Bøker utgitt av Metatron Press

Jayson Keery's world-building poems reimagine the coming-of-age narrative for queer and trans people. Winner of The Metatron Prize for Rising Authors (Poetry), The Choice is Real is a romp through millennial media landscapes and an interrogation of their power as systems of early childhood gender programming. Challenging the conventions of how queer and trans people are encouraged to tell their stories, The Choice is Real engages the concept of choice in queerness and trivializes the linear "born-this-way" narratives that queer people are sold. In response to a second puberty brought on by medical transition and an unravelling of family structures following the death of their stepmother, Keery regresses through a warped and foreboding childhood landscape saturated with pop culture iconography. Writing with and against Disney classics, Keery moves between formative memories and contemporary moments, weaving in accounts of current relations in their playful uprooting of assumptions of queer relationality. Opening with a cheeky epigraph from trans author and activist Lou Sullivan: "I love being a girl. So delicate," The Choice is Real explodes with celebration and criticism of girlhood from a transmasculine perspective.

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)

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)

Lora Mathis's The Snakes Came Back invokes mythology, dreams, and the natural world as realms of solace and wells of knowledge in the healing of trauma. In Lora Mathis's poems, the body is a temporary resting place for the infinite, resilient soul. The Snakes Came Back follows a speaker contending with trauma in the slipstream of earthly time. Mathis's poems are peopled with friends and lovers-both named and anonymous, current and past-and invested in necessary interdependence as a means of healing the self. But the self is not fractured. The self is composed of memory, navigating impulses of woundedness with awareness and compassion. Mouths and tongues figure prominently throughout this reflective and forthcoming collection, evocative of the insatiable desire of our hungry ghosts. The mouth is, however, as much a space of hunger and desire as it is an erogenous zone of self-expression and agency. Mapping affective geographies of memory, The Snakes Came Back cracks open everyday tasks and familiar landscapes to reveal their haunting depths. Saturated with heat and wind, Mathis's poems vibrate with the will to face life's temporality, its impossible contradictions, its beauty and its pain: "There is loss, but there is renewal too. "

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.

The Nerves subverts the literary approach to sexuality by treating the erotic not as a site of anxiety but of reverie. Set in an imaginary world where our sense memories tell us who we are, Lee Suksi's literary debut is psychedelic, attentive, cinematic and hot. Writing toward sensitivity and ecstasy, exploring touch as healing abandon, The Nerves is charged with desire, devotion, and creative fantasy. Through a series of joyful encounters, Suksi reminds us that pleasure can be abundant, nuanced and that it can heal. Engaging in a queer erotics of language, Suksi's debut is a bundle of wet atmospheres, speaking to faith in touch.

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

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.