For over thirty years, Raymond Federman has been dazzling readers with his unique brand of "surfiction" - throwing words all over the page and inserting himself into every fiction, often through such zany alter egos as Moinous and Namredef. Now comes the greatest self-referential work of all as Federman spins all manner of tales off various parts of his own body, recounting his childhood in France, adult life in the US, Jewish heritage, and career as a writer, with no effort made to distinguish between fact & fiction, memory & imagination.

Previously published in France as Mon corps en neuf parties, Federman's masterpiece is now available for the first time in English in an oversize 7x10 inch edition, with augmented translation by the author and ten photographs by photographer Steve Munez.

"A man of such joyful vitality that he will sweep anyone away." L'Humanité (France)

"Raymond Federman, inarguably one of the most significant vanguard writers of the second half of the twentieth century and first years of the twenty first, here writes through and about the text of the body in order to celebrate how after forty every piece of us is an achievement and a nearly unbelievable fiction, and to offer us an hilariously digressive and wildly exuberant Fuck-You to the idea of aging." Lance Olsen

"One could expect Federman's text to be narcissistic and self-absorbed -- but Federman's an artist, and his meditations go all over the place. On speaking French-accented English and being accused of speaking English-accented French; on his large, Semitic nose and the insults it's been forced to endure; on the distinct characters of his ten toes -- Federman's work always takes on larger issues of exile and home, nature and nurture - with disarming humor." Janet Holmes, Humanophone.com

"Raymond Federman's My Body in Nine Parts once again shows why he's widely considered to be the most radically innovative and narcissistic (in the best sense of the word) of all contemp-orary American authors. I realize that my own body parts are far less memorable than Federman's, but nonetheless I would like to add: TWO THUMBS UP!" Larry McCaffery