MATERIALS are publishers of poetry, prose, pamphlets, polemics. Previously based in Cambridge, UK, now based in London & München.

March 2020 


T is a long poem in multiple parts and its author's second book. “The two genders are YES and NO, so you stutter or else shut up forever”. From the Afterword:
Between 2017-2018 I was involved in a trial with a group of TERFs after a scuffle emerged during a counter protest against a ‘debate’ about sex-based rights in light of proposed reforms to the Gender Recognition Act which would have made trans people’s lives marginally easier. Luckily I wasn’t actually in the dock, but I appeared to give evidence, and for everyone involved it was a humiliating ordeal as we were doxxed, harrassed online and in real life, while the relentless media campaign which ensued took a toll on the entire trans community. The caricaturesque reduction of a complex interrelation of political positions, epistemologies, traumas and personal grievances into two ‘sides’ ultimately worked to further the persecution of trans people, but nevertheless highlighted a social logic on whose terms the so called debate was forced to appear: sex was pitted against gender (or more revealingly ‘gender identity’), objective biology against subjective ‘self-identification’, nature against culture, or perhaps, first nature against second nature.
What does a poet say (what does anyone say), when placed on the stand, how answer the binary logics forced like a cage in the legally-grounded violence which splittingly interrogates solidarity, the splitting invocation of law? In answer, T spreads across the page as if desperately finding a form for speech acts forced into a garrotted tick-box, a witness stand, video evidence, Nature’s originary disguise as history or vice versa, wrapped inside ‘common sense’ as a pronominal shroud, in the policing of body, speech, and every fungible fibre of being. The author writes: “I want the whole text to be a kind of horrific inorganic body with awkward parts, both to replay at the level of form some of the critiques of organicist thinking with reference to nature that the poem tries to articulate, and also, more glibly, to be somewhat like a trans body, awkwardly fitting together with some parts undercutting others”. An extended enquiry into Materialism and its material (fleshed) stakes, driven through the heart and to the heart of things, T sees lyric poem shudder to line-broken essay to fragment of play to citational drop; in tight compression sprawling, a poem whose argument is necessary and necessarily incomplete, poetry can do thinking, this thinking we do outside and within it, sprung trap, open and closing door. 

A5, 56pp, saddle-stitch 

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November 2019

 “Care is not organic”, begins Tom Betteridge’s Dressings, tracing this “tech/nology”, “all sorts”, a “chorus”, the care work done on and with the body. Gnarly and knotty, “its bruising / settlement” rarely settles for long, or without damage; yet damage has its attendant processes: those of suture for those of rupture, stitch for cut: “so each grain promises / to bind to an other another time”. Examining language and that thing we call a self in all its fleshly materiality, Dressings also analyses their mutual collapse, boundaries and leakage; “the matter of cut / time” in which poetry might figure both as wound and cure, poet as both doctor and patient, patiently touching on the diagnostic yet always turning-off road, shows us the new, troubling, surprising vistas that lie just round the corner.

the time left what’s left to hold harried
tense cycle hemmed in speech scrutiny
bedside duress grey light adore you

Colour covers in gross-out pink; A5, saddle-stapled, 46 pages.

Tom Betteridge is the author of the poetry pamphlets Pedicure (Sine Wave Peak, 2017) and Body Work (Sad Press, 2018) and a critical book, Badiou, Poem and Subject (Bloomsbury, 2019). With Ellen Dillon he co-edited a feature on the poet Peter Manson for the Journal of British and Irish Innovative Poetry. He lives in London. 

Review by Alice Hill-Woods here.
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Published May 2019

Selected from a sequence of 100 poems written on a long day in the summer of 2013, Anne Boyer's Money City Sick as Fuck imagines writing a poem "in a confederacy of exception [...] called 'wages for tenderness and nothing else'". Situated between Pompeii and Olympus, at "Texaco in ruins" or the amusement park, in a bar called Lethe, at the saddest prom in history, taking "every odd route", these poems passionately survey and survive the streets and jails of the modern-day polis,"sunbathing in Atlantis", oracles IRL.

