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Cover of The Letters of Douglas Oliver and J. H. Prynne

The Last Books

The Letters of Douglas Oliver and J. H. Prynne

Joe Luna ed.

€25.00

Douglas Oliver (1937–2000) and J. H. Prynne (b. 1936) are two of the most original and ambitious poets of the contemporary era. Eschewing the conservativism of mainstream postwar British verse and embracing influences from America and Europe, each developed their craft through continuous correspondence and exchange as part of the febrile scene of poetical community and contestation that emerged in Cambridge in the 1960s. Their works over the following decades exhibit frequent shifts in form and style, from Prynne’s radical transformation and dispersal of the lyric tradition to Oliver’s adaptation of dream visions and medieval-inspired verse satires.

Their letters are a record of both the high stakes and playful experiments that constitute the writing lives of two singular poets determined not just to engage with modern political and social life during decades of crisis and upheaval, but to contribute through the circulation and publication of poetry to what Oliver calls “a community of political ethic.” Over the course of more than thirty years of friendship and mutual appreciation, the motivations for, and consequences of, their poems are constantly worked through, tested out, evaluated, and contradicted, always with a view to what the poetry means for the other, for the poetical communities they inhabit, and for the life of poetry itself.

This volume collects for the first time the majority of Oliver and Prynne’s correspondence, allowing new insights into the literary, political, and historical contexts of their lives and writing. An introduction, notes, and appendices provide a scholarly apparatus to situate Oliver and Prynne among the poets and publishers with whom they worked and socialized, and to identify and expand upon their frequent references to an enormous range of source material and reading matter.

“The correspondence between J. H. Prynne and Douglas Oliver is gripping and illuminating, brilliantly edited and completely absorbing. Two great poetic intelligences respond to each other’s work and to the society around them, thinking through the issues at stake in their poetic practice, their differences in approach, the different worlds they inhabit, their shared commitment to writing poetry and their admiration of each other’s work. The letters, complex as their matter can be, repay repeated reading; taken together, over a period of 33 years, they chart the context and creation of some of the most significant work in late twentieth-century poetry. This is an utterly engaging volume, and should be read by anybody interested in poetry and its place in the contemporary world.”—Ian Patterson

“For writers who welcome each other as peers, the exchange of letters is the spontaneous moment of exposure, the drawing out of selves. It is thinking in mutuality. In this thoughtfully edited and carefully, even beautifully, presented correspondence between Douglas Oliver and J. H. Prynne, two of the preeminent poets of the ‘British Poetry Revival’ of the post-World War II generations, we witness two writers of immense gifts thinking with each other, coming alive to thought and, ultimately, a shared world or community of wish. There is life, there is death; there is grief, there is anger – and love – but always there is a seeking, an attempt to arrive at a language for our worlds. Henceforth, one cannot imagine reading the work of either Oliver or Prynne without this correspondence and all that it offers in openings onto what Oliver himself saw as ‘the poet’s full performance [which] is the whole life’s work.’ It is a glimpse into an athanor of poetic creation.”—Michael Stone-Richards

Published in 2022 ┊ 208 pages ┊ Language: English

recommendations

Cover of Repetition

The Last Books

Repetition

Peter Handke

Fiction €15.00

An English translation of Peter Handke’s 1986 novel Repetition, previously out of print for a quarter of a century.

“In Repetition, Handke allows the peculiar light which illuminates the space under a leafy canopy or a tent canvas to glisten between words, placed here with astounding caution and precision; in doing so, he succeeds in making the text into a sort of refuge amid the arid lands which, even in the culture industry, grow larger day by day.” —W. G. Sebald

“In his earliest work … Handke found a way of conveying a state of mind … where words seem to come between you and the world, where nothing coheres or appears natural, and from the vantage-point of which the ease with which other people talk and go about their business seems deeply suspicious. But just as Kafka felt there were moments when, miraculously, a written sentence – even one written by himself – seemed full light, seemed to fill its own space and establish its own rhythm, and when even the whole story seemed mysteriously to stand as solidly in the world as a tree or a rock, so it has been with Handke. He has, in his later work, appeared to make a conscious effort to escape from the debilitating awareness of his own lack of authority or authenticity, and tried to write as though somehow the story were already written, had, in a sense, always been there… Repetition is the triumphant climax of his career so far…

What saves the book from the sort of sentimentality we find in John Berger’s recent work is first of all Handke’s uncanny ability to convey what it is this urge for pattern has to overcome, and secondly, his extraordinary attention to detail, historical, geographical, botanical, and linguistic. (No review can possibly convey the richness of Filip’s meditation on his brother’s two books, or Handke’s magical way with images.)

