Ante body

Honey Mine unfolds as both excavation and romp, an adventure story that ushers readers into a lesbian writer's coming of age through disorienting, unsparing, and exhilarating encounters with sex, gender, and distinctly American realities of race and class. From childhood in Chicago's South Side to youth in the lesbian underground, Roy's politics find joyful and transgressive expression in the liberatory potential of subculture. Find here, in these new, uncollected and out-of-print fictions by a master of New Narrative, a record of survival and thriving under conditions of danger.

David Wojnarowicz, one of the most provocative artists of his generation, explores memory, violence, and the erotism of public space—all under the specter of AIDS.

Here are David Wojnarowicz’s most intimate stories and sketches, from the full spectrum of his life as an artist and AIDS activist. Four sections—”Into the Drift and Sway,” “Doing Time in a Disposable Body,” “Spiral,” and “Memories that Smell like Gasoline”—are made of images and indictments of a precocious adolescence, and his later adventures in the streets of New York. Combining text and image, tenderness and rage, Wojnarowicz’s Memories That Smell Like Gasoline is a disavowal of the world that wanted him dead, and a radical insistence on life.

The new and revised edition features a foreword by Ocean Vuong and a note from the editor, Amy Scholder.

Injecting the disruptive potential of collective action into the body of the poem, Nat Raha's invigorating experiment resuscitates Anglophone poetry.

Amidst the violence of capitalism and state and imperial power, there is Nat Raha's apparitions (nines) in its "charred golden minidress," ushering us into a space of grief and resistance, the embodiment and intimacy of queer, trans, and diasporic Black and brown people. Written as a series of "niners," a poetic form consisting of nine nine-syllable lines, apparitions (nines) is at once a brash and subversive rejoinder to the Anglophone sonnet, as well as an ode to beauty, collectivity, and tenderness which emerges from—and far surpasses—constraint.

"These poems are eccentric in the most literal sense, Raha’s writing pushing at the edges of the mainstream of poetry, presenting a punk, transfeminist revision of poetic norms. . . apparitions (nines) deserves to be read—for its insights and newness, and the studs of pleasure it doles out." - Lou Selfridge, Frieze

“Welcome the poems that split us open, ‘frequencies/ to be removed from the air.’ Nat Raha has sharpened the lines, their serrated letters leaving us marked, poems to touch again on the skin, feel our doom undo its direction for enduring solidarity; the best love.” - CAConrad

Dr Nat Raha is a poet and activist-scholar whose previous books of poetry include of sirens, body & faultlines (2018), countersonnets (2013), and Octet (2010). Her work has appeared in 100 Queer Poems (2022), We Want It All: An Anthology of Radical Trans Poetics (Nightboat, 2020), Liberating the Canon: An Anthology of Innovative Literature (2018), on Poem-a-Day, and in South Atlantic Quarterly, TSQ: Transgender Studies Quarterly, Transgender Marxism,and Wasafiri Magazin. With Mijke Van der Drift, she co-edits the Radical Transfeminism zine and has co-authored articles for Social Text, The New Feminist Literary Studies, and the book Trans Femme Futures: Abolitionist Ethics for Transfeminist Worlds. Nat completed her PhD in queer Marxism at the University of Sussex, and is Lecturer in Fine Art Critical Studies at the Glasgow School of Art.

An anthology of formally inventive writing by trans poets against capital and empire.

