Books

A horror story of one woman's awful reinvention, M. S. Coe's The Formation of Calcium is disturbingly funny and completely unexpected.

Middle-aged Mary Ellen Washie has finally freed herself of her stultified past life in western New York state and moved to Florida. With the husband she's grown to hate firmly in her rearview mirror, and all ties to her family cut off, she changes her name, bleaches her hair, and befriends Natalie, a seemingly kind, martini-loving woman whom she promptly begins to manipulate. As her machinations propel her beyond the brink of who she used to be, Mary Ellen seeks to unburden herself—but not one to sit down with pen and paper, she narrates the events of her new life into a cassette tape recorder, giving each tape an innocuous name to keep the curious away. A riveting account of one woman's awful reinvention, M. S. Coe's new novel is disturbingly funny and completely unexpected. With elements of pulp noir and confessional literature, The Formation of Calcium depicts the bland misery of modern American life as one woman seeks her own ill-fated transformation.

Born in Las Vegas, Nevada, M. S. Coe is an American writer living in Guadalajara, Mexico. After she graduated with an MFA in creative writing from Cornell University, Clash Books published her first novel, New Veronia, in 2019. Coe's stories have appeared in The Antioch Review, Cosmonauts Avenue, Electric Literature, Nashville Review, Waxwing, and elsewhere. She has held residencies from the Herbert Hoover National Historic Site, Petrified Forest National Park, and Ora Lerman Trust.

This story was written by a Chinese activist/writer about her arrest and detention during the waves of resistance in China in late 2022. To evade censorship, she disguised it as a translation—told through the voice of an Iranian Kurdish woman amid the “Woman, Life, Freedom” uprising happening at the same time. 

After fleeing China, the author reclaimed the story through footnotes—uncovering hidden meanings and restoring its Chinese context. What first read as an Iranian story became, on re-reading, a coded Chinese narrative. Iran stood as both real and metaphorical—a displaced symbol, through which the interconnected struggles in different movements echoed.

The two waves of reading, months apart, became part of the story’s form. This “non-nonfiction” reveals a paradox: in China, truth must appear as fiction or elsewhere to be told—making the fiction more real than reality itself. 

Two years later, the piece was translated “back” into Persian by an Iranian Kurdish activist. And now, it arrives here, in this zine of tripped, layered languages. 

Author: Wu Qin
English Translation: Aaris WOO and Yixi
Farsi Translation: Somayeh Rostampour
Visual & Layout: Maoyi, If A, Hu Jiamin
Interior illustrations: Hu Jiamin
Published by Tofu Stand (Tofulogy 002)

"Discrete Categories Forced Into Coupling is consummate masterwork by a singuarly perceptive and articulate poet. Deceptively quiet in manner, its intimate foci and tone make clear the ground of our contemporary lives, our 'being together' despite the distances of isolating thought. I love Kathleen Fraser's extraordinary intelligence, her persistent care for where she is—and for all those she finds there too"—Robert Creeley.

"Here is a language of poetry that recognizes, beyond its intimacies, the intellectual and elusively sensate aspects of visual and literary aesthetic connection"—Carla Harryman.

“Invest in a floating city or gentrify a submerged one.”

Nourhan Maayouf’s I Was Going to Work is a hybrid sci-fi picture book by the Cairo-based artist, in which the proto-cyborg citizens of Happy Land Nation establish new-fashioned diurnal rhythms against the ever-present backdrop of a monorail to nowhere and its pillars, idle and idolatrous.

Across forty-four spreads of what might be thought of as a picture book for adults, Maayouf delves into every aspect of a deeply familiar society in which retrograde devolution is billboarded as reinvention by Orwellian technocrats and speculators.

And yet pockets of the cyborg population continue striving, dreaming, craving, protesting, gleaning, and inventing. For a situation to be bleak, some notion of beauty must remain tenaciously rooted where it matters most.