The peak consequence —
this port
of pleasure —
we will
or will not
realize — 

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Published August 2018

WINDSUCKERS & ONSETTERS: SONNOTS for Griffiths is a collaborative project between Peter Manson & Mendoza in commemoration of Bill Griffiths (August 20, 1948 – September 13, 2007). The assemblage of ‘niners’ (nine sets of nine lines with nine syllables per line) uses, or responds to, text found in Fishing and Folk: Life and Dialect on the North Sea Coast (2008) & Pitmatic: Talk of the North East Coal Field (2007) compiled by Bill Griffiths.

Blue card covers, 48 pages, side-stapled.

Bill Griffiths was born in Middlesex and settled in Seaham, Co. Durham. Mendoza was born in Northumberland and settled in London. Peter Manson was born in Glasgow and settled in Glasgow.

You lose your light.    spend all of your lives.
endless doubtlessness,   land-full  /   surprised-
ness”.     unintelligible  language.
            eye-acute.    look at the sun rising...
unspeaking and becoming      light-like
sun-froth   unGod.      sun-needle   gaze-blaze
                                    erase death,   and in-turn re-birth.     this
                                    land is gold.   this coal is gold.   this clan-
                   ship      of miners              is gold                   is gold       is

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Below is a recording of Manson & Mendoza reading from the book. Recording: Mendoza.
Production: Manson. Glasgow, August 2018.

Published April 2018

With its characteristic combination of total rigour and complete obscenity, this Anthology of Poems by Drunk Women is deeply attentive to the history of language, the complicities and complexities of poetic figuration, the extreme moral impurity of a fierce and funny and vital ethical commitment. A smiley face sits next to a guillotine, a German word next to an English one, should I or should I not marry Donald Trump, where is Chelsea Manning, Caster Semenya is the greatest 800m runner of the current era, fuck the AfD.


Lisa Jeschke completed a Ph.D in England, and now lives in Munich. She is co-editor of MATERIALS and MATERIALIEN, and the author of Dead Cheap (Face Press, 2014), and, with Lucy Beynon, David Cameron: A Theatre of Knife Songs (Shit Valley, 2015) and The Tragedy of Theresa May (Tipped Press, forthcoming). Poems and critical writing have appeared in Botch, Datableed, Journal of British and Irish Innovative Poetry, materials, No Prizes, Tripwire, &c.

Read Danny Hayward's piece on the book, 'World History's Teenage Diaries', here.
Read Sam Rowe's Chicago Review review of the Anthology, alongside Lisa Jeschke and Lucy Beynon's The Tragedy of Theresa May and David Cameron: A Theatre of Knife Songs, here.

Temporarily OUT OF PRINT.

Published March 2018

Sitevisit: sprawl, poem, overgrowth, cartography, demand: ‘There will be cocktails for everyone or there will be no cocktails at all.’ (Langer, Thießen and Scott, artiCHOKE 10).

<slit my tongue

let me love your loggia>

Sarah Hayden’s chapbooks to date are 
Turnpikes (Sad Press), System Without Issue (Oystercatcher) and Exteroceptive (Wild Honey). Her writing has appeared in Blackbox ManifoldGolden Handcuffs ReviewTripwire, datableed and elsewhere, with new lecture-poems on the way in para·text and Hix Eros. She is the author of Curious Disciplines: Mina Loy and Avant-Garde Artisthood (University of New Mexico Press) and co-author, with Paul Hegarty, of Peter Roehr—Field Pulsations (Snoeck). 

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Published October 2017

Poems written in Berlin between September 2015 and the Summer of 2017. This pamphlet contains selected work from the pamphlet Cancer: Poems after Katerina Gogou, previously published in a limited edition, and an ongoing sequence entitled Our Death, as well as other pieces from the period. These are poems haunted by catastrophe, light, fires, the sun, violence and love. As Bonney writes: “We were talking about prophecy, about defeat and war, about how nobody knows what those words really mean, and what they will come to mean”. Drawing on writers like Baudelaire, Artaud, Anita Berber and Hölderlin like “marks on a calendar”, “a kind of cacophony”, or “the beginnings of a map”, these poems are vital indices of where we are.