With texts by: Andrea Abi-Karam, New York City Sam Ace, South Hadley, MA Bahaar Ahsan, Berkeley, CA jasper avery, Philadelphia, PA Ari Banias, Berkeley, CA Jo Barchi, Chicago, IL Joss Barton, St. Louis, MO Levi Bentley, Philadelphia, PA Jessica Bet, Baltimore, MA Rocket Caleshu, Los Angeles, CA Ching-in Chen, Seattle, WA listen chen, Vancouver, BC Faye Chevalier, Philadelphia, PA Cody-Rose Clevidence, Arkansas Miles Collins-Sibley, Easthampton, MA Valentine Conaty, New York City CA Conrad, Philadelphia, PA Jimmy Cooper, Rochester, MI Maxe Crandall, Oakland, CA José Díaz, Boston, MA Aaron El Sabrout, New Mexico Ian Khara Ellasante, Lewiston, ME Caelan Ernest, New York City, NY NM Esc, San Diego, CA joshua jennifer espinoza, Los Angeles, CA Logan February, Ibadan, Nigeria Ray Filar, Brighton, UK Nora Collen Fulton, Montreal, Canada Kay Gabriel, New York City Callie Gardner, Cardiff, Wales Jesi Gaston, Chicago, IL Harry Josephine Giles, Edinburgh, Scotland Aeon Ginsberg, Baltimore, MD Caspar Heinemann, Berlin, Germany Kamden Hilliard, Greenville, SC Stephen Ira, New York City Cyrée Jarelle Johnson, New York City Peach Kander, New York City Jayson Keery, Western, MA Evan Kleekamp, Los Angeles, CA Noah LeBien, New York City Ty Little, Richmond, VA Zavé Martohardjono, New York City Amy Marvin, Philadelphia, PA Natalie Mesnard, New York City Bianca Rae Messinger, Iowa City, IA Liam O'Brien, New York City Xandria Phillips, Madison, WI Rowan Powell, Santa Cruz, CA Nat Raha, Edinburgh, Scotland Holly Raymond, Philadelphia, PA Jackie S, New York City Trish Salah, Toronto, Canada Raquel Salas Rivera, Philadelphia, PA Mai Schwartz, New York City Kashif Sharma-Patel, London, UK Julian Talamantez Brolaski, Oakland, CA Charles Theonia, New York City Jamie Townsend, Oakland, CA Nora Treatbaby Laurel Uziell, London, UK Rachel Franklin Wood, Boulder, CO Clara Zornado Akasha-Mitra xtian w. and Anaïs Duplan, NYC.

Kay Gabriel is a poet and essayist. She's the author of Elegy Department Spring / Candy Sonnets 1 (BOAAT Press, 2017), the recipient of fellowships from Lambda Literary and the Poetry Project, and recently completed her PhD at Princeton University.

Andrea Abi-Karam is an arab-american genderqueer punk poet-performer cyborg, writing on the art of killing bros, the intricacies of cyborg bodies, trauma & delayed healing. Their chapbook, THE AFTERMATH (Commune Editions), attempts to queer Fanon's vision of how poetry fails to inspire revolution. Andrea's first book, EXTRATRANSMISSION (Kelsey Street Press, 2019), is a poetic critique of the U.S. military's role in the War on Terror.

Jackie Wang's magnetic and spellbinding debut collection of poetry that attempts to speak in the language of dreams.

The poems in The Sunflower Cast A Spell To Save Us From The Void read like dispatches from the dream world, with Jackie Wang acting as our trusted comrade reporting across time and space. By sharing her personal index of dreams with its scenes of solidarity and resilience, interpersonal conflict and outlaw jouissance, Wang embodies historical trauma and communal memory. Here, the all-too-familiar interplay between crisis and resistance becomes first distorted, then clarified and refreshed. With a light touch and invigorating sense of humor, Wang illustrates the social dimension of dreams and their ability to inform and reshape the dreamer's waking world with renewed energy and insight.

Jackie Wang is a student of the dream state, black studies scholar, prison abolitionist, poet, performer, library rat, trauma monster and PhD candidate in the Department of African and African American Studies at Harvard University, specializing in race and the political economy of prisons and police in the United States. She is the author of a number of punk zines including On Being Hard Femme, as well as a collection of dream poems titled Tiny Spelunker of the Oneiro-Womb. In 2018 she published a book, titled Carceral Capitalism on the racial, economic, political, legal, and technological dimensions of the US carceral state. She is currently an Arleen Carlson and Edna Nelson Graduate Fellow at the Radcliffe Institute for Advanced Study.

In this wide-ranging and probing book Erin Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture. The minor gesture, although it may pass almost unperceived, transforms the field of relations. More than a chance variation, less than a volition, it requires rethinking common assumptions about human agency and political action. To embrace the minor gesture's power to fashion relations, its capacity to open new modes of experience and manners of expression, is to challenge the ways in which the neurotypical image of the human devalues alternative ways of being moved by and moving through the world—in particular what Manning terms "autistic perception." Drawing on Deleuze and Guattari's schizoanalysis and Whitehead's speculative pragmatism, Manning's far-reaching analyses range from fashion to depression to the writings of autistics, in each case affirming the neurodiversity of the minor and the alternative politics it gestures toward.

