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With her debut chapbook, award-winning author and curator Legacy Russell returns to poetry with her GAY POMPEII, a collection of lyric poems that begin at the end of the world.

Rising out of Russell's 2022-2023 Digital Fellowship for Pompeii Commitment. Archaeological Matters, the first long-term, contemporary art programme established by the Archaeological Park of Pompeii, the author and curator explores ash, filth, dirt, and decay, intersectional with the fetishistic mythos of Pompeii and its destruction in 79 CE by the eruption of Mount Vesuvius. Pompeii today is a UNESCO World Heritage Site that receives over two million visitors per year to view its archeological excavation. Russell puts the mass voyeurism, sensation, extraction, and loss of Pompeii—a devastating moment frozen in time—to work. In GAY POMPEII, the site becomes a device with which Russell unspools birth, death, genocide, visual culture, and space-time. The title of this compilation underscores the essence and demand of capitalism: to be carefree in the face of looming extinction. Russell's GAY POMPEII is a selfie taken at the edge of catastrophe and a polyphonic elegy.

Legacy Russell (born 1986 in New York City) is a curator and writer. She is the Executive Director & Chief Curator of the experimental arts institution The Kitchen. Formerly she was the Associate Curator of Exhibitions at The Studio Museum in Harlem. Russell holds an MRes with Distinction in Art History from Goldsmiths, University of London with a focus in Visual Culture. Her academic, curatorial, and creative work focuses on gender, performance, digital selfdom, internet idolatry, and new media ritual. Russell's written work, interviews, and essays have been published internationally.

Textdemic | A Retrospective on Jenny Holzer’s Laments” Ed. by A.L. Steiner and GenderFail, a publication based on A.L. Steiner + Friends on Jenny Holzer at Dia Chelsea. This book is based on the Artists on Artists Lecture Series when the Dia Art Foundation invited Steiner to curate a public program based on a work of the artist's choice.

Steiner chose Jenny Holzer’s Laments and invited Morgan Bassichis, Riel Bellow, Gregg Bordowitz, Alexander Chee, Malik Gaines, Guadalupe Maravilla + Alexa Mishell Guillen, Lucas Michael, Eileen Myles and Pamela Sneed to present in Dia’s first in-person program after the Covid-19 pandemic began in 2021. This publication features records of the poems, lectures, and performances during this memorial program. The book's design plays homage to the 1990 Laments publication by the Dia Art Foundation.

For this publication, Steiner and GenderFail invited Matilde Guidelli-Guidi, Associate Curator at Dia Art Foundation and the organizer of the Artists on Artists Lecture Series, to write an afterword for the book. In this, she states: "Dispensing altogether with the monographic formula that characterizes the institution, for her Lecture A.L. Steiner convened a group of artists, writers, and activists to join her in responding to Jenny Holzer’s 1989 text-based installation, Laments. Holzer identified the thirteen texts that comprise Laments as 'voices of the dead,' a visual choir in response to the raging HIV/AIDS epidemic and government inaction. Over the protracted COVID-19 lockdown, Steiner developed the idea to organize an evening for the voices of the living to lament today's crises.”

Nasleep neemt de protesten rondom het Gezi Park in 2013 als vertrekpunt en verkent gaandeweg wat er is overgebleven van dit historische moment waarin een andere wereld voor het grijpen leek. Het zijn gedichten die laveren tussen ritmische, conceptuele en kritische noise enerzijds en postrevolutionaire affecten anderzijds, tussen politise­ring enerzijds en onmacht en radeloosheid anderzijds.

‘Palestine is everywhere because it names a political subject of radical universal emancipation,’ writes teacher and writer Nasser Abourahme. In Palestine is everywhere, writers, thinkers, poets and artists map the Palestinian struggle for freedom and its global resonances.

Vital dispatches from Gaza, essays, poems, protest chronicles, images and letters from prison reflect upon resistance, solidarity and the right to self-determination. Amid a world-historical moment marked by unknowability and loss, this collection offers essential reading for those interested in Palestinian liberation.

This collection is edited by Skye Arundhati Thomas, with contributions from Alaa Abd El-Fattah, Nasser Abourahme, Amal Al-Nakhala, Muhammad Al-Zaqzouq, Maisara Baroud, Ahmed Bassiouny, Houria Bouteldja, Anees Ghanima, Sahar Khalifeh, Laleh Khalili, Lujayn, Mira Mattar, Lina Meruane, Mohammed Mhawish, Nahil Mohana, Rahul Rao, Nasser Rabah, Adam Rouhana, Ahmad Zaghmouri.

Co-published by TBA21.

All royalties from this project will be donated to Medical Aid for Palestinians (MAP) and The Arab Group for the Protection of Nature (APN).

