Abdellatif Laâbi - The Eye and the Night

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ABDELLATIF LAÂBI—THE EYE AND THE NIGHT
Translated by Howard Slater
Published October 2026
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Available for the first time in English translation, The Eye and the Night was Abdellatif Laâbi’s explosive debut book. Written in Rabat between the popular uprisings of 1965 and the Six Day War of 1967, and first published in 1969 during Laâbi’s involvement with the radical anti-colonial journal Souffles-Anfas, Laâbi’s itinéraire”, a poetic novel or poem in prose, combines Surrealism’s spirit of revolt with the influence of Arabic literary, oral and musical traditions, the innovations of the Nouvelle Vague and Third Cinema with the soaring songs of Umm Kulthum, their tales of enormous feeling and impossible love.
From Casablanca to Hiroshima to Franco’s Spain, The Eye and the Night takes places in the squares of public defiance and the shadows of clandestine revolutionary gathering. At once novel, poem, pilgrimage and escape route, it is a classic of Francophone decolonial literature comparable to Aimé Césaire’s Cahier d’un Retour au Pays Natal and Etel Adnan’s L’Apocalypse Arabe. And it is living proof that, as Laâbi writes in his most recent collection, “poetry is invincible”. Published with new introductions by scholar Khalid Lyamlahy and translator Howard Slater, a glossary, and a 1982 preface by Abdellatif Laâbi.

Jamil Buthayna, Majnoun Laïla, necklaces of migratory doves.
Al Hallaj suffering the Truth and his millionth pyre [...]
Pass. This night is ours. Our final test.
ABDELLATIF LAÂBI (عبد اللطيف اللعبي) is one of the most important authors to have emerged from the Arab world in the twentieth-century. A founder member of the Moroccan journal Souffles-Anfas (1966-1972), a radical journal which played a key role in a renaissance of left-wing, anti-colonialist, and internationalist Maghrebi culture, he was imprisoned and tortured for “crimes of opinion” when the journal was banned in 1972. Released in 1980, he went into exile in France in 1985, where he has published numerous books of poetry alongside plays, novels, essays, children’s books and translations, and been awarded numerous honours, including Commander of the Order des Arts et des Lettres, the Alain Bosquet Prize, the Prix Goncourt de la Poésie, the Académie française’s Grand Prix de la Francophonie, and the Mahmoud Darwish Award for Culture and Creativity.

HOWARD SLATER is a writer and translator and former mental health support worker whose work has appeared in small press magazines, independent publishing initiatives and websites since the early 1980s. The author of Anomie/Bonhomie & Other Writings (Mute, 2012) and Anti-Wall (Kudaorg, 2017), he was the editor of Break/Flow and a founder member of the radical history archive May Day Rooms, London. 
 
A5, perfect-bound, colour covers, illustrated, 168 pages.

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Haytham el-Wardany - Notes from the Marshes

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HAYTHAM EL-WARDANY—NOTES FROM THE MARSHES
Translated by Wiam el-Tamimi and Yasmin Zohdi
Published October 2026
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“After the genocide, language must become a means for striking fascism and overcoming property relations.”

Haytham el-Wardany is one of the most compelling writers of our moment. Following The Book of Sleep (2021) and the recent pamphlets Gaza 2035 (2025) and The Difficulties (2025), Notes from the Marshes contains two prose texts and a sequence of poems. In the title sequence, written in English, verses from Refaat Alareer are read amidst military bases in Cyprus, turtles lay their eggs in an alley, a sister asks: “What is fascism?” Alongside these stanzas are two prose texts, translated from Arabic. ‘What if the word we’ ask questions about the possibility of collective voicing, when “the grammar of revolution” is “cut by the syntax of the state”. In ‘Needle in the Eye’, the author walks with a severed hand in their pocket down a Kreuzberg street, seeking for the language beneath the rubble of Gaza, for the wounded vowels and wounded words among the bodies; for a way to keep communion with the dead intact. Notes from the Marshes asks: Where now?

A5, perfect-bound, colour covers, 64 pages.

HAYTHAM EL-WARDANY is an Egyptian writer and translator. He lives and works in Berlin, and writes short stories and experimental prose. His praxis focuses on fiction, especially short stories, and nonfiction formats, like essays, and fragmental prose.

WIAM EL-TAMIMI is an Egyptian writer, literary translator, and editor whose work has been featured in publications such as The Paris Review, Granta, AGNI, Ploughshares, Freeman’s, Literary Hub, ArabLit, and The Common. She is an editor-at-large at The Avery Review, and is currently writing a nonfiction book.

YASMIN ZOHDI is a writer, translator and film critic based in Cairo, Egypt. She holds an MFA in Fiction Writing from Sarah Lawrence College, New York. A former culture editor at the independent news website Mada Masr and an alumna of Berlinale Talent Press, Zohdi is interested in the intersections between literary and cinematic forms, and how they continue to inform one another.

“Haytham’s exceptional prose and remarkable originality make him one of literature’s most distinctive voices today. Across fiction, creative nonfiction, and experimental writing, he unsettles genre boundaries and reinvents storytelling with each new work.”
—Iman Mersal, author of The Threshold and Traces of Enayat

“I think the greatest writer I have met, quite frankly, is the Egyptian modern writer Haytham el-Wardany.”
—Siddhartha Lokanandi, Wasafiri

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Camila Blavi - Acacia

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CAMILA BLAVI—ACACIA
Translated by William Rowe
Published October 2026
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Acacia: genus. Acacia: flower. Acacia: a thousand species. Acacia: oryx and mother; Acacia: plant, person, poem. This book-length poem has from the start abandoned the form it was given and must proceed: through the burning of roots and the swelling of buds, the flow of flesh and the flaming inside; hunger and plunging, tendrils and shoots, the sea and the shore, the house and the flood, actions echoing across a landscape in constant metamorphosis and constant collapse. In Acacia, Camila Blavi asks what allows a person to say “I”, what it means to give birth and to be born. Acacia: spider crab, wren, seagull. Acacia: oryx, tern, plover, branch. Acacia: to find that “love is not what they said”, in bitterness, anxiety and howling, in drowning and living, observing what it is that organises us in the world. Acacia: everything you can see.