The Activist begins in the middle of a revolution. There is a protesting group of commuters with a missing leader. There is a bridge that may or may not have been bombed. People speak in nonsense and cannot stop themselves. In the midst of all this, the language of news reporters mixes with the language of confession. The art of this beautifully written book is in how it touchingly illustrates that relations between humans and cities are linked in a more complex interface than most realize. The book is full of entrances and exist, alternate routes and incommensurate geographies. The Activist does not analyze or explain the hopeful desires of protest at the turn of the century, but it does enable us to see them differently. — Juliana Spahr

"Whether this is a dream in which I'm captured or I've been captured and made to think I'm in a dream, I can't figure." Apropos to the rapturous tension The Activist evokes. A covert narrative operating as an event disguised as a repot. A grass trap glimpsed through the lashes of a sleepwalker. Topography of disrupted positionality, reflection girders flaccid memory against the romantic high up. Flea-bitten news and neuralgic placards. You are here**. Is dreaming the medium for crossing the ambiguous borders of talk, responsibility, collectivity, solitude? Or does reading anatomize a phantom bridge that carries you over to an unmappable reality and calls you by your secret name? Root, plan and faction, armed with tongue-tied intensity. You may ask how Renee Gladman knows that this city of slippage is your city, how she holds you within it, riveted. And therein lies the magic of this book. — Tisa Bryant

Founded in 2023, A4 is a poetry review which showcases and explores contemporary writings practices. Run by Littérature Supersport collective, the object is seen as the extension of their events. The review takes the form of 4 postcards which, when placed side-by-side, form an A4-sheet. A light (even precarious) format for literature that slips into the back pocket of pants and hangs on fridge doors. Each issue features unpublished texts by 4 authors. Wrapped in colors, A4 is distributed by post and available in good bookshops, in Brussels, Liège, Paris and Marseille. 

This third issue presents texts by : Lila Maria de Coninck, Gabriel Gauthier, Marjolein Guldentops & Ahmed Saleh.

Ahmed Saleh (born 1998) is a Palestinian writer and poet from Gaza. He studied business administration and political science and is currently living  in Brussels. Ahmed writes articles in Arabic and English, several of which have been published on various platforms. 

Marjolein Guldentops (Belgium, 1994) is a visual artist, author, and performer. Her artistic practice spans various mediums, including text, video and performance. Rooted in the concept of worlding, her work explores the urban rhythms, flows, and semantics that shape perceptions of space and language in both physical and metaphysical senses.

Gabriel Gauthier is a graduate of the Beaux-arts in Paris. He writes books, performs and makes music. He has published Simurgh & Simorgh and Contra at Théâtre Typographique (2016, 2024) and Speed at Vies Parallèles (2020). He has designed pieces at the border of dance and visual arts (Cover, Rien que pour vos yeux). Space, his first novel, was published by Corti.

Lila Maria de Coninck (2004) is a Belgian creator living in The Hague. She makes music, theatre and writes poetry. The guiding principle in her works is the use of multilingualism and miscommunication to promote creativity in her mother tongue, Dutch.

In 2015, artist Patty Chang (1972) followed the South-to-North Water Diversion Project, the longest aqueduct in the world, which brings water from southern to northern China. While walking, she collected her urine in plastic bottles, drinking their contents before refilling them, in turn drawing a connection between the large-scale infrastructural attempt to control the flow of water and the uncontrollable flows of her own body. Once back in Boston, Chang began making a series of portable urinary devices from discarded plastic bottles, which were then hand-blown in New York by glass-blower Amy Lemaire. In fashioning them from discarded plastic and rendering them permanent in glass, the devices channel Chang’s unfolding ruminations on water as a point of connection between geopolitics, human excess and waste. Designed by Sabo day, this indexical publication is the first book dedicated to depicting the series of sixty-four sculptures in its entirety. It was published on the occasion of Patty Chang’s exhibition at A Tale of A Tub, which ran from September 14–November 3, 2024.

In This Household of Earthly Nature poet and poetic essayist Cody-Rose Clevidence delves into the far reaches of our planet, from homestead to information theory, from ancient history to global economics to possible futures, connecting all things; Walmart, shipping lanes, what it means to have family, friends and memories, to labor, love, to ways of knowing, and all of us together inside these vast and shifting networks. Rooted firmly in the Anthropocene, in the fragmented and information-dense internet-connected world and also in their own rural daily life, this essay-poem charts a mind grappling with what it means to be alive now, in this particular time in our planet's and our species' evolution, from the domestication of the first grain to whatever is inevitably coming next.

Working at the nexus of performance, art writing, and fiction, Tyler Coburn creates monologues that explore how the “I” is marked in speech. His myriad topics—alternate history, legal personhood, digital labor, and resonant frequency, to name a few—defy straightforward modes of presentation, often insisting on site-specificity and social intimacy at the expense of conventional documentation. 

