Bøker av Iris Berry

In this portable collection of prose and poetry, Gas Station Etiquette, Iris Berry takes us on a tour of her Los Angeles. Her love for certain gas stations, chance encounters, drinking cappuccinos with her mother in the rain, the L.A. River at 2 am, and a never-ending train ride just trying to make her way back to L.A., her home. Being a native angeleno, her love for Los Angeles is evident, even in the bad parts she finds the beauty in the ugly and the magic in the mundane.

Dan Denton's "$100-A-Week Motel" is a hallelujah chorus of proletariat madness, and a fine, sweet madness it is. In this modest motel, the circus comes to town, love is possible, sudden heroes wait to punch the time clock and ashtrays overflow with twice smoked twisted butts. There is a cheap bible hiding inside the table at the bedside of every room of this motel that among others, contains the outlaw gospels according to Charles Bukowski, F.A. Nettelbeck, and Fred Voss; the poetic catechism of ordinary saints. And if you press your ear to it, spirituals of the divinely real can be heard inside an earful of peeling paint. Come, let Dan Denton take you to his burning river where you can meet the practitioners of a sincere and wounded faith found only in the lobby of this $100 a Week Motel. S.A. Griffin, from his foreword. Author of "Dreams Gone Mad With Hope" and editor of "Outlaw Bible of American Poetry."

"Michael Marcus takes us on a wild adventure through the darkest depths of addiction, sexuality, deceit, and depravity with a raw grace and eloquence that brings to mind the voices of Jim Carroll in THE BASKETBALL DIARIES, Irvine Welsh in TRAINSPOTTING, Denis Johnson in JESUS' SON, and Junot Diaz in DROWN. Not for a moment do we question our narrator's truth as he depicts larger-than-life characters who are in a constant struggle to survive. "Marcus has an engaging voice as an author that is matched by his raucous humor. To read #1 SON is an experience of monumental proportions. A powerful, fresh new voice has taken center stage on the literary scene." --Jon Hess, from his introduction