Forthcoming: April 1, 2021

Preorder info:

Preorders of Flee will be available RIGHT HERE from midnight on 3/1/21 through 11:59pm on 3/8/21. After 3/8, sales of Flee will be closed until the official publication date of 4/1/21.

The first twenty-five (25) preorders will include a presigned autograph plate; one per address to make sure everyone gets a fair shot. If your order is among the first twenty-five, it will be noted in the confirmation email we'll be sending you after the preorder period has closed. Readers who purchased a 2021 SLP Subscription (either full or nonfiction-hybrid) are automatically included in this group.

Preorders including autograph plates will be shipped via USPS Media Mail with tracking; all other preorders will be shipped directly from our printer.

We're so excited to share Calvin's chapbook with you all!

Winner of the 2020 Nonfiction/Hybrid Chapbook Contest

Flee is on the move. 

Flee is a mode of being and of making, one that moves from Detroit, to Paris, to Brooklyn, Hargeisa, and back, with a hybrid of warring energies— the lyrical, theoretical, political, and surreal—to innovate and interrogate both form and content in surpassing the actual. Flee seeks to find something else, maybe soft grass to lie on. With prose and photographs, Flee engages memories of travel in their physical, affective, and relational dimensions and reflects on Aaliyah, drones, Levinas, and Bushwick along the way. Flee is a chronicle and a poetics.  

Praise for Flee:

"Flee moves deftly between the personal and the critical, the pop and the academic, to explore how types of captivity replicate themselves across time and space. “Longing is my political apparatus,” writes Walds, “I still dance in the mirror. I think people still wonder why we don’t just accept the world?” Rather than “braid” or “collage” subjects, Calvin Walds uses an immersive, essayistic structure that asks Adorno to converse with Aaliyah and moves our viewfinder seamlessly from Detroit to Paris to Bushwick to Hargeisa to Brooklyn. Across the book, moments of seeing and being seen shift the traditional connection between writer and reader as Walds reminds the audience that they are not the only ones who are looking: “I am watching Musa Okwonga’s performance of The Migrant Manifesto,” “I keep pausing I Don't Want to Sleep Alone by Tsai Ming Liang to take screenshots.” Flee is performing and also doubtful of escape. The book cranes our necks to see what could be on the other side."

 —Sarah Minor, 2020 Split/Lip Press Nonfiction/Hybrid Contest judge


Interested in an ARC of Flee?