I have been enthralled and held by this book! Erin Manning has given us a new theory of bearing, as well as a new elaboration of gesture, going beyond Balzac’s theory and Agamben’s interpretation of it. She doesn’t lament the loss of gesture but celebrates gesture's minoritization.
- Fred Moten

This most substantive monograph yet published on the work of German-born, New York–based multimedia artist Andrea Geyer focuses on her recent explorations of the marginalized yet pivotal role that women have played in the formulation of American modernism, tracing and honoring the ephemeral acts, initiatives, and stories that shaped it. Featuring full-color images of Geyer’s artworks and research materials, including documents, found photographs, and previously unpublished photographs by the artist, Dance in a Future with All Present offers insight into Geyer’s art and the multiple histories of modernism.

Includes texts by Matthew Jeffrey Abrams, Andrianna Campbell, Juli Carson, Barbara Clausen, Lynne Cooke, Dean Daderko, Saisha Grayson, Sharon Hayes, Megan Heuer, Danielle A. Jackson, Alhena Katsof, Kristan Kennedy, Thomas J. Lax, Ralph Lemon, André Lepecki, Renate Lorenz, Josiah McElheny, Fred Moten, Kristin Poor, Yvonne Rainer, Gabriela Rangel, Jeannine Tang, and Soyoung Yoon.

Copublished with Portland Institute of Contemporary Art in 2019.
Edited by Alhena Katsof, Karen Kelly, and Barbara Schroeder. 
Design by Dante Carlos.

Pivot is an experimental, book-length poem exploring the profound act of "turning", with the Haitian Revolution as its cornerstone.

Pivot moves beyond historical narrative, scrutinizing this epochal event through its pivotal moments—critical junctures of rupture and radical reorientation. Mason Jordan masterfully employs repetition, metaphor, and other minimalist abstractions of language to delve into the visceral and conceptual mechanics of turning: a turning away from colonial subjugation, a turning towards new vocabularies of freedom, and the cyclical turning of memory. Through linguistic architectures and etymology, akin to the likes of Fred Moten, N. H. Pritchard, and M. NourbeSe Philip, Pivot examines international revolt, revolutionary fervor, and the development of Black Marxism(s) through a critical reflection on Haitian revolutionary history.

Dean Blunt is one of the most important British artist of the current century because he fundamentally does not care about Britain. His importance makes it shocking that such little critical attention has been paid to his work. His indifference explains it.

Dhanveer Singh Brar’s ‘Beefy’s Tune (Dean Blunt Edit)’ looks to initiate a conversation that needs to be had about Dean Blunt, about Britain (through Blunt’s indifference to it), and about Blackness in Britain (through the depth and complexity of Blunt’s feeling for it). Using the 2016 album ‘BBF Hosted By DJ Escrow’ as a means of navigation, Brar hears Blunt in order to access the long contested dream of Britain’s disappearance that was conducted under the name of Black British Arts. Partial (in the sense of his relation to Blunt) and partial (in the sense of unfinished), ‘Beefy’s Tune (Dean Blunt Edit)’ see’s Dhanveer Singh Brar give the dream a grammar, if not a name.

Dhanveer Singh Brar is a theorist and scholar who teaches in the Department of Visual Cultures at Goldsmiths, University of London. His is a member of Le Mardi Gras Listening Collective and Lovers Discourse. Brar’s second book ‘Teklife, Ghettoville, Eski: The Sonic Ecologies of Black Music in the Early Twenty-First Century’ will be published by Goldsmiths Press/MIT Press in Spring 2021

"To encounter BBF Hosted by DJ Escrow through Dhanveer Brar’s ears is to see Babylon through his eyes, and to sense Britain—to uncover with 'accuracy, brutality and beauty' the complexities of its meaning—through the social music, social vision and social feel of those who refuse the Britishness that is withheld from them. Brar discerns Dean Blunt’s rightful place in a cultural field where critical discourse and sonic dream are fundaments of a dub university curriculum whose various approaches show the absolute necessity and generativity of stealth, flaw and the resistance to category. Blunt’s “love letter to the blackness of Hackney” deserves the most rigorous, gentle, erudite attention. Happily, Dhanveer Brar is here to provide it." – Fred Moten.

