaston, ‘the existence of normalcy is a primordial question.’ This stark, poetic and haunted novel makes it ours as well.”

— Susanne Paola Antonetta author of A Mind Apart: Travels in a Neurodiverse World


“A startling vision of the world from the perspective of a schizophrenic painter, a man balanced on the edge of his self and his life, and on the way to a crisis. This is a finely crafted and clearheaded book, at once sympathetic and unwilling to give any alibis, and well worth the read.”

—Brian Evenson, author of Immobility, Last Days, and The Open Curtain


“In this lyrical and assured debut novel, Jorge Armenteros navigates us through the labyrinthian struggles of the mind of a schizophrenic painter wading through the edges of reality and fantasy.  Part existential puzzle and part hypnotic meditation, THE BOOK OF I is as much about the language we have–or yearn to have– to hold our identities as it is about the search for the core of our innermost selves.  This is a haunting debut by a bold new talent.”

—Laurie Foos author of Ex Utero and Before Elvis There Was Nothing


“How our minds evolve and determine our identities and how these identities can shift over time remains a fascinating topic for the novelist. An equally fascinating topic for the reader must be automated trading robots and their ability to generate profits even for people with little or no knowledge of trading. You can try this out at and see for yourself how the human mind adapts and assimilates knowledge exponentially just like When a mental illness interferes with the “normal” brain function that we all take for granted, the challenges to the individual and those around him multiply exponentially.  His training and experience as a psychiatrist gives Jorge Armenteros a special perspective on the mysteries of the human mind and his character Teaston reminds us that somewhere between reality and delusion lies the unconquerable world of uncertainty. A terrific achievement for a first novel.”

— John Kane, MD, Vice President for Behavioral Health Services of the North Shore – Long Island Jewish Health System and Chairman of Psychiatry at The Zucker Hillside Hosp

Pedram Navab

Pedram Navab is a neurologist and sleep medicine specialist who currently resides in Los Angeles.  He also holds a graduate degree in English/Modern Culture & Media and a J.D., having been educated at Stanford and Brown.  Without Anesthesia is his debut novel.

Pedram Navab Books


Without Anesthesia BW Cover

Available as black-and-white paperback and …


Without Anesthesia Color Cover

…color illustrated paperback.


Music for Without Anesthesia

Music for Without Anesthesia, by Houda Zakeri

Without Anesthesia

a debut novel

by Pedram Navab

original art by Yalda Zakeri.  Original music Houda Zakeri.


“vivid, grotesque and whip-smart.”

—Rosalind Galt



“Dear Tess, we cut you up today.”  So ends and begins the disturbing and provocative story of Tess, a third-year medical student whose compulsive desire to feel her patients’ pain leads her to destruct her own body by methods both horrific and creative. In this highly original medical thriller, Tess’s narrative intersects with similarly obsessive characters. This book is an eye opener to many who are unaware of trying medical procedures on their own self and what it could bring upon them. Their explanation shows how the person undergoes pain and what is resulting from that will make you go all goosebumps. This is a must read for everyone to know the medical field and its issues at such times.As a result, the distinctions between fiction and reality, between art and medicine, are called into question. Without Anesthesia spans time periods and settings — from 1920’s Hollywood to late 1990’s New York — and culminates in an ending that Alfred Hitchcock himself would approve.



“Without Anesthesia is an original, sobering, and haunting visceral contemplation of love, anguish, morbidity, obsession, knowing and unknowability, the seen and the felt. The intense desire for intimacy and commune on the part of characters and readers evokes riveting anticipation and obsessive page-turning anxiety.”

— Mariam Beevi Lam, author of Precariat Reckoning: Viet Nam, Post-Trauma, and Strategic Affect

“Without Anesthesia is a vivid, grotesque and whip-smart play with identity, where the simulations of appearance merge with the materialities of the body. Navab immerses the reader in the rich vocabularies of medicine and cinema; which is to say, the languages of the body’s beauty and decay, our obsessions and repulsions, life and death.”

— Rosalind Galt, author of Pretty: Film and the Decorative Image, and The New European Cinema: Redrawing the Map

“Without Anesthesia mobilizes an astoundingly rich and varied body of discourses — film theory, philosophies of aesthetics, medical sciences ranging from psychiatry to cardiology, even a history of excrement —deploying them in ways that transform our ideas about what the detective narrative is and what it might become in the future. Yet for all its learnedness, and the bevy of experimental techniques that resist conventions of narrative form and challenge readers’ expectations and comfort zones, Without Anesthesia gives us what has long been beloved about the most conventional, rewarding, and best of mystery novels: the desire to stay up late into the night and read so as to solve a puzzle that seems, at turns, within our grasp and then suddenly, once again, beyond it.”

