Running feet, sharp noses

Sticky Fingers' Fortune Teller features wisdom from McKenzie Wark, Octavia E. Butler, Kate Zambreno, bell hooks, Clarice Lispector, Eileen Myles, Kathy Acker, Johanna Hedva, Lou Sullivan, Audre Lorde, June Jordan, and Anne Boyer.⁣

A3, single colour risograph

A special issue focused on performance writing, with work by Tanya Lukin Linklater (with Michael Nardone), Jibade-Khalil Huffman & Simone White, Jean-Thomas Tremblay, Claudina Domingo (trans. Ryan Greene), Kim Rosenfield, Nathan Walker, Liz Knox, Rona Lorimer, Léo Richard, & Hector Uniacke, Mohamed A. Gawad & Dalia Neis, Mei-mei Berssenbrugge & Teddy Yoshikami, interviewed by Michelle N. Huang, Kyoo Lee and Jocelyn Saidenberg, Adriana Garriga-López, Gabrielle Civil, plus a Kevin Killian Tribute, with Eileen Myles * Scott Hewicker * Cliff Hengst * Karla Milosevich * Craig Goodman * Michelle Rollman * Anne McGuire * Wayne Smith * Tanya Hollis * Steve Orth * Lindsey Boldt * Maxe Crandall * Arnold J. Kemp * Carla Harryman, Lee Ann Brown & Tony Torn * Susan Gevirtz * Laynie Browne * Patrick Durgin * Norma Cole * Jo Giardini. & reviews: Jessica Lopez Lyman & Jocelyn E. Marshall on Gabrielle Civil, alex cruse on Merce Cunningham, Rob Stanton on Anne Boyer, Jack Chelgren on Miyó Vestrini, David Grundy on Stephen Jonas, Virginia Konchan on Sarah Vap.

The theme for each issue of Worms tends to emerge steadily as gathering clouds. Often there is a nebulous sense of something that we want to explore, unripe fruits plucked from things we have read and heard and pocketed without much thought for later examination. It’s only when our pockets grow heavy, when ideas amass into something worthy of a second glance, that we start to name them. In the case of this one, our eleventh issue, its theme has its roots in the previous. The Love Issue—released in July 2025—explored love in all its guises: radical, complex, beautiful, violent. But in our study of the heart’s infinite mysteries there lurked an undercurrent of something else. Faith, close to love, was a persistent reoccurrence. Devotion, strength, clarity, refuge – these emerged as dimensions of love that can also be mapped across a search for something beyond the material. Worms 11: Faith & Worship began here.

FEATURING: Lamorna Ash, Clare Carlisle, Fanny Howe, Chris Kraus, Eileen Myles, Kazim Ali, Fiona Alison Duncan, Lauren J. Joseph, Olivia Laing, aja monet, Charlotte Northall, Arpan Roy, Noura Salahaldeen, Sarah Schulman, Michelle Tea.

CONTRIBUTORS: Temperance Aghamohammadi, Alaa Alqaisi, RZ Baschir, Sarah Burgoyne, F. Tibiezas Dager, Giulia De Vita, Helena Geilinger, Misha Honcharenko, Courtney Ann LaFaive, Ozziline Mercedes, Nicko Mroczkowski, Evie Reckendrees, Charlie Stuip, Clár Tillekens, Phoenix Yemi.

PHOTOGRAPHERS: Antonia Adomako, Eve Delaney, Jen Dessinger, Isabel Maccarthy, Britteny Najar, Katarzyna Postaremczak, Honor Weatherall.

ILLUSTRATORS & ARTISTS: Clara Esborraz, Eric Hesselbo, Lily Makoski, Samantha Rosenwald, Ivy Shepherd-Barron, Mary Watt, Shu Hua Xiong.

EDITORS: Caitlin McLoughlin, P. Eldridge, Clem MacLeod, Arcadia Molinas.

Proof Reader: Annalise June Kamegawa.

DESIGN: Caitlin McLoughlin & Clem MacLeod.

RUNWAY JOURNAL SUPPLEMENT

Contributors: Wassila Abboud, Anna Carlsson, Alexander Cigana, Bree Turner, Amelia Zhou.

Editors: Debris Facility, Ena Grozdanic, Victoria Pham.

Runway Supplement Design: SM Studio (Safiye Gray & Molly Cranston).

Cover Credits: Photo of Fanny Howe by Lynn Christoffers, Illustration by Mary Watt.

Featuring Zoe Leonard, Eileen Myles, Jimmy DeSana, Princess Julia, Olivia Laing, Simon Costin, Timothy Thornton, Mary Manning and many more. Published 2020.

