Flatland: A Romance of Many Dimensions

Pauline Oliveros (1932-2016) Pauline Oliveros' life as a composer, performer and humanitarian was about opening her own and others' sensibilities to the universe and facets of sounds. Her career spanned fifty years of boundary dissolving music making. In the '50s she was part of a circle of iconoclastic composers, artists, poets gathered together in San Francisco. In the 1960's she influenced American music profoundly through her inclusive work with improvisation, meditation, electronic music, myth and ritual.

She founded 'Deep Listening(R), ' which came from her childhood fascination with sounds and from her works in concert music with composition, improvisation and electro-acoustics. She described Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, of one's own thoughts as well as musical sounds. 'Deep Listening is my life practice, ' Oliveros explained, simply. Oliveros founded Deep Listening Institute, formerly Pauline Oliveros Foundation, now the Center For Deep Listening at Rensselaer, NY. Her creative work is currently disseminated through Pauline Oliveros Publications and the Ministry of Maåt, Inc

Real Estate Portfolio by Claire Barrow
7 panel concertina + covers / total of 16 pages 
9.6 × 14 cm folded / 98 cm extended
Riso 250gsm recycled offset exterior, litho 135gsm recycled offset interior 
Glassine sleeve, digitally printed on the front & back

Self-published edition of 300, signed by the artist
Constructed in the UK (£0.016 per cm²)

The zine was drawn in one session using the right wrong hand.

This book has been self-published for Latvian artist and poet Jelena Glazova's solo exhibition “Person with the last name Universe” at Riga contemporary art space (July - August 2026).  The exhibition is the artist’s act of feminist guerrilla resistance within the symbolic territory of contemporary phallocracy. The source and central figure of the post-gender universe conjured by Glazova is the Person with the last name Universe, whose creative strategy the artist unpretentiously calls Glazovism. 

Jelena Glazova (Belgium/Latvia) is a poet and multimedia artist who combines visual elements, experimental sound, installation and poetic text in her projects. As an artist, she has participated in international festivals and projects in Latvia, Estonia, Lithuania, Sweden, Austria, Belgium, Germany, the Netherlands, Turkey and other countries. Among the most notable exhibitions are "Identification of a Woman" at the Latvian Museum of Photography (2010) and "Elements of a Puzzle" at the Latvian Centre for Contemporary Art (2011). She is the author of four poetry collections. Glazova's poetry has been translated into 12 languages. Since 2012, she has given more than 200 performances in 18 countries. She is the co-founder of two poetry festivals in Riga: "Blood of a Poet" (2014–2016) and "Poetry without Borders" (2017–2022). https://www.jelena-glazova.com/

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."

faits divers are the various reports in a news bulletin, miscellaneous human interest stories, theorised by Roland Barthes as ‘total’ and ‘immanent’ information.

ferrara deux (faits divers) scrolls around the discovered corpse of a talented street musician named Landau, mangled and sealed into vacuum bags in the walk-in of a modern Italian-American restaurant. Street performance is content for an attention economy, playing on authenticities and profiting from recognition.

In this debut novel, artist Ivan Cheng reconfigures recent performance texts into an approximation of a murder mystery.

Practicing Dying is a literary anti-memoir documenting life in a Zen Buddhist monastery in rural France where the protagonist, a woman in her late twenties, attempts to overcome chronic drug addiction and mental illness. 

Broken and severely unwell, our protagonist arrives at the monastery from London: starving, drug-addicted and disillusioned, having exhausted every conventional treatment route available to her. The book examines how, habituated to a life of benefits assessments, petty-crime and sex work, she struggles to adjust to the rules, discipline and religious life of the monastery—at times to devastating and comedic effect. 

As the story unfolds, she reflects on her addictions and past experiences, raising critical questions about what it means to be "an addict" and why there may be vested corporate and societal interests in maintaining a narrow, individualistic understanding of addiction. 

Anarchic and provocative, tender and self-deprecating, Practicing Dying differs from other contemporary memoirs in the genre of addiction-recovery by simultaneously challenging the dominant narratives surrounding mental health while proposing an alternative approach to treating the “sickness of self” from which we all increasingly suffer. 