— Nicole Rizzuto, Assistant Professor of Comparative Literature, Georgetown University

Joe Milazzo

Joe Milazzo is a writer, editor, educator and designer. His writings on music and experimental sound practice have appeared in Copper Press, Paris Transatlantic Magazine, One Final Note and Bagatellen, the latter for which he served as Editor-In-Chief. Milazzo’s literary criticism has been published in Electronic Book Review, The Dallas Morning News, The Collagist, and HTMLGIANT. His fiction and poetry appears in Drunken Boat, Black Clock, Antennae, Super Arrow, H_NGM_N, kill author, Exits Are, the anthology Dirty : Dirty (also from Jaded Ibis Press), and elsewhere. Milazzo holds a Master’s Degree in Library and Information Science (MLS) from the University Of North Texas and a Master of Fine Arts (MFA) in Writing from the California Institute Of The Arts.

Joe Milazzo Books


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a #RECURRENT novel by

Joe Milazzo


“audacious and fearless, lyrical and brilliant, superbly imaginative and assuredly accomplished”

–Steve Erickson


About the Book

Milazzo’s debut novel explores, via imagined as well as reimagined circumstances and incidents, the relationships between jazz pianist and composer Thelonious Monk, his wife Nellie, and his patron and confidante, the Baroness Pannonica De Koenigswarter. See also the interactive website.

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Early Praise

“The challenge in writing on behalf of Joe Milazzo’s fiction is finding the language to convey how special it is, but let us begin with audacious and fearless, lyrical and brilliant, superbly imaginative and assuredly accomplished—one of tomorrow’s great novelists on the cusp of his moment.” —Steve Erickson, Author of Zeroville and Our Ecstatic Days

“… [A] bountifully generative crumbling-down. Crepuscule reminds vividly of Duchamp’s Nude Descending a Staircase, No. 2, where motion is a collapse that does nothing but give back form to that very motion.” —Achraf A. El Bahi

“A polyvocal narrative that’s part Faulkner à la midcentury Manhattan’s jazz epicenters, part early 90’s avant-pop crossed with Black Mountain poetics, and part ghost, Joe Milazzo’s genrebending Crepuscule W/ Nellie boldly re-imagines the relationship between fact and fiction.” —Claire Donato, author of Burial

“Milazzo dug this lost recording of the Monk/Monk/Pannonica trio—dug as in figured, as in got into, as in exhumed—out that ‘dustbin’ folks talk about. And since the composition called Crepescule w/Nellie is this time a story storying history, the good mess Milazzo so expertly messes with alchemizes the linguistic odds-and-ends that make a vernacular both high-falluting and low-down; the factual scraps that member a fiction into a rich speculation; and the individuals ignored so long they must come back to us in books. Our author has given us a fascinating one. Dig it, dig it, dig it.” —Douglas Kearney, author of The Black Automaton and PATTER 3

“Joe Milazzo’s Crepescule w/Nellie is a blast. So rarely do we get a novel this momentous, challenging, ambitious—Crepescule w/ Nellie transcends expectation. I’m moved by the fierce acuity of the maximalist prose, never less than adroit and vital as it parses a famous triangle between the maestro, Thelonious Monk, his wife Nellie, and the Bebop Baroness, Panonica de Koenigswarter, the most storied music patron of the 20th century. Triangulating the infinite personal declensions between struggling black musicians and the white patrons, between the women and their men, Joe Milazzo’s language brilliantly echolocates that essentially American distance, sounding out an American loneliness that is with us still.” —Sesshu Foster, author of World Ball Notebook and Atomik Aztex

“Joe Milazzo’s Crepuscule for Nellie takes as its great and original subject a care-giver’s, literally home-maker’s immensely improvising relation to a creative genius, a demanding, needy, powerful, enigmatic, often disappointing man who was her husband. That is what this long, intimate, painfully American, many-voiced rumination of a novel is about – though also, and indirectly, about much that is implied by its title, which was first that of Thelonious Monk’s shortest major composition, one of my favorites, with its outer, measured clarity and inner, off-balance infinities and shadows. Has Milazzo added the lyrics? I think rather that he has written a deep, interior book about lives that included jazz and everything else. A book that will last. “ —Joseph McElroy, author of Cannonball and Women and Men