“These days everyone is writing their final book. Whatever. I’ve lost everything as well. My body is made up of three needles, several coins, a system of nitrates and something wankers would call ‘a philosophy’. I see in the dark and like to smash mirrors. For many other people things are far worse.”

Sean Bonney’s previous books include Letters Against the Firmament (2015), Happiness (2011), The Commons (2011), Document (2008), Baudelaire in English (2007) and Blade Pitch Control Unit (2005). He currently lives in Berlin, where he is conducting postdoctoral research at the Freie Universität.

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Published October 2017

Duppies is a book in three parts which, in the author’s words, pays “deliberate attention to the debased – and misunderstood – aspects of black and white working class grime culture in London; an attempt at a kind of grime prosody, whether imagined though Eski beats, multicultural London English (MLE), cockney rhyming, or sino techno formal  experimentation.”

From the Preface:

“Grime is late shift, zero hour, it makes a beeline for bare life, but what it lays bare leaves everyone cold. Grime is the thread that links afro-pessimism to afro-futurism, but its role proceeds without ties or duplicity.

Grime is post-work and post-brexit, its riddims respond to the necessity in which I exist – see these wheels, they may be brand spanking new, but under the bonnet there is fever and anguish. [...]

Grime is payback for n-words and down-lows. It has dominion but no license for each dissolve is charged with an asbo. It makes music from a manor that is not-me, but what it gives has neither use-value nor beauty.

Grime is a medium of the unknown, it refuses everything but possibility: its violence is one without immunity, but its real is dispossession, and is inconsolable without knowing it.”

D.S. Marriott was born in Nottingham in 1963 of Jamaican parentage and was educated at the University of Sussex. He has taught there and now teaches at the University of California, Santa Cruz. He has written many articles on poetics and is the author of On Black Men, published in 2000 by the University Presses of Edinburgh and Columbia, New York, and Haunted Life, published in 2007 by the University Press of Rutgers, New Jersey. His previous collections of poems were Incognegro (Salt Publishing, 2005), Hoodoo Voodoo (Shearsman Books, 2008) and The Bloods (Shearsman, 2011).

Listed in The Guardian's 2018 Books of the Year by Sandeep Parmar.

Review by Dan Hancox at The Poetry Foundation.
Review in Poetry London's Spring 2018 issue by Robert Kiely.
'Revicule' by Colin Lee Marshall.


Published April 2017

A sequence of ten poems; in separated continuance, an outcry that ventriloquises and manifests languages of exclusion and yet with dogged persistence protests them.
“Oh strike the light, float the boat, for
sake of common peril they are fallen away
as gathered up in sight of lamentable in-
difference and will go down against us”.
[Review by Ian Brinton here.]

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Published January 2017 -- Second printing April 2018
Gizem Okulu’s first book is a sequence of 31 poems which, in broken and extended lines, explore the terrifying possibility of lack of speech, of blocked communication: a poetry written between languages and countries which both bridges and attests to the gap, the chasm that “opens / up / isolated / and / frightened”. These are poems about wandering, fleeing, fogs and rivers, conditions of distance and danger, marked at times by flashes of biting humour and throughout by intense commitment.

“I do not belong here nor there I say but here I want to make you a house from the memories of every woman you ever had before like the resistance of senses meeting for one last time in the mirror we slept between the rivers and smokes in earthquake lights all day and night in the cities against the sun.”

Gizem Okulu is a poet who has published poems in Botch, Datableed, Intercapillary Space, &c. and is studying for a Ph.D at Royal Holloway. She lives in London.

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Published January 2017

A poem in ten sections, setting forth the interrelations between protagonists Wimpy, Climpy, Sandy and André, in a potentially infinite selection of mixed scenarios. Amongst other sounds, the poem includes the sounds of a car alarm, the thin barking of a radically rationalised trick poultice, a shout, a voice, silence, static, galloping and The Lark Ascending played triple-speed nine octaves up like rain on a steel bin-lid over a rave synth line. You need to read it.

