Know how to now it’s that you’re learning the segments That aren’t sentences at all and converse with each other

Delirious Verse presents the first English translation of a talk given by the Italian poet Amelia Rosselli in the early 1980s, in which she read aloud from and expanded upon her seminal essay “Metrical Spaces.” Drawing on intensive literary and musical studies, and shaped by her trilingual upbringing as a refugee from fascist Italy, Rosselli conceptualizes a new kind of poetic form: a graphic-prosodic “time-space” capable of containing “all possible imaginable rhythms.”

The book includes a new translation of “Metrical Spaces” by Jennifer Scappettone and an afterword by Andrea di Serego Alighieri.

Edited and translated by Andrea di Serego Alighieri and Phil Baber.

Midwinter Day, as Alice Notley noted, is an epic poem about a daily routine. A poem in six parts, Midwinter Day takes us from awakening and emerging from dreams through the whole day-morning, afternoon, evening, night-to dreams again:...

a plain introduction to modes of love and reason/ Then to end I guess with love, a method to this winter season/ Now I've said this love it's all I can remember/ Of Midwinter Day the twenty-second of December// Welcome sun, at last with thy softer light/ That takes the bite from winter weather/ And weaves the random cloth of life together/ And drives away the long black night!

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises.

This issue, "Spin Cycle", is concerned with captioning, commentary and description. Edited with Mike Sperlinger.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises. “Flurry” is the 15th issue (a best-of, of sorts) edited by Will Holder. “I realized very slowly over a period of time that the activity of framing a performance and the intentions that accumulate around that activity produce a certain anxious kind of mode, and I became bothered by the flurry of activity and how it tends to mask so many things.”

An Expert Array of Talks & Essays by One of Our Greatest Living Poets.

One of our greatest living poets, Alice Notley, the author of more than 40 books of poetry, has delivered an expert array of talks and essays over the last three decades.

The publication offers a significant contribution to literature, reimagining the possibilities of writing in our time and the complicated business of how and why writers devote their lives to their craft. Whether she is writing about other poets—Ed Dorn, Allen Ginsberg, Homer, bpNichol, Douglas Oliver, or William Carlos Williams—noir fiction, the First Gulf War, dreams and what they're for, or giving us insight into her own work, Notley's observations are original, sobering, and always memorable. This collection often eschews the typical style of essay or lecture, resisting any categorization, and is consciously disobedient to academic structures in form. The results are thrilling new modes of thinking that may change the ways we read and write.

The Book of Skies, like its predecessor Excess-The Factory, emerged from poet Leslie Kaplan's experience participating in the national strike and social revolution of ’68 in France. Early in ‘68 Kaplan, like others, left her studies in order to take on factory work, as an aspect of revolutionary practice. Excess—the Factory, puts the factory experience strikingly on the page in sparse and original language. The Book of Skies takes place in the period just after the ‘68 events as the central speaker now observes the places, landscapes, and people surrounding and relying on factory production in French cities, small and large. As the poem’s speaker moves from site to site, she finds possibility within the social spaces of the market, the street, the café, and even the factory itself. While class and gendered violence threaten to shut down hopes for freedom and renewal, the sky, as reality and as figure, functions as an aperture, drawing our attention upward and outward, even or especially when domestic and work-spaces are most violent or suffocating.

From the beginning of her career, French poet, playwright, and novelist Leslie Kaplan has been an important writer of the French left. She has published over twenty books in all three genres, many of which have been translated into German, Swedish, Spanish, Danish, Norwegian, and now, English. Her first book, L'exces l’usine (1982), gained the attention of writers such as Marguerite Duras and Maurice Blanchot, and became an important book for the ‘68 generation. In 2018, Commune Editions published Excess—The Factory, translated by Julie Carr and Jennifer Pap. This was the book’s first translation into English, though it had been translated into five other languages.

Drawing from notions of "bad poetry" as the critical undoing of normative taste, Antilogy brings together works by the Brazilian artist and poet Alex Hamburger.

Central to Hamburger's practice and engagement with poetry is a focus on writing as the expression of a performative disruption and playful reworking of semiotic systems. With references to Fluxus intermediality, Brazilian concretism, experimental music, and sound poetry, Hamburger's work dynamically collapses the distinctions between fact and fiction, theory and performance, system and noise. From visual poems to abstract narrative to personal fantasy, Antilogy reminds us about the potent sense of refusal and experimentation that all art should carry.

Alex Hamburger was born in Belgrade, Serbia, in 1948. From the 80s onward his researches and proposals turned to the possibilities of fusion and intertwining of languages, developing works in Verbal, Visual and Sound Poetry, Object-Poem, Artist's books, Installation, Performance art, etc. He has published seven books in various poetical genres, three CDs of Sound Poetry and has performed several performance pieces, some in partnership with the visual artist Marcia X, with whom he established a fruitful relationship throughout the 80s, contributing decisively for a better understanding and acceptance of the above practices in the local art circuit of Rio de Janeiro. His work is held in the collections of contemporary art institutions, in Brazil and abroad, including The Museum of Modern Art, RJ, The Museum of Modern Art, SP, Printed Matter Bookstore, New York, Compendium of Contemporary Fine Prints, Hamburg, ICA, London among others. Alex Hamburger continues to live and work in Rio de Janeiro, Brazil.

Poets Lee Ann Brown and Bernadette Mayer, old friends, began a specific correspondence in early 2020 with the intention of editing them into a book. The poems, letters, letter-poems, pletters, cover the first songbirds of spring, works and advice from friends, art, lists from the messy old internet, the possibility of seeing one another again, some day. Bernadette passed away on November 22, 2022, 3 weeks before this book was completed and bound. Throughout the text Lee Ann and Bernadette merge two distinct and unique voices in both a poetic, loving and humorous sharing. In a letter from Bernadette to Lee Ann she writes: “I imagine the voice to be/ yrs/ Because it is/not/mine.”