If Our Wealth Is Criminal Then Let's Live with the Criminal Joy of Pirates

The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Dante's work on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey-a subjectivity that honors all the ambivalence, doubt and tenderness of the human. Yet she remains angered by the structure of gender these works advance, and it is this troubled texture of identity that she examines in The Men.

NILLING: PROSE is a sequence of five loosely linked prose essays about noise, pornography, the codex, melancholy, Lucretius, folds, cities and related aporias: in short, these are essays on reading.

"I have tried to make a sketch or a model in several dimensions of the potency of Arendt's idea of invisibility, the necessary inconspicuousness of thinking and reading, and the ambivalently joyous and knotted agency to be found there. Just beneath the surface of the phonemes, a gendered name rhythmically explodes into a founding variousness. And then the strictures of the text assert again themselves. I want to claim for this inconspicuousness a transformational agency that runs counter to the teleology of readerly intention. Syllables might call to gods who do and don't exist. That is, they appear in the text's absences and densities as a motile graphic and phonemic force that abnegates its own necessity. Overwhelmingly in my submission to reading's supple snare, I feel love."

05/09/04 Now she is blogging. Now she is sitting on the black couch listening to the sirens wail and the rain fall. Now she is thinking of oysters. Now she is wondering why this is worth sharing. Now she is thinking, how decipher what is worth reading? Who is to say? Sifters. She thinks we have become a nation of sifters. So began a three-year experiment in blogging. An experiment begun for many reasons—a way for an expat to keep in touch with fellow Canadian writers and artists, a way to come to terms with the increasing relevance of the internet in literary lives, and a way to figure out why, after decades of gains, women writers are still grossly underrepresented in critical dialogues.

With an afterword by Vanessa Place.

This is a limited edition book. The author trained an LLM on the texts of a deceased theorist, and then proceeded to interact with the LLM and produce simulations of what the theorist may have said in regards to various pertinent topics. The book is primarily a free online resource, but a few copies are being printed to commemorate the work. It has a foreword and afterword by the Editors. 

At the core of this project is a translation of “Marxist Islam or Islamic Marxism,” a groundbreaking text written by Bizhan Jazani during his imprisonment in the 1970s under the Shah’s oppressive regime. Translated by Parham Ghalamdar, this work is accompanied by an introduction contextualizing Jazani’s radical vision. Ghalamdar also contributes a series of ASCII-style illustrations and diagrams—AI-assisted reinterpretations of Jazani’s original paintings and photographs—that bridge the past and present, offering a new perspective on his revolutionary artistry. 

Siahkal names a place in the forests of Gilan and a threshold in revolutionary time. In 1971 a guerrilla action near Siahkal shook the order of the Shah. The action failed militarily yet seeded a myth for the People’s Fedai Guerrillas. Bizhan Jazani, a founding thinker, wrote and painted in prison and was executed in 1975. His work teaches that strategy rather than sentiment endures. // This book treats Siahkal as a Deep Object, a persistent attractor that gathers memory, images, and tactics. An AI model trained on Jazani’s writings and paintings translates his essay on Islamic Marxism and proposes annotations. The machine functions as a probe that widens attention while remaining accountable to the source. Parham Ghalamdar trained the AI, wrote the introduction, and composed ASCII diagrams and diagrammatic readings from Jazani’s artworks. Parsa Esmaeilzadeh contributes an essay that reads Jazani through Karatani and left accelerationism. // It is a call to reimagine and export revolution as a Deep Object that asks for Deep Time to unfold. This clandestine edition invites the reader to study, test, and build strategy that can outlast the news cycle and meet the future head on. 

Parham Ghalamdar is a multidisciplinary artist currently based in the UK. Ghalamdar’s work traces forgotten mythologies, buried philosophies, and visual ruins, reconfiguring them into speculative worlds where memory, fiction, and futurism collapse into one another. Drawing on cybernetic theory and generative AI, he explores how systems of feedback, simulation, and machine vision mediate our understanding of history and possibility. Through painting, film, and writing, he builds narratives that feel both ancient and yet-to-come, haunted by lost histories and animated by possible futures.

Elizabeth in the Woolds is the product of two superimposed compositional strategies; a thematic aggregate based on notes dating back to 2008 and an epic prose narrative. Elizabeth is the device through which this simultaneous register moves. Screen writing provides a model for multiple voices. In a film script, the narrator can be the camera; there’s a machine at the centre of the story structure which figures a demand for resolution of plot; a contrario, the thematic approach (S, U, N, as electric light) obliterates chronology, and enumerates an atemporal topological figure, or the way the world is built.

(730pp., self-published first edition of 50, Kortrijk, 2021) 

The poet, the unknown being… a loony, a dreamer, a hermit. The poet writes poetry… but really, what is poetry? Arts, politics, mere amusement?

This little book is an insight into the mindset of someone who just can’t help but to be a poet. It is a manifesto for the freedom of thought and expression, an essential source of motivation and inspiration for readers and writers alike.

Anisur Rahman (b.1978) made his poetic debut in 2003. As a journalist, translator and playwright he has further contemplated the poetic mind. Born in Bangladesh, he writes in both Bengali and English, but nowadays lives exiled in Sweden.

In The Infinite Now, Taras Gembik crafts an intimate meditation on solitude, faith, and the search for meaning, ten years in the making. Moving between Ukraine and Poland, these twenty-five poems trace a decade-long journey of self-discovery.

Through stark winter evenings and quiet conversations, Gembik's verses explore ancient and universal questions of existence and identity: the nature of God, the comfort of walls and communion with others, the circular path of memory. The collection transforms everyday moments into profound reflections on love, displacement, how to build community, and the possibility of finding home in transience.

Taras Gembik (born Kamin-Kashyrskyi, 1996, lives in Warsaw, Poland) is a poet, curator, performer, and activist. He is the curator of the public programme at Zachęta National Gallery of Warsaw, where in 2024 he also curated, together with Joanna Kordjak, Siergiej Parajanov's retrospective. Since 2018, he has worked with the Museum of Modern Art in Warsaw to provide a platform for refugees and those afflicted by the homelessness crisis. After Russia's invasion of Ukraine in 2022, he co-created the Sunflower Solidarity Community Centre, praised in an extensive profile in Frieze Magazine, as part of a dossier on "Forms of Resistance".

Après la naissance de sa baby girl, Sophie T. Lvoff tente de faire son come-back dans l’art contemporain. Elle doit se rendre au vernissage de son exposition dans un Kunstverein en Allemagne. Juste avant, elle emmène ses étudiant·es à Sainte-Marie-de-la-Mer en Camargue pour prendre des photos de flamants roses et de couchers de soleil mais rien ne se passe comme prévu…

After the birth of her baby girl, Sophie T. Lvoff tries to make her comeback in contemporary art. Before heading to the opening of her exhibition at a Kunstverein in Germany, she takes her students to Sainte-Marie-de-la-Mer in the Camargue to photograph flamingos and sunsets, but nothing goes as planned…

A manicure would be a good thing to do for her international comeback, but perhaps that could happen in Munich later.
(I'm Back, Baby!)

Carie, comme le trou qu’on bouche au plomb, est une collection de textes courts et moyens qui se glissent dans la poche. Chaque livre (la dent) de la collection (la bouche) est troué (la carie) et cerclé d’un œillet métallique (le plombage).

Carie, like the hole filled with lead, is a collection of short and medium-length texts that slip into the pocket. Each book (the tooth) in the collection (the mouth) is holed (the cavity) and circled with a metal eyelet (the filling).