“Just too big. Firstly way too big. And then just right.”

Stuart Calton is the author of the following books: Blepharospasms (2016), Live at Late Dilated Ileum (2015), The Torn Instructions for No Trebuchet (2013), Three Reveries (2010), The Corn Mother (2006), The Bench Graft (2004), United Snap Up (2004), and Sheep Walk Cut (2003). As a musician, he is the incomparable dictophonist TFH Drenching.

34 pp, card covers (pink), side-stapled.

Listen! to Stuart reading a footnote to the book (“In the air above the abyss…” -- The First Manifesto of Inter-Subjective Bureaucratic Pointillism, an unintegrated footnote to Wimpy & André (Calton, S. (2016). Wimpy & André. Cambridge: Materials Press). Your foot.)HERE.

Read! a review of Live at Late Dilated Ileum: HERE.




Published January 2017

A collection of work written between 2013 and 2015, this is Christina Chalmers’ second book, and her first since Work Songs (2013). Divided into three sections, and containing poems such as ‘The International’, ‘The Arms Left Over’ and ‘Dragonfly Abattoir’.

“My German is
bad. My bed is a beautiful green lido. I drink
to municipal menthol. I grow more

Christina Chalmers was born in Edinburgh, studied in Cambridge, lived in London, and has recently relocated to New York. Her poetry has been published widely in such on- and off-line venues as: Datableed, Materials, Sundial, and Rivet.

38pp, covers in gold paper, side stapled.

Published November 2016

Naomi Weber’s lyric sequence Very Lonely Animals sprawls across its pages in slabs of delicate observation, working through the condition of innerness and outerness, fragmentation and totality. The locations of these poem are wide open, seas and coasts, rooms in which people nestle and seek protection, but from which they pereptually seem to be on the verge of leaving: the line ripens in sounds unfolding within and across the break, lulling or obscuring.

This is poetry that sings it own song, almost to itself, from just off-centre.

“This world we love and keep our love in keeps
Tearing our hands
The shreds around nails dragging behind
Looking around for gazes to meet
Digging bone to neighbourly flesh
God help me I am trying to be kind
But what other worlds have you given us
To serve, says a secret prayer”

Naomi Weber is a poet who has published poems in Datableed, No Money, &c. She has another new book forthcoming from Tim Thornton and Verity Spott’s The Winter Olympics Press.

14pp, card covers (purple), side-stapled.

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Published September 2016

64 poems of fourteen (!) lines each. Such as:
Homelessness | spiders out | the majority of participants | O curb! O vultures! | freedom is mad inside. Or: the IMF walks the streets at night | if to suck on children.

a cumulative impact which slowly seeps in, like a kaleidoscope of slow-moving debt, arrears and social smallness. [Stuart Calton]

64pp, card covers, side stapled. 

Review by Callie Gardner here.


Published July 2016

This magazine has been put together in response to the recent referendum in the U.K. which came out in favour of the ‘Brexit’. It has been made quickly as a front against the fascist implications of ‘Leave’. Please print, photocopy and otherwise distribute widely. [D.G. + L.J. ~ July 2016]

Contents: Tom Allen, Jacob Bard-Rosenberg, Richard Barrett, Sarah Crewe, Joey Frances & Will Berry, David Grundy, Jeremy Hardingham, Danny Hayward, Tom Jenks, Lisa Jeschke, Justin Katko, Robert Kiely, Ed Luker, Max Maher, Sophie Mayer, Mendoza, Nat Raha, William Rowe, Connie Scozzaro, Robert Sheppard, Rachel Sills, Verity Spott, Street Kid, Andrew Taylor, Gareth Twose, Lawrence Uziell, Collages, Flyer

Link to PDF
Article (in German) at Süddeutsche Zeitung

Published July 2016

Marigold and Cable: A Garland for the New Year was written in January 2014 in relation to Alex Cobb’s album of the same name, and was first published by Shelter Press in 2014. The poem has been revised for this edition. Each page of lyric folds and unfolds into the next, its tough and fragile voice settling on gold and sun, on elegy and death, effulgent and full, sozzled and bedazzled, examining and inhabiting the condition of song.

