Metatron Press – förlag

Through a series of short vignettes, Sennah Yee’s debut full-length book How Do I Look? paints a colourful portrait of a woman both raised and repelled by the media. With pithy, razor-sharp prose, Sennah dissects and reassembles pop culture through personal anecdotes, crafting a love-hate letter to the media and the microaggressions that have shaped how she sees herself and the world. How Do I Look? is a raw and vulnerable reflection on identities real and imagined. Praise“In Yee’s poetry, whole worlds, multiple worlds, can live in just a few sentences, and countless people and histories can exist within one person’s body. It almost makes reading full novels feel silly when you can live a whole life in just one of Yee’s paragraphs. ”– Mitski, pop star“Sennah Yee’s How Do I Look? is a selfie through a webcam in the compact mirror tossed over the shoulder of a nightswimmer into a suburban chlorine pool. These poems are the hit radio lyrics that roll around in the mind before falling asleep, the silently crafted love poems for an unrequited crush written on a blog saved in drafts, the emails sent to one’s future self opened at a karaoke bar years later in another country. How Do I Look? made me look back and get home safe. I look in the rear view mirror to find flowers growing out of me. ” – Stacey Tran, author of Soap for the Dogs“Sennah Yee has written a book full of wit and fire. This is a work to read and reread. The individual pieces build on each other to reveal the fractured self beneath and the ways the Western world fractures people who ‘look like Mulan. ’ A fierce new literary voice. Don’t miss this one. ”– Matthew Salesses, author of The Hundred-Year Flood“At first glance, it might not seem as if How Do I Look? is about survival. But in each of these brief vignettes, Sennah Yee is tested over & over again by white supremacy, racism, fetishization, heteronormativity & all the other worst parts of Western culture that constantly deluge the screens & scenes of our upbringing. And yet, Sennah Yee survives every microaggression. Sennah Yee has teflon in her blood & How Do I Look? is sparkling sunset over Liberty City & absolute proof that she is bulletproof. ”– Orchid Cugini, author of I’m Just Happy To Be Here

Bringing together poetry, essay, and letters to “lovers, friends and in-betweens,” Eli Tareq El Bechelany-Lynch confronts the ways capitalism, fatphobia, ableism, transness, and racializations affect people with chronic pain, illness, and disability. knot body explores what it means to discover the limits of your body, and contends with what those limitations bring up in the world we live in. knot body was shortlisted for the QWF First Book Prize. Their second collection of poetry, The Good Arabs (Metonymy Press), won the 2022 Grand Prix du Livre de Montréal. Praise“For me, the power of knot body stems from its courage and unique voice in writing the ache, the ache of chronic pain, the ache of faulty diagnoses and bodily misreadings, and, equally, the ache for honest answers on how to love each other in all our dignity. Eli Tareq El Bechelany-Lynch is an artist and philosopher of talent, generosity, and heart. ”– David Chariandy, author of Brother (Penguin Random House)“In this moment, when trans, racialized and disabled bodies are met with violent and polarizing commentary within the public sphere, Eli Tareq El Bechelany-Lynch offers us the uninterrupted intimacy of knot body. As self-communional as Kiese Laymon’s Heavy and Terese Marie Mailhot’s Heart Berries, they amplify and queer the epistolary memoir genre. Each letter is emotionally and thematically complete and, too, each letter decidedly speaks to the next. Readers may ruminate on the sharp and sensual inquiry offered by each individual letter, or read cover-to-cover and be present to the gorgeously-engaged, call-and-response quality of knot body as a whole. ”– Amber Dawn, author of My Art is Killing Me (Arsenal Pulp Press) “knot body is such a generous tapestry of tenderness—a collection that brilliantly utilizes the direct address in a way that is not universal, but still beautifully communal. I reached the end of this collection and breathed in a newer, better world. ”– Hanif Abdurraqib, author of A Fortune for Your Disaster (Tin House)

New Infinity is an experimental novella that follows a woman as she lives and dreams her way through the philosophical implications of autoimmune disease. Met by a labyrinth of closing doors, she searches for meaning and connection among fragmented realities and failed relationships, finding infinitude in the healing process of bibliomancy. Bára Hladík’s New Infinity is a glittering cross-genre debut. Weaving surrealist stories with meditative poetics, Hladík invites you into a dream world of degenerative illness, left disordered by the failures of ableism, medical professionals, and late-stage capitalism. Here, everything runs on sick time. Where physical health and financial resources grow scarce, the restorative possibilities of queer love, divination, and self-reclamation grant a defiant, yet often tenuous, abundance. Alive with Hladík’s boundless insight and wit, New Infinity is a powerful addition to the collective body of disability literature.

Disillusioned with her life as a waitress, an aspiring influencer implants a micro-projector into her brain to live in a world of her own creation called the Ultra-Glam. The Ultra-Glam is a virtual reality of fame, glamour, hyper-pop, mass-media images, movie trailers, celebrity selfies, and perfume advertisements. The further she goes into this world, the more the borders of reality become blurred. Is her reality the one in which her physical body exists? Or is it the one which she creates, beyond the realms of the physical? And is this world created on her own terms? Para-Social Butterfly is a fun, beautiful, dark, and twisted look into the question of existence in the digital age.

