PARANOID CITI

"Marie’s fragrance, smashed out of the bottle for another breath. We should always doubt that the air is pure. We should always doubt that the air is not." 
–Alexandre Curlet

Includes an excerpt from Josh Barber's "Omnipotence".
Published as part of Paraphernalia and Addenda 2.2 of Tabloid Publications.

The Flesh is a collection of Yves B. Golden's poems, lyric essays and social criticism – and often these generic distinctions become blurred. Published by Ediciones La Escocesa (Barcelona, ES), TABLOID facilitated this book's production as editors and book designers. A selection of Golden's texts are also translated by Leto Ybarra, rendering the author's work into Spanish for the first time.

“Respectfully! The Flesh feels like a conjuring and a force of nature—unyieldingly raw, full of delectable sensitivity that shapes a world Yves B. Golden deliveries with formidable honesty—where her word is the journey, the body and the bond. Yves writes: ‘not one bird is declined entry into heaven’. The Flesh is succulent in the mouth of the mother— Yves is a steward of time machines, celestial bliss and untethered healing. The Flesh unties the tongue, waters the mouth and the garden. Within Yves’ 5th book she offers us a timeline in recognizing that all birds and angels alike can touch the sky. We are always, already, held and drenched in glory and deserving of love and safety. The Flesh is Black like obsidian. May our love bloom like the flesh in every lifetime.”
- keioui keijaun thomas

“Yves B Golden has given us a protection spell against tyranny; a Blue Guide for the conscious and the daydream; raw free jazz that knows the standards as well. Golden’s linguistically liberated fantasies can transmute into a body of politically imperturbable ethoses in the same sentence. This book offers information for an evolutionary sensitivity, for the next level of sense-making and particularity of the human being. Though the poet urges us to de-realize the flesh, to split our own heads open, we must also accommodate the flesh’s intangibles that interlock, conjoin, negate, and negotiate: such ‘outward and inward facing conundrums’ go on and on. Welcome this ‘bearer of turbulent news.’”
- Losarc Raal

Ludi Juvenales (Latin for "juvenile games') is a poetry, art and games series interested in youth, childhood, play, and immaturity. 

Ludi Juvenales is edited by Elise Houcek & Zoe Darsee. 

www.ludijuvenales.com

Juvenilia #2 by Willa Smart.
Copyright C Willa Smart 2024. All rights reserved.
Cover art by K. Fabricant.
Design by Elise Houcek & Zoe Darsee.
Risograph printed with BearBear in Milwaukee, Wisconsin.
Edition of 50.

"Like the Elizabeth Bishop painting “Interior with Extension Cord,” Kelly Clare’s helical, light-filled Universal Product Code delicately traces a bewildering infrastructure. This incantatory song, “busy in green,” points its reader to the disturbing beauty in stripey checksum barcodes, to arrays of imported figs at the grocer, to words like cloud or lime that now mean too much. Humorous, musical, perspicacious, this chapbook rocks."

- Katherine Gibbel, April 2026

Includes 3 poems by Dre Roelandt.
Published as part of Paraphernalia and Addenda 2.2 of Tabloid Publications.

In the late 1970s, Lindiwe Mabuza, a.k.a. Sono Molefe, sent out a call for poems written by women in anc camps and offices throughout Africa and the world. The book that resulted, published and distributed in Europe in the early 1980s, was banned by the apartheid regime.

Authorised by the editor, this re-issue of Malibongwe re-establishes a place for women artists in the history of South Africa's liberation. These are the struggles within the Struggle: a book that records the hopes and fears, the drives and disappointments, and the motivation and resilience of women at the front lines of the battle against apartheid. Here we see the evidence, too often airbrushed out of the narratives of national liberation, of a deep and unrelenting radicalism within women; of a dream of a South Africa in which not only freedom reigned, but justice too.

"Waterslides is a falling and plunging, short starts and stops aided by movement, until we splash, climb and plunge again. Each sliding is the same but different—with each descent new expectations and thoughts swirl, shifting focus and gaining new insights or blockages. Waterslides are brief moments of remembering, remembering as a present tense activity, one that happens as we think of it, projected on our now. The waterslide is the moment of past and present working in tandem, a movement of repeating, revisiting and remembering all at once.”

Written by nvk 2021-2023. Dedicated to Judi, MM & TNN.

A version of these poems was published as an audio work through Ignota Press’ The Mountain (2023) and included in a reading with James Loop on Montez Press Radio (2023). nvk would like to thank Jan Matthé, Stine Sampers and Michelangelo Miccolis for their patience & love.

This book was first presented at Kransen in Antwerp, May 6th 2023, with a performance by Sassy (costume by Rosa Schützendorf). Printed and bound at Risiko Press, Borgerhout. Cover image by nvk. Fonts: Adonis, Garamond Pro. Limited to 150 copies.

128x195mm, 16p., stapled, cover: green, yellow and black risoprint on 160gsm caramel paper, inside: black and blue riso on 120gsm Munken Pure paper.

The Chroma Series lists elements of reality and systematically changes their color to evoke monochrome universes. The resulting poems may be conceived as mental films where quick-change art coexists with nonsense and politics.

James Goodwin’s Faux Ice contains six poems: ‘Roman Street Sweeper’, ‘Technomarine’, ‘Meridian Walk’, ‘Astroturf’, ‘Star Bright Ice’, and ‘Faux Ice, or The Same as Fantasy?’ Goodwin writes:

“A constrained economy of expression is the formative approach I’ve taken with these poems. I was motivated, in my early attempts, to reproduce, as a crystallised element of black lyric expressivity, the condensed form of the grime lyric, and its invocations of blackness as a poetic description of being immersed in and by indistinction. Or aspects of the black life of poetry which do not derive their origins, causes, or relations from communicative modes of clarification in language. And so the poems in Faux Ice are oblique expressions and articulations of the ways reality is refracted by [the] questions of what is real, informing, say, the experience of seeing without being seen on the one hand and having no others on the other.”

Inheriting from eskibeat and drill and from other sources of experimental Black sociopoetics, these poems, with their dispersed and insistently plural voices, aren’t interested in building up, but in dismantling a stable subject, their icy conditions always displaced and subject to change.

“shot of this glean of jewel with the

force of a technomarine to

connect the more looks around the

pressure-encrusted, iced out skip and

lack of any protection”

JAMES GOODWIN is the author of Fleshed out For All the Corners of the Slip (the87press, 2021), and Aspects Caught in The Headspace We’re In: Composition for Friends (Face Press, 2020). He is currently completing a PhD at Birkbeck College, University of London.

Sore is a serial anthology that brings together authors whose writing practices oscillate between the genres of diary keeping and fiction. For the second issue of Sore, ten contributors – both authors and visual artists – were invited to collectively develop their work through a series of informal critiques over the course of five months.

With contributions by Adriana Lasheras Mabanta, Billy Morgan, Damien Troadec, Kate Tyndall, Kea Bolenz, Inka Hilsenbek, Milo Christie, Louis Mason