Some Monologues collects, for the first time, the scripts of Coburn’s work from the past fifteen years, many of which have not previously been published. Accompanying them are texts by eleven artists, writers, curators, and scholars who experienced these performances firsthand, collaborated in their making, conversed with the artist about them, or share an interest in the subjects they engage. Written in theoretical, poetic, and autobiographical registers, these contributions offer new perspectives on the monologue as an expansive and relational form.

Introduction by Elvia Wilk. Contributions by Yu Araki, A.E. Benenson, Mashinka Firunts Hakopian, Sven Lütticken, Kameelah Janan Rasheed, Spyros Papapetros, Camille Richert, Théo Robine-Langlois, Ian Wallace, and Michelle Wun Ting Wong.

Tyler’s scripts refuse to fix an authorial voice; instead, they make the conditions of authorship itself their subject. Blurring the boundaries between fiction and document, the human and the bureaucratic, the self and its doubles, his work thinks through systems from the inside, often using language as both architecture and trap. In their precision and porousness, I recognize a shared pursuit: how to locate agency within constraint, and how to turn the administrative or the technological into a site of intimacy. — Jill Magid

In Tyler Coburn’s Some Monologues, a binary that remains constitutive for the ideological continuity of modern life, in all its colonial and capital forms, is undone: digital vs. physical. In troubling that chasm, Coburn plays out the repercussions of these ideologies of anthropomorphic naturalism, guiding us through their resonances, doubles, codings, and relays. But he also renders himself as the relay of these transferences, in the process expanding art’s premodern calling: to exist as an invocation. Reification suddenly appears as what is situated between embodiment and disembodiment, with both potentially destabilized. Some Monologues, the book, is this destabilization’s ideal format: as much documentation, an echo, of Coburn’s works through their scripts, as it is an instruction manual for denaturalizing our sense/s. — Kerstin Stakemeier

Tyler Coburn is an artist, writer, and professor based in New York. He received a 2024 Andy Warhol Foundation Arts Writers Grant, and his writing has appeared in ArtReview, BOMB, C Magazine, Dis, e-flux journal, frieze, LEAP, Metropolis M, Mousse, and Rhizome. Coburn is the author of four books: I’m that angel (self-published, 2012), Robots Building Robots (CCA Glasgow, 2013), Richard Roe (Sternberg, 2019), and Solitary (Sternberg and Art Sonje Center, 2022). He has presented artwork at such venues as Centre Pompidou, Paris; Bergen Kunsthall; Hayward Gallery, London; Para Site, Hong Kong; and Kunstverein Munich. 

This selection of Gertrude Stein's work is taken from the period between 1905 and 1936, when the iconic modernist poet was engaged in an astounding number of still-surprising literary experiments, whose innovations continue to influence all the arts. Editor Joan Retallack has chosen complete texts or selections that lend themselves to a clarified vision of Stein's oeuvre. 

In her brilliant introduction, Retallack provides the historical and biographical context for Stein's lifelong project of composing a "continuous present," an effort which parallels many of the most important technological and scientific developments of her era—from moving pictures to Einstein's revision of our understanding of space and time. Retallack also addresses persistent questions about Stein's work and the best way to read it in our contemporary moment. In suggesting a performative "reading poesis" for these works, Retallack follows Stein's dictum by arguing that to actively experience the work is to enjoy it, and to enjoy it is to understand it. 

TEXTS
Melanctha (excerpt, from Three Lives, 1905)
The Making of Americans (excerpt, 1911)
Picasso (1911)
Flirting at the Bon Marche (1911)
Bon Marche Weather (1911)
Orta or One Dancing (excerpt, 1912)
Susie Asado (1912)
Tender Buttons: Objects, Food (1913)
Scenes from the Door (from Useful Knowledge, 1918)
Photograph (1920)
A Movie (1920)
An Elucidation (1923)
If I Told Him, A Completed Portrait of Picasso (1923)
Fourteen Anonymous Portraits (1923)
Are There Arithmetics (1923)
Business in Baltimore (1925)
Composition as Explanation (1926)
Patriarchal Poetry (excerpt, 1927)
Sentences and Paragraphs (from How to Write, 1930)
History or Messages from History (1930)
We Came. A History (1930)
Stanzas in Meditation (excerpt, 1932)
Lecture I (from Narration, 1934)
Identity a Poem (1935)
What Are Master-pieces and Why Are There So Few of Them (1936)