Peter Gizzi is the author of books including In Defense of Nothing: Selected Poems, 1987-2011 (Wesleyan University Press, 2014); The Outernationale (Wesleyan University Press, 2007), Some Values of Landscape and Weather (2003), Artificial Heart (1998), and Periplum (1992). He edited The House That Jack Built: The Collected Lectures of Jack Spicer (1998), and, with Kevin Killian, co-edited My Vocabulary Did This to Me: The Collected Poetry of Jack Spicer (2008).

In morning’s coloratura
a magick eye plays tricks
under the ongoing mossy
cloud-mass, exhilarating
triangles and timpani softly
in silt air, in the blanketed
nowhere of now

41pp, card covers, side stapled.


Published April 2016

6 previously unpublished poems, written during Irby’s time in the US army in 1962: first in Sandia Base, Albuquerque, New Mexico, then Johnston Island, North Pacific.

Kenneth Irby published over twenty books of poetry during his lifetime, including The Intent On: Collected Poems in 2009. The poems presented here have been prepared from Irby’s personal archives by that book’s co-editor, Kyle Waugh, who also provides a preface.

Lyn Hejinian has written of Irby’s poetry that it “radiates love”.

Irby died in 2015.

“The ‘Army Poems’ express Irby’s outraged affection for his grossly mistreated, ‘absenced friends’, at least one of whom was dishonorably discharged for ‘committing homosexual acts’ (as the army then put it.) J.G., K.W., Schefelker – even the names are shredded. But Irby carries a company whither he goes: “The people torn apart”, he writes, not by, but “in the Army / are with me.” Against the military’s puritanical fear that seeks not to cleanse the body, but to erase it altogether, in Moloch’s “cloud of sexless hydrogen” (Ginsberg 131), Irby’s ‘Army Poems’ celebrate the edaphic tenderness of the body’s “juice and flesh”. The ecstasy in sharing it—“not a movement to leave the body, but a movement of the whole body to join that which surrounds it” (29)—is an act of chthonic resistance: “the blow job, the eat, the suck // are not dirty,” he insists, “not even to mention, / but imperishable”. Irby is a poet of the anarcho-pastoral. He walks on his own unplanted self.”

From the preface by Kyle Waugh.

17pp, card covers, side stapled.


Published April 2016

16 poems. This is the first:

“So engaged,

I know who will read this I
     know who it’s for for your
eyes locked, so watch with wonder
    the wounded eat holding hands

dancing round the fire sing
     songs round fire singing songs
round down amaze and work round
     the fire and in each step

      you are there so dear.”

18pp, card covers, side stapled.

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Published December 2015.

This is a magazine for December 2015 printed in Cambridge, in an edition of 50 copies. Poems and prose by Sean Bonney, Christina Chalmers, Brendan Gillott, Peter Gizzi, Judith Goldman, Rosa Van Hensbergen, Lisa Jeschke, Rona Lorimer, Max Maher, Peter Manson, Linus Slug, Dell Olsen, Richard Owens, Ian Patterson, Luke Roberts, David Rushmer, Naomi Weber and John DeWitt. 76pp. Photocopied and stapled. Pictures of Yule Logs.

OUT OF PRINT. [But available online at Free Trials: click here.]

Published August 2015

A Long Dramatic Monologue about recent developments in population control and work enforcement, done up as a chase sequence involving a mysterious booming sound, a side-scrolling pig’s head, and a lucky number seven, and featuring an extended cameo by the brain structure primarily responsible for coordinating stress response in humans and other animals.

The conclusion is theoretically wrong. But before that, in the run-up to it, on the road to hell with the first door that exits from a pipe protruding upwards in the vicinity of the third door leading onwards into a highway with a person standing in it, call it me or you.

36pp, card covers, side-stapled.

