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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

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.

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.

Laurel Uziell - T

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LAUREL UZIELL – T

March 2020 (Second printing January 2025)

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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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Tom Betteridge - Dressings

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TOM BETTERIDGE – DRESSINGS
November 2019
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“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

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ANNE BOYER – MONEY CITY SICK AS FUCK

Published May 2019 (Third printing January 2025)

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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.

TEMPORARILY OUT OF PRINT.

Manson and Mendoza - Windsuckers and Onsetters

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MANSON & MENDOZA – WINDSUCKERS & ONSETTERS: SONNOTS for Griffiths
Published August 2018

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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

SOLD OUT.

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

David Grundy - Relief Efforts

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DAVID GRUNDY—RELIEF EFFORTS
Published May 2018 (Barque Press)
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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

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LISA JESCHKE – THE ANTHOLOGY OF POEMS BY DRUNK WOMEN

Published April 2018 (Fourth printing January 2025)

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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.

“Guillotine!”

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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Sarah Hayden - sitevisit

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SARAH HAYDEN – SITEVISIT

Published March 2018

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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 Manifold, Golden Handcuffs Review, Tripwire, 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).

OUT OF PRINT.

Sean Bonney - Ghosts

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SEAN BONNEY – GHOSTS

Published October 2017

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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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PUBLICATIONS

[2026]
—Abdellatif Laâbi - The Eye and the Night
—Haytham el-Wardany - Notes from the Marshes
—Camila Blavi - Acacia

[2024]
—Nhã Thuyên - đừng giấu cơn điên / don’t hide the madness
—Askia Touré - Songhai!

[2023]

—Lisa Jeschke / Lucy Beynon - Vorlage zur Selbstabschaffung des Innenministeriums, Übersetzung des englischen Theaterstücks: The Decline and Fall of the Home Office [Materialien]

[2022]
—Candace Hill-Montgomery - Short Leash Kept On
—James Goodwin - Faux Ice
—Kruk Book: An Anthology for Frances Kruk [Out of Print]
—Andres Bülhoff / Lütfiye Güzel / Lisa Jeschke - oder redo [Materialien]

[2021]

—Alli Warren - Another Round: Selected Poems [Out of Print]

[2020]

—Gabrielle Daniels - Something Else Again: Poetry and Prose, 1975-2019 [Out of Print--US edition with Dogpark Collective]

—Tongo Eisen-Martin - Waiting Behind Tornados For Food

—John DeWitt - 20 20 Pretzels

—David Grundy - Local Apocalypse

—Heike Fröhlich / Ricarda Kiel - Outfits [Materialien]

—Robert Creeley / Susanne Darabas (Übers.) - Histoire de Florida [Materialien]

—Laurel Uziell - T

[2019]

—Adelaide Ivánova / Christiane Quandt (Übers.) - Der Hammer [Materialien]

—Tom Betteridge - Dressings [Out of Print]

—Lotta Thießen - Fragments of Baby [Materialien]

—Ayna Steigerwald - tagslichtdosen [Materialien]

—Anne Boyer - Money City Sick as Fuck

—Marty Hiatt - paraphrenia [Materialien]

[2018]

—[Collective (Students and Asylum Seekers) - Poetry Collection / Gedichtband - publ. in cooperation] [Materialien]

—Lisa Jeschke - The Anthology of Poems by Drunk Women

—Sarah Hayden - Sitevisit

[Out of Print]
—Manson & Mendoza - Windsuckers & Onsetters [Sonnots for Griffiths] [Out of Print]

[2017]

—Gizem Okulu - Too Sliced for Landing

—Stuart Calton - Wimpy and André [Out of Print]

—Christina Chalmers - Willingness [Out of Print]

—J.H. Prynne - Of · The · Abyss

—D.S. Marriott - Duppies [Out of Print]

—Sean Bonney - Ghosts

—Frances Kruk / Koshka Duff (Übers.) - Stecknadel [Materialien]

[2016]

—Kenneth Irby - Army Poems [Out of Print]

—Ed Luker - The Sea Together [Out of Print]

—Peter Gizzi - Marigold & Cable [Out of Print]

—Brexit // Borders Kill [Out of Print]
—Linda Kemp - Lease Prise Redux [Out of Print]

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