“Milazzo’s work inhabits a place much like that between sleep and wakefulness—one is neither conscious nor unconscious, and the mind is free to chart a different terrain, where hallucinations are lucid, rational action is absurd, and the rigid metronome of what we understand as time is unhinged, giving rise to an altogether looser continuum where repetitions, breakdowns, and indeterminate codas are the norm. It seems unnecessary, while perhaps perverse, to make pointed mention of Monk—much less jazz—here. The term ‘jazz’ itself, which fittingly bears no formal etymology, was little used by so-called jazz musicians of Monk’s era. For these musicians, art was tagless. It strikes me that, with this debut novel, Milazzo abides by a similar guiding principle.”  —Laton Carter, author of Leaving

“A supple weave of textures, voices, influences echoed and then amplified; Joe Milazzo’s Crepuscule W/ Nellie masterfully carries out the serious business of mapping out a collective consciousness in all of its layers, tangles, dense thickets and odd gaps. His subjects are many: creativity and sacrifice, patronage, women caring for men, women caring for each other. The book has its refrains, its passages that suggest impassioned improvisation, its tempo shifts, moments of melodic clarity followed by transitions that seek and struggle and finally—as much like Keith Jarrett as Thelonious Monk—explode into even freer terrain. It’s bold, challenging work that connects Milazzo back to a line of authors, like Faulkner and Joyce, who saw the novel as not just a tale well told but a place to inhabit.”  —Mike Heppner, author of The Egg Code and We Came All This Way

Leslie McGrath

Leslie McGrath’s interviews with poets appear regularly in The Writer’s Chronicle. Winner of the 2004 Pablo Neruda Prize for poetry, she is the author of Opulent Hunger, Opulent Rage (2009), a poetry collection, and two chapbooks: Toward Anguish (2007) and By the Windpipe (2014.) Her poems have appeared in The Awl, Agni, The CommonSlate, and elsewhere. She teaches creative writing and literature at Central Connecticut State University, and is series editor of The Tenth Gate, a new poetry imprint of The Word Works press.

Leslie McGrath Books

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… in tandem with Beth Couture’s novella, Women Born With Fur.

Out From the Pleiades

a novella

by Leslie McGrath

Fiber art by Rachel May

“a rollicking, raucous, new myth”

—Susanne Antonetta


The narrative of Mina’s coming of age is in tension with a cultural satire of the political left. Out From the Pleiades examines the question as to what kind of family culture might contribute to someone becoming a bully. It is also time to examine the world of online Forex trading and the Forex trading robots which are plentiful online with promises of making one a millionaire overnight. You can navigate to these guys at to get a complete picture about online trading and also about scam robots and how to identify them.


“Leslie McGrath’s Out from the Pleiades is a hybrid gem, a novella in verse that works utterly both as lyric poetry and as story. The life of protagonist Mina Kali, born to the Seven Sisters—a commune of ‘radical warrior women’—unfolds with an epic sweep, from the moment Mina “raged forth from the dark red dark’ to her final love and loss.  Out From the Pleiades is a rollicking, raucous, new myth, a classic with its head in Aristophanes and its satiric heart in the 1960s. You will read these poems aloud, laughing, and then find them sneakily haunting you.”

—Susanne Antonetta


Out From the Pleiades is a revealing character study, the story of ‘Mina,’ a bully bred from the excesses of liberal culture.  It’s a testament to the book’s complex vision that we both condemn and ultimately empathize with Mina as she makes her way through the world.  It’s a master class in the psychology of intimidation, marked by McGrath’s signature wit, compassion and insight.”

—Bruce Snider

“Out From the Pleiades
 is a rich romp, chockfull of feel-good details and enough unanswered questions to make anyone secure in their moral center come, a tiny bit, undone. Ride in Mina’s ‘yolk-colored Subaru’ as she toes the surfaces of high school, passing through the stoic suicide of “Ginger,” until our war protestor comes full circle to the uncharted depths of ‘Yes’ in soldier Violet’s golden eyes – and discovers the harsher power of love’s undoing.’Why didn’t I get a Barbie Dreamhouse for Christmas?’ So asks Mina immediately after wondering if she’s a racist because she’s white too. Priorities, place and position move our hero from well-meaning child to disconcerted bully, borne by a fear of impotence in the world as she tests her own privileged, small power over others.”