[Ahmed] is the quartet of Pat Thomas (piano), Joel Grip (double bass), Antonin Gerbal (drums) and Seymour Wright (alto saxophone). Since 2014, أحمد [Ahmed] have excavated and re-imagined the music of Ahmed Abdul-Malik, in an ever ongoing search for future music.

[Ahmed] – Writing (EXV01) gathers together the [Ahmed] ‘paper’ texts from the last decade: liner-notes; covers of the releases; and writing by the band members – Antonin and Joel have written two fresh ones for this book, Seymour’s have appeared alongside the records, and some of Pat’s come from a time (long) before [Ahmed]. “Together, the ideas-energy in these things gives a sense of what we have done, do, think together (and apart) in living music, how our different ways come together, and how, together, we learn through be-doing [Ahmed]… These texts are woven together (the etymology of text is from weave) through (and into) a rich fabric of enquiry. A collaborative weaving together of difference(s) to make a whole (thing).” (Seymour Wright)

Contributions by Pat Thomas, Seymour Wright, Antonin Gerbal, Joel Grip, Robert Levin, James G. Spady, John Chantler, Edward George, Fred Moten

Edited by [Ahmed]
Series Editors: Stoffel Debuysere, Jef Lambrechts, Will Holder
Initiated by Stoffel Debuysere
Produced and designed by Will Holder [lps’ original design: Maja Larsson]

As our treatment of nonhuman animals is increasingly implicated in planetary crises—from climate change to global pandemics to unprecedented rates of biodiversity loss and species extinction—it’s clear that an urgent reconsideration of our relationship to other animals is not only necessary but overdue.

How we write about animals, how we represent them in our poems and stories, doesn’t simply reflect how we relate to them in the world; it also shapes how we treat them. Any cultural shift in how we conceive of other animals requires a shift in how we read and write about them. The New Sentience seeks to help catalyze this shift by ushering in a new kind of animal poetry, what editors Ashley Capps and Allison Titus dub “kinpoetics.” Whereas animals in Western poetry have disproportionately functioned as symbols, the poems in this anthology foreground a meaningful awareness of animal sentience and subjectivity, depicting other animals as individuals with dynamic selfhood, personalities, and emotional lives.

Stylistically wide-ranging, the poets featured here, among them Wendell Berry, Lucille Clifton, E. E. Cummings, Mary Oliver, Ross Gay, and Margaret Atwood, apply scrutinous lyrical attention to the animal experience in such surprising and illuminating ways that the reader can’t avoid an earnest reexamination of what humans owe our more-than-human kin. With humility, empathy, and curiosity, the work in this anthology reaffirms the vital connections between humans, animals, and the natural world. This pioneering book will impel readers to a deeper understanding of the lives of the creatures that share our planet and will inspire poets and writers to a more compassionate, meaningful engagement with animal subjects and lives.

A complete survey of the cast, forged, and fabricated metal sculptures made by Danish artist Sidsel Meineche Hansen since 2017.

The artist's practice addresses the industrial complex of virtual and robotic bodies and their relationship to labor in tech, pornography and gaming. While some sculptures were conceived as individual pieces, others were created with digital counterparts within installations that typically include CGI animation, documentary video, drawing and prints.

By presenting the metal works as stand-alone pieces, this book adheres to Meineche Hansen's concern with the material means of production, highlighting their concrete yet elusive nature. Several pieces in the publication are accompanied by poems written by artist Diego Marcon in response to the works. As an artist's project and an archival document, the publication echoes the tradition of documentary photography devoted to sculpture.

Sidsel Meineche Hansen (born 1981 in Denmark, lives and works in London) is a Danish artist. She produces exhibitions, interdisciplinary seminars and publications that foreground the body and its industrial complex, in what she refers to as a "techno-somatic variant of institutional critique". Meineche Hansen questions the body in the field of industrial representations: robotic or virtual bodies, and their relationship with the working world of industries of gaming, pornography, and new technologies. Her research-led practice has taken the form of woodcut prints, sculptures and CGI animations, often made by combining her own low-tech manual craft with outsourced, skilled digital labour.

Edited by Fredi Fischli and Niels Olsen.
Poems by Diego Marcon.