CAMILA BLAVI (Santiago, Chile, 1988) is the author of Contaminaciones (Komorebi Ediciones, 2022), Puna (Bokeh Press, 2025; Provincianos Editores, 2026) and Acacia (Provincianos Editores, 2025). She studied at the University of Santiago de Chile and Pompeu Fabra University, Barcelona. She has twice received a grant from the Chilean Ministry of Culture.

WILLIAM ROWE’S Collected Poems were published in 2016 by Crater Press. He has translated a number of Latin American poets, including Raúl Zurita, Néstor Perlongher, Magdalena Chocano, and César Vallejo. He is Professor Emeritus at Birkbeck College, University of London, and a co-founder of Veer Books.

“Acacia is poetry returned to its original, genuine, stripped-down form, crafted from precious words awakened by a reborn alchemy.”— Edgardo Dobry

A5, perfect-bound, colour covers, 112 pages.

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Nhã Thuyên - đừng giấu cơn điên / don’t hide the madness

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NHÃ THUYÊN—ĐỪNG GIẤU CƠN ĐIÊN / DON’T HIDE THE MADNESS
Translated by Kaitlin Rees
Published July 2024
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Nhã Thuyên’s đừng giấu cơn điên / don’t hide the madness contains eight poems excerpted from the forthcoming book vị nước (taste of water). To read this work is to be wrenched out of oneself and into the opening and closing world of language: a world in equal parts vegetal, liquid, human, stone, at once bordered river and open sea, enclosed maze and open field; a labyrinth, but a labyrinth of the utmost clarity; a rising or collapsing building made of words that’s not a ‘dwelling’ so much as a refusal to dwell, which is its loneliness and bereftness and consolation and strength, all at once. “Steps here pulled forth by some line of poetry out of time”, such work “fabricate[s] a bed out of sea, build[s] a house out of tremendous immensity”. It’s the result of a lifelong investigation of the Vietnamese language, deep, joyous, scrupulous and sometimes painful; of a lifelong investigation of the whole deep field of history and time as it’s lived deep within the person and in the field beyond the personal that poetic language affords us. This is a realm, not of simple freedom, but of the struggle for the fullest record and the fullest measure towards which a poet can strive. Don’t hide the madness. Don’t be at peace. [D.G.]

NHÃ THUYÊN secludedly anchors herself to Hà Nội, Việt Nam and totters between languages. She has authored several books in Vietnamese and/or in English translations, including viết (writing) (2008), rìa vực (edge of the abyss) (2011), từ thở, những người lạ (words breathe, creatures of elsewhere) (2015), and bất\ \tuẫn: những hiện diện [tự-] vắng trong thơ Việt (un\ \martyred: [self-] vanishing presences in Vietnamese poetry) (2019). Her next book of poetry vị nước (taste of water) is waiting to see the moon. She has been unearthing her notebooks and rubbing her words in Berlin as a 2023 DAAD Artists-in-Berlin fellow, and learning to quietly speak up with care.

KAITLIN REES is a translator, editor, and public school teacher based in New York City. She translates from the Vietnamese of Nhã Thuyên, with whom she co-founded AJAR, the small bilingual journal-press that organizes an occasional poetry festival. Her translations include moon fevers (Tilted Axis, 2019), words breathe, creatures of elsewhere (Vagabond Press, 2016), and the forthcoming book of poetry taste of water.

A5, perfect-bound, colour covers, 60 pages.
(Bilingual Vietnamese-English.)

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Askia Touré - Songhai!

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ASKIA TOURÉ—SONGHAI!
Published July 2024
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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.
“A SONG FOR LAZARUS

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.
 
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Candace Hill-Montgomery - Short Leash Kept On

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CANDACE HILL-MONTGOMERY — SHORT LEASH KEPT ON
Published December 2022 (Second printing January 2025)
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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
nonetheless”
Weaver, multi-disciplinary artist, worker with words, writer extraordinaire, CANDACE HILL-MONTGOMERY 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.
Candace Hill-Montgomery at Holly Bush Gardens.

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James Goodwin - Faux Ice

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JAMES GOODWIN - FAUX ICE
Published December 2022 (Second printing January 2025)
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James Goodwin’s Faux Ice contains six poems: ‘Roman Street Sweeper’, ‘Technomarine’, ‘Meridian 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: https://open.spotify.com/playlist/5lXi0WknLWO9mibKL7Gq44?si=aefb73594d8d4187

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Kruk Book: An Anthology for Frances Kruk

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KRUK BOOK: AN ANTHOLOGY FOR FRANCES KRUK
Published December 2022
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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.

Currently out of print.
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Alli Warren - Another Round: Selected Poems

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ALLI WARREN - ANOTHER ROUND: SELECTED POEMS 
Published June 2021 
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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.

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

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GABRIELLE DANIELS – SOMETHING ELSE AGAIN: POETRY AND PROSE, 1975-2019
Published November 2020
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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 Cooper’s blog.

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

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TONGO EISEN-MARTIN – WAITING BEHIND TORNADOS FOR FOOD
Published November 2020 (Second printing January 2025)
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“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

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JOHN DEWITT – 20 20 PRETZELS
Published November 2020 (Second printing December 2022)
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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

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DAVID GRUNDY-LOCAL APOCALYPSE
Published November 2020
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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.

SOLD OUT.
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