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For this collection of poems and prose, Leslie Scalapino has gathered four sequences into what she calls an “aeolotropic series.” The poems reflect each other like crystals and change like highly polished glass illuminated by a shifting light. They follow the mind from thought and observation to afterthought, reflection, and obsession.

Leslie Scalapino (1947-2010) is the author of thirty books of poetry, prose, inter-genre fiction, plays, and essays, including numerous collaborations with artists, writers, and dancers. Her long poem way (North Point Press, 1988) won the Poetry Center Award, the Lawrence Lipton Prize, and the American Book Award from the Before Columbus Foundation. Scalapino taught at the Naropa Institute, Bard College, Mills College, and UC San Diego. She was the editor and founder of O Books.

Murder is Danielle Collobert’s first novel. Originally published in 1964 by Éditions Gallimard while Collobert was living as a political exile in Italy, this prose work was written against the backdrop of the Algerian War. Uncompromising in its exposure of the calculated cruelty of the quotidian, Murder’s accusations have photographic precision, inculpating instants of habitual violence.

Born in Rostrenen in 1940, Danielle Collobert left Bretagne for Paris at the age of eighteen where she worked in an art gallery and self-published her first poems in a book entitled Chants des guerres (1961). Both of Collobert’s parents, and her aunt, who survived deportation to Ravensbrück, were members of the Résistance during World War II. Herself a supporter of Algerian independence, Collobert joined the FLN (the Algerian National Liberation Front), precipitating her exile in Italy, during which time she completed work on Meurtre, first published in 1964 by Éditions Gallimard with the unwavering support of Raymond Queneau. She worked for Révolution africaine, a short-lived journal created at the end of the Algerian war. Collobert’s extensive travels, to Czechoslovakia, Indonesia, Bolivia, Ecuador, Venezuela, Mexico, Spain, Greece, Egypt, etc., did not prevent her from becoming a member of the group formed around Jean-Pierre Faye and the journal, Change. Her other works include Dire I et II (1972), a radio play the following year, Polyphonie, aired by France Culture, Il donc (1976) and Survie (1978). Upon her return from a trip to New York, Danielle Collobert took her own life in a hotel in Paris on her thirty-eighth birthday. Her complete works, in two volumes, edited by Françoise Morvan, augmented by several unpublished texts, were published by P.O.L. in 2005. Collobert’s works available in English include In the Environs of a Film (Litmus Press, 2019), Notebooks, 1956-1978 (Litmus Press, 2003) and It Then (O Books, 1989).

Another Room to Live In is an archive of encounter: a multilingual conversation between fifteen poet-translators, connected through friendship, correspondence, and cross-diasporic gatherings. With work in English, Arabic, and French, the collection moves beyond both language and nation-state, investing instead in transcontinental dreamspaces. Here, translation practices collaboratively transform the poems and reflect the poets’ own experiences of “living” in multiple languages. Complicating any flat conception of identity, the poems presented here seek to revisit and challenge foundational narratives, to rework mythologies, and to do all this through a cross-generational process of translation as poetic communion.

Contributors include: Etel Adnan, Hoda Adra, Sinan Antoon, Mirene Arsanios, Omar Berrada, Sara Elkamel, Safaa Fathy, Soukaina Habiballah, Marilyn Hacker, Golan Haji, Kadhim Jihad Hassan, Pierre Joris, Mona Kareem, Souad Labbize, Rachida Madani, Alisha Mascarenhas, Iman Mersal, Aya Nabih, Sarah Riggs, Yasmine Seale, Cole Swensen, Habib Tengour, and Sam Wilder.

Sitt Marie Rose is the story of a woman abducted by militiamen during the civil war in Lebanon. Already a classic of war literature, this extraordinary novel won the France-Pays Arabes award in Paris and has been translated into six languages. Sitt Marie Rose is part of Comparative Literature, World Literature, Women’s Studies and Middle East Studies curricula at more than thirty universities and colleges in the U.S.

Etel Adnan was born in Beirut, Lebanon in 1925. She is a celebrated writer, essayist, and playwright, and is the author of more than twenty books in all these disciplines. Her work as a whole is a faithful record of the times and places she has lived in Beirut, Paris, and in the San Francisco Bay Area. At least eighteen works by Adnan have been published in English. They include Sitt Marie Rose (Post-Apollo Press, 1982); The Arab Apocalypse (Post-Apollo Press, 1989); Sea and Fog (Nightboat Books, 2012), winner of the Lambda Literary Award for Lesbian Poetry and the California Book Award for Poetry; Premonition (Kelsey Street Press, 2014); Surge (Nightboat Books, 2018); Time (Nightboat Books, 2019), winner of the Griffin Poetry Prize and the Best Translated Book Award; and Shifting the Silence (Nightboat Books, 2020). In 2021, Litmus Press published a second edition of Journey to Mount Tamalpais (originally published by The Post-Apollo Press), which included nine new ink drawings by Adnan. Her paintings, described by New York Times art critic Roberta Smith as "stubbornly radiant abstractions," have been widely exhibited. Spanning media and genres, Adnan's writings have led to numerous collaborations with artists and musicians, including the French part of CIVIL warS, a multi-language opera by American stage director Robert Wilson, performed in Lyon and Bobigny in 1985. In 2014 she was named Chevalier des Arts et des Lettres, France's highest cultural honor, by the French Government. She died in Paris, in 2021.