DOCUMENTS
“With Apologies to Gertrude Stein,” newspaper advertisement
Two love notes from Stein to Toklas (n.d.): “Dear dainty
delicious darling” and “Ir/Re/Sis/Ti /Belle”
Virgil Thomson, Letter to Gertrude Stein (May 30, 1933)
“Stein Opera Sung by All-Negro Cast,” New York Times (February 9, 1934)
Thornton Wilder, Introduction to Narration (1935)

Unbidden Tongues #9: Potty Mouth is a collection of what could be described as concrete poetry, written over the past two years by our niece Violet Bartley, now aged five. Typed at a computer and sent exclusively via e-mail, the poems stand as clear evidence of a person in the beginnings of grasping (at) language. Throughout, characters are repeated uninterrupted until margins break them, keys pushed down by a finger not yet strong enough to lift itself up.

Over the years, as her written vocabulary grew and these attempts at communication slowly stacked up into the collection printed here, Violet delivered poem after poem within which different mutations of the word ‘poo’ were uttered in type: poo, poobum, bum poo, ipoo, poop. While simple, often illegible and definitely isolated utterances (she never replies when you send a poem back in turn), they are decipherable examples of someone learning defiance through language.

Collected writings, artworks and manifestos outlining the developments in Indigenous cinema and its most adventurous practitioners. 

Founded in 2018, COUSIN Collective is dedicated to promoting Indigenous artists working with the moving image. Temporal Territories is the collective's critical anthology on Indigenous experimental cinema, bringing together new works, reprints of key writings, theoretical interventions, artist portfolios, intergenerational dialogues and manifestos. With topics ranging from science fiction to found-footage filmmaking to the strange case of the DeMille Indians, the volume surveys a varied and vital body of work, and suggests new forms still to come.

As COUSIN writes in their introduction, "We hope this collection can be something like a celebration, a point along your path that fosters conversations and connections. ...There are no rules to this thing, and you are not alone."

Contributors include: Raven Chacon, Colectivo Los Ingrávidos, Lou Cornum, Grace Dillon, Guillermo Gómez-Peña, Miguel Hilari, Sky Hopinka, Kite, Adam Khalil, Zack Khalil, Pedro Neves Marques, Fox Maxy, Michael Metzger, Jas M. Morgan, Caroline Monnet, Shelley Niro, Adam Piron, Tiare Ribeaux, Diana Flores Ruíz, Walter Scott, Girish Shambu, Paul Chaat Smith, Adam Spry, Elizabeth Weatherford.

This book was published in conjunction with COUSIN Collective.

The Dispossessed is the spellbinding story of anarchist Shevek, the “galactically famous scientist,” who single-handedly attempts to reunite two planets cut off from each other by centuries of distrust.

Anarres, Shevek’s homeland, is a bleak moon settled by an anarchic utopian civilization, where there is no government, and everyone, at least nominally, is a revolutionary. It has long been isolated from other worlds, including its mother planet, Urras—defined by warring nations, great poverty, and immense wealth. Now Shevek, a brilliant physicist, is determined to unify the two civilizations. In the face of great hostility, outright threats, and the pain of separation from his family, he makes an unprecedented trip to Urras. Greater than any concern for his own wellbeing is the belief that the walls of hatred, distrust, and philosophic division between his planet and the rest of the civilized universe must be torn down. He will seek answers, question the unquestionable, and explore differences in customs and cultures, determined to tear down the walls of hatred that have kept them apart.

To visit Urras—to learn, to teach, to share—will require great sacrifice and risks, which Shevek willingly accepts. Almost immediately upon his arrival, he finds not the egotistical philistines he expected, but an intelligent, complex people who warmly welcome him. But soon the ambitious scientist and his gift is seen as a threat, and in the profound conflict that ensues, he must reexamine his beliefs even as he ignites the fires of change.

Soundcloud rapper boyfriends. AA rendezvous.

Singer-songwriter sweethearts. Toxic e-boys.

Suicide pacts. NYU poets.

Flirty coworkers. ASMR girls.

Porn-addicted paramours.

Catholic cliques. Imaginary simps.

Welcome to the world of

FEMALE LONELINESS EPIDEMIC.

Confession sur le désir (l’action et l’objet du), les liens de mutualité et de résistance, Sexe 2 alterne prose et versification en 27 fragments numérotés à l’adresse plus ou moins dure, plus ou moins sincère, plus ou moins formulée car plus ou moins éloignée du Toi et du Je. Camille Kingué s’attache à révéler, à voir quelque chose à travers son image réelle et virtuelle, agrandie et rétrécie, droite et renversée, déployant une recherche des principes de l’amour (l’amour comme amour, pourquoi est ce qu’il y a de l’amour) où la métaphysique et la compréhension de soi – donc de l’autre – n’ont jamais été aussi sexy.

