A stunning novel about a community of parthenogenic women under siege after the end of the world.

An evocative novel that links the lives of a ninth-century poet/nun and a contemporary Asian-American woman.

Iron Goddess of Mercyby Lambda Literary Award winner Larissa Lai (for the novel The Tiger Flu) is a long poem that captures the vengeful yet hopeful movement of the Furies mid-whirl and dance with them through the horror of the long now. Inspired by the tumultuous history of Hong Kong, from the Japanese and British occupations to the ongoing pro-democracy protests, the poem interrogates the complicated notion of identity, offering a prism through which the term “Asian” can be understood to make sense of a complex set of relations. The self crystallizes in moments of solidity, only to dissolve and whirl away again. The poet is a windsock, catching all the affect that blows at her and ballooning to fullness, only to empty again when the wind changes direction. Iron Goddess of Mercy is a game of mah jong played deep into the night, an endless gamble. Presented in sixty-four fragments to honor the sixty-four hexagrams of the I Ching, Iron Goddess of Mercy also borrows from haibun, a traditional Japanese form of travel writing in which each diary entry closes with a haiku. The poem dizzies, turns on itself. It rants, it curses, it writes love letters, but as the Iron Goddess is ever changing, so is the object of her address: a maenad, Kool-Aid, Chiang Kai-shek, the economy, a clown, freedom of speech, a brother, a bother, a typist, a monster, a machine, Iris Chang, Hannah Arendt, the Greek warrior Achilles, or a deer caught in the headlights. Finally, a balm to the poem’s devastating passion and fury, Iron Goddess of Mercy is also a type of oolong tea, a most fragrant infusion said to have been a gift from the compassionate bodhisattva Guan Yin. Summoning the ghosts of history and politics, Iron Goddess of Mercy explores the complexities of identity through the lens of rage and empowerment. This publication meets the EPUB Accessibility requirements and it also meets the Web Content Accessibility Guidelines (WCAG-AA). It is screen-reader friendly and is accessible to persons with disabilities. A Simple book with few images, which is defined with accessible structural markup. This book contains various accessibility features such as alternative text for images, table of contents, page-list, landmark, reading order and semantic structure.

Originally published by LINEBooks in 2008, sybil unrest by Larissa Lai and Rita Wong draws out the interconnections between feminism, environmentalism, and personal–political responsibility, highlighting and questioning notions of "human" and "female" evident in contemporary North American culture. It does so by referencing "Popular cultural icons, political figures, business slogans, transnational corporations, and other presences in our media–saturated world [which] populate the lines," in the words of a reviewer from Asian–Am–Lit–Fans online journal . Yet sybil unrest is more than a glorious odyssey through contemporary culture. Reviewer Sophie Mayer, writing on her blog on Chroma, compares sybil unrest to works by Anne Carson and Mary Shelley. And Lauren Fournier, writing in the Fall 2011 issue of West Coast Line, draws attention to the way sybil unrest unlike the traditional avant-garde poetics, focused only on the cultural and aesthetic, expands outward into the cultural and political social worlds. This book marks its space in 21st century poetics in indelible ink. The focus away from an "I" and onto an interactive and malleable subjective takes this foray into the avant-garde and makes it into "a critique of 'human' as a species," as Sonnet L'Abbe remarks in the Autumn 2011 issue of Canadian Literature. sybil unrest is clever, filled with delirious wordplay, deprecation and a subtle humour that will catch you unawares and make you laugh out loud.

“Part exoskeletal enjambment, part shared soft biology, Automaton Biographies wends through creative industries and uncommon commons, picking up the shards of both our latent futures and our Polaroid pasts.”—Mark Nowak, poet The first poetry book by novelist Larissa Lai (When Fox is a Thousand) is a multilayered “autobiography” that puts an ear to the white noise of advertising, pop music, CNN, and biotechnology, exploring the problem of what it means to exist on the boundaries of “human.” Lai, who teaches English at the University of British Columbia in Vancouver, is prominent within the women’s, LGBT, and Asian American communities.

With a “knack for romantic tension and page-turning suspense, this one is a winner.” The year 1920 comes in with a roar in this rousing and suspenseful New York Times bestselling novel by Sandra Brown. Prohibition is the new law of the land, but murder, mayhem, lust, and greed are already institutions in the Moonshine Capitol of Texas (Booklist, starred review). Thatcher Hutton, a war-weary soldier on the way back to his cowboy life, jumps from a moving freight train to avoid trouble . . . and lands in more than he bargained for. On the day he arrives in Foley, Texas, a local woman goes missing. Thatcher, the only stranger in town, is suspected of her abduction, and worse. Standing between him and exoneration are a corrupt mayor, a crooked sheriff, a notorious cathouse madam, a sly bootlegger, feuding moonshiners . . . and a young widow whose soft features conceal an iron will. What was supposed to be a fresh start for Laurel Plummer turns to tragedy. Left destitute but determined to dictate her own future, Laurel plunges into the lucrative regional industry, much to the dislike of the good ol’ boys, who have ruled supreme. Her success quickly makes her a target for cutthroat competitors, whose only code of law is reprisal. As violence erupts, Laurel and—now deputy—Thatcher find themselves on opposite sides of a moonshine war, where blood flows as freely as whiskey. Includes a Reading Group Guide.

A Good Morning America Book Club Pick! • A work-from-home comedy where WFH meets WTF. • "An absurd, hilarious romp through the haunted house of late-stage capitalism." —Carmen Maria Machado, author of In the Dream House Told entirely through clever and captivating Slack messages, this irresistible, relatable satire of both virtual work and contemporary life is The Office for a new world. Gerald, a mid-level employee of a New York–based public relations firm has been uploaded into the company’s internal Slack channels—at least his consciousness has. His colleagues assume it’s an elaborate gag to exploit the new work-from home policy, but now that Gerald’s productivity is through the roof, his bosses are only too happy to let him work from ... wherever he says he is. Faced with the looming abyss of a disembodied life online, Gerald enlists his co-worker Pradeep to help him escape, and to find out what happened to his body. But the longer Gerald stays in the void, the more alluring and absurd his reality becomes. Meanwhile, Gerald’s colleagues have PR catastrophes of their own to handle in the real world. Their biggest client, a high-end dog food company, is in the midst of recalling a bad batch of food that’s allegedly poisoning Pomeranians nationwide. And their CEO suspects someone is sabotaging his office furniture. And if Gerald gets to work from home all the time, why can’t everyone? Is true love possible between two people, when one is just a line of text in an app? And what in the hell does the :dusty-stick: emoji mean? In a time when office paranoia and politics have followed us home, Calvin Kasulke is here to capture the surprising, absurd, and fully-relatable factors attacking our collective sanity ... and give us hope that we can still find a human connection.