“Corinna Cook’s Leavetakings brings to mind the sharpness of line drawings so extraordinarily crafted that we reach for the page to feel the fineness of feather. From Alaskan landscapes to human relationships, Cook tests the edges where exterior becomes interior.”—Karen Babine, author of All the Wild Hungers
“…a truly original voice.”—Sherry Simpson, author of Dominion of Bears
Leavetakings collects nine essays set in Alaska. They ask, what can coming and going reveal about place? Might wandering serve not only to map new regions but also to map the most familiar ones, like home? As the book travels to and from people, memories, beaches, and forests, it also studies the ebb and flow of empathy and alienation that makes friendship, like place, a complex of closeness and distance.
“A stunning debut.”—Jericho Parms, author of Lost Wax
To order a signed copy / purchase a book from me directly, email firstname.lastname@example.org
– a mailing address for shipping
– inscribing instructions (specify if you’d simply like a signed copy, or name the person you’d like it inscribed to)
$16.95 book + safely distanced in-person pickup (no postage)
$20 book + postage
*Happy to make special arrangements one-on-one for multi-book orders, non-Venmo users, or shipping to Canada.
“Breathtaking…. Every chiseled, staggeringly focused experience becomes a window into history or myth or science… This incantatory, elegant book broke my heart in the best possible way.”—Michael White, author of Travels in Vermeer
“This lovely book teaches us how to examine and cherish the places where we find ourselves, no matter what rivers carried us here.”—Joni Tevis, author of The World Is On Fire
Advance Praise for Leavetakings
What does it mean to love a place? In Leavetakings, Corinna Cook explores this question via her own unique alloy “of humor and holiness.” Salmon otoliths whisper secrets; teenagers at calculus camp joke “Kiss My Asymptote”; a winged outhouse rises into the air. This lovely book teaches us how to examine and cherish the places where we find ourselves, no matter what rivers carried us here.
—Joni Tevis, author of The World Is On Fire
In this, her first essay collection, Corinna Cook draws for her reader an x-y axis and invites us to journey alongside her—on and off grid—as she plots stasis and change, leaving and returning, meditates on salmon bones and sourdough, friendship and solitude, and the ever-present landscape of Alaska. More than a collection, Leavetakings is a book of curated findings, evidence of a vast and changing northern terrain and the intimacy and wonder it engenders. With clarity, whimsy, and wisdom, Cook speaks to the body, charts under-explored regions of the heart, and presents a unique topography of human experience. A stunning debut.
—Jericho Parms, author of Lost Wax
Again and again I found myself astonished by the incandescence of Corinna Cook’s essays. Her accounts of people and place are thoughtful without pretension, witty without affectation, and poignant without sentimentality because she doesn’t write about Alaska so much as she is inhabited by it. I emerged from the intimate dreaminess of Leavetakings grateful to have encountered a truly original voice.
—Sherry Simpson, author of Dominion of Bears
Corinna Cook’s Leavetakings brings to mind the sharpness of line drawings so extraordinarily crafted that we reach for the page to feel the fineness of feather. From Alaskan landscapes to human relationships, Cook tests the edges where exterior becomes interior.
—Karen Babine, author of All the Wild Hungers
Corinna Cook’s breathtaking Leavetakings is an unclassifiable hybrid of environmental writing and personal memoir—set mostly in the author’s native Alaska—that reads, on the sentence level, as pure poetry. Cook doesn’t write of or at a subject, she writes through it. Every chiseled, staggeringly focused experience becomes a window into history or myth or science . . . This incantatory, elegant book broke my heart in the best possible way.”
—Michael White, author of Travels in Vermeer
Excerpt from “Traverses,” the collection’s first essay:
It is this simple. I am crossing the continent to look at its shape.
Of the continent: it’s unbelievable that road infrastructure overlays so much of it. Unbelievable that a whole plate of the earth’s crust has a net of asphalt threads laid atop it. Unbelievable, the nonchalance this creates. Crossing the continent to see its shape is less an expedition and more a comfortable contemplation. I will ford no rivers. I will search for passage through the mountains not for survival, but simply to walk my dog, Pep, study the game trails, and enjoy wayfinding on unfamiliar ground.
I will watch the continent change as I go north in early spring. Then in late summer, I will watch it change in reverse. It is important to go both directions. It takes repetitions to see where you’ve been. And things look different when you’re leaving: even the air is different. Often, what I’m leaving is Alaska, though in my heart I am never absent from the place and my departures probably reflect more obscure schisms. At least the place is a marker, clear enough that I can count the days until I return. When the number is small, I announce it: Dog! I say. We’re going back! She knows exactly where.
[…] It’s mid-May. It’s spring in a place where the land’s memory of winter is strong. I’ll be driving out well before breakfast, well before anyone else awakens. Eventually the day will open behind me; the sky will go from rose to blue. Later, summer will come. People—southerners—will begin trickling through; I’m ahead of the RV roadtripping curve, but it’ll follow soon enough. Visitors will come, then they’ll go, and then the days will zip up tight into fall. That’s when the swampy land all around will blush once, hard, a quick bright red before the snow. I don’t even know if you like winter. I do. It’s very quiet. That’s what will come next.