  • Review by Yamuph Piklé here.
  • 'Exit Strategies', review by Ed Luker here.
  • 'The Edible Book in the Era of Riots', essay by James Day, here. Discusses Pragmatic Sanction alongside Commune Editions, Melanie Gilligan, Lise Skou, Nils Rømer and Sean Bonney.
  • 'Unanswerable Questions', essay by Joe Luna, here. Discusses Pragmatic Sanction alongside Anne Boyer and Keston Sutherland.
  • Recording of Keston Sutherland's talk on 'Blocks: Form Since the Crash' here. Contains substantial discussion of Pragmatic Sanction.

OUT OF PRINT. [But available online at Free Trials: click here.]

Published August 2015

David Brazil is the author of The Ordinary and Holy Ghost (both published by Compline), among others. Most recently, Antisocial Patience came out from Roof Books in 2015. Praxis, Apostles! continues his engagement with theology and revolutionary politics; one might view it as a sequel to his metrical translation of St Pauls letter to the Romans, the final section of The Ordinary. Sections in rhyming couplets sit alongside lines that spread across the page, almost to its edge, the seemingly archaic and the contemporary not separated but crowding in together, from out the wreck / the wreck of my / particulars, my / placenames. Far from being an arcane exercise, this is a poetry that is fully and fundamentally concerned with issues of common justice and social transformation. and common things of commons we require / each one apportioned regions of the fire.

34pp, card covers, side-stapled.

Now back in print!

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ISBN 978-1-091998-95-7. Published January 2015.

My transmissions have been hacked. Upfront as I am.

Lights out to Love in HD is a 120-page work in prose. Split figures are figured by an unnamed narrator; watched and watching, on the screen, in the room: there are eyes on me, not only my own, but all eyes in the gloom; shadowy forces drag into shadow and bright night-lit glare, at home, in the supermarket, on the computer screen which holds out indifferently, levers hierarchy of emotion.

It is in this way, not sure what corpse or shade I sit in, that I walk the aisle…Searching back to source, the narrator sets out to trace the core anguish, scout the worm – we flash back, faces on the screen watch and are watched, language sinuous insinuates in rhyme and polyglot ease an ease of style belying surveilled unease. In other words, address the problem areas around knowing / not knowing. Guzzle in their origin. Meat and flesh, sex or death, taut or taught, in control or out, imposed in infantile pose, react, controlled or abject, the skin stretched as paper over the head, the grass false or real, virtual, organic, socially made, evolve, dissolve, revolve, go glitch; in the stifling courtyard enclosed, in the city a cell, with infinite free drinks, the packs of produce, a body in a bed, the weight of stone rocked to nuclear, collapsing into pollen, minute detail of the body gesture danced or forced, reeling, unsure in fact of where was back and where was home, and of where located their relation to one another…To know your place, where that placement is uncertain and hidden, rifled over and shot through in machine and in social code: Held distended in distance that home dissociates, pixel display.

This is a book in which reformulative technique, a melting and rewelding of the associative structures of language lies at the heard and fold of my detective strategies.

My transmissions have been HACKED.

120pp, card covers, side-stapled.


ISBN 978-1-091998-96-4. Published January 2015.

This is Tom Allen’s first book: a long poem with a Coda for Diane Di Prima. Inside, stones, clocks, fires, rivers, screaming pigs, the singing dead, ein guter mensch, Hell approached across a series of lines and pages in various potential or actual manifestations and angles. At times the poem’s lines seem to gesture towards the quality of aphorism, but also to place that quality in a different and more fraught, tautly-held suspense, chiselled and “slow. slow”, yet far from decorous: fully freighted and fully forceful.

38pp, card covers, side-stapled  

OUT OF PRINT. [But available online at Free Trials: click here.]

ISBN 978-1-091998-97-1. Published December 2014.

Sara Larsen is a poet based in Oakland, CA.

Her previous publications include NOVUS, A,a,a,a,a, The Hallucinated, After Sappho and All Revolutions Will Be Fabulous.

With David Brazil, she produced over sixty issues of the Bay Area zine Try!

She is involved in the organizing committee for the Bay Area Public School, an autonomous free school at the Omni Commons in Oakland.

