Poetry

Telephone
Ariana Reines
Wonder - 17.50€ -

"There are phone lines to the living and others for calling the dead. TELEPHONE by Ariana Reines is a network for riveting acts of speech, and silence, and listening. I saw the play and never forgot it. The audience was lit like a switchboard by its storms of courage and mystical love."--Rachel Kushner

"TELEPHONE is an uncanny parcel of theater in which the wishes of humans to speak with the dead meet the limits or the aspirations of technology. A woman wrapped in language is deemed insane and the lonely pastness of our present walks around calling for itself. TELEPHONE is a whild and visionary piece of art that announced to me a poet who is always tearing the future open like a trapped animal--their eyes reflect us. Don't look! We mus. Bless you and love you Ariana for this great work."--Eileen Myles

"I have been WAITING FOR THIS BOOK! When I saw it in the theater every word motion fell into magic stride utterly taxing the soul with its accuracy and mystery. The next night I was at the box office with a different friend and needed to return to my job is the only thing that kept me from the theater a third night. Examine for yourself the bewitching and sometimes misshapen communicative powers of life with the poetry goddess of the stage, Ariana Reines!-- CA Conrad

"TELEPHONE, the inspired and utterly original new tone poem of a play, probes feelings with the sensitivity and detachment of a heart surgeon."--Ben Brantley, The New York Times

Cavity
Madeline Zuzevich
Self-Published - 9.99€ -

Cavity examines the spatial relations between the self and the home, exploring notions of gender, motherhood, and domesticity. How do we form our identities in response to our immediate surroundings? How does the household engender a sense of identity? Is the home human? My poetics of dissent consider nontraditional forms of family, sexual identity and self-discovery, and gender roles and expectations within the home.

Sudden Wealth with Roy Claire Potter
Chris Evans, Roy Claire Potter
Slimvolume Synthesis - 30.00€ -

Proposed by Chris Evans, Sudden Wealth is a collaboration with Morten Norbye Halvorsen, Graham Kelly and invited poets and artists who use spoken word as their medium. 

Sudden Wealth looks to how the flux of subjectivity in language can be shaped, agitated and re-imagined through a triangulation between written composition, intonation, and extrinsic sound composition. The latter spans analogue and digital instrumentation, foley recordings and algorithmically derived musical patterns. Divergent methods of composition work on and into a voice, modelling intonation, and affecting its sense and intent. 

This first iteration has been made with Roy Claire Potter, an artist who tells stories from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. A rapid vocal delivery, a sense of restricted or partial views of space, complex social and group dynamics and the aftermath of violent events are recurrent strands of Potter’s writing, which are often delivered with a dark and sometimes wilful humour. 

Chris Evans was the bassist with the now defunct Life Without Buildings and has previously produced musical compositions with Morten Norbye Halvorsen together with farmers and accountants for his ongoing series ‘Jingle’. Graham Kelly joins Evans and Halvorsen for this present series, Sudden Wealth.

Vocals: Roy Claire Potter.
Electronics: Morten Norbye Halvorsen.
Bass: Chris Evans.
Guitar: Graham Kelly.
Arranged and mixed by Morten Norbye Halvorsen.

Ante body
Marwa Helal
Nightboat Books - 16.50€ -

An incisive poetic sequence that tracks the relationship between migration and complex traumas in this unsparing critique of the unjust conditions that brought us the global pandemic.

Ante body is a poetics of [un]rest. A project that started as an exploration of how the psychological impacts of migration and complex traumas manifest as autoimmune disease and grew into a critique of the ongoing unjust conditions that brought on the global pandemic. Continuing her use of the invented poetic form, the Arabic, and integrating Fred Moten's concept of "the ANTE," Helal creates an elliptical reading experience in which content and form interrogate the inner workings of patriarchy, capitalism, nationalism, and globalism.

Marwa Helal is the author of Ante body (Nightboat Books, 2022), Invasive species (Nightboat Books, 2019) and the chapbook I AM MADE TO LEAVE I AM MADE TO RETURN (No, Dear, 2017).

Cold Heaven
Camille Roy
O Books - 14.00€ -

Cold Heaven joins two plays, Sometimes Dead is Better and Bye Bye Brunhilde, with an introduction by the author. Both plays have the dissonant, radical beauty of poetry.

