The daring, mischievous micro-essays of award-winning French humorist Éric Chevillard, published in English for the first time   Éric Chevillard is one of France’s leading stylists and thinkers, an endlessly inventive observer of the everyday whose erudition and imagination honor the legacy of Swift and Voltaire—with some good-natured postmodern twists.   This ensemble of comic miniatures compiles reflections on chairs, stairs, stones, goldfish, objects found, strangers observed, scenarios imagined, reasonable premises taken to absurd conclusions, and vice versa. The author erects a mental museum for his favorite artworks, only to find it swarming with tourists. He attends a harpsichord recital and lets his passions flare. He happens upon a piece of paper and imagines its sordid back story. He wonders if Hegel’s cap, on display in Stuttgart, is really worth the trip.   Throughout, Chevillard’s powers of observation chime with his verbal acrobatics. His gaze—initially superficial, then deeply attentive, then practically sociopathic—manages time and again to defamiliarize the familiar with a coherent and charismatic charm. Daniel Levin Becker’s translation deftly renders the marvels of the original, and a foreword by Daniel Medin offers rich contextual commentary, making a vital wing of French literature and humor newly accessible in English.

Nominated for the 2016 PEN Translation Prize One of Flavorwire's Top 50 Independent Books of 2015 One of Entropy Magazine's Best Fiction Books of 2015 One of Bookriot's 100 Must-Read Books Translated From French Sphinx is the remarkable debut novel, originally published in 1986, by the incredibly talented and inventive French author Anne Garreta, one of the few female members of Oulipo, the influential and exclusive French experimental literary group whose mission is to create literature based on mathematical and linguistic restraints, and whose ranks include Georges Perec and Italo Calvino, among others. A beautiful and complex love story between two characters, the narrator, "I," and their lover, A***, written without using any gender markers to refer to the main characters, Sphinx is a remarkable linguistic feat and paragon of experimental literature that has never been accomplished before or since in the strictly-gendered French language. Sphinx is a landmark text in the feminist, LGBT, and experimental literary canons appearing in English for the first time.

A NEW YORKER & GLOBE AND MAIL BEST BOOK OF THE YEAR A love letter to the verbal artistry of hip-hop, What's Good is a work of passionate lyrical analysis "What's Good is, among a great many other things, a byproduct of joyful obsession and immersion into both language and sound, an intersection that offers a rich and expansive land upon which to play." -Hanif Abdurraqib, author of A Little Devil in America: Notes in Praise of Black Performance " . . . an often hilarious, surprisingly moving and always joyful paean to rap's relationship to words."-Jayson Greene, The New York Times "Rap, he is not afraid to say, is as close to a universal tongue as we have."-Adam Gopnik, The New Yorker What's Good is a work of passionate lyrical analysis, a set of freewheeling liner notes, and a love letter to the most vital American art form of the last half century. Over a series of short chapters, each centered on a different lyric, Daniel Levin Becker considers how rap's use of language operates and evolves at levels ranging from the local (slang, rhyme) to the analytical (quotation, transcription) to the philosophical (morality, criticism, irony), celebrating the pleasures and perils of any attempt to decipher its meaning-making technologies. Ranging from Sugarhill Gang to UGK to Young M.A, Rakim to Rick Ross to Rae Sremmurd, Jay-Z to Drake to Snoop Dogg, What's Good reads with the momentum of a deftly curated mixtape, drawing you into the conversation and teaching you to read it as it goes. A book for committed hip-hop heads, curious neophytes, armchair linguists, and everyone in between. "For those of us who love rap, What's Good is a gift. The book offers a new set of eyes and ears through which to see and to hear the language of rap. Its brief and brilliant chapters are like the best kinds of freestyles: spontaneous and structured, startling and profound. A remarkable achievement." -Adam Bradley, author of Book of Rhymes: The Poetics of Hip Hop "Could this be the rap equivalent of Lewis Hyde's The Gift or Marina Warner's Once Upon A Time? Anyhow, it's an electrifying book, full of wild epiphanies and provocations, an exhibition of a critical mind in full and open contact with their subject at the highest level, with a winning streak of confessional intimacy as well." -Jonathan Lethem, author of The Arrest: A Novel "What's Good is a feat of critical precision and personal obsession: Daniel Levin Becker's deep appreciation for rap is rangy and illuminating, and his delight in language is infectious. What a thrill to swing so gracefully from Lil Wayne to Mary Ruefle to the lyrical evolution of 'tilapia'; pure pleasure. A generous, joyful exegesis."-Anna Wiener, author of Uncanny Valley: A Memoir

SIC] includes public domain works published under Davis Schneiderman's name, including everything from the prologue to The Canterbury Tales to Wikipedia pages to genetic codes, along with a transformation of the Jorge Luis Borges story: "Pierre Menard, Author of Don Quixote." SIC] is part of DEAD/BOOKS trilogy of conceptual works by Davis Schneiderman from Jaded Ibis Press. Other books in the trilogy are BLANK (2011), and INK (forthcoming).

What sort of society could bind together Jacques Roubaud, Italo Calvino, Marcel Duchamp, and Raymond Queneau-and Daniel Levin Becker, a young American obsessed with language play? Only the Oulipo, the Paris-based experimental collective founded in 1960 and fated to become one of literature's quirkiest movements. An international organization of writers, artists, and scientists who embrace formal and procedural constraints to achieve literature's possibilities, the Oulipo (the French acronym stands for "workshop for potential literature") is perhaps best known as the cradle of Georges Perec's novel A Void, which does not contain the letter e. Drawn to the Oulipo's mystique, Levin Becker secured a Fulbright grant to study the organization and traveled to Paris. He was eventually offered membership, becoming only the second American to be admitted to the group. From the perspective of a young initiate, the Oulipians and their projects are at once bizarre and utterly compelling. Levin Becker's love for games, puzzles, and language play is infectious, calling to mind Elif Batuman's delight in Russian literature in The Possessed. In recent years, the Oulipo has inspired the creation of numerous other collectives: the OuMuPo (a collective of DJs), the OuMaPo (marionette players), the OuBaPo (comic strip artists), the OuFlarfPo (poets who generate poetry with the aid of search engines), and a menagerie of other Ou-X-Pos (workshops for potential something). Levin Becker discusses these and other intriguing developments in this history and personal appreciation of an iconic-and iconoclastic-group.