MERRY HELLL is dedicated to Helen of Troy, to the women of the Paris Commune, and “to my friends, now.” Commons and communes past and present come up against patriarchal law, capitalism, military and police violence, logics of cash and sacrifice, in lines that spread out, that elongate in notated waves of sight and breath. The poem is urgent, witty and this only an excerpt – the full book will appear from Atelos Press in 2015.

24pp, card covers, side-stapled.

[Review by Yamuph Piklé here.]

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Published December 2014.

Photocopied / stapled zine to coincide with the RIVET XMAS reading in London given by Connie Scozzaro, Danny Hayward, Jack Frost and Christina Chalmers on Saturday 20th December 2014. Poetry by Scozzaro, Hayward, Frost, Chalmers, David Grundy, Toby Huttner, Lisa Jeschke, Ed Luker, Richard Owens, Nat Raha, Verity Spott, Sam Wilder. 40pp. Christmas tree made of skulls.

OUT OF PRINT. [But available online at Free Trials: click here.]

 MATERIALS # 4 --- [ECONOMIC OPHELIA (126 pages)]  
ISBN 9781091998049. Published December 2014.

Table of Contents:

  1. Lucy Beynon – FEMINISM! :-)
  2. Elana Chavez – Two Poems
  3. Corina Copp – Praise Pseudograph V.2 (La Vue)
  4. Kathryn Griffiths – Oral Fixation
  5. Rob Halpern – Abundance Washed
  6. Jeremy Hardingham – Decapitate Breath
  7. Lisa Jeschke & Lucy Beynon – from The Dictionary of Theatre
  8. Camille Kame trans. Rosa Van Hensbergen – from Back-Flexure inter-HEMISPHERES
  9. Evan Kennedy – from The Sissies
  10. Kevin Killian – Open Letter to the Editors of Apex of the M, 1995
  11. Isolde Mayer – Five Poems
  12. Nina Power – Untitled
  13. Hannah Proctor – EXIT MEN
  14. Nat Raha – Two Poems
  15. Connie Scozzaro – O Père
  16. Verity Spott – Texts
  17. Will Stuart – Star Trek
  18. Marina Vishmidt – After ‘The Sadist Beats the Unquestionably Innocent’
  19. Cathy Wagner – from SECURITIES
  20. Alli Warren – Three Poems
  21. Naomi Weber - Purples
  22. Ronaldo V. Wilson – from Lucy 72
OUT OF PRINT. Reprinted in SUNDIAL COMPLEAT from Punch Press.

ISBN 978-1-091998-98-8. Published June 2014.
Five poems, the companion to Left Helicon (Equipage, 2014). 

The poems were written between September 2013 and April 2014. Their names are: Detached Preface, The Division of Adjustment, Testers, In Time of Plague; & Agitprop (An Ode). The fonts are: Avenir, Bell MT, and Corbel. The format is: A4, side-stapled, with graph-paper covers, 20 pages.

Geopolitics and cars meet Medea at the rally. New ways to write the pastoral and the political. 
Planes, peasants, police, Pasolini. Lenin, tourists, kidnapping, the university. 
The sea, intelligence agencies, bodies, odes, elegies, comedy, tragedy, totality.

OUT OF PRINT. [But available online at Free Trials: click here.]

ISBN 978-1-091998-99-5. Published March 2014.

27 poems on the same pattern as To (2013) and Array One (2012).



MATERIALS # 3 --- [154 pages]  
ISBN 9781091998032. Published February 2014.