Narrative/Prose issue, featuring a special section: I was writing, but it was drawing: a Renee Gladman mini-feature with work by Renee Gladman * Earl Jackson, Jr. * Bruna Mori * Alexis Almeida on Renee Gladman & Julie Carr * Lewis Freedman & Vanessa Thill on Renee Gladman & Mirtha Dermisache. as well as work by Isabel Waidner * sissi tax (translated by Joel Scott & Charlotte Theißen) * Susan Hefuna * Mira Mattar * Lital Khaikin * Maryam Madjidi (translated by Ruth Diver) * Omer Wasim & Saira Sheikh * Ilse Aichinger (translated by Christian Hawkey & Uljana Wolf) * Bronka Nowicka (translated by Katarzyna Szuster) * Maude Pilon (translated by Simon Brown) * Mehmet Dere * Syd Staiti * Jena Osman * Germán Sierra * Natani Notah * Julia Bloch on Bernadette Mayer * Robert Glück on Clarice Lispector * Rob Halpern on Bruce Boone & Dennis Cooper *Dylan Byron on/after Bruce Boone * Linda Bakke on Communal Presence: New Narrative Writing Today * Anna Fidler * Corey Zielinski on Bob Glück & Writers Who Love Too Much: New Narrative 1977-97 * Jackie Kirby on From Our Hearts to Yours: New Narrative as Contemporary Practice * David W. Pritchard on Kevin Killian * Dale Enggass on Simone White * Allison Cardon on Anne Boyer * Robert Balun on Leslie Kaplan * Marco Antonio Huerta on Omar Pimienta * Allison Grimaldi Donahue on Josué Guébo * Sara Florian on Lasana Sekou * Louis Bury on Allison Cobb * Hugo Gibson on Annie Ernaux.

What do we carry from one year to the next? What remains after devastation, and what, despite everything, takes root again?

October in Lebanon is heavy with memory. The euphoria of the 2019 revolution feels far away, its anniversaries marked by crisis, war and the genocide in Gaza.

Across multiple Octobers, Nur Turkmani meditates on rupture, transformation and the quiet undoing and remaking of relationships during collective catastrophe. Part archive, part love letter, her debut poetry collection holds the ordinary and the extraordinary in the same breath, spanning balconies and border towns, fig trees and songs for friends, autumn light and the instinct to flee.

Formally spare and emotionally saturated, October refuses both numbness and spectacle. These poems ask what it means to survive the world and still long for it; and how we hold what’s disappearing, or changing too quickly to make sense of.

Douglas Oliver (1937–2000) and J. H. Prynne (b. 1936) are two of the most original and ambitious poets of the contemporary era. Eschewing the conservativism of mainstream postwar British verse and embracing influences from America and Europe, each developed their craft through continuous correspondence and exchange as part of the febrile scene of poetical community and contestation that emerged in Cambridge in the 1960s. Their works over the following decades exhibit frequent shifts in form and style, from Prynne’s radical transformation and dispersal of the lyric tradition to Oliver’s adaptation of dream visions and medieval-inspired verse satires.

Their letters are a record of both the high stakes and playful experiments that constitute the writing lives of two singular poets determined not just to engage with modern political and social life during decades of crisis and upheaval, but to contribute through the circulation and publication of poetry to what Oliver calls “a community of political ethic.” Over the course of more than thirty years of friendship and mutual appreciation, the motivations for, and consequences of, their poems are constantly worked through, tested out, evaluated, and contradicted, always with a view to what the poetry means for the other, for the poetical communities they inhabit, and for the life of poetry itself.

This volume collects for the first time the majority of Oliver and Prynne’s correspondence, allowing new insights into the literary, political, and historical contexts of their lives and writing. An introduction, notes, and appendices provide a scholarly apparatus to situate Oliver and Prynne among the poets and publishers with whom they worked and socialized, and to identify and expand upon their frequent references to an enormous range of source material and reading matter.

“The correspondence between J. H. Prynne and Douglas Oliver is gripping and illuminating, brilliantly edited and completely absorbing. Two great poetic intelligences respond to each other’s work and to the society around them, thinking through the issues at stake in their poetic practice, their differences in approach, the different worlds they inhabit, their shared commitment to writing poetry and their admiration of each other’s work. The letters, complex as their matter can be, repay repeated reading; taken together, over a period of 33 years, they chart the context and creation of some of the most significant work in late twentieth-century poetry. This is an utterly engaging volume, and should be read by anybody interested in poetry and its place in the contemporary world.”—Ian Patterson

“For writers who welcome each other as peers, the exchange of letters is the spontaneous moment of exposure, the drawing out of selves. It is thinking in mutuality. In this thoughtfully edited and carefully, even beautifully, presented correspondence between Douglas Oliver and J. H. Prynne, two of the preeminent poets of the ‘British Poetry Revival’ of the post-World War II generations, we witness two writers of immense gifts thinking with each other, coming alive to thought and, ultimately, a shared world or community of wish. There is life, there is death; there is grief, there is anger – and love – but always there is a seeking, an attempt to arrive at a language for our worlds. Henceforth, one cannot imagine reading the work of either Oliver or Prynne without this correspondence and all that it offers in openings onto what Oliver himself saw as ‘the poet’s full performance [which] is the whole life’s work.’ It is a glimpse into an athanor of poetic creation.”—Michael Stone-Richards