As Roy writes in her Introduction to the book: “Plays are porous, written to be entered… Plays provide a frame for studying collisions… Language can be an (uncontrollable) character, moving in on the others, creating a stir… [I]n a play… the private self disappears. Writing can move out into the dead zone between any two people and test what is there.”

Imagine a Punch and Judy as lesbians whose domestic and sexual squabbles are paraded in the language of brilliant poets; these are Camille Roy's Fear and Technique. A wonderful play.

Yes, I Am A Destroyer
Mira Mattar
Ma Bibliotheque - 13.00€ -

I travel far across the city, cut it knowingly, concealing behind me the entrances to tunnels, altering the signage. I traverse the grimiest bowels, skirt the farthest wettest edges like a silverfish active only in the hallucinatory hours, to avoid becoming known, to avoid any collusion between my body and theirs, its. 

Under the neon sky of a sick city, which might be London, a nameless governess oscillates between lucidity and dissociation, solitude and communication, wage labour and escape attempts. A wild and unreliable narrator-without-character—ardent, delirious, complicit, vengeful, and paranoid—she embodies a perverse and chaotic resistance. Simultaneously demonic and angelic, both maniacal and generous in her fury, accidentally elegant, tongue tied and barbed, she veers towards defiance as devotion. An anti-Bildungsroman in the collapsing first person, Yes, I Am A Destroyer is an unbecoming record of memory and forgetting, of a relentless undoing. 

‘Any girl who learns how to read is already a lost girl, wrote the infamous confessionalist Rousseau. But if that lost girl, with insatiable pronoun, bastard spawn perhaps of the exiled Genevan, palmed a pen and confessed—how would that read? What can she know? With relentless intelligence and urgent prosody, Mira Mattar shows us. She invents a narrator in the raging anti-tradition of Violette Leduc and Albertine Sarrazin, leaps beyond the cloying contract of capital with the feminine, of intimacy with violence, to animate a lush document of the refusal of subjection. Much like the young Jean-Jacques, she’s a tutor underpaid for her sensitivity. She is, like him, a thief of small things, a sponge for the edifying comportments of the employing class. What she makes of her servitude—a fabulously grotesque encyclopedia of sensing—is dedicated to female anger. Scrubbing, washing, chewing, frigging, barfing, stealing, moisturising, shitting: every surface, every gesture, is appropriated to her bodily resistance.  ‘Live anyway’ is her stoic motto. This glorious tract ends with a call for the anarchical vigour of the animal body we share. Read it and flourish. You will perhaps be invoiced.’ 
–> Lisa Robertson 

Mira Mattar writes fiction and poetry. She is an independent researcher, editor, and tutor. A Palestinian/Jordanian born in the suburbs of London, she continues to live and work there. She has read and published her work widely. Yes, I Am A Destroyer is her first book.

Sherwood Forest
Camille Roy
Futurepoem - 18.00€ -

The forest is a place of refuge and story, created by characters who enter and enlarge it beyond the fantasy of any one person. Authority is diminished and recuperated. Personalities perform themselves via vivid and anarchic gestures. A condition of dereliction becomes the arena where bodies rustle with erotic pulse.

"My hope was that this book would be entered as its own social space. Like a gay bar of the fifties, entry would signal that you have taken membership in a stigmatized community, with the risk that entails. Can readership entail risk? Readership as a secret society."—Camille Roy

What Is Poetry? (Just Kidding, I Know You Know)
Anselm Berrigan (ed.)
Wave Books - 26.00€ -  out of stock

A selection of interviews and rare photos from the legendary St. Mark's Poetry Project for its 50th anniversary season.

The Poetry Project at St. Mark's Church was founded in 1966 for the overlapping circles of poets in the Lower East Side of New York. These interviews from The Poetry Project Newsletter form a kind of conversation over time between some of the late 20th century's most influential poets and artists, who have come together in this legendary venue over the past 50 years.

Includes interviews with Charles North, Anne Waldman, Bernadette Mayer, David Rattray, Allen Ginsberg, Kenneth Koch, Harryette Mullen, Barbara Henning, David Henderson, Lisa Jarnot, Alice Notley, Ed Sanders, Samuel Delany, Harry Matthews, Victor Hernandez Cruz, Renee Gladman, Lorenzo Thomas, Fred Moten, Stan Brakhage, Alex Katz, Lewis Warsh, Ron Padgett, Maggie Nelson, Wayne Koestenbaum, Eileen Myles, and more.

