A Talk on Rhyme

Delirious Verse presents the first English translation of a talk given by the Italian poet Amelia Rosselli in the early 1980s, in which she read aloud from and expanded upon her seminal essay “Metrical Spaces.” Drawing on intensive literary and musical studies, and shaped by her trilingual upbringing as a refugee from fascist Italy, Rosselli conceptualizes a new kind of poetic form: a graphic-prosodic “time-space” capable of containing “all possible imaginable rhythms.”

The book includes a new translation of “Metrical Spaces” by Jennifer Scappettone and an afterword by Andrea di Serego Alighieri.

Edited and translated by Andrea di Serego Alighieri and Phil Baber.

The involuntary whispering of the dew-harvest.

A grimoire carved in scarlet, SALAMANDER'S WOOL is the inaugural full-length collection of writing by V Manuscript, amalgamating a vast array of arcane rituals into an ensorcelling poetic corpus. To read SALAMANDER'S WOOL is to consort with spirits and scry with dæmons, a linguistic alchemy which transmutes both language and reader.

V Manuscript is a poet and scriptomancer living in New York City.

Taylor Johnson’s debut poetry collection, Inheritance, explores the complexities and limitations of language, physicality and capitalism. Resisting singularities, each poem emerges with a distinct sound, space and sensibility. Whether driving in a Lincoln Town Car; moving through pine forests and becoming immersed in the sounds of animals and nature; languishing in a lovers’ invitation, transcending from the syncopation of Go-go or walking the pavements of Washington D.C.—‘dissolving into sound’. Johnson’s critical perspective is rooted in connection. These poems gesture towards the tools we might need for living alongside rather than against or in spite of an inundation of daily oppressions. Be it redefining trans Blackness, environmental degradation, or land ownership and labour. With receptiveness and tenderness Johnson strolls around language, listening to silence—inheriting it, filling it and remaking it. 

Flusser introduces an infernal creature from the oceanic abysses, who slowly emerges, not from the oceans, but from man's own depths to gaze spitefully into his eyes and reflect back at his own existence.

Originally published only in German in 1987, this version has been edited and translated by Rodrigo Maltez Novaes, Ph.D. candidate at the European Graduate School, Saas-Fee, under the supervision of Prof. Dr. Siegfried Zielinski, from the original, unpublished and extended Brazilian-Portuguese version of the manuscript recently found at the Vilém Flusser Archive at the Universität der Kunst, Berlin. This edition is also accompanied by a selection of previously unpublished excerpts from Flusser's correspondence with Milton Vargas and Dora Ferreira da Silva, with whom he discussed the development of the present text.

Through a voice at once intimate and collective, Lucas Juárez expands the powerful presence of Tutunakú roots to open up territories and to interweave desirous bodies, dream relationships, and the memories of women ancestors. This beautiful translation by Wendy Call and Whitney DeVos, in a precious handmade edition, affirms the trilingual (Tutunakú, Spanish and English) as an ethical strategy of listening to and translating the world. Red Seed collects twelve poems of women's sexualities and spirits in which body, language and territory are political spaces that Indigenous memory expands within and renews.

—Maricela Guerrero, author of The Dream of Every Cell

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