Georgina Kleege is an internationally known writer and disability studies scholar. Her collection of personal essays, Sight Unseen (1999) is a classic in the field of disability studies. Kleege’s latest book, More Than Meets the Eye: What Blindness Brings to Art (2018) is concerned with blindness and visual art. Kleege joined the English department at the University of California, Berkeley in 2003 where in addition to teaching creative writing classes she teaches courses on representations of disability in literature, and disability memoir. Kleege is also the author of Home for the Summer (The Post-Apollo Press, 1989).

Personal space is understood as the distance between 45 and 120 cm that surrounds a person. This bilingual anthology brings together the work of eighteen contemporary poets who take this intimate measurement as a starting point to challenge its apparent rigidity and explore how political, social, sexual, racial, class, and accessibility factors shape it. Beyond a simple physical distance, personal space also becomes a stage where desire draws and negotiates the boundaries between the inside and the outside.

The publication contains contributions by Samuel Ace, Justin Chin, Kyle Dacuyan, Rhea Dillon, Tracy Faud, Elijah Jackson, Taylor Johnson, Nadia Marcus, Park McArthur, Nat Raha, Joan Retallack, Trish Salah, Juan de Salas, María Salgado, Assotto Saint, Cedar Sigo, S*an D.Henry-Smith, Nayare Soledad, Perla Zúñiga.

Bilingual edition, edited by Juf.

JUF (Bea Ortega Botas and Leto Ybarra) explores the relationship between poetry, contemporary art, and theatricality through the organization of performances, readings, and exhibitions. They also publish online texts and a PDF series as an extension of their curatorial and research practice. Currently based between Madrid and New York.

This selection of Gertrude Stein's work is taken from the period between 1905 and 1936, when the iconic modernist poet was engaged in an astounding number of still-surprising literary experiments, whose innovations continue to influence all the arts. Editor Joan Retallack has chosen complete texts or selections that lend themselves to a clarified vision of Stein's oeuvre. 

In her brilliant introduction, Retallack provides the historical and biographical context for Stein's lifelong project of composing a "continuous present," an effort which parallels many of the most important technological and scientific developments of her era—from moving pictures to Einstein's revision of our understanding of space and time. Retallack also addresses persistent questions about Stein's work and the best way to read it in our contemporary moment. In suggesting a performative "reading poesis" for these works, Retallack follows Stein's dictum by arguing that to actively experience the work is to enjoy it, and to enjoy it is to understand it. 

TEXTS
Melanctha (excerpt, from Three Lives, 1905)
The Making of Americans (excerpt, 1911)
Picasso (1911)
Flirting at the Bon Marche (1911)
Bon Marche Weather (1911)
Orta or One Dancing (excerpt, 1912)
Susie Asado (1912)
Tender Buttons: Objects, Food (1913)
Scenes from the Door (from Useful Knowledge, 1918)
Photograph (1920)
A Movie (1920)
An Elucidation (1923)
If I Told Him, A Completed Portrait of Picasso (1923)
Fourteen Anonymous Portraits (1923)
Are There Arithmetics (1923)
Business in Baltimore (1925)
Composition as Explanation (1926)
Patriarchal Poetry (excerpt, 1927)
Sentences and Paragraphs (from How to Write, 1930)
History or Messages from History (1930)
We Came. A History (1930)
Stanzas in Meditation (excerpt, 1932)
Lecture I (from Narration, 1934)
Identity a Poem (1935)
What Are Master-pieces and Why Are There So Few of Them (1936)

DOCUMENTS
“With Apologies to Gertrude Stein,” newspaper advertisement
Two love notes from Stein to Toklas (n.d.): “Dear dainty
delicious darling” and “Ir/Re/Sis/Ti /Belle”
Virgil Thomson, Letter to Gertrude Stein (May 30, 1933)
“Stein Opera Sung by All-Negro Cast,” New York Times (February 9, 1934)
Thornton Wilder, Introduction to Narration (1935)

Translated from the French, Phototaxis is a fragmentary, darkly-humorous apocalyptic text from a leading young voice from Montréal.

