‘Raised from babydom into doubt, I’m as feminine as Rousseau. I, Hazel Brown, eldest daughter of a disappearing class, penniless neophyte stunned by the glamour of literature, tradeless, clueless, yet with considerable moral stamina and luck, left my family at seventeen to seek a way to live. It was the month of June in 1979. I was looking for Beauty: I didn't exactly care about art, I simply wanted not to be bored and to experience grace. So I thought I would write.’ One morning, Hazel Brown wakes in a badly decorated hotel room to find that she’s written the complete works of Charles Baudelaire. In her bemusement the hotel becomes every cheap room she ever stayed in during her youthful perambulations in 1980s Paris. This is the legend of a she-dandy’s life. Woven into her reminisces of Hazel's early life are episodes from Baudelaire’s youth, as well as reflections on the history of tailoring, the passion of reading and 19th century painting. Lisa Robertson’s debut novel is an exploration of life lived in pursuit of beauty, and a celebration of the mind of a girl.

From the author of The Baudelaire Fractal, a poetry classic, with new work In 2004, boldly original poet Lisa Robertson published a chapbook, Rousseau's Boat, poems culled from years of notebooks that are, nevertheless, by no means autobiographical. In 2010, she expanded the work into a full-length book, R's Boat. During the pandemic, she was drawn back into decades of journals to shape Boat. These poems bring fresh vehemence to Robertson's ongoing examination of the changing shape of feminism, the male-dominated philosophical tradition, the daily forms of discourse, and the possibilities of language itself. "Robertson has quietly but surely emerged as one of our most exciting and prolific philosophers-I mean poets. Interested in architecture, weather systems, fashion, autobiography, gender, the classics, and just about everything else, she manages to irradiate her subjects with calm, wit, and astonishing beauty. Robertson's style is both on splendid display and under fierce interrogation in her latest book, R's Boat." -Kenyon Review "In R's Boat, Robertson has penned a post-conceptual, post-lyric, relentlessly self-examining performance of memory and sincerity that manages, remarkably, to be both theoretically concerned and deeply emotive." -Harvard Review "R's Boat grapples with form, the constraint of language and tradition, and the challenge to avoid anything that might exist as template. The poems examine feminism, discourse, the body, and poetry itself through sumptuous, seductive language." -American Poets

Explores radical designs for the home in the nineteenth-century metropolis and the texts that shaped them Uncovers a series of innovative housing designs that emerged in response to London's rapid growth and expansion throughout the nineteenth century Brings together the writing of prominent authors such as Charles Dickens and George Gissing with understudied novels and essays to examine the lively literary engagement with new models of urban housing Focuses on the ways that these new homes provided material and creative space for thinking through the relationship between home and identity Identifies ways in which we might learn from the creative responses to the nineteenth-century housing crisis This book brings together a range of new models for modern living that emerged in response to social and economic changes in nineteenth-century London, and the literature that gave expression to their novelty. It examines visual and literary representations to explain how these innovations in housing forged opportunities for refashioning definitions of home and identity. Robertson offers readers a new blueprint for understanding the ways in which novels imaginatively and materially produce the city's built environment.

Literary Nonfiction. Cross-Genre. This delectable book collects the rococo prose of Lisa Robertson, the ambulatory Office for Soft Architecture. There are essays--many originally published as catalogue texts by art galleries--on the syntax of the suburban home, Vancouver fountains, Value Village, the joy of synthetics, scaffolding and the persistence of the Himalayan blackberry. There are also seven Walks, tours of Vancouver sites--poetic dioramas, really, and more material than cement could ever be. SOFT ARCHITECTURE exists at the crossroads of poetry, theory, urban geography and cultural criticism, some place where the quotidian and the metaphysical marry and invert. And it makes for one of the most intriguing books you'll ever read. Originally published by Clear Cut Press in 2004, this revised edition features a foreword and new material.

Recite your poem to your aunt. I threw myself to the ground. Where were you in the night? In a school among the pines. What was the meaning of the dream? Organs, hormones, toxins, lesions: what is a body? In 3 Summers, Lisa Robertson takes up her earlier concerns with form and literary precedent, and turns toward the timeliness of embodiment. What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The 10 poem-sequences in 3 Summers inflect a history of textual voices -- Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras -- in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time -- embodied here in Lisa Robertson's forceful cadences -- can tell. 'Robertson proves hard to explain but easy to enjoy...Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt...She wields language expertly, even beautifully. '--The New York Times 'Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.'-- The Village Voice Lisa Robertson's books include Cinema of the Present, Debbie: An Epic, The Men, The Weather, R's Boat and Occasional Works and Seven Walks from the Office for Soft Architecture. Lisa Robertson's Magenta Soul Whip was named one of The New York Times' 100 Notable Books. She lives in France.

I want an ingenious fibre to be treated as funny tragedy expressing a classic argument against materialism which runs like this: which changes of costume are bound to be dangerous? The Apothecary is an extinct fern called a sentence unfurling in the mists. It is also Lisa Robertson's first book. Originally published in a small edition by Tsunami Editions in Vancouver in 1991, it quietly disappeared until it was re-released in 2001 on a need-to-know-basis. BookThug is now pleased to make this text available in a more permanent and pleasing edition. The Apothecary stems from the author's desire to remake the sentence � to let it be capacious, preposterous, convivial, and hang it from a pronoun worn like a phantom limb. Robertson wants that ghostly pronoun to reinvent itself afresh in each sentence. Looking towards the eighteenth century, sometimes through a lens occasionally borrowed from contemporary sources, the text of The Apothecary is precise, intoxicating materia medica dispensed by one of Canada's most important contemporary posts at the beginning of her career with the use of florid instruments.