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Askia Touré - Songhai!

Available for Pre-Order, December 2022

Askia Touré was there at the birth of the Black Arts Movement. He was there at the birth of Black Power. In the era of decolonisation, Touré’s visionary poems and essays spoke powerfully to the Tricontinental struggle against the forces of colonialism and white supremacy in Latin America, Asia and Africa. They continue to speak to this struggle today. This 50th anniversary edition of Touré’s visionary 1972 book Songhai! is his first UK book publication and provides a powerful guide to the states and stages of Black radical politics not only during and up to 1972, but into our uncertain future.
Reprinted with a new foreword and original preface by Askia Touré, original introduction by John Oliver Killens, and a new introduction by David Grundy. Illustrations by Abdul Rahman.

Last night I
looked long at the night
sky. I
was searching for a Way
out of the pain I feel
when I think of all the lost
Blackfaces staring from
hallways and bars
or nodding along bleak
avenues, wearing alien
names & rhythms, alien
thoughts drumming in
the brainpan. A lost
Nation bopping in hot-
pants suits / courtjesters
in wild Blackface—
once a mighty Race. Trapped
in the dope and dung among
shadows of foulness & decay.
Last night I
looked long at the night
sky. I
was hoping that the gloom
we see in Blackeyes & Blacklives
is not the deadly hush
of Twilight, but darkness
just before the Dawn.”
ASKIA M. TOURÉ is one of the pioneers of the Black Arts / Black Aesthetics movement and the Africana Studies movement. Ishmael Reed has called Touré “the unsung poet laureate of cosmopolitan Black Nationalism.” His poetry has been published across the United States and internationally, including in Paris, Rome, India, and The People’s Republic of China. His books include From the Pyramids to the Projects, winner of the 1989 American Book Award for Literature; African Affirmations: Songs for Patriots: New Poems, 1994 to 2004, and Mother Earth Responds. In 1996, he was awarded the prestigious Gwendolyn Brooks Lifetime Achievement award from the Gwendolyn Brooks Institute in Chicago. Now based in Massachusetts, since August 2019, Mr. Touré has been reading with the Makanda Orchestra, beginning with a celebration of the South African musician Ndikho Xaba.
A5, perfect-bound, colour covers, illustrated, 122 pages.
Available for Pre-Order
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Candace Hill - Short Leash Kept On

Published December 2022

Short Leash Kept On is a new long poem, written in late 2022, with illustrations by the author. The book, Candace Hill writes, concerns “my passion for crime, my own type of detecting, detectives and whatever pops into my head, laced with a deep dive” into the poetry of Lloyd Addison, Russell Atkins, and the work of artist Tom Feelings. This is dizzying and dazzling work, flying in on torrents of invention like a Cecil Taylor solo or the careening cadences and limber lineages of the known and unknown poets of the Black Radical Tradition—from Atkins, Addison, and Julia Fields through to giovanni singleton and Julie Ezelle Patton; swimming in the currents of language, flying on the currents of its air, rising and falling and swooping and careening in syncopated arioso twists. “America was a place”, writes Hill. This work should be emblazoned all over whatever comes next.
“not I bud and blossom not I
looking glass thoughtless not I
said the bosom not I said to
seek not I in too deep not I drivel
thirst not I keep it coming
Weaver, multi-disciplinary artist, worker with words, writer extraordinaire, CANDACE HILL was born and raised in Queens, New York. In the 1970s and 1980s, she studied at Fordham University and Hunter College; in 1979, she was artist-in-residence at the Studio Museum in Harlem and exhibited her work at Artists Space. She was awarded a fellowship from the National Endowment for the Arts in 1981, and a Guggenheim Fellowship in 1985. Since then, she has exhibited widely, making public installations, publishing artists books, and curating exhibitions across New York and internationally. Today, she resides in Bridgehampton, Suffolk County, and has recently exhibited at the Sag Harbor Whaling & Historical Museum.
A5, perfect bound, illustrated, 206 pp.

Review by Howard Slater at Northern Review of Books.

NB: Firs printing temporarily sold out. Copies of the second printing can be pre-ordered below, and will be available soon.
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James Goodwin - Faux Ice