‘Practicing Dying is brilliant, rewarding and difficult. Northall offers the most brazen and shocking account of addiction I’ve ever read. Committing herself to the practice of Mahayana Buddhism, she eventually finds a way out, but only on the most rambling, circuitious path. Her account of addiction and loss, displacement and grief is profound and it proves that nothing is ever one thing.’ — Chris Kraus, author of The Four Spent The Day Together

Charlotte Northall is a London-based writer. Her debut, Practicing Dying, blends autobiography and cultural criticism to explore addiction, capitalism, and spiritual practice. She works with rough sleepers, supporting those living with addiction and complex mental health needs.

My Dead Book is a novel composed of nonlinear vignettes and fragments about a queer man approaching his fiftieth birthday who is haunted by insomnia and his past. In the dead of night, he remembers his friends who died in the late 1980s and 1990s, his years as a teenage throwaway and sex worker, and ruminates on working class survival, queer aging, AIDS, and whether he has outlived his place in the world.

“What a blistering book—with My Dead Book, Nate Lippens has created something truly fucking great. It's as if the storied stars of Lou Reed's 'Walk on the Wild Side' overshot Manhattan and wound up in Wisconsin, broke and blue with cold and depressed beyond belief by the thought that this nowhere is now home. It's a bitter pill, but I love bitterness, and who doesn't love pills?”— Derek McCormack, author of Castle Faggot

“There’s no doubt to this book. You’d think that was a flaw but it’s been burned away. My Dead Book is not short though it is brief. It’s loving, bittersweet, and actually courageous because it tells a story that is slightly unbearable because it’s all secret, awful hard bad secrets and funny as hell. Nate’s balancing act works because the heart of it (this novel) is true even though it’s often heartless. It’s simple. He knows what things are worth. When you need the sea or a bird they’re there like they never were before.”
— Eileen Myles, author of Afterglow

In How to Mend: On Motherhood and its Ghosts, Kayfa ta’s 4th monograph, Iman Mersal navigates a long and winding road, from the only surviving picture of the author has with her mother, to a deep search through what memory, photography, dreams and writing, a search of what is lost between the mainstream and more personal representations of motherhood and its struggles. How to mend the gap between the representation and the real, the photograph and its subject, the self and the other, the mother and her child. 

Iman Mersal is an Egyptian poet and associate professor of Arabic Literature and Middle Eastern Studies in the University of Alberta, Canada.

Text: Iman Mersal
Editors: Maha Maamoun and Ala Younis
Translated from Arabic by Robin Moger
Co-publishers: Kayfa ta and Sternberg Press
Design: Julie Peeters
Size: 9.6 x 14.8 cm
Pages: 168 pages, Soft cover

A masterpiece of surrealist fiction, steeped in controversy upon its first publication in 1984, Blood and Guts in High School is the book that established Kathy Acker as the preeminent voice of post-punk feminism. With 2017 marking the 70th anniversary of her birth, as well as the 10th year since her death this transgressive work of philosophical, political, and sexual insight—with a new introduction by Chris Kraus—continues to become more relevant than ever before.

In the Mexican city of Merida, ten-year-old Janey lives with Johnny—her "boyfriend, brother, sister, money, amusement, and father"—until he leaves her for another woman. Bereft, Janey travels to New York City, plunging into an underworld of gangs and prostitution. After escaping imprisonment, she flees to Tangiers where she meets Jean Genet, and they begin a torrid affair that will lead Janey to her demise. Fantastical, sensual, and fearlessly radical, this hallucinatory collage is both a comic and tragic portrait of erotic awakening.

Shae wants to stop shagging other women's husbands and be a proper queer. Plus, she's bored of only ever getting to use her new strap on a pile of cushions. The answer seems simple enough: come out, go out, and finally get it on with the fit bird at Dyke Night. Or it would be if Evaline, a wayward silicone mistress from the future, wasn't jealous...

A surreal, dirty little book that falls somewhere between Derek McCormack, David Cronenberg, and the tentacle porn you 'accidentally downloaded', Silicone God is for those who like it very, very weird.