Inch Aeons

In Cunt Norton, the sequel to her unforgettable CUNT UPS, Dodie Bellamy "cunts" The Norton Anthology of Poetry (1975 edition), setting her text-ravenous cut-ups loose to devour the canonical voices of English literature.

The texts that emerge from this sexual-linguistic encounter are monstrous, beautiful, unashamed: 33 erotic love poems ("the greatest fuck poem in the English language," according to Ariana Reines) that lust after the very aesthetic they resist. "These patriarchal voices that threatened to erase me—of course I love them as well," Bellamy writes. Even as Cunt Norton dismembers the history of English poetry, "cunting" Chaucer and Shakespeare, Emerson and Lowell, it simultaneously allows new sexual members to arise and fill in the gaps, transforming the secret into the explicit, the classically beautiful into the wonderfully grotesque. Bellamy's cunted texts breathe life into literary "masters" with joy, honesty, hilarity, and insatiable passion. 

+|`me'S-pace, doc. 001.b is book 1, volume 2 of a wider, ongoing project known as "For Love Alone" Christina'S-tead, a poetic enquiry into the current state of the English tongue.

"In a time when many are questioning if we still need formalism and feminism, Wertheim's +|`me'S-pace, doc. 001.b is a spirited and fun defense of both. Written in part as a didactic instructional manual that cannot keep itself from constantly going astray into beautiful and challenging language play, this is a book that asks crucial questions and reconfigures recent histories. It is essential for its arguments. But even more, it is fun to read for its word play"—Juliana Spahr.

Introduction by Dodie Bellamy and art by Lisa Darms.

What words made this world of captivity and extinction? If written language is a biological adaptation, how can a text reshape the environment? These are the questions at the heart of Grammar of the Cage, a startling first collection of poetry by Pam Ore. The Compulsive Reader calls Ore "a poet of great promise," and poet Eloise Klein Healy says she has found Ore's book "haunting but necessary...a stunning debut collection."

Grammar of the Cage is clean and heartbreaking as a bone, and yet, as poet Ingrid Wendt writes in her Introduction, "[like] Emily Dickinson, Ore's 'business' is 'to sing.' And sing she does."

The first comprehensive biography of Adrienne Rich, feminist and queer icon and internationally revered National Book Award winning poet.

Adrienne Rich was the female face of American poetry for decades. Her forceful, uncompromising writing has more than stood the test of time, and the life of the woman behind the words is equally impressive. Motivated by personal revelations, Rich transformed herself from a traditional, Radcliffe-educated lyric poet and married mother of three sons into a path-breaking lesbian-feminist author of prose as well as poetry. In doing so, she emerged as both architect and exemplar of the modern feminist movement, breaking ranks to denounce the male-dominated literary establishment and paving the way for the many queer women of letters to take their places in the cultural mainstream. Drawing on a wealth of unpublished materials, including Rich's correspondence and in-depth interviews with numerous people who knew her, Hilary Holladay digs deep into never-before-accessed sources to portray Rich in full dimension and vivid, human detail.

This collection of 20 poems by young poets Holly Miles and Joseph Dunkerley sheds a glimpse into the bizarre journey of two isolated souls in a time of global crisis. Read along in this 24 page zine as they chart their unique perspectives of the worldwide COVID-19 pandemic!

A complete survey of the cast, forged, and fabricated metal sculptures made by Danish artist Sidsel Meineche Hansen since 2017.

The artist's practice addresses the industrial complex of virtual and robotic bodies and their relationship to labor in tech, pornography and gaming. While some sculptures were conceived as individual pieces, others were created with digital counterparts within installations that typically include CGI animation, documentary video, drawing and prints.

By presenting the metal works as stand-alone pieces, this book adheres to Meineche Hansen's concern with the material means of production, highlighting their concrete yet elusive nature. Several pieces in the publication are accompanied by poems written by artist Diego Marcon in response to the works. As an artist's project and an archival document, the publication echoes the tradition of documentary photography devoted to sculpture.

Sidsel Meineche Hansen (born 1981 in Denmark, lives and works in London) is a Danish artist. She produces exhibitions, interdisciplinary seminars and publications that foreground the body and its industrial complex, in what she refers to as a "techno-somatic variant of institutional critique". Meineche Hansen questions the body in the field of industrial representations: robotic or virtual bodies, and their relationship with the working world of industries of gaming, pornography, and new technologies. Her research-led practice has taken the form of woodcut prints, sculptures and CGI animations, often made by combining her own low-tech manual craft with outsourced, skilled digital labour.

Edited by Fredi Fischli and Niels Olsen.
Poems by Diego Marcon.

Encre verte pour tableaux noirs. Vingt-sept poèmes de Timothée Trouche (maître d’hôtel et instituteur) compilés avec la complicité de Teddy Coste (groom et solitaire).

From its situation in Ancient Greece through the various rewritings and commentaries and interventions of the last 2500 years, there is certainly no book being transmitted in the anything-but-unbroken and often comic transmission of The Phaenomena, a long didactic poem enumerating the constellations and their movement through the skies. There is certainly no origin apparent in such a transmission, even as the layers of compaction that this text attempts to unfold are themselves arguments about origin, plaintive debates about the irresolvable contradiction of a “first copier.” But what does it mean to give up the constellation, the relation, the durability that relation promises to guarantee, without being able to retreat into the security of origin or determinate meaning? What do you do then? This is to rephrase the question: what do we – “we,” obstinately – fail to see when we see the shapes of the stars so well?

Thee Display is a collection of poems written during an engagement with this ongoing transmission. It is a book about this, and a book about the horizon of communism, and a book about transition, and a book about a companionship characterized by a weird and sad kind of cheer.

Nora Collen Fulton lives in Montreal, where she is currently pursuing a doctorate focused on philosophy, trans theory and poetics. Thee Display is her third book of poetry - she is also the author of Presence Detection System, from Hiding Press (2019), and Life Experience Coolant, from Bookthug (2013). Nora's poems have been published in Social Text, Homintern, Some Magazine and elsewhere. Her critical and theoretical work can be found in Radical Philosophy, The Poetry Project, Music and Literature and more.