"I find it one of the liveliest points of communication in the American poetry world. There is an incredible excitement to come to the church and read one's poems to the many other poets who congregate there, drawn to the church by its own energy and thrust."—Donald Hall

From the introduction, by Anselm Berrigan: "For the poets closely involved with the Poetry Project since, and subsequent to, its inception, the interviews were an opportunity to speak directly to a community one could perceive as known, imaginary, expanding, unwieldy, intermittent, formative, desperately necessary, and sometimes peculiarly unsatisfying all at once. Community being the kind of term that often implies everything and nothing simultaneously, with the bottom falling out of the word depending on who happens to be wielding it. Poets can be particularly adept at using and exposing such terms."

The Rosy Medallions
Camille Roy
Kelsey Street Press - 14.00€ -

"If a book can be yummy & brilliant, of course this is that. Reading THE ROSY MEDALLIONS I felt I had come upon a world with so many insides, moments forged, then strewn, by an alienated pleasure seeking 'I.' This author's perspective ranges back and forth over her life and memories like a hungry camera, doggily attracted to instances of beauty, cruelty and aeons of female privacy. Camille Roy's a pioneer in the new literature which used to be called autobiography, poetry, theater, prose or even the essay. See all their walls submissively crumble on her trek towards a gaudy piecemeal something resembling truth for the new dark ages and some light at the end of the tunnel"—Eileen Myles.

[These copies are from the original print from 1995. Some of them have damaged covers, mostly scratched ink. The insides are in perfect condition. No bend corners.]

Borderlands / La Frontera: The New Mestiza 5th Edition
Gloria Anzaldúa
aunt lute books - 27.00€ -

A new edition of Anzaldúa's classic text.

Borderlands/La Frontera: The New Mestiza is a 1987 semi-autobiographical work by Gloria E. Anzaldúa that examines the Chicano and Latino experience through the lens of issues such as gender, identity, race, and colonialism. Borderlands is considered to be Anzaldúa’s most well-known work and a pioneering piece of Chicana literature.

Rooted in Gloria Anzaldúa's experience as a Chicana, a lesbian, an activist, and a writer, the essays and poems in Borderlands/La Frontera: The New Mestiza profoundly challenged, and continue to challenge, how we think about identity. Borderlands/La Frontera remaps our understanding of what a border' is, presenting it not as a simple divide between here and there, us and them, but as a psychic, social, and cultural terrain that we inhabit, and that inhabits all of us.

World of Interiors
Aurelia Guo
Divided Publishing - 14.00€ -

In World of Interiors I use collage and appropriation to destabilise the first-person ‘I’. I also write directly about the inescapable condition of being perceived and positioned by other people. Our lives take place in time and space, meaning in history and geography, as well as in relation to one another – not just interpersonally, but intergenerationally, with all the baggage of race, class, gender and nation that this implies. I write about economic cycles of wealth and poverty at the levels of the individual, group and state. The book is about travel and immigration: migrants, tourists and refugees. It is about the work of survival and the cost of survival. It is also a hopeful book – about how strong and indomitable the will can be.

Published April 2022

For The Ride
Alice Notley
Penguin Books - 20.00€ -  out of stock

A book-length visionary poem from a writer whose poems are among the major astonishments of contemporary poetry.

Alice Notley has become one of the most highly regarded figures in American poetry, a master of the visionary mode acclaimed for genre-bending, book-length poems of great ambition and adventurousness. Her newest book, For the Ride, is another such work.

The protagonist, One, is suddenly within the glyph, whose walls project scenes One can enter, and One does so. Other beings begin to materialize, and it seems like they (and One) are all survivors of a global disaster. They board a ship to flee to another dimension; they decide what they must save on this Ark are words, and they gather together as many as are deemed fit to save. They sail and meanwhile begin to change the language they are speaking, before disembarking at an abandoned future city.

Boat
Lisa Robertson
Coach House Books - 18.00€ -

In 2004, boldly original poet Lisa Robertson published a chapbook, Rousseau's Boat, poems culled from years of notebooks that are, nevertheless, by no means autobiographical. In 2010, she expanded the work into a full-length book, R's Boat. During the pandemic, she was drawn back into decades of journals to shape Boat. These poems bring fresh vehemence to Robertson's ongoing examination of the changing shape of feminism, the male-dominated philosophical tradition, the daily forms of discourse, and the possibilities of language itself.

Poet and essayist Lisa Robertson has held residencies at the California College of the Arts, Cambridge University; University of California, Berkeley; UC San Diego; and American University of Paris. Her books include Cinema of the Present, Debbie: An Epic (nominated for the Governor General's Award in Canada), The Men, The Weather, R's Boat (poetry) and Occasional Works and Seven Walks from the Office for Soft Architecture (essays). Lisa Robertson's Magenta Soul Whip (Coach House) was named one of The New York Times 100 Notable Books of 2010, and was longlisted for the 2011 Warwick Prize for Writing. She won the inaugural C. D. Wright Award. She currently lives in France.

Wound Building: Dispatches from the Latest Disasters in UK Poetry
Danny Hayward
Punctum Books - 21.00€ -

Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi internet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a "worthy" narrative when a fucked up collage will do. Rather than a cohesive "account" of a "school" of poets, or a "contribution" to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture.

Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its "theoretical" preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing "march of events." The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities.

The book's title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do.

Saborami
Cecilia Vicuña
Chain Links - 17.00€ -

First published in 1973, two months after the military coup in Chile, Cecilia Vicuña's SABORAMI is a document of the times and the way in which history can change art. It is filled with the urgent hope that art, too, can change history. Put together when Vicuña was just twenty-five years old, the poems, paintings, and objects of SABORAMI enact a complex and multidimensional conversation. The meanings of the works (which were created over a seven year period) shifted radically after the events of September 11, 1973. Their meanings continue to shift and resonate in light of political events today. This recreation of the original SABORAMI is published with a new afterword Vicuña wrote especially for this edition.

Cecilia Vicuña is a poet, visual artist, and filmmaker born in Santiago de Chile. The author of twenty books of poetry, she exhibits and performs widely in Europe, Latin America, and the United States. Her multidimensional works begin as a poem, an image or a line that morphs into a film, a song, a sculpture or a collective performance.

Zither & Autobiography
Leslie Scalapino
Wesleyan - 17.00€ -

Zither & Autobiography is comprised of two parts: the author's autobiography and a book-length poem entitled Zither. Both parts of the book are concerned with facts and their undoing. In Autobiography, Scalapino explores her shifting memories of childhood—especially of years spent in Asia—experimenting with the memoir form to explore how a view of one's own life develops, how fixed memories move as illusion. 

Zither opens with a unique narrative that the author describes as samurai film, and as Classic Comic of Shakespeare's King Lear (without using any of Shakespeare's language, characters or plot). Creating a complex spatial soundscape, the poem works formally to allow continual change of one's conceptions while reading. The juxtaposition of the two parts and the connection between them is the anarchist moment... disjunction itself, a key concept in much of Scalapino's work. This vivid book reveals in every thought-sparking section just why Scalapino has been hailed by Library Journal as one of the most unique and powerful writers at the forefront of American literature.

The Front Matter, Dead Souls
Leslie Scalapino
Wesleyan - 16.00€ -

This extraordinary new book is essay-fiction-poetry, an experiment in form, a serial novel for publication in the newspaper that collapses the distinction between documentary and fiction. 

Leslie Scalapino is widely regarded as one of the best avant-garde writers in America today. This extraordinary new book is essay-fiction-poetry, an experiment in form, a serial novel for publication in the newspaper that collapses the distinction between documentary and fiction. Loosely set in Los Angeles, the book scrutinizes our image-making, producing extreme and vivid images-hyena, Muscle Beach in Venice, the Supreme Court, subway rides-in order for them to be real. Countering contemporary trends toward interiority, Scalapino's work constitutes a unique effort to be objectively in the world. The writing is an action, a dynamic push to make intimacy in the public realm. She does not distinguish between poetry and real events: her writing is analogous to Buddhist notions of dreaming one is a butterfly, and becoming aware that actually being the butterfly is as real as dreaming it.

The Public World / Syntactically Impermanence
Leslie Scalapino
Wesleyan - 19.00€ -

The Public World / Syntactically Impermanence is a rich consideration of the strategies of poetry, and the similarities between early Zen thought and some American avant-garde writings that counter the language of determinateness, or conventions of perception. The theme of the essays is poetic language which critiques itself, recognizing its own conceptual formations of private and social, the form or syntax of the language being syntactically impermanence. 

Whether writing reflexively on her own poetry or looking closely at the writing of her peers, Leslie Scalapino makes us aware of the split between commentary (discourse and interpretation) and interior experience. The poetry in the collection is both commentary and interior experience at once. She argues that poetry is perhaps most deeply political when it is an expression that is not recognized or readily comprehensible as discourse.