Who is the Oriental Cyborg? asks Aditi Kini in this collection of notes, jokes, and queries into the provenance of a creature designed for labor, 3-D printed in the technoscientific post-colonies, modeled on old automata. Race is a technology, that we know, and technology can be raced — so why inquire into this at all? Perhaps this, the Oriental Cyborg, is a fantasy more than a memory, or an echo more than a form — or just an essayist’s extraction of personal anguish and humor from globalist decay.

Taking on the form of historical analysis / lyrical essay / documentary poem / experimental buzzword / positionality statement, this chapbook and its titular character might still be an elusive mystery even after reading.

“’What is a ghost but a person removed from corporeality?’ This is one among layers of questions Aditi Kini poses in Oriental Cyborg, a lyrical excavation into survival in the era of techno racial capitalism, and its “deleting touch” that so easily voids—reduces to faceless services—the exploited individuals performing various acts of techno-labor. A grieved searching drives this hybrid essay, which feels urgent and necessary as threats from AI grab headlines. This work compels us to see our culture’s love affair with technological progress as a means for continued colonization and domination. It also reminds us, and celebrates, that those erased don’t stay silent forever. We privileged may not be able to hear them yet, but those who are listening know. They roar.” — Allison Cobb

“In the mirror of Aditi Kini’s Oriental Cyborg, I become the monster—a hopeless automaton, an intelligence stripped of roar. With titanium-threaded theory, Kini radiantly stitches together the ideal Asian working machine. Get your own Oriental cyborg today: super dazzling and sexy, historically embroidered, an oracular truth who never tires, never complains, forever mute, what perfection!” — Lily Hoàng

Aditi Kini is an undisciplined writer. They’ve done both NYC and the MFA (at UC San Diego). They were a finalist/alternate for the 2020-22 Jerome Award for Literature. They edit Lumpenpockets, “a nonquarterly sick rag.” Read their words in Hayden’s Ferry Review, The Rumpus, Denver Quarterly, The New York Times, and elsewhere. They’re at work on multiple projects, all at once. They are blessed with two dogs, Lucy the Happy and Charly Kong, who make life worth living.

A poetics for reading the everyday objects that populate a hard drive. 

Bespoke online archives like PennSound and Eclipse host an astounding array of “old media” artifacts, posing a handcrafted counterpoint to the immense databases aggregated by digital titans like Google and Facebook. In The Little Database, Daniel Scott Snelson argues for the significance of these comparatively “small” collections, exploring how digital archives dramatically transform the artifacts they host and how they might help us better understand our own private collections in turn.

Examining curated collections such as Textz, UbuWeb, and the Electronic Poetry Center, Snelson explores media-specific works by poets and artists, including William Carlos Williams, Tracie Morris, bill bissett, Nam June Paik, and Vicki Bennett. He develops creative tools and contingent methods for reading cultural data, whether found on the internet or in our own collections of TXT, JPG, MP3, and MOV artifacts, presenting case studies to show how these objects have come to find revised meaning in their digital contexts. Along the way, experimental poetic interludes give readers practical entry points into the creative practice of producing new meanings in any given little database.

Inventive and interdisciplinary, The Little Database grapples with the digitized afterlives of cultural objects, showing how the past is continually reconfigured to shape the present. It invites readers to find playful and personal means for unpacking their own data collections, in the process discovering idiosyncratic ways to explore and connect with digital archives.

“You run a WHAT?” A small press. Yes, this is the dream of those who don’t give a damn about mainstream literature, major presses and millionfold print runs. It is the nirvana to everyone interested in a mindful and loving acquaintance with books.

“Start out small. Continue smaller if needed. Never end. Dream big. Continue dreaming bigger if needed. Make sure to keep being considered small.”

This is not a basic guide, it is a fun and inspiring glance at the inner depth of a small press. With enthusiasm and distinctness the publisher gives advice on everything from networking to handling the scripts to creating and selling a book.

Kristian Carlsson (b.1978) is published in a number of select small presses following his literary debut in 1996. For a decade he had been engaged as an occasional guest editor and project based publisher, when he in 2009 founded Smockadoll Förlag [Smockadoll Press] and decided to publish contemporary poetry. In 2012 Smockadoll was featured by the news agency TT/ Spektra as one of a handful of today’s unsurpassed Swedish small presses for translated literature. During the years Kristian Carlsson most certainly has had time to break each and every one of the small press guidelines issued in this volume.

Written in the course of the year following the publication of Book of Mutter, and inspired by the lectures of Roland Barthes, Anne Carson, and Jorge Luis Borges, Appendix Project collects eleven talks and essays. These surprising and moving performances, underscored by the sleeplessness of the first year of their child’s life, contain their dazzling thinking through the work of On Kawara, Roland Barthes, W.G. Sebald, Bhanu Kapil, Walter Benjamin, Theresa Hak Kyung Cha, Marguerite Duras, Marlene Dumas, Louise Bourgeois, Doris Salcedo, Jenny Holzer, and more.