Claire Star Finch, dans la magnifique préface qu’iel signe au début de l’ouvrage, écrit : « Après avoir lu tous les livres de Kingué, je ne sais pas si je crois en “l’amour”, que ce soit en tant que substantif absolu ou en tant que proto-résidu de tout ce que “le sexe” peut signifier. Mais je crois définitivement qu’il faut l’écrire. » Définitivement.

In This is NOT what I want to tell you: she looks at the many attacks carried out by teenagers in Palestine in 2015 and 2016. The teens, all children aged between 10 and 15, were shot dead or sentenced to years in prison. The series of almost daily knife attacks by these lone wolves reflected the hopelessness and despair among the young people of Palestine. They wanted to send a message to the world, but were unable to convey this in ordinary language.

In Two Ladybugs the fates of three characters, a Belgian woman, a Palestinian girl and an Israeli soldier, are closely intertwined. The players don't feel comfortable in this new, strange world and they don't hide that from the public.

Broken Shapes: A young woman in a city that has been occupied for decades, on the day of her father’s funeral, discovers his architectural drawings. Overcome with grief, she slips into the dream worlds and imagined places that he created.

Rimah Jabr Rimah Jabr (Nablus, Palestine, 1980) is a theatre director, playwright, screenwriter and Ph.D. candidate in Theatre and Performance Studies at York University. She completed a master’s degree in theatre-making from the RITCS in Brussels. She wrote and directed several plays produced in Belgium, Canada, and Palestine. She actively collaborates with visual artists to craft unique performances. Her doctoral research is a performance ethnography research-creation with Palestinian Designers from Hebron, examining the impact of confinement on the creative process involved in set design. Broken Shapes is a collaborative project co-created by Toronto-based theatremaker Rimah Jabr and Brussels-based visual artist Dareen Abbas.

David Hoyle (b.1962, Blackpool, United Kingdom) is a performance and visual artist. His work over the last 30+ years has referenced gender, politics, identity, mental health issues and the ongoing fight for equality.

Hoyle came to prominence in the ‘90s as The Divine David, a kind of anti-drag queen whose lacerating social commentary – targeting both bourgeois Britain and the materialistic-hedonistic gay scene, which he called, “the biggest suicide cult in history” – was offset by breathtaking instances of self-recrimination and even self-harm. Following a couple of outré late-night Channel 4 TV shows and a part in the movie Velvet Goldmine, directed by Todd Haynes, Hoyle killed off The Divine David, during a spectacular show at the Streatham International Ice Arena in 2000 and retreated to Manchester for “a period of reflection”.

He returned to television screens in 2005 in Chris Morris’ Nathan Barley, then began performing live again, under his own name. Hoyle’s biting satire, bravura costumes, wicked comic timing, and compelling charisma remained intact.

Hoyle is also a prolific painter often painting in his live shows. His paintings are deeply personal, and tackle the same themes as his performances, incorporating domestic waste, flyers, newspapers, magazines, wrapping paper, and more, which reinforce his disdain for the ruling-class bourgeoisie.

This is the first book dedicated to Hoyle’s paintings, offering an edited selection of works made between 2010 and 2022. At Hoyle’s request, all of the works are published undated: thus, emphasising their timelessness, timeliness, relevance, and urgency to the desperate age in which we now find ourselves!

Bridget Mullen is the ruler of an unruly roost. Between 2021 and 2023, she gave birth to forty-seven paintings, each twelve-by-nine inches: kin ugly and cute, monstrous, fleshy, repulsive, droopy-eyed, and sneering as they cross the universal threshold into the no less frightening world that awaits. Birthday reunites Mullen's uncanny litter alongside a conversation between the artist and Lucas Blalock.

The paintings in New York-based artist Bridget Mullen's Birthday series utilize two distinct parameters to guide the creation of the iterative works: a vertical orientation at an intimate scale of 12 x 9 inches and a visualization of perhaps the ultimate creative act—the moment of birth. Through this consistent scale and thematic hyper focus, the artist employs endless formal variations in composition, color, and paint application. The result is a series of paintings that share a common structure yet champion individuality.