Published December 2022

James Goodwin’s Faux Ice contains six poems: ‘Roman Street Sweeper’, ‘TechnomarineMeridian Walk’, ‘Astroturf’, ‘Star Bright Ice’, and ‘Faux Ice, or The Same as Fantasy?’ Goodwin writes:
“A constrained economy of expression is the formative approach I’ve taken with these poems. I was motivated, in my early attempts, to reproduce, as a crystallised element of black lyric expressivity, the condensed form of the grime lyric, and its invocations of blackness as a poetic description of being immersed in and by indistinction. Or aspects of the black life of poetry which do not derive their origins, causes, or relations from communicative modes of clarification in language. And so the poems in Faux Ice are oblique expressions and articulations of the ways reality is refracted by [the] questions of what is real, informing, say, the experience of seeing without being seen on the one hand and having no others on the other.”
Inheriting from eskibeat and drill and from other sources of experimental Black sociopoetics, these poems, with their dispersed and insistently plural voices, aren’t interested in building up, but in dismantling a stable subject, their icy conditions always displaced and subject to change.
“shot of this glean of jewel with the

force of a technomarine to

connect the more looks around the

pressure-encrusted, iced out skip and

lack of any protection”
JAMES GOODWIN is the author of Fleshed out For All the Corners of the Slip (The 87 Press, 2021), and Aspects Caught in The Headspace We’re In: Composition for Friends (Face Press, 2020). He is currently completing a PhD at Birkbeck College, University of London.
A5, perfect bound, 58 pp.

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James Goodwin has assembled a Spotify Playlist to accompany the book which is embedded below and can be accessed at the following link:

Kruk Book: An Anthology for Frances Kruk

Published December 2022

Frances Kruk’s poetry is a gothic poetry, a perverse poetry, a poetry of slashers and slapstick, of intricate detail and messy smudges, of work and the refusal of work. Across her books—clobber (2006), dig oubliette (2006), A Discourse on Vegetation and Motion (2008), Down You go, or Négation de Bruit (2011), Dwarf Surge (2013), PIN (2014), lo-fi frags in progress (2015), and A series of perceptual failures and reckless reckless cutting (2014)—it cuts through our times like a scalpel. In that spirit, we hope, this anthology contains poems, prose and visuals for Frances from, in alphabetical order:
Sascha Akhtar, Tom Allen, Tom Betteridge, cris cheek, Francis Crot, Nia Davies, Ellen Dillon, Helen Dimos, Laura Elliott, Harry Gilonis, Emma Gomis, Chris Gutkind, Dom Hale, Tessa Harris, Sarah Hayden, Danny Hayward, Ian Heames, Rosa van Hensbergen, Dimitra Ioannou, Lisa Jeschke, Justin Katko, Sarah Kelly, Linda Kemp, Rob Kiely, Peter Manson, Lila Matsumoto, Stephen Mooney, Ghazal Mosadeq, Gizem Okulu, Nell Osborne, Richard Owens, Eleanor Perry, Jessica Pujol Duran, Richard Parker, Luke Roberts, Will Rowe, Andy Spragg, Dolly Rae Star, and Stolen Goods.
Every one of the 40 contributors here has been touched in some way by Frances’s work, and we hope that this anthology gives something back from all that writing has given us.

A5, perfect bound, 194pp.

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Alli Warren - Another Round: Selected Poems

Published June 2021 


Dear Comrades
don’t get it twisted
This Selected Poems, Alli Warren’s first UK collection, presents work from her first three full-length books: Here Come The Warm Jets (2013), I Love It Though (2017), and Little Hill (2020). Shot through with clear-sighted hope, yet intensely attentive to the specific cruelties of our present epoch, Warren asks “who is permitted unhindered breath”. This work aims to “study the past to denaturalize the present”, to reverse the mirrored and self-perpetuating notions of nature and culture, human and animal. Warren knows that poetry can’t sing from beyond mediation, but insists that poetry can acknowledge mediation’s more mendacious disguises and bring them out into the open. Carried through by a prosody alternately razor-sharp and capaciously crowded, in lines and sentences harshly yet lovingly aware of the “possible future in the tender measure”, poet-as-ventriloquist throws multiple voices to see what’s revealed under poetry’s light. With glamour and imagination and biting humour in abundance, Warren seeks to walk to the end of the world-system, “the terror of the totally plausible future” at once post-apocalyptic and utopian—“When I said I was going / to the bar I meant / no death, no death”. Such work may “begin from economic fact”, but it’s where you go from there that matters. Operating within the flows and constraints of racialised capitalism—a space of horror, shared with monsters—Warren’s poetry also throws up multiple pleasures, guilty and otherwise, and glimmers of collective possibility, of possible futures we can sometimes glimpse and live within. This is poetry written from community, poetic and otherwise, living and dead and otherwise: from Oakland, El Cerrito, San Francisco; from the meadow, from the street, in a car; marching to shut down the port, walking to breathe in a charged air everyday and Orphic, “buoyant” and “forked”. These poems give us the measures, the strength, the breath to propel ourselves through the circumscribed day.
ALLI WARREN is the author of Here Come The Warm Jets (City Lights, 2013), I Love It Though (Nighboat, 2017), Little Hill (City Lights, 2020), and numerous chapbooks. She edited the literary magazine Dreamboat, co-curated the (New) Reading Series at 21 Grand, and co-edited the Poetic Labor Project. She has lived and worked in the Bay Area since 2005.

A5, perfect-bound, 100pp.


