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Something Bright, Then Holes
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  • Events in Los Angeles
  • Author event at the Santa Barbara Museum of Art on February 3, 2019, TBA
  • Outreach to book clubs and librarians
  • Targeted media outreach to online literary blogs (Paris Review Daily, New Yorker, LitHub), podcasts (LitUp), and poetry publications (Poetry, Poets & Writers)
  • Targeted media outreach to subscription services (BOTM), and excerpts/interviews in literary newsletters (Lenny Letter, Rookie)
  • About the Author

    Maggie Nelson is a poet, critic, scholar, and nonfiction writer. In 2016 she was received a MacArthur "genius" grant. She is the author of five books of nonfiction, including The Argonauts (Graywolf Press, 2015), which won the National Book Critics Circle Award in criticism and was a New York Times bestseller; a landmark work of cultural, art, and literary criticism titled The Art of Cruelty: A Reckoning (Norton, 2011), which was featured on the front cover of the New York Times Book Review and named a New York Times Notable Book of the Year; the cult classic Bluets (Wave Books, 2009), which was named by Bookforum as one of the 10 best books of the past 20 years; a memoir about her family, media spectacle, and sexual violence titled The Red Parts (originally published by Free Press in 2007, reissued by Graywolf in 2016); and a critical study of painting and poetry titled Women, the New York School, and Other True Abstractions (University of Iowa, 2007; winner, the Susanne M. Glassock Award for Interdisciplinary Scholarship). Her books of poetry include Something Bright, Then Holes (Soft Skull Press, 2007), Jane: A Murder (Soft Skull, 2005; finalist, the PEN/Martha Albrand Award for the Art of the Memoir), The Latest Winter (Hanging Loose Press, 2003), and Shiner (Hanging Loose, 2001). She has been the recipient of a 2012 Creative Capital Literature Fellowship, a 2010 Guggenheim Fellowship in Nonfiction, an NEA Fellowship in Poetry, and an Andy Warhol Foundation/Creative Capital Arts Writers Grant. She lives in Los Angeles.

    Reviews

    Praise for Something Bright, Then Holes (2018) "Nelson's nexus is fluidity: gender, pleasure, desire, and the body are questioned with equal rigor as modality, criticality, and theory. Those concerns are present in Something Bright . . . But in this collection, Nelson's heady, narcotic philosophizing is underpinned by a more personal vulnerability." -The Paris Review "Maggie Nelson's gorgeous, expansive book of poetry feels like a necessary summer read, not least because of Nelson's ability to so palpably, grotesquely, beautifully make clear the urgency of love and f*cking, as she does in the book's titular poem." -NYLON, 1 of 46 Great Books to Read This Summer "Soft Skull Press has released a gorgeous reissue of Nelson's Something Bright, Then Holes and, despite being originally published in 2007, it's easily one of the best books of 2018. . . . Maggie Nelson elicits genuine awe with each turn of the page. . . . Something Bright, Then Holes is candid and heartfelt, blurring the lines between poetry and storytelling fluently and with thoughtful contemplation. These poems swathe their reader and craft a voyeuristic sense of empathy; it's as if you're not supposed to be there. Yet, here you are." -Popscure "Maggie Nelson's fourth collection of poems, originally published in 2007, combines a wanderer's attention to landscape with a deeply personal exploration of desire, heartbreak, resilience, accident, and flux."-Medium, 1 of 10 Poetry Collections to Get You Through This Month "This re-issue of Nelson's 2007 collection of poems shows the celebrated author in her most incisive and economic form-a record of a protean talent in the making." -Largehearted Boy, Librairie Drawn & Quarterly Book of the Week "Nelson's 2018 reprint provides precise evidence of her singular and true innovation in content, form, and timeless(ness). It drops controlled dollops of poetic meter, rhyme, and lyricism. It steals from multiple styles (Nelson cites her "thefts" on the acknowledgement page), it exudes nuanced understanding of postmodernity. It cries with confession; boxes with language. Nelson is raw, honest, rough, and tender." -The Brooklyn Rail

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