The Western

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

Poets Lee Ann Brown and Bernadette Mayer, old friends, began a specific correspondence in early 2020 with the intention of editing them into a book. The poems, letters, letter-poems, pletters, cover the first songbirds of spring, works and advice from friends, art, lists from the messy old internet, the possibility of seeing one another again, some day. Bernadette passed away on November 22, 2022, 3 weeks before this book was completed and bound. Throughout the text Lee Ann and Bernadette merge two distinct and unique voices in both a poetic, loving and humorous sharing. In a letter from Bernadette to Lee Ann she writes: “I imagine the voice to be/ yrs/ Because it is/not/mine.”

A chance encounter with two older fellows at the movie theater has the young vagabond Ligie on his way to Lot-8, a trailer park down the road with an unconventional local reputation. There, Ligie meets Big Joe and his extended Lot-8-family: a tight-knit community of freaks all sectioned together by the landlord at the outskirts of town.

Weaving together colorful characters and outright carnal debauchery, BIG JOE is a radical pastoral of community, desire, and the strangeness of knowing one another.

Featuring color illustrations by Drake Carr and Sabrina Bockler.

Cover illustration by Drake Carr

Samuel R. Delany is the author of numerous books and novels, including the Nebula Award-winning Babel-17 and The Einstein Intersection, as well as Nova (now in a Library of America anthology) and Dhalgren. His 2007 novel Dark Reflections won the Stonewall Book Award. Other erotic novels include Equinox, Hogg, The Mad Man, Throu gh the Valley of the Nest of Spiders, and Shoat Rumblin. Delany was the subject of a 2007 documentary, The Polymath, by Fred Barney Taylor, and he has written a popular creative writing textbook, About Writing. He is the author of the widely taught Times Square Red/Times Square Blue and numerous books of essays; his book-length autobiographical essay, The Motion of Light in Water, won a Hugo Award in 1989. As e-books, paperbacks, or audiobooks, his works are available through his website at: www.samueldelany.com

Inch Aeons is a meditation on the form of meaning, the nature of nature, and the locality of tradition in an over-wired-world.

Here, award-winning poet Nuala Archer adopts, breaks and recreates the limits of haiku, evoking moments of collision and convergence, from "Beyond Conception- / Without Regeneration- / Big Bang's Leave let Be" to "Am-Is-Are-Was-Were- / Has-Have-Had-Do-Does-Did-Shall- / Should-Can-Could-Will-Would-."

Poet Juliet Patterson calls Inch Aeons "a complex and wondrous book," while poet Pam Ore says the poems are "like starlight, resonat[ing] with the brightness of an original violence, cooling-healing and coalescing into the word."

Published as part of the TrenchArt Casements series, Inch Aeons includes inside illustrations by Japanese artist Tamzo and visual art (back cover) by American artist Molly Corey.

Nuala Archer is the author of Whale on the Line, Two Women, Two Shores (with Medbh McGuckian), PAN/AMA, and From a Mobile Home. She served as the primary English-language editor for University Over the Abyss: The Story Behind 520 Lecturers & 2,430 Lectures in Kz Theresienstadt 1942-1944. In 1995 she survived a catastrophic car accident; recovering in Jerusalem, she enrolled in a theatre degree program at the School of Visual Theatre. Archer continues to perform with the Jerusalem Theatre Company at festivals around the world, including in Auschwitz, London, Dublin, New Delhi, Bangalore, Seoul and Kagoshima. She is an Associate Professor at Cleveland State University.

In het begin van de jaren 1970, hield Guy Rombouts een notaboekje bij waarin hij alle woorden, bijvoeglijk naamwoorden en werkwoorden bijhield die hij tegenkwam tijdens het lezen en die met elkaar verbonden waren door het voegwoord ‘en‘.

Ongeveer 50 jaar later en met de hulp van de grafische vormgever Jeroen Wille, is de transcriptie van zijn aantekeningen gepubliceerd als een boek dat gelezen kan worden in twee richtingen (en als enige boek coronaproof met twee tegelijkertijd).

Het boek bevat 2158 verzen met in totaal 4316 EN-combinaties.

De kortste verzen met evenveel letters:

A EN Z

4 EN 6

De langste verzen met evenveel letters:

ONUITSPREKELIJKHEDEN EN IMPONDERABILIA

ONEVENWICHTIGHEID EN ZELFOVERSCHATTING

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. 

Know Thy Audience, Nadia de Vries’ third poetry collection, disavows the platitude from which it takes its name and makes the reader complicit in both her aggression and her submission, sparked by a history of domestic abuse that escapes all euphemism and metaphor – but not poetry altogether.

Speaking—or rather, singing—as a ‘battered woman’ from a working-class neighborhood, De Vries’ aphoristic writing belies a vengeful reversal of roles in which the author—and not her perpetrator—pulls the strings. Who is the victim in these poems? Can violence be redeemed through esthetic metamorphosis? Or can powerlessness only be transferred as fetish? Know Thy Audience investigates the extent to which a victim can share their wounds, and to what degree an audience can—sensibly, ethically—be burdened with painful knowledge.

With contributions by Bogdan Ablozhnyy, John Flindt, Graham Hamilton, Karl Holmqvist, Lin Jing, David Moser, Dudu Quintanilha, Ian Waelder and Vera Varlamova.

Published on the occasion of the workshop #THEREISNOAUDIENCE... held by Karl Holmqvist on Friday November 15th, 2019 at Städelschule, Frankfurt am Main.

Participants in the workshop #THEREISNOAUDIENCE... started with some basic voice exercises chanting out all vowels together as a group (including the Sweedish Å Ä Ö). They were then asked to write down two random sentences each that were compiled to a list and then read out loud before finally being used in the nine poems by each individual participant. In the meantime there were some discussing around what it takes exactly to be performing in front of others, differences between the spoken and the writen and the role of language and writing in visual arts.