Dyke (geology)

"Back in the day when KRS-One intoned —The Bridge is over!— he did not prefigure a poet from Queens of the fierce attitude and intellectual magnitude of Enzo Silon Surin. WHEN MY BODY WAS A CLINCHED FIST gives the Heisman to such a refrain with lyrical power-packing poetics that settles the score with a succinct— Not! No the Bridge is not over, for Surin's Queens is alive and well and under the gaze of a master observer who eulogizes lives that though at times are battered have always mattered.

Enzo Silon Surin's poems get you caught up in the deeply personal experiences of growing and visceral all-encompassing knowing from an acute witness of every breath and follicle of Black life from palm trees, sand and sea to street corner projects, suburban houses and fistfuls of black water. Surin writes about the confused and disconnected, trigger happy wannabes trapped by outdated notions of masculinity, the cracked head crackheads all held in the clutch of society's clinched fist through which the trauma that comes with being of color, addicted, broke, lost and tossed, is itself a clinched fist of black bodies caught in the Russian nesting doll America's clinched fists make.

WHEN MY BODY WAS A CLINCHED FIST is an elegy for 'the premature exits.' It is a blues for the black-on-black black and blue. Surin yields his pen like a microscopic scalpel whereby an autopsy of possibility is performed to un-clinch the remarkable bone gristle poetry in these unflinching heart-wrenching pages."—Tony Medina

Enzo Silon Surin, Haitian-born poet, educator, speaker, publisher and social advocate, is the author of two chapbooks, A Letter of Resignation: An American Libretto (2017) and Higher Ground. He is the recipient of a Brother Thomas Fellowship from The Boston Foundation and is a PEN New England Celebrated New Voice in Poetry. Surin's work gives voice to experiences that take place in what he calls "broken spaces" and his poems have appeared in numerous publications including Crab Orchard Review, Origins, Transition Magazine/Jalada, Interviewing the Caribbean, jubilat, Soundings East, The BreakBeat Poets: New American Poetry in the Age of Hip-Hop, and sx salon. Surin holds an MFA in Creative Writing from Lesley University and is currently Professor of English at Bunker Hill Community College and founding editor and publisher at Central Square Press. His debut full-length poetry collection is WHEN MY BODY WAS A CLINCHED FIST (Black Lawrence Press, 2020).

Metabolize, If Able is a queer correspondence sent from a dystopian future. ​Clay AD’s hybrid-novel​ follow​s​ the lives of clones​ and their spawn through ​medical charts, IMs, self-help meditations, screenplays, and, of course, epistles. ​For the clones, a ​corporation​ controls life and death, sickness and wealth. Corp doctors, or DRs, bring the clones to life and assign them work. But DRs restrict clone reproduction. They pathologize and withhold care. They keep the clones sick. What happens when the clones and their anti-Corp cell turn illness into a weapon? AD’s ​sci-fi world posits the hope found in collective intimacy & the struggle against state control.

Published on the centenary year of Pasolini’s birth, Pier Paolo Pasolini: Writing on Burning Paper is a dual edition that stages a dialogue between cinema today and Pasolini’s timeless films and words.

The two complementary volumes slide into one another, forming a unique set that evokes and celebrates Pasolini’s enduring influence. The smaller book features his epic autobiographical poem ‘Poet of the Ashes’, in a revised translation by esteemed poet Stephen Sartarelli; the larger book comprises original tributes by vital filmmakers from across the contemporary cinema landscape.

Twenty filmmakers shared personal reflections in the form of essays, poems, photographs, drawings and more: Catherine Breillat, Luise Donschen & Helena Wittmann, Jia Zhangke, Radu Jude, Payal Kapadia, Alexandre Koberidze, Dane Komljen, Mike Leigh, Mariano Llinás, Roberto Minervini, Valérie Massadian, Luc Moullet, Ben Rivers, Angela Schanelec, Ulrich Seidl, Basma al-Sharif, Deborah Stratman, Anocha Suwichakornpong and Gustavo Vinagre.

Set during a single twelve-hour night shift in an injection molding factory, plastic is a book-length poem exploring the life of the industrial worker turned poet.

Bringing together memoir, ekphrasis, and satire, plastic is based on Matthew Rice’s experience working in a plastic molding factory for ten years. Illustrating alienated twenty-first-century Irish labor in poetic form, plastic engages with the inflictions and implications of a “post-industrial,” “post-Troubles” society, all while weaving in depictions of factory work from literature, film, and the visual arts.

Time-stamped to highlight the claustrophobia of the worker’s experience, Rice meditates on masculinity, sectarianism, and intergenerational trauma. But at its core is a poem about feeling a calling while being submerged in the world of menial labor—making plastic airplane parts by night, making poetry by day.

Invoking the brevity of Seamus Heaney, plastic is an expansive and imaginative poem that offers the working class a grace, dignity, and truth not often found in contemporary literature.

MATTHEW RICE was born in Belfast. He holds an MA in poetry from Queen’s University Belfast and is currently undertaking a PhD at the Seamus Heaney Centre at Queen’s. His debut collection, The Last Weather Observer, was published in 2021 to critical acclaim, highly commended for the Forward Prize for Best First Collection, and included in the Arts Council of Northern Ireland’s top ten books of the year.

In Noah Ross's new book THE DOGS, Ross opens the question of authority and possession in what he deems an illicit act of translation. THE DOGS may begin with Herve Guibert's Les Chiens, but through multiple reiterations of translation, Guibert's text ultimately meets Ross to celebrate, among other sources, Marie de France, Teen Wolf, Auden, and Dom Orejudos in establishing a unique pack of hungry werewolves. You know what happens when werewolves get together: the play can get a little rough. THE DOGS empowers these snarls and yips, growls and howls, on the level of the sentence in translation as much as the embodied erotogenic zones of the body.

The first book devoted to the late African American writer and actress, Dorothy Dean, one of the few prominent African American women of New York City's bohemian heyday, close to Andy Warhol and Robert Mapplethorpe.

This second release from Éditions 1989 features Dorothy Dean's unpublished writing and selected correspondence with Edie Sedgwick, Rene Ricard, and Taylor Mead, among other friends and artists. This volume also includes Dean's transcendent script of an unrealized film starring Factory actor, Ondine.

Lyrical, humorous, political, and brutally honest, Who Are You Dorothy Dean? is a tribute to one of the few prominent African American women of New York City's bohemian heyday.

Dorothy Dean (1932-1987) was an African American writer and actress. She entered the 1960s New York underground scene and quickly became one of its key, if overlooked, figures, starring in six of Andy Warhol's films and inspiring the likes of Robert Mapplethorpe and Robert Creeley. Presumably the first woman ever hired as fact-checker at The New Yorker, Dean held brief editorial and proofreading positions at publications such as Vogue before launching her very own bulletin of film reviews, the All-Lavender Cinema Courier, in 1976.

Edited by Anaïs Ngbanzo.
Texts by Dorothy Dean, Edie Sedgwick, Robert Creeley, Gerard Malanga, Rene Ricard, Taylor Mead, et al.
Translated from the English (American) by Rachel Valinsky.