5 Prison songs / 5 Hapishane Şarkısı

The power of Sabahattin Ali comes from beyond his words. It is his sense of observation, insight and commitment to fight for a fairer society that have carried his voice into the modern day.

The four tales in this book - Death of the Giants, A Tale of Love, A Tale of Sheep and The Glass Pavilion - were compiled and published in Sırça Köşk [The Glass Pavilion] in 1947. At the time Sabahattin Ali penned these tales, the young Turkish Republic was still struggling to establish a proper democracy with one sole party in parliament. In 1948 the Turkish Council of Ministers decided to ban Sırça Köşk, and all remaining copies were swiftly confiscated. Even after his death, the words of Sabahattin Ali were deemed as a governmental threat and for decades publishers were reluctant to print his work.

Almost eighty years later, these political and social tales remain just as poignant. Does this showcase Sabahattin Ali’s visionary spirit or a general lack of vision within our societies?

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.

Swaying between command and curiosity, acquiescence and destruction, distance and proximity, Jennifer Soong’s Suede Mantis / Soft Rage proffers tenderness that teeters on the precipice of loss. Premised on this peril is not a paralyzing grief but a generative poiesis of “cruel desperation,” in which poetry pronounces itself in contrasts and conditionals, had beens and renunciations. Like a tongue that tans flesh, like passion that’s made pliable by the pulsing and glistening of language, Suede Mantis / Soft Rage is the negotiated labor of a process rather than a product, raising interior operations to the surface while presenting an antithesis to mimetic construction. Neo-romantic and post-pastoral, the poems in Soong’s second collection reinvigorate lyric possibility.

How To Become est une maison d'édition autogérée basée à Paris. Nous publions les textes d'auteuces engagés dans des pratiques féministes et peu diffusés par le réseau des grandes maisons d'édition françaises.

Créée en 2016, elle est composée d'artistes et écrivaires en majorité gouines, HTB publie de la litterature expérimentale née d'influences post-post- sapphiques ainsi qu'un choix de tradu d'auteuices non traduites en langue française. HTB s'articule autour d'ateliers d'écriture: How to Become a Lesbian, et d'une revue annuelle publiant les choses issues de l'atelier.

Written after the Beirut Port Explosion on August 4, 2020, when 2,750 tonnes of ammonium nitrate exploded in the commercial and residential  port of Beirut after years of warning and mismanagement, Anatomy of a Refusal drifts between lineated and prose poetry, creating a transitional space of mourning. Comprised of three sections, “Mutually Assured Destruction” confronts displacement; “Blast” erases and rescribes bureaucratic documents written about the explosion, and “Deterrence” “return[s] to the place of injury.” 

Intertextually poetic, Sahar Khraibani writes in conversation with other writers and philosophers to question, “who owns my language?” and “What does it mean to be in / place?" And yet, between bureaucracy and philosophy, there are moments of intimacy, friendship coexisting in the shared space of the poem—between speaker and addressee, the body and the living world—where belonging carries the weight of grief.

—Blurb written by Clarise Reichley

In Toxicon & Arachne, McSweeney allows the lyric to course through her like a toxin, producing a quiver of lyrics like poisoned arrows. Toxicon was written in anticipation of the birth of McSweeney's daughter, Arachne. But when Arachne was born sick, lived briefly, and then died, McSweeney unexpectedly endured a second inundation of lyricism, which would become the poems in Arachne, this time spun with grief. Toxicon & Arachne is the culmination of eight years of engagement with lyric under a regime of global and personal catastrophes.