Umbra Magazine (1963-1974): An Introduction and Bibliography

Published May 2021 (Poetry Collection of the University Libraries, University at Buffalo, SUNY)

The fifteenth pamphlet from the University of Buffalo’s Among the Neighbors bibliography series, this 40 page pamphlet consists of a timeline and a short essay, along with a bibliography of the five issues of Umbra magazine. 
“David Grundy’s focus on Umbra magazine provides a vital introduction to the Umbra Workshop, its core and peripheral participants, and the bibliographic contents of its scarce five issues. As well as historicizing this coterie and their house publication, this pamphlet provides a chronology that more fully situates the scope of the Umbra network. While the influence of the Umbra group has been wide-reaching, many would argue it remains far understudied. This issue will be an ideal starting point to expand that conversation.”
David Grundy co-edits Materials/Materialien and is the author of A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets (Bloomsbury Academic, 2019), Never By Itself Alone: Queer Poetry in Boston and San Francisco, 1944–Present (Oxford University Press, forthcoming), A True Account (The 87 Press, 2022), and Present Continuous (Pamenar Press, 2022), and coeditor, with Lauri Scheyer, of Selected Poems of Calvin C. Hernton (Wesleyan University Press, 2023). 

A5, stapled, 40pp.

Materials is stocking a limited number of copies of this publication.

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Gabrielle Daniels - Something Else Again: Poetry and Prose, 1975-2019

Published November 2020

Associated with the New Narrative movement and published in the ground-breaking anthology This Bridge Called My Back, Gabrielle Daniels’ work spans essays, fiction, poetry and novels. This book, Daniels’ first full-length collection, collects poems and prose from the 1970s to the present, including the complete text of Daniels’ now-impossibly rare chapbook A Movement in Eleven Days, a retrospective essay on New Narrative, and excerpts from her in-progress novel Sugar Wars.

From poems inspired by films, music, revolutionary figures, and recent political disasters, to prose pieces on neglected African-American women writers, and urban and wilderness environments, Daniels’ subject matter and media are vast. As Dodie Bellamy and Kevin Killian write in the anthology Writers Who Love Too Much
“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.” 
Something Else Again reveals a major voice in American literature. 

GABRIELLE DANIELS was born in New Orleans in 1954 and moved to California at the age of seven. Her grandmother, the late Rev. Ruth Matthews Taylor, was a Spiritualist Minister. Daniels’ essays, stories and poems have appeared in the print and online magazines Big Scream, Equinox: Writing for a New Culture, Kenyon Review, Love You Madly, Mango, Open Space, Poets Reading the News, Rigorous, San Jose Studies, Silver Birch Press, Sinister Wisdom, and Soup, and the anthologies This Bridge Called my Back: Writings by Radical Women of Color, edited by Cheríe Moraga and Gloria E. Anzaldúa, Sister Fire: Black Womanist Fiction and Poetry, edited by Charlotte Watson Sherman, Another Wilderness: New Outdoor Writing by Women, edited by Susan Fox Rogers, and Writers Who Love Too Much: New Narrative Writing 1977-1997, edited by Dodie Bellamy and Kevin Killian. Her reviews have appeared in the San Francisco Chronicle, American Book Review, Off Our Backs and Women’s Book Review

A5, perfect-bound, 233pp.

As featured on Dennis Cooperblog.

This book has SOLD OUT in the UK but a US edition published in conjunction with Dogpark Collective is now available.

Tongo Eisen-Martin - Waiting Behind Tornados For Food

Published November 2020


“I am trying to figure out the ruling class. How they raise their replacements…”

In this collection of poems and of five recent essays, his first to be published in the UK, Tongo Eisen-Martin reflects on poetry’s role in the tornado-like devastation of current political conjunctures: white supremacist street lynchings, the naked abuse of state power, the classed and racialised effects of a global pandemic. Eisen-Martin’s work crackles, investigates, worries, riffs, insists, explodes, presenting an empire in slow eclipse through the lenses of double consciousness, poems, poisons, prisons, “dry-Leninism”. This work is animated by the spark of individual phrases, turns of phrase, refrains: common sense and senses from the commons. Aphorisms, maxims, dispatches from “the hell / of where we are” (Joseph Jarman), Eisen Martin’s words are imbued with music which strains the edge of music and strains the edge of the poem; a chorus of voices filtered, refracted and remixed through the completely singular voice of its poet. Their architecture ranges across the page like that of the city—San Francisco—and its correlates whose interstices they rigorously trace, attentive to the spaces of daily life—tower blocks, vacant lots, streets, porches, bars, rooms, roads, cars—and the realities of power that cluster in and around them. 

