Blame It On The Rain

the second poetry collection from Natalie Briggs titled ‘FLOWER ENGINE’. This collection of cinched, bright free-verse explores the passing locations of love and the slow, private operations of pain’s knocking counterweight. The book extends Briggs’ relay of concise universal suggestions, translating them through brief, intimate utility. 

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.

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.

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.

Harryette Mullen is one of contemporary poetry’s most influential voices, for her inventive language play, keen wit, formal experimentation, and pointed critique of American culture. In Regaining Unconsciousness, her first new collection in twelve years, Mullen confronts the imminent dangers of our present to sound an alarm for our future, to wake us out of our complicity and despondency: Can we, even still, find our way to our unconscious selves, beyond our capacity to harm, subdue, and consume? 

In eleven taut sections written in the eleventh hour of our collective being, these poems address climate change, corporate greed, racist violence, artificial intelligence, the pollution of our oceans, individualism at the cost of mutual wellness, and the consequences of not addressing these pressing issues. Mullen imagines, as we must, our apocalypse, and yet, in an astounding feat, she does so with playfulness and wry referentiality that make these poems surprisingly buoyant, funny, and readable. Our end may be inevitable, Mullen admits, but maybe we begin with gratitude.

“Water has the power to connect us, reflects the relationship between past and present and provides space for narratives that have previously been overlooked."

In her book we as water, Leila Orth explores water as a site of memory, weaving together the stories of eight people who tell of oceans, rivers, and lakes and their own memories. Building on her many years of artistic engagement with memorials, Leila Orth uses the book to search for places, far removed from national memorials, that lead to a possible transnational form of remembrance. Water becomes a transnational site of memory, where layered stories and perspectives intertwine. It holds the traces of travellers and the drowned, the sand at the bottom of the seas, the history of the islands and coastlines where we grew up. It recalls our families, our longings, the past, the fighters, the dead, and the living.

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.

13 poems of various length.

"I have used a procedure to write them and I am happy to share it, but it isn't what's most important about these poems. The subject matter that, I eventually realised, they share to the extent of justifying bundling them up in one pamphlet is religiosity, what stands between belief and act, be it faith or trust."