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Cover of It Was Like Watching

The Last Books

It Was Like Watching

Danny Hayward

€14.00

Dear ____,

I happened to look for a while out of “my” window on the 17th floor Palliativstation of the Wiener Allgemeinen Krankenhauses last night, where an enormous orange moon was hanging about, consorting with a lick of dark cloud, near to the tiny gaggle of skyscrapers. I didn’t have much to say for myself and so it just sort of looked back at me. 

Every day friends and well-wishers come here and as always I want to run to my room and read a book until they’ve left but for the first time in my life my room is also the room they want to visit, and so I can’t. I wrote down yesterday as best as I could the words of my last long conversation with Marina: there might be more, but the words are running away from her now, which only makes you realise how small and insignificant they are, fleeing from something (from someone) who remains exactly who they were even in their absence: like dust falling from the sun.

A voyage in the insight which comes as a kiss and follows as a curse, made after you ran out of things to say.——first halting efforts at mutual understanding——love letters from twelve years ago. journal entries from fifteen years before lick at the edges like flames. Opaque coloured shadows, projected in three dimensions——of a——future that——has. never ceased to exist and which——Doesn’t——.——.——arrive to speak about their fears.—— Beginning with a naked bathroom selfie. 

An attempt to live nonjudgmentally and without fear, against the desire to be something other than who you were, as a basic form of class hatred, a fear of the common and of everything that happens there, near speechlessness, trailing off, only sometimes coming back to life again, shame dies so that everything else can be saved, and everything else remains present against the background of this absence, beneath the harsh overhead light, as you pull on the pathetic, unassuming string of the pullcord. 

Dedicated to one person, written by one another. “Poems written by / different poets / are my nakedness.”

Published in 2026 ┊ 80 pages ┊ Language: English

recommendations

Cover of First Nettles

The Last Books

First Nettles

Dom Hale

Poetry €15.00

First Nettles collects poems written between 2021 and 2024, from precarious off-key lyrics to sprawling elegies of damaged life. A book of flailing, desperate music, hurt and hopeful, held together by pins and gaffer tape, art and courage and comradeship. Includes the sequence “Seizures” (2022) – “perfect in its openness and lyrical disfigurement” (Danny Hayward).

“[An] exhilarating collection […]. The sequences here are ferociously and admirably radical, with some superb political satire and verve to the poems.”  —Adam Piette, Blackbox Manifold, no. 34


Designed and typeset by Phil Baber; cover collage by Sam Keogh

Cover of My Earliest Person

The Last Books

My Earliest Person

Jennifer Soong

Poetry €15.00

Lyrical drifts warped by syntax into blizzarding softness; odes to beauty, meaning, and inexperience splintered by history and grammar. An aqueous surface marbled with the lightest possible touch, lost footings arrested by change’s near-griplessness. 

None of this matters. It’s only supposed
to save you from yourself. None of this
matters, when I try to take it out of me into
the world, which to find I can praise
                                                          I go out to

Composed across two winters between late 2022 and early 2024. Contains 43 poems.

“This luscious and needle sharp collection is a real feat of the textual imagination, wow.”   —Adam Piette, Blackbox Manifold, no. 34

Cover of Repetition

The Last Books

Repetition

Peter Handke

Fiction €15.00

An English translation of Peter Handke’s 1986 novel Repetition, previously out of print for a quarter of a century.

“In Repetition, Handke allows the peculiar light which illuminates the space under a leafy canopy or a tent canvas to glisten between words, placed here with astounding caution and precision; in doing so, he succeeds in making the text into a sort of refuge amid the arid lands which, even in the culture industry, grow larger day by day.” —W. G. Sebald

“In his earliest work … Handke found a way of conveying a state of mind … where words seem to come between you and the world, where nothing coheres or appears natural, and from the vantage-point of which the ease with which other people talk and go about their business seems deeply suspicious. But just as Kafka felt there were moments when, miraculously, a written sentence – even one written by himself – seemed full light, seemed to fill its own space and establish its own rhythm, and when even the whole story seemed mysteriously to stand as solidly in the world as a tree or a rock, so it has been with Handke. He has, in his later work, appeared to make a conscious effort to escape from the debilitating awareness of his own lack of authority or authenticity, and tried to write as though somehow the story were already written, had, in a sense, always been there… Repetition is the triumphant climax of his career so far…

What saves the book from the sort of sentimentality we find in John Berger’s recent work is first of all Handke’s uncanny ability to convey what it is this urge for pattern has to overcome, and secondly, his extraordinary attention to detail, historical, geographical, botanical, and linguistic. (No review can possibly convey the richness of Filip’s meditation on his brother’s two books, or Handke’s magical way with images.)

His narrative … is one of the most dignified and moving evocations I have ever read of what it means to be alive, to walk upon this earth.” —Gabriel Josipovici

Cover of Peach machine

The Last Books

Peach machine

Imogen Cassels

Poetry €9.00

Peach machine comprises nine months of poems, tracing a recurrent cycle of sickness, heartbreak, reparation, and recovery from late summer back into early Spring. The work is roughshod: grieving, oxygen-starved, jetlagged, reflective, and relieved.

Designed and typeset by Phil Baber.

Cover of Acoustic Thought

The Last Books

Acoustic Thought

Snejanka Mihaylova

Acoustic Thought is an exegesis of the Gospel of Thomas, an apocryphal gospel found at Nag Hammadi in Upper Egypt in 1945.
 
With a score for six female voices by Lisa Holmqvist; a collage of writings by medieval female mystics; and photographs taken by Jeff Weber at the Coptic Museum in Cairo, during a research period at Beirut project space.
 
The book’s covers reconstruct patterns found on the covers of Nag Hammadi Codex II, which, as well as the Gospel of Thomas, contains the Apocryphon of John, the Gospel of Philip, the Hypostasis of the Archons, On the Origin of the World, the Exegesis on the Soul, and the Book of Thomas the Contender.
 
Presented and performed during Perfomance Days, Amsterdam (November 2014) and Hotel Theory, REDCAT, Los Angeles (November 2015).

Cover of Ends

Veer2

Ends

Lotte L.S.

Poetry €13.00

Lotte L.S.’s ‘selected poems’ (the scare quotes and lower case are important), which begin and end with standardised gaps produced by hitting the tab key with prefabricated empty space symbolising other gaps produced by other textual means, also associates those standardised gaps, these absences, wit acts of what she calls ‘seeing’, meaning seeing as self-seeing; a seeing that is often impossible to distinguish from blindness. The second line of her book ‘she could not see to see’, is modified by its last: ‘o         I am so thankful for the seeing’; and the rhyme across distance upholds, if only just, a transitio in grammatical person, a transition in grammar that may also be, or that may represent, though these verbs too are contested—‘she went (an unconvincin verb: went)’—that may also be or represent a transition in experienced subjecthood The suggestion anyway is of development, passage, narrative; of motion towards completion; though the development is no way self-explanatory, and it is punctuated by double takes.
— from Danny Hayward's Preface: A note on Ends

Cover of Tripwire 23 - Work/Anti-work

Tripwire Journal

Tripwire 23 - Work/Anti-work

David Buuck

Periodicals €18.00

Work/Anti-work issue with writing by Nat Raha /. lisa minerva luxx /Ghayath Almadhoun, trans. Catherine Cobham / Jacqui Germain / Jazra Khaleed, trans. Peter Constantine / Finn Finneran / Cait O’Kane / Rebecca Kosick / Lara Durback Skye /Lotta Thießen / William Rowe / Danny Hayward / Rona Lorimer / Zoe Beloff / Jike Ayou, trans. Yě Yě / Miguel de Vallester, trans. Erasmo Pantoja / Lucas Martínez / ko ko thett / Hung Q. Tu / Raymond de Borja / etaïnn zwer, trans. Ilan A.L.S. Erikson Weisbrod / Annie Raab on Taylor Portela / Rachael Guynn Wilson on Lyn Hejinian / Will Rowe on Danny Hayward / Chloe Watlington on Joshua Clover

Cover of DMZ Colony

Wave Books

DMZ Colony

Don Mee Choi

Poetry €23.00

Woven from poems, prose, photographs, and drawings, Don Mee Choi's DMZ Colony is a tour de force of personal and political reckoning set over eight acts. Evincing the power of translation as a poetic device to navigate historical and linguistic borders, it explores Edward Said's notion of "the intertwined and overlapping histories" in regards to South Korea and the United States through innovative deployments of voice, story, and poetics. Like its sister book, Hardly War, it holds history accountable, its very presence a resistance to empire and a hope in humankind.