Books published by Autumn House Press

"Poems considering self, masculinity, and culture through the spectacle of professional wrestling. In this stunning debut, John Belk looks at the world of professional wrestling to excavate the real within the artificial and explore the projections we create, run from, and delight in. In The Gardens of Our Childhoods, the distance between spectacle and reality blurs. Belk uses the spectacle of wrestling to stare deeply into American culture and masculinity, parsing the intersecting threads of patriarchy and gender, and unpacking identity formation and performance. As Belk pries into toxic masculinities, he leaves space also for tenderness, queerness, and resistance to normative structures, opening the potential for love and admiration. Populated by classic and contemporary wrestlers like Andrâe the Giant, Hulk Hogan, "Stone Cold" Steve Austin, Ricky Steamboat, Bruno Sammartino, Marcus "Buff" Bagwell, and more, this book is ultimately about the constant deconstruction and reconstruction of our identities that smudge fiction and reality. Like wrestlers in their operatic and winding storylines, we learn how to project and inhabit identities while growing into and fighting against the scripts we write for ourselves and those that are imposed on us. The Gardens of Our Childhoods is the winner of Autumn House Press's Rising Writer Prize in Poetry."--

The story of a failed poet struggling with vision loss, personal crises, and what it means to be an arms dealer in a quasi-dystopian Mexico City.   This debut novel is set in a vaguely dystopian, yet also realistic, Mexico City‿endless traffic jams, relentless clouds of pollution, economic hardships, and the ever-present threat of drug cartels. The unnamed narrator of the novel, at times referred to as Arthur‿in part because of the growing similarity of his life with Arthur Rimbaud‿s‿struggles with the dissonance of leading an artistic life while providing for his family. A failed, penniless poet with a child on the way, he is forced to take a job in his family‿s weapons dealing enterprise, which he soon discovers is connected to the corrupt Mexican armed forces and drug cartels, who are responsible for the increasing death toll in the country. All the while, the narrator struggles with a growing condition in his right eye, a pterygium, that is slowly taking over his vision, blurring the events of his life, including his wife‿s complicated pregnancy, extortions by the drug cartels, and his own relationship to his writing. As the narrator gradually finds his life spiraling out of control, the novel moves quickly to a startling conclusion. Myth of Pterygium is the winner of the 2021 Autumn House Rising Writer Prize in Fiction, selected by Maryse Meijer.   Â

Emerging from deep in America's hinterland, Michael Credico's flash fiction portrays an absurdist, exaggerated, and bizarre vision of the Midwest known as the heartland. The stories are clipped views into a land filled with slippery confusion and chaos, mythical creatures, zombies, comic violence, shapeshifters, and startling quantities of fish. The characters of Heartland Calamitous are trying to sort out where, who, and what they are and how to fit into their communities and families. Environmental destruction, aging, ailing parents, apathy, and depression weigh on the residents of the heartland, and they can't help but fall under the delusion that if they could just be somewhere or someone or something else, everything would be better. This is a leftover land, dazed and dizzy, where bodies melt into Ziplock bags and making do becomes a lifestyle. The stories of Heartland Calamitous, often only two or three pages long, reveal a dismal state in which longing slips into passive acceptance, speaking to the particular Midwestern feeling of being stuck. They slip from humor to grief to the grotesque, forming a picture of an all-to-close dystopian quagmire. With this collection, Credico spins a new American fable, a modern-day mythology of the absurd and deformed born of a non-place between destinations.

"Through the poems of Voice Message, Katherine Barrett Swett reflects on her personal tragedy and the fragility of human lives and bodies with a tender care. Her debut collection explores the powers of art and poetry to participate in the processing of catastrophic grief, speaking through both the consolation and devastation these creative works can offer. Swett's formal verse provides a lens through which sadness, destruction, and loss appear as aberrant and inevitable. In tragic lyric, the poet searches poetry, art, mythology, and her own memory for the fleeting image of her lost daughter "in music, painting, or a carved stone name." Frequently looking to visual arts for inspiration, she finds that Vermeer's paintings of distant rooms guide and contextualize pain, offering motivation, comfort, and release. Through villanelles, sonnets, quatrains, and free verse, Swett invokes the voices, narratives, and images, both personal and cultural, that haunt her speakers. Suspended in the aftermath of the unexpected and unspeakable death of her college-age daughter, the poet's language is held together in a somber and necessary restraint. But this restraint does not signal the peace of closure. Rather, these poems quietly and steadily remind readers it is still "the open wound / not the scar," that "all we have are words and flesh," and that we are forever vulnerable. The rhythm of and echoes of sonnets and songs lead us to the sticky intersections of tragedy, recovery, and strange forms of beauty"--