Table of Contents: 

  1. Christmas 13 / Christmas Present / The Sheep [A.L. Snijders, tr. Lydia Davis]
  2. AND NOW THE oDic [Jonathan Redhorse]
  3. Overcooked Ecclesiasmic Surveymeat [Ken Fox]  
  4. From Interpellation, Or The Tragedy of Beyoncé Knowles [Francis Crot]   
  5. FIONN ag aislingeacht [Roíbéard Csengeri] 
  6. Defense / Disgrace / Mosaic [Jessica Laser] 
  7. Beauty and Health / caring curse / Drinks for Mere Rodent / Accident Remover / Another Little Poem [Verity Spott] 
  8. PENNIES FROM HEAVEN [Richard Owens] 
  9. incisions [William Rowe] 
  10. Holiday in New York / internal memorandum / NOW RIGHT NOW / [untitled] / [untitled] / [untitled] / [untitled] / [untitled] [Michael Tencer] 
  11. ekko [Tobias Huttner] 
  12. Simultaneous Nativity Play [Hugo Ball, tr. Evelyn Heinz] / [untitled] [Will Stuart] 
  14. Diversion to the knowledge of the damned / Preliminary Notes after Care Homes [Tom Allen] 
  15. Poetry and parochialism [Orlando Reade] 
  16. Texts [Martin Hackett] 
  18. FRAUEN-WERK-STADT (from Our Party) [Caitlín Doherty] 
  19. Thirsty [Frances Kruk] 
  20. Hamlet (5) B Side / Hawk in the Rain (4) B Side /Porno Star t s (3) / Kerouac Baccarat: La Collection Bijoux (2) / The Deacon of Despair (1) [Frederick Farryl Goodwin] 
  21. from Caissons [Ryan Dobran] 
  22. Abendphantasie / Neue Welt / Des Morgens / Sick Overgiven [Justin Katko / Friedrich Hölderlin]  

 MATERIALS # 2 --- [The Theatre Issue! (150 pages)]  
ISBN 9781091998025. Published April 2013.

Table of Contents:

  1. Mischa Twitchin – Anachronism…resisting an image of re-enactment
  2. David Grundy – Klaus Kinski Erlöser: A Role Play
  3. Irum Fazal – Text fragments from performances; Ground! (+edit); Ground ii; My Theatre
  4. Jeremy Hardingham - Not It 
  5. Lisa Jeschke - On the History of the Fool and the Theatre of Jeremy Hardingham
  6. Will Stuart - In Despite
  7. David Grundy - How Long Is This?
  8. Lisa Jeschke / Lucy Beynon – john hurts [from idiot]; he’s dead / he’s dead / i’ve shot him in the head; Terrorism; Proclamation to the Nation: three songs for a minor, including a video
  9. David Grundy – Restraint, Constraint and Excess in the Work of Jeremy Hardingham, Lisa Jeschke & Lucy Beynon
  10. Ollie Evans – On the Benefits of Recreation; Stoma Tong: A Puncture Series
  11. Lucy Beynon – Concrete Feet


MATERIALS # 1 --- [Magazine (130 pages) + CD (10 songs)] 
ISBN 9781091998018. Published November 2012. 


Table of Contents:
  1. Lucy Beynon – He Does the Opposite of What He Says He Does
  2. Jeremy Hardingham - For Example (contains Artificial Light Encounter With Walls; Lines at American Military Cemetery, Madingly, Cambridge; Humour of Stealing; RACE SELECTORS; Little Violence: a children’s story)
  3. David Grundy - Happy Now; Stars in Yr Eyes
  4. Lisa Jeschke - ABC (contains Exposition Concerning Rhyme; Exposition Concerning Figuration; Exposition Concerning Aesthetics; Count; etc)
  5. Staff – Stuff
  6. David Stent - There Is: Nausea
  7. David Grundy / Lisa Jeschke / Laura Kilbride – The Soul  
  8. Danny Hayward – Situations of Political Writing
  9. Ray Brassier / Jean-Luc Guionnet / Murayama Seijiro / Mattin – Clinical Violence (from ‘Idioms and Idiots’)
  10. George Osborne - Workers of the World, Unite!
  11. Lisa Jeschke / Lucy Beynon – Against Tino Sehgal: Diary of a Working Girl
  12. David Grundy – “A Form That’s Already Replaced You”: Against Kenny Goldsmith
  13. Patrick Farmer – From This Has Already Had a History (2b). Partial to Konrad Bayer
  14. David Grundy – Object, Destruction, Violence :: THE OBJECTING OBJECT