Kim: A Novel Idea is a graphic literary novel about a lonely millennial named Frankie, her boyfriend Jacob, their talking cat Catman, and an unhealthy obsession with Kim Kardashian. Faced with the difficulties of her life, scrolling through photos of an uber-celebrity and talking to her cat is the only way Frankie knows how to cope—through fantasy and escape. Exploring politics—personal, political, social—to comment on feminism, the #MeToo movement, fame, abuse of power within university writing programs, intergenerational wealth, love, and our multiple selves, there is something lovable about Frankie’s insufferable attitude towards life; something deeply relatable about her self-doubt in convincing herself she’s “never going to make anything of my goddamn, pathetic life. ” Why? Because Frankie is stuck in a capitalist cycle of celebrity marketing rings that target young women’s insecurities about their bodies and accomplishments. Kim: A Novel Idea gives us insight into the downfalls of contemporary living while asking: are digital identities the cure, or the poison to waking life? And, what is the value in distracting ourselves from our own very real lives?

Thirty is the story of a woman who is convinced that she is going to die at the age of thirty. Addressing those who will read it posthumously, she documents the last year of her life in a dark, obsessive diary. Other women are summoned into her downward spiral: spectral muses, heroines-ghosts, suicide writers; Nelly Arcan, Elizabeth Wurtzel, Marie-Sissi Labrèch, Sylvia Plath, Virginia Woolf, Michelle Tea, and Angelina Jolie. A raw exploration of female suffering, the narrator creates a universe where the ghosts of heroines exist and who, in turn, allow her to exist. The text embodies the capacity of literature to name and welcome both the personal introspection and social analysis of its theme. Through a prism of ideas, quotes, and poetry, Thirty assembles vignettes from popular culture and literature. The text flirts with anti-happiness rhetoric, mocks wellness culture, and cements itself in the tradition of ‘Bad Girl’ literature. In the end, Thirty emerges as a text that confronts both the pressure to be “a good girl” and the pressure to be happy. “I wanted to buy into the promise of happiness, but I’m too poor…” While she resists these tropes, does she survive them?Originally published in French as Trente by Éditions du remue-ménage, Thirty is now available in English for the first time. Translated by Natalia Hero.

In all the time, Xiaoxuan Huang crafts a profound exploration of queer longing, the fragility of language, and the spaces between speech and silence. Blending love letters, fragmented aphorisms, and poems where silence itself becomes a punctuation mark, this genre-defying collection asks: If words can never fully capture what we mean, do we still dare to speak?Rooted in poetic rigor and philosophical inquiry, all the time insists on the urgency of address, even when words falter. It is poetry that thinks as deeply as it feels, inviting readers to linger in the liminal spaces between breath, memory, and meaning. For those who seek works that blur the lines between theory and heartache, this is a luminous testament to the necessity of speaking—even when the destination remains unknown.

In all the time, Xiaoxuan Huang crafts a profound exploration of queer longing, the fragility of language, and the spaces between speech and silence. Blending love letters, fragmented aphorisms, and poems where silence itself becomes a punctuation mark, this genre-defying collection asks: If words can never fully capture what we mean, do we still dare to speak?Rooted in poetic rigor and philosophical inquiry, all the time insists on the urgency of address, even when words falter. It is poetry that thinks as deeply as it feels, inviting readers to linger in the liminal spaces between breath, memory, and meaning. For those who seek works that blur the lines between theory and heartache, this is a luminous testament to the necessity of speaking—even when the destination remains unknown.

Moving through queer intimacy, memory, and displacement, the poems in this collection trace what it means to be pulled off-course—towards others, towards language, towards fleeting forms of belonging. Fragmentary and tender, Lateral Sway offers an account of how connections survive across bodies, borders, and time.

That night or a week later, get blackout drunk and think about how unhappy with your life you are. How tired you are of so many of the things you’ve chosen to define yourself by. Why on earth did you cut your bangs like that? Girls like you are becoming lawyers, girls like you have at least been to Europe. All you have is your stupid fucking haircut. Someone at a party describes you as an “indoor kind of girl. ” What does that even mean? You don’t know, but you spend the following week obsessing about it. You watch three seasons of ‘Keeping Up with the Kardashians’ in two days. You get a pet turtle. You absent-mindedly paint what ends up looking like your high school’s football coach, but naked. You go backpacking in Australia for a few months. You try speaking with a New York accent in public, just to see if people like that version of you better. The comment still haunts you. An “indoor kind of girl. ” You feel like you’re that person, but you’re not that person.

Sara Sutterlin’s I Wanted to Be the Knife picks at the bones of modern romance by exploring the disappointments of intimacy and the loneliness of dissolving relationships. Her poems are brutal, funny and full of tender, ugly details that remind us of the compromises we make with ourselves and each other when in love.

the half-drowned is a vision of a future at the end of the world where what survives is the shapeshifting love of family both given and chosen. Drawing on the Afro-diasporic ancestral knowledge of water and the urgency of desire, Delaney builds a glittering, speculative world where community holds through grief, where we must choose to fend for ourselves while also caring for others. the half-drowned is a genre-bending novella that crafts a polyphony of voices to speak to and through our lives and dreams in order to reach for the unspoken and unsayable and make it heard. Praise“A forceful, surreal, and poetically muscular read about a resiliently catastrophic future. So so good. What a style and voice. ”– Jeff VanderMeer, author of AREA X (Farrar, Straus and Giroux)“Told with searing insight and compassion, Trynne Delaney offers up a feast in the half-drowned. With swiftness, precision, and extraordinary prose Delaney gifts us an astonishing spec-fic tale of ancestors, lineage, aliens, blood, and memory. ”– Francesca Ekwuyasi, author of Butter Honey Pig Bread (Arsenal Pulp Press)