With the nation collapsing around the corner, these texts inhabit “psychology of the mask”; “half distracted (half suicidal)”, they rest and rove by the “hard residing” of the porch, by the “kitchen table that likes to talk”, by “working class windows”, by walls with eyes and ears; then venture out in search of “socialist breakthroughs”, of revolution’s “amazing grace”. In this “cotton gothic society”, a “strange fruit theatre” where capitalism walks on water and people play dead “so they could be part of the miracle”, it can be hard to tell if you’re “alive” or “differently alive”. But Eisen-Martin knows that sometimes, it’s ghosts who write poems, and that there’s a criminality buried in art: “like introducing Gabriel Prosser to Thelonious Monk”. “World history has a proletariat when the lights come back on”.

TONGO EISEN-MARTIN is the author of someone’s dead already (Bootstrap Press, 2015) and Heaven Is All Goodbyes (City Lights, 2017). He is an educator and organizer whose work centres on issues of mass incarceration, extrajudicial killings of Black people, and human rights, and includes a curriculum on the extrajudicial killing of Black People, “We Charge Genocide Again!”, which has been used as an educational and organizing tool throughout America. He lives in San Francisco.

A5, perfect-bound, 80pp.

Review by Jennifer Soong here.
Listed in the TLS 2021 Books of the Year by Jeremy Noel-Tod.

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John DeWitt - 20 20 Pretzels

Published November 2020 (Second printing December 2022)



Can I have a water? 
And and or or 
A bowl of oceanic feelings bungled and split? 
Perhaps the first set of poems to ever emerge from the twinned influences of Etel Adnan and DJ Screw, John DeWitt’s set of entwined pretzel-stanzas presents 2020 vision for 2020. Versed in psychoanalytic word-scapes, DeWitt’s poems slither, swim, crawl, sputter and stutter with wit, alarm, concision and “puns out of your league”. Here are oceanic feelings, sea creatures, cruel depths, drums, dreams, “the wordical odor of thing at odds with my anecdotes”, variables, being born into speech, being lost for words, skullduggery, apologies, work, failure, assholes in cars, the letter o, dogs, swine, “the afterlife strike”, a Yamaha in the basement, summer, a dice rolling by itself, grammar, “method kink”, the river of poetry, the house of language, a large dose of pain, digging into the wound, 5AM fries, screen memories, origins, lemons, watermelons, ten penny nails, the ghost of dead people, wrinkle theory, puns, potatoes. “You don’t know what you is / and you don’t know what you ain’t either.” 

JOHN DEWITT was born in Mexico City, later moved to Nashville, and now lives in Paris. He is the author of Ends (Tipped Press, 2011), Visceral Apocrypha (Shit Valley, 2013) and The Neckless Spokesperson of the Garden of Earthly Delights (Face Press, 2019), and (as ‘Bill Ding’), co-wrote Buildings with Rosa van Hesnbergen (Tipped Press, 2012).

A5, 52 pp, saddle-stitch.

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David Grundy - Local Apocalypse

Published November 2020

Four poems with a coda written in London between November 2019 and November 2020.
There’s a bird in the hand
A bird in the eye
Across the table
Across the afternoon
Clouds Clouds Clouds
Across the sky
May silence help you you
DAVID 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).

A5, 52pp, saddle-stitch.

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Laurel Uziell - T

March 2020 

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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Tom Betteridge - Dressings

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.


Anne Boyer - Money City Sick as Fuck

Published May 2019 (Second printing January 2023)

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 — 
ANNE BOYER (born 1973) is an American poet and essayist. She is the author of The Romance of Happy Workers (2008), The 2000s (2009), My Common Heart (2011), Garments Against Women (2015), and The Handbook of Disappointed Fate (2018). Boyer teaches at the Kansas City Art Institute With Guillermo Parra and Cassandra Gillig, she has translated the work of 20th century Venezuelan poets Victor Valera Mora, Miguel James, and Miyo Vestrini. In 2020, Boyer was awarded the Pulitzer Prize for General Nonfiction for her book The Undying: A Meditation on Modern Illness (2019).

A5, 52 pp, saddle-stitch.

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Manson and Mendoza - Windsuckers and Onsetters

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.

David Grundy - Relief Efforts

Published May 2018 (Barque Press)

Barque Press have ceased publication and Materials is now carrying the remaining copies of David Grundy’s Relief Efforts, published by Barque in 2018.
“My back collapsed
My voice went on.”
David Grundy co-edits Materials/Materialien and is the author of A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets (Bloomsbury Academic, 2019), Never By Itself Alone: Queer Poetry in Boston and San Francisco, 1944–Present (Oxford University Press, forthcoming), A True Account (The 87 Press, 2022), and Present Continuous (Pamenar Press, 2022), and coeditor, with Lauri Scheyer, of Selected Poems of Calvin C. Hernton (Wesleyan University Press, 2023). 

A5, stapled, 40pp.

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Lisa Jeschke - The Anthology of Poems By Drunk Women

Published April 2018 (Third printing January 2023)

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/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

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