In a city mysteriously overflowing with meat, a museum is bombed, a classical piano player hooked on snuff films throws himself off a building, a charismatic but misled political organizer has disappeared, and a young immigrant navigates a crumbling continent. A dystopic work of hope, Phototaxis dismantles and rebuilds worlds with language at turns surreal, scathingly comic, poetic, and revolutionary.

“Olivia Tapiero’s virtuosic Phototaxis reverses the purgative gesture of necrophoresis: every sentence is shot through with the stench of carrion and the death rattle of capital’s circulation. Reading the text, one feels the vertigo of an interminable fall refracted in an infinity mirror of the commodified image. Tapiero’s haunting lyricism, atmospherically rendered in Kit Schluter’s translation, will ring out in your skull long after reading the book’s final word: music.“
— Jackie Wang

David J. Melnick published the first book of Men in Aida, a homophonic, but also homoeroticized translation of Homer's epic Iliad, in December 1983 in an edition of 450 at Tuumba Press. After appearing in many guises and fragments, Book Two was published online in 2002 as part of the Eclipse Archive. Book Three appears for the first time in the present publication, which brings together all three books of one of the most important American avant-garde poems. 

According to Sean Gurd, who wrote the introduction to this unified edition: "The labor of more than 20 years, Men in Aïda filters the sound of Homer's Iliad through the words and phraseology of English. Far more than an exercise in homophonic translation, David J. Melnick's epoch-marking poem packs thousands of years of linguistic history into three riotous books."

Through creative nonfiction, poetry, and the printed image, the publication considers the playful and purposeful self-actualization of a bicultural queer identity while navigating grief as a landscape to address themes of (be)longing, futurity, and place. Alongside a collection of their works and research, Abigail Lucien weaves written and visual offerings by fellow Caribbean and queer artists, including works by Lukaza Branfman-Verissimo, Justin Chance, Cielo Felix-Hernandez, Sucking Salt, and Tamara Santibañez, to create an expanded context for their work rooted in friendship and radical love.

Abigail Lucien (b.1992) is a Haitian-American interdisciplinary artist, educator, auntie, lover, and friend. Working in sculpture, literature, and time-based media, Lucien’s practice addresses themes of (be)longing, futurity, myth, and place by considering our relationship to inherited colonial structures and systems of belief/care. Past exhibitions include SculptureCenter (NY), MoMA PS1 (NY), Deli Gallery (NY), MAC Panamá (Panamá), Frost Art Museum (Miami, FL), Atlanta Contemporary (Atlanta, GA), UICA (Grand Rapids, MI), and The Fabric Workshop and Museum (Philadelphia, PA). Residencies include Amant Studio & Research Residency (NY), Skowhegan School of Painting & Sculpture (Madison, ME), the Eugeniusz Geppert Academy of Fine Arts (Wrocław, Poland), The Luminary (St. Louis, MO), Santa Fe Art Institute (Santa Fe, NM), ACRE (Steuben, WI), and Ox-Bow School of Art & Artist Residency (Saugatuck, MI).

Lucien has taught as a full-time faculty member and professor in the Department of Sculpture & Extended Media at Virginia Commonwealth University and the Interdisciplinary Sculpture Department at the Maryland Institute College of Art. In the fall of 2023, they will join the Department of Art and Art History as an Assistant Professor of Sculpture at Hunter College in NYC. Deli Gallery represents Abigail Lucien.

Drama, careers, sabotage, compromises... The first issue of Suckcess Magazine begins with a selection of poems by the flamboyant Rene Ricard, edited with the help of Editions Lutanie, and continues with contributions from Miriam Laura Leonardi, Fabienne Audéoud, Camille Aleña, Gabi Losoncy, David Lieske, Sylvie Fanchon, Won Jin Choi, Estelle Hoy, and Bunny Rogers. Cartoons and tennis players are also on the program.

‘I thought to myself that I needed to sing death, perform a rite for death, write death, then bid farewell to it. The way to send death away was to sing with my own death all the death in the sky and on the ground.’

The title section of Kim Hyesoon’s visceral Autobiography of Death consists of forty-nine poems, each poem representing a single day during which the spirit roams after death before it enters the cycle of reincarnation. The poems not only give voice to those who met unjust deaths during Korea’s violent contemporary history, but also unveil what Kim calls ‘the structure of death, that we remain living in’. Autobiography of Death at once re-enacts trauma and narrates death – how we die and how we survive within this cyclical structure. In this sea of mirrors, the plural ‘you’ speaks as a body of multitudes that has been beaten, bombed, and buried many times over by history. The volume concludes on the other side of the mirror with ‘Face of Rhythm’, a poem about individual pain, illness, and meditation.

Winner of the 2019 International Griffin Poetry Prize

Winner of the 2019 Lucien Stryk Asian Translation Prize