Contrasting colors provoke a visible tension, one that is at times compressed and, in other moments, elastic. Suddenly, abstract shapes come into focus as human anatomies, capable of expressing emotion. Undulating lines of various thicknesses and layered colors squeeze together, revealing peculiar faces and gestures that emerge from a central point. The repetition of thin lines creates a visual stutter of pigment, alluding to the passage of time or rapid movement.
The works in Birthday build on Mullen's practice, combining color, decisive mark-making, intuition, and experimentation to conjure psychedelic configurations. Sculptural dimensionality and flatness, representation and abstraction, and solidity and fluidity, serve not as dichotomies within these works, but as two complementary halves of a whole. Together, the forms and figures of the Birthday series are imbued with a sense of life, pregnant with agency and potential.

The second issue of Spectres is devoted to the concept of resonances, with contributions by Maryanne Amacher, Chris Corsano, Ellen Fullman, Christina Kubisch, Okkyung Lee, Pali Meursault, Jean-Luc Nancy, David Rosenboom, Tomoko Sauvage, The Caretaker, David Toop, and Christian Zanési.

To resonate: re-sonare. To sound again—with the immediate implication of a doubling. Sound and its double: sent back to us, reflected by surfaces, diffracted by edges and corners. Sound amplified, swathed in an acoustics that transforms it. Sound enhanced by its passing through a certain site, a certain milieu. Sound propagated, reaching out into the distance. But to resonate is also to vibrate with sound, in unison, in synchronous oscillation. To marry with its shape, amplifying a common destiny. To join forces with it. And then again, to resonate is to remember, to evoke the past and to bring it back. Or to plunge into the spectrum of sound, to shape it around a certain frequency, to bring out sonic or electric peaks from the becoming of signals.

In Anne Carson's Short Talks the reader is bombarded with short prose poems that resound with the fullness of meditations on lyric sermons, riddle-poems that consist only of answers, Lou Reed meets Claude Monet and converts to Zen, the pure hilarious ache of ontology. SHORT TALKS, the first book-length collection by this accomplished, original voice, is elegiac, perceptive, and droll. 

A tour de force of experimental queer feminist writing, Not One Day is renowned Oulipo member Anne Garréta's intimate exploration of the delicate connection between memory, fantasy, love, and desire. Garréta, author of the acclaimed genderless love story Sphinx and experimental novel In Concrete, vows to write every day about a woman from her past. With exquisite elegance, she revisits bygone loves and lusts, capturing memories of her past relationships in a captivating, erotic composition of momentary interactions and lasting impressions, of longing and of loss. 

Anne Garréta, author of the groundbreaking novel Sphinx (Deep Vellum, 2015), is a member of the renowned Oulipo literary group. Not One Day won the Prix Médicis in 2002, recognizing Garréta as an author “whose fame does not yet match their talent.” Garréta is also the author of In Concrete, translated by Emma Ramadan (Deep Vellum, 2021).

Emma Ramadan is a literary translator of poetry and prose from France, the Middle East, and North Africa. She is the recipient of a Fulbright, an NEA Translation Fellowship, a PEN/Heim grant, and the 2018 Albertine Prize. Her translations for Deep Vellum include Anne Garréta’s Sphinx and In Concrete, Fouad Laroui's The Curious Case of Dassoukine's Trousers, and Brice Matthieussent's Revenge of the Translator.

„Ungenießbare Zeichnungen“ is a series of visual traces by artist Shin Kudo. „Ungenießbar“ means „Unenjoyable“ in German, which is a term that is used to describe a certain category of fungi, considered not edible but also not poisonous. What is enjoyable and what is not? For whom should it be enjoyable? Spores, Blood vessels, nature energy, Alien….Shin Kudo’s intuitive drawing triggers our feelings between our daily world and the world that we often overlooked - The world full of life circling and endless streaming.

The book contains 24 drawings from the “∞” series and the spore print series “The Unknown Friends”, following with an interview conversation with the artist. 

DUCTUS is the latest solo project by Paul Abbott, featuring 51 minutes of audio, across 12 tracks, and a 42 page booklet featuring new writing. DUCTUS was written and recorded in Edinburgh and Porto in 2019. 

DUCTUS presents a playful weave of collapsing time through a number of speculative elements and fictional characters. Abbott feels his way through learning drums, rhythm and writing as fleshy research technologies. DUCTUS is the latest stage in a process considering sound, the body, imagination, and language through music. This features as part of ongoing investigations using real and imaginary drums, synthetic sounds, performance and writing.

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!