His narrative … is one of the most dignified and moving evocations I have ever read of what it means to be alive, to walk upon this earth.” —Gabriel Josipovici

Cover of Jokes

The Last Books

Jokes

keston sutherland

Poetry €14.00

Jokes is a crash course in psychic disintegration for the genocide generation. Ever wondered what a spoonbill thinks of peremptory norms? Or what a hippo can do with an egg-slice? What’s the secret of the success of men like David Papazian and Johnnie Moore, who get to run the Gaza Humanitarian Foundation, while poetry-reading demographics, from the higher and intermediate managerial and professional occupations down to the footwells of unskilled manual self-erasure, lie around standing up for themselves and fornicating with the void? An Author’s a Joke, to all manner of Folk, wherever he pops up his Head, his Head, wherever he pops up his Head, according to Fielding. But why? The 27 jokes of Jokes unfold over the course of a duration-block, in an exclusive interior, under new management, in the capable trotters, paws, hooves, claws, tentacles, jaws, beaks, and blowholes of a fabulous parliament of beasts, some drunk, some dead, some leery, some high, some tender, in the tradition of Boccaccio or Isaiah. They are all funny.

Designed and typeset by Phil Baber.

Cover of In Abeyance

The Last Books

In Abeyance

John Wilkinson

Poetry €14.00

With this new book of sedimented lyric, John Wilkinson’s poetry enters a terrain of creatures flattened in shale, in flat screen and in digital code. If Silicon Valley would repopulate Jurassic Park and defeat death, Wilkinson’s poetry would make actual what slides past in the disregarded day, whether the flattening of a city or the return of seasonal blossom. This poetry swells dry roots; it breaches the total coverage that flatlines the heart’s response, through its urgent and generous rhythms.

Designed and typeset by Phil Baber.

Cover of First Nettles

The Last Books

First Nettles

Dom Hale

Poetry €15.00

First Nettles collects poems written between 2021 and 2024, from precarious off-key lyrics to sprawling elegies of damaged life. A book of flailing, desperate music, hurt and hopeful, held together by pins and gaffer tape, art and courage and comradeship. Includes the sequence “Seizures” (2022) – “perfect in its openness and lyrical disfigurement” (Danny Hayward).

“[An] exhilarating collection […]. The sequences here are ferociously and admirably radical, with some superb political satire and verve to the poems.”  —Adam Piette, Blackbox Manifold, no. 34 

Designed and typeset by Phil Baber; cover collage by Sam Keogh

Cover of Peach machine

The Last Books

Peach machine

Imogen Cassels

Poetry €9.00

Peach machine comprises nine months of poems, tracing a recurrent cycle of sickness, heartbreak, reparation, and recovery from late summer back into early Spring. The work is roughshod: grieving, oxygen-starved, jetlagged, reflective, and relieved.

Designed and typeset by Phil Baber.

Cover of EN

het balanseer

EN

Guy Rombouts

Poetry €25.00

In het begin van de jaren 1970, hield Guy Rombouts een notaboekje bij waarin hij alle woorden, bijvoeglijk naamwoorden en werkwoorden bijhield die hij tegenkwam tijdens het lezen en die met elkaar verbonden waren door het voegwoord ‘en‘.

Ongeveer 50 jaar later en met de hulp van de grafische vormgever Jeroen Wille, is de transcriptie van zijn aantekeningen gepubliceerd als een boek dat gelezen kan worden in twee richtingen (en als enige boek coronaproof met twee tegelijkertijd).

Het boek bevat 2158 verzen met in totaal 4316 EN-combinaties.

