Shortlisted for a Lambda Literary Award and Ferro-Grumley Award for LGBT Fiction, the second novel by Daniel Allen Cox (Shuck)is an infernal fable about sex, politics, and violence, in which a bisexual artist in Krakow, Poland teams up with a budding female pyromaniac as their city prepares for the imminent death of Pope John Paul II.
Montreal, 1979. A boy's speech starts to fracture along with the cement of le Stade olympique. Do they share a fault line? Daniel Allen Cox's unconventional fourth novel tells the story of a boy with a stutter who grows up and uses sound to remember the past. A coming-of-age tale that telescopes through time like an amnesiac memoir, Mouthquake finds its strange beat in subliminal messages hidden in skipping records, in the stutters of celebrities, and in the wisdom of The Grand Antonio, a suspicious mystic who helps the narrator unlock the secret to his speech. This is a loudly exclaimed book of innuendo, rumours, and the tangled barbs of repressed memory that asks: How do you handle a troubling past event that behaves like a barely audible whisper? Written with a poetic bravado and in a structure that mimics a stutter, the elegiac Mouthquake is speech therapy for the bent: the signal is perverted and the sounds are thrilling. Includes an afterword by Sarah Schulman, author of Rat Bohemia and The Gentrification of the Mind: Witness to a Lost Imagination. Daniel Allen Cox is the author of Shuck, Krakow Melt (both Lambda Award finalists), and Basement of Wolves. He also co-wrote Bruce LaBruce's film Gerontophilia, released in the US in 2015.
“I spent eighteen years in a group that taught me to hate myself. You cannot be queer and a Jehovah’s Witness—it’s one or the other.” Daniel Allen Cox grew up with firm lines around what his religion considered unacceptable: celebrating birthdays and holidays; voting in elections, pursuing higher education, and other forays into independent thought. Their opposition to blood transfusions would have consequences for his mother, just as their stance on homosexuality would for him. But even years after whispers of his sexual orientation reached his congregation’s presiding elder, catalyzing his disassociation, the distinction between “in” and “out” isn’t always clear. Still in the midst of a lifelong disentanglement, Cox grapples with the group’s cultish tactics—from gaslighting to shunning—and their resulting harms—from simmering anger to substance abuse—all while redefining its concepts through a queer lens. Can Paradise be a bathhouse, a concert hall, or a room full of books? With great candour and disarming self-awareness, Cox takes readers on a journey from his early days as a solicitous door-to-door preacher in Montreal to a stint in New York City, where he’s swept up in a scene of photographers and hustlers blurring the line between art and pornography. The culmination of years spent both processing and avoiding a complicated past, I Felt the End Before It Came reckons with memory and language just as it provides a blueprint to surviving a litany of Armageddons.
“I spent eighteen years in a group that taught me to hate myself. You cannot be queer and a Jehovah’s Witness—it’s one or the other.” Daniel Allen Cox grew up with firm lines around what his religion considered unacceptable: celebrating birthdays and holidays; voting in elections, pursuing higher education, and other forays into independent thought. Their opposition to blood transfusions would have consequences for his mother, just as their stance on homosexuality would for him. But even years after whispers of his sexual orientation reached his congregation’s presiding elder, catalyzing his disassociation, the distinction between “in” and “out” isn’t always clear. Still in the midst of a lifelong disentanglement, Cox grapples with the group’s cultish tactics—from gaslighting to shunning—and their resulting harms—from simmering anger to substance abuse—all while redefining its concepts through a queer lens. Can Paradise be a bathhouse, a concert hall, or a room full of books? With great candour and disarming self-awareness, Cox takes readers on a journey from his early days as a solicitous door-to-door preacher in Montreal to a stint in New York City, where he’s swept up in a scene of photographers and hustlers blurring the line between art and pornography. The culmination of years spent both processing and avoiding a complicated past, I Felt the End Before It Came reckons with memory and language just as it provides a blueprint to surviving a litany of Armageddons.
SHUCK (noun): the outer covering of a nut or of an ear of corn; the shell of an oyster or clam; something of little value SHUCK (verb): to peel off (as in clothing).Shuck is the intense, dazzling diary of Jaeven Marshall, a quasi-homeless hustler who seeks his fame and fortune in New York, where he tries to manage his reputation as the city's porn star du jour when he's not dumpster diving, tweaking, or trying to get published. As his dreams of becoming a literary star grow dim, and when his love affair with a moody painter becomes hopelessly messy, he tries to reconfigure his life by documenting obsessive lists from found trash, and by hustling, which steals little pieces of his body and scatters them all over the city. Shuck is a remarkable peep show of a novel about what binds artists and prostitutes, and the collateral damage that happens when they try to recover what they have lost.
Montreal, 1979. A boy's speech starts to fracture along with the cement of le Stade olympique. Do they share a fault line? Daniel Allen Cox's unconventional fourth novel tells the story of a boy with a stutter who grows up and uses sound to remember the past. A coming-of-age tale that telescopes through time like an amnesiac memoir, Mouthquake finds its strange beat in subliminal messages hidden in skipping records, in the stutters of celebrities, and in the wisdom of The Grand Antonio, a suspicious mystic who helps the narrator unlock the secret to his speech. This is a loudly exclaimed book of innuendo, rumours, and the tangled barbs of repressed memory that asks: How do you handle a troubling past event that behaves like a barely audible whisper? Written with a poetic bravado and in a structure that mimics a stutter, the elegiac Mouthquake is speech therapy for the bent: the signal is perverted and the sounds are thrilling. Includes an afterword by Sarah Schulman, author of Rat Bohemia and The Gentrification of the Mind: Witness to a Lost Imagination. Daniel Allen Cox is the author of Shuck, Krakow Melt (both Lambda Award finalists), and Basement of Wolves. He also co-wrote Bruce LaBruce's film Gerontophilia, released in the US in 2015.
Shortlisted for a Lambda Literary Award and Ferro-Grumley Award for LGBT Fiction, the second novel by Daniel Allen Cox (Shuck)is an infernal fable about sex, politics, and violence, in which a bisexual artist in Krakow, Poland teams up with a budding female pyromaniac as their city prepares for the imminent death of Pope John Paul II.
As Daniel Baylis approached his 30th birthday, he asked himself a tough question: Who’s at the steering wheel of my life? The verdict came back unclear, so he decided to take immediate action. He gave up his job and his rent-controlled apartment to tackle one of his biggest dreams—to travel the world. With an objective to not only see places but also to experience them, Baylis spent an entire year sampling a variety of volunteer positions. From an elementary schoolroom in Peru, to Edinburgh’s Fringe Fest, to an organic goat farm hidden in the hills of Galilee (and many places and projects in between), he dove headfirst into immersive travel experiences. With a touch of introspection and a heap of humour, The Traveller presents literary snapshots of twelve very distinct global destinations. What emerges is a portrait of an individual trying to be helpful, along with all the people who helped him along the way. Lively and compelling, The Traveller is required reading for anyone who dreams of international adventures—or for anyone who simply dreams.
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