Dear Comradesdon’t get it twisted
Dear Comradesdon’t get it twisted
“Daniels’ talents spin in every conceivable direction. Her writing continues to investigate and illumine corners of the world often neglected by the white capitalistic structures of patriarchy that shapes our lives from birth to death. Daniels’ work reveals a history, a legacy, a plan of action for the future. These are stories and poems with the punch of a novel in miniature.”
“I am trying to figure out the ruling class. How they raise their replacements…”
Can I have a water?And and or orA bowl of oceanic feelings bungled and split?
There’s a bird in the handDAVID GRUNDY edits MATERIALS and is the author of Relief Efforts (Barque Press, 2018), To the Reader (Shit Valley, 2016), The Problem, The Questions, The Poem (Tipped Press, 2015) and Whatever You Think the Good Home (Punch Press, 2014).
A bird in the eye
Across the table
Across the afternoon
Clouds Clouds Clouds
Across the sky
May silence help you you
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.
the time left what’s left to hold harriedColour covers in gross-out pink; A5, saddle-stapled, 46 pages.
tense cycle hemmed in speech scrutiny
bedside duress grey light adore you
The peak consequence —this portof pleasure —we willor will notrealize —
MANSON & MENDOZA – WINDSUCKERS & ONSETTERS: SONNOTS for Griffiths
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
Below is a recording of Manson & Mendoza reading from the book.
Recording: Mendoza. Production: Manson. Glasgow, August 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.
<slit my tonguelet me love your loggia>
“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.”
OUT OF PRINT.
“Oh strike the light, float the boat, forsake of common peril they are fallen awayas gathered up in sight of lamentable in-difference and will go down against us”.