De kortste verzen met evenveel letters:

A EN Z

4 EN 6

De langste verzen met evenveel letters:

ONUITSPREKELIJKHEDEN EN IMPONDERABILIA

ONEVENWICHTIGHEID EN ZELFOVERSCHATTING

Cover of Not Going it Alone: Collective Curatorial Curating

Apexart

Not Going it Alone: Collective Curatorial Curating

Paul O'Neill

Non-fiction €16.00

In recent years, collective approaches to curatorial practice have become prominent, and not for the first time. While the myth of the stand-alone curator has been largely dismantled in favor of recognizing the myriad other actors and agencies—from artists to installers, from gallery attendants to directors, and others—who make their work possible, contemporary curatorial practices encompass far more than bringing simply more collaborators together. Through a collection of essays and experimental texts, Not Going it Alone: Collective Curatorial Curating offers readers a layered and contextual understanding of this phenomenon, its debates, and possibilities across a range of temporalities, positions, and geographical perspectives.

Edited by Paul O'Neill with Gerrie van Noord / Elizabeth Larison

With contributions from:
Maria Berríos / Pip Day / Sofía Olasooaga
Nikolett Erőss / Eszter Lázár
Index and PRAKSIS Teen Advisory Boards
Elizabeth Larison
Nina Möntmann
Bonaventure Soh Bejeng Ndikung
Gerrie van Noord
Paul O‘Neill
Agnieszka Pindera
Serubiri Moses
Gregory Sholette

Cover of Dominique: The Case of an Adolescent

Divided Publishing

Dominique: The Case of an Adolescent

Françoise Dolto

Non-fiction €17.00

"Dolto’s Dominique is the only case I’ve found that rivals Freud, and brings us up to date, replete with questions of incestuous trauma, repressed sexualities, autism and cognitive disability, and a profound sense for the contradictions of polite society and histories of colonial and racist violence. I love this child and encountering Dolto’s otherworldly voice as an analyst." — Jamieson Webster

While the child psychoanalyst Françoise Dolto stands alongside Jacques Lacan as a leading light of the Other French School, she has been little translated and remains curiously unknown in the English-speaking world. First published in 1971, Dominique: The Case of an Adolescent is frank and close to the clinical experience. A masterpiece of the genre, it is at once a granular psychological portrait of a troubled adolescent and his familial inheritance, and a historical case study, set in the France of the 1960s, of the of the relationship between subjectivity, nationality, and time and space.

With a foreword by Michael Ryzner-Basiewicz

Translated by Ivan Kats, revised by Lionel and Sharmini Bailly

Cover image by Mike Kelley, Untitled 1975

Françoise Dolto (born 6 November 1908, Paris) was a psychoanalyst and paediatrician. Alongside private practice at her home, where she saw adults and children, Dolto practised in four institutions where she saw only children patients: the Polyclinique Ney, the Centre Claude Bernard, the Hôpital Trousseau and the Centre Etienne Marcel. From 1967 to 1969, Dolto answered adult and child listeners of the French radio station Europe No. 1, live and anonymously under the name ‘Docteur X’. The programme enjoyed excellent ratings, but Dolto found dialogue to be hindered by the demands of live broadcasting and advertising. In 1976, she agreed to return to radio with Lorsque l’enfant paraît on France Inter, on the condition that she replied to listeners’ letters, which enabled her to go into depth. The programme was a huge success, and would make her a household name. In 1978 Dolto retired as an adult psychoanalyst: her fame had become such that it distorted the therapeutic relationship with patients. She now devoted herself to prevention, training of young analysts, group and individual supervision, publications, conferences and radio and television broadcasts. She also continued her work with children in the care of the Aide Sociale à l’Enfance, some of whom she received at her home until the end of her life. In 1979, along with a small team, she founded the Maison Verte, a place for early-years socialisation welcoming children from ages zero to four along with their caregivers, for sessions of play and talk. This model spread throughout France and Europe, to Russia, Armenia and Latin America. Dolto is the author of more than a dozen books, and several essays, interviews and seminars. In English, her books have been translated as Psychoanalysis and Pediatrics (Routeledge, 2013) and The Unconscious Body Image (Routledge, 2022). Françