The Apothecary

The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Dante's work on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey-a subjectivity that honors all the ambivalence, doubt and tenderness of the human. Yet she remains angered by the structure of gender these works advance, and it is this troubled texture of identity that she examines in The Men.

NILLING: PROSE is a sequence of five loosely linked prose essays about noise, pornography, the codex, melancholy, Lucretius, folds, cities and related aporias: in short, these are essays on reading.

"I have tried to make a sketch or a model in several dimensions of the potency of Arendt's idea of invisibility, the necessary inconspicuousness of thinking and reading, and the ambivalently joyous and knotted agency to be found there. Just beneath the surface of the phonemes, a gendered name rhythmically explodes into a founding variousness. And then the strictures of the text assert again themselves. I want to claim for this inconspicuousness a transformational agency that runs counter to the teleology of readerly intention. Syllables might call to gods who do and don't exist. That is, they appear in the text's absences and densities as a motile graphic and phonemic force that abnegates its own necessity. Overwhelmingly in my submission to reading's supple snare, I feel love."

05/09/04 Now she is blogging. Now she is sitting on the black couch listening to the sirens wail and the rain fall. Now she is thinking of oysters. Now she is wondering why this is worth sharing. Now she is thinking, how decipher what is worth reading? Who is to say? Sifters. She thinks we have become a nation of sifters. So began a three-year experiment in blogging. An experiment begun for many reasons—a way for an expat to keep in touch with fellow Canadian writers and artists, a way to come to terms with the increasing relevance of the internet in literary lives, and a way to figure out why, after decades of gains, women writers are still grossly underrepresented in critical dialogues.

With an afterword by Vanessa Place.

First launched in 2012, and published by mfc michèle didier (micheledidier.com), == is a small-run arts publication, edited by Matt Keegan. ==#2, 2015, is designed by Su Barber and published in an edition of 500 by Capricious Publishing. Barber and Keegan worked together on North Drive Press (northdrivepress.com) between 2005-2010, and this publication shares a variety of traits with NDP.

==#2 is a non-thematic arts publication contained in a box with a 96-page bound volume featuring artist-to-artist interviews, texts, and transcriptions. Six loose multiples are also included.

Contributors include: Sam Anderson, Uri Aran, Fia Backström, Darren Bader, Judith Barry, Stefania Bortolami, Daniel Bozhkov, Milano Chow, Anna Craycroft, Lucky DeBellevue, Cristina Delgado, Haytham El-Wardany, Jake Ewert, Vincent Fecteau, Corrine Fitzpatrick, Harrell Fletcher, Rachel Foullon, Aurélien Froment, Kenny Greenberg, Calla Henkel, Leslie Hewitt, Jaya Howey, Adelita Husni-Bey, Iman Issa, Ruba Katrib, Jill Magid, Jo Nigoghossian, Aaron Peck, Max Pitegoff, David Placek, Olivia Plender, Lisa Robertson, Andrew Russeth, Amy Sillman, Diane Simpson, Greg Parma Smith, Jessica Stockholder, Martine Syms, and Anicka Yi.

Lisa Robertson writes poems that mine the past, its ideas, its personages, its syntax, to construct a lexicon of the future. Her poems both court and cuckold subjectivity by unmasking its fundament of sex and hesitancy, the coil of doubt in its certitude. Reading her laments and utopias, we realize that language, whiplike, casts ahead of itself a fortuitous form. The form brims here pleasurably with dogs, movie stars, broths, painting's detritus, Latin and pillage.

Erudite and startling, the poems in Lisa Robertson's Magenta Soul Whip, occasional works written over the past fifteen years, turn vestige into architecture, chagrin into resplendence. In them, we recognize our grand, saddened century.

This seventh issue, four folded offset-printed posters, publishes sampled and reworked material from the feminist collective and publication Big Mama Rag (1972–84, Denver, Colorado), specifically focusing on the issues and articles dealing with the Palestinian and international feminist struggle. Typeset alongside this archival collage is “Introduction to The Weather” (2001) by poet Lisa Robertson.

4 folded posters (narrow A2)

For the Interjection Calendar each month Montez Press invites an artist, a writer, a poet or a doer of some sorts to say things. All 12 pieces have introspection and reflection in common. They are a subjective overview of writing in the expanded field of contemporary art and writing in the year 2019. This is the Interjection Calendar 2019, the fifth collection in this series. 

With contributions by sabrina soyer, Lisa Robertson, Hatty Nestor, Adrianna Whittingham, Sondria, Claudia Pagès, Laetitia Paviani, Bella Milroy, Georgina Tyson, Son Kit, Alix Jean Vollum, Rene Matic and bleubaglife. 

Find the last 12 PDF's on montezpress.com.

Exit Ambition is a catalogue of practices, documents, videos, and other projects - virtual & actual. The book operates as an incomplete index of a series of installations, instructions, anti-plays, performance scores, descriptions, etc.

Jake Reber lives and works in Buffalo, NY, where he co-curates hystericallyreal.com.