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Cover of Border Wisdom

Winter Editions

Border Wisdom

Ahmad Almallah

€20.00

In his second book of poems, Ahmad Almallah seeks a language that captures the afterlives of the mother tongue. This collection blurs the borders between languages, between the living and the dead, between presence and absence.

The poems of Border Wisdom break and mourn physical borders at the same time. Here the exilic idea of a return to a home is expressed in the daily return to the blank page in search of a poem. In these returns the body brushes against the past and, as Hart Crane puts it, taps into "that memory all things nurse."

"In Border Wisdom, Ahmad Almallah takes the notable step of writing in a mix of Arabic and English scripts, a bilingual poetics that has surfaced intermittently among the finest of our experimental writers. For this and for his exemplary writings in standalone English, I would extend to him the well-known welcome that Emerson directed to Whitman nearly two centuries ago: I greet you at the beginning of a great career."—Jerome Rothenberg

Ahmad Almallah grew up in Bethlehem, Palestine and currently lives in Philadelphia where he is an artist-in-residence in Creative Writing at the University of Pennsylvania. His first book of poems, Bitter English, was published in the Phoenix Poets Series from the University of Chicago Press in 2019. He received the 2018 Edith Goldberg Paulson Memorial Prize for Creative Writing, and his sequence of poems “Recourse,” won the 2017 Blanche Colton Williams Fellowship. His poems have appeared in Jacket2, Track//Four, All Roads Will Lead You Home, Apiary, Supplement, SAND, Michigan Quarterly Review, Making Mirrors: Righting/Writing by Refugees, Cordite Poetry Review, Birmingham Poetry Review, American Poetry Review, and Poetry, among others.

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Cover of Black Bedouin

1080 Press

Black Bedouin

Mohammed Zenia, Tenaya Nasser

Poetry €30.00

Black Bedouin, by Mohammed Zenia and Tenaya Nasser is a book of the IMMEDIATE — written immediately (in the span of five days, very literally at the printing press at 1080PRESS) in response to the current genocide against, and in solidarity with, the people of Sudan and in the context of immediate echoes in Palestine, Congo, Pakistan, and more — and throughout it all imbued with the immediacy that the global situation demands of us and our moral consciences. Black Bedouin rings in the creative immediacy of New York School all-night-writing-to-mimeograph-next-day with the political immediacy of a this-is-happening-right-now Crass single or Etel Adnan's incomparable (but here spiritually correlated) The Arab Apocalypse. In other words, Black Bedouin hits every star in a very cool and specific constellation. — Dave Morse

Cover of Your Silence Will Not Protect You

Silver Press

Your Silence Will Not Protect You

Audre Lorde

Poetry €18.00

With a preface by Reni Eddo-Lodge and an introduction by Sara Ahmed.
Audre Lorde (1934-92) described herself as ‘Black, lesbian, mother, warrior, poet’. Born in New York, she had her first poem published while still at school and her last the year she died of cancer. Her extraordinary belief in the power of language – of speaking – to articulate selfhood, confront injustice and bring about change in the world remains as transformative today as it was then, and no less urgent. This edition brings Lorde’s essential poetry, speeches and essays, including ‘The Master’s Tools Will Never Dismantle the Master’s House’, together in one volume for the first time.

Cover of Carmelina: Figures

Wendy's Subway

Carmelina: Figures

Ronaldo V. Wilson

Poetry €30.00

Ronaldo V. Wilson’s Carmelina: Figures excavates the territory between memory, nation, and embodiment, exploring place as a discipline of the body and an extension of the hand. Through poems, photographs, drawings, records of performance, and home movies recorded in Guam, Tennessee, and the Subic Bay between 1962 and 1979, Wilson reckons with familial heritage, diaspora, and legacies of militarism.

The book pays homage to Wilson’s mother, Carmelina, who served for most of her working life as a certified nursing assistant at Florin Convalescent, an assisted living facility in South Sacramento, California. A glut of signals and media recovers Carmelina’s vivid and urgent experience of exile from the Philippines to marry Wilson’s father—a Black American soldier—being disowned, and before that, of her parents’ assassinations during the Japanese Occupation. Through a visual logic of repetition and reenactment that works to unmoor sensory expectation and narrative logic, Wilson renders her figure as trace, melody against paper, drawing within song, mixed media, dance, and through improvised, masked, and recorded performances in the Berkshires, MA; Long Island, NY; Emeryville, CA; and Boulder, CO. Carmelina: Figures is a book of the Psoas, ice, smudge, and light. 

Cover of nnn.1 - no no no celestial journal

no more poetry

nnn.1 - no no no celestial journal

nmp

Periodicals €10.00

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

Cover of The Cow

Fence Books

The Cow

Ariana Reines

Poetry €18.00

This text is filthy and fertilized, filling and emptying, filling and emptying, atrocious and politic with meaning. The Cow is a mother, a lover, and a murdered lump of meat, rendered in the strongest of languages. I cannot count the altering that happens in the very large rooms that are the guts of her.

To call Ariana Reines’ poetry scatological doesn’t even scratch the surface. “I COULD BE A DIAPER FOR THE DAY’S RESIDUALS,” she writes, and, “She clasped the event to her and proceeded. Fucked her steaming/ eyehole and ended it.” The Cow is a body in the way that texts are bodied—”Are you so intelligent your body doesn’t have you in it.”—but not in the way that allows the text to become desensitized, depersonalized, sterilized.

Winner of the 2006 Alberta Prize