Eecchhooeess
N.H. Pritchard
DABA - 24.00€ -

American poet Norman H. Pritchard's second and final book, EECCHHOOEESS was originally published in 1971 by New York University Press. Pritchard's writing is visually and typographically unconventional. His methodical arrangements of letters and words disrupt optical flows and lexical cohesion, modulating the speeds of reading and looking by splitting, spacing and splicing linguistic objects. His manipulation of text and codex resembles that of concrete poetry and conceptual writing, traditions from which literary history has mostly excluded him. Pritchard also worked with sound, and his dynamic readings—documented, among few other places, on the album New Jazz Poets (Folkways Records, 1967)—make themselves heard on the page.

EECCHHOOEESS exemplifies Pritchard's formal and conceptual sensibilities, and provides an entryway into the work of a poet whose scant writings have only recently achieved wider recognition. DABA's publication of EECCHHOOEESS is unabridged and closely reproduces the design of the original 1971 volume.  

Norman H. Pritchard (1939-96) was affiliated with the Umbra group, a predecessor to the Black Arts Movement. He taught writing at the New School for Social Research and published two books: The Matrix: Poems 1960-1970 (Doubleday, 1970) and EECCHHOOEESS (New York University Press, 1971). His work was anthologized in publications including The New Black Poetry (1969), In a Time of Revolution: Poems from Our Third World (1969), Dices or Black Bones: Black Voices of the Seventies (1970), Ishmael Reed's 19 Necromancers from Now (1970), Text-Sound Texts (1980) and others.

Supplication: Selected Poems of John Wieners
John Wieners
Wave Books - 22.00€ -

Supplication: Selected Poems of John Wieners gathers work by one of the most significant poets of the Black Mountain and Beat generation. Includes poems that have previously never been published, the full text of the 1958 edition of his influential The Hotel Wentley Poems, plus poems from rare sources, facsimiles, notes, and collages by Wieners. An invaluable collection for new and old fans.

John Wieners (1934-2002) was a founding member of the New American poetry that flourished in America after the Second World War. Upon graduating from Boston College in 1954, Wieners enrolled in the final class of Black Mountain College. Following Black Mountain's closure in 1956, he founded the small magazine Measure (1957-1962) and embarked on a peripatetic life, participating in poetry communities in Boston, San Francisco, New York, and Buffalo throughout the late 1950s and 1960s, before settling at 44 Joy Street in Boston in 1972. He is the author of seven collections of poetry, three one-act plays, and numerous broadsides, pamphlets, uncollected poems, and journals. Robert Creeley described Wieners as the greatest poet of emotion of their time.

Fleurs du Mal
Antoine D'Agata, Charles Baudelaire
The Eyes Publishing - 48.00€ -

For Charles Baudelaire, the photographic medium is not an art but a technical means of representing reality. As a counterpoint to Baudelaire, Antoine d’Agata reworks his own photographs through digital intervention to return to engraving, as if to go from the pixel to the line of the time. He pushes photography to its limits, discarding the medium to return to the raw. Baudelaire’s texts thus enter into dialogue with photographs that have become engravings through wear and tear and manipulation, where the bodies blend together to give way to the poetry of the body.

The work is based on the original uncensored edition of Baudelaire’s collection accompanied by these engraved prints by d’Agata. Present and past are superimposed. Like a game of transparency that will present the frame of an image on the cover. In this work Fleurs du Mal, Baudelaire is a stroller, a spectator of the world around him, of urban transformations, while d’Agata embodies photography, life and reappropriates the space of the city by the gesture.

Two personalities meet on the occasion of the 200 years of the birth of Charles Baudelaire. Two artists who could have meet each other, debated, confronted each other. For d’Agata, Baudelaire leaves a legacy that must be pushed to extend its own reflection.
The artist intervenes on the edge of Baudelaire’s poems with personal reflections and quotations from his favorite thinkers, descendants of Baudelaire’s thought: Walter Benjamin, Guy Debord or Georges Bataille.

Affixed vertically to the poems, these handwritten interventions assert themselves while leaving the original text its own space. A second sense of reading is thus offered to the reader between Baudelaire’s text and the interpretation given by d’Agata through the words as much as through the engravings.

Published by The Eyes, 228 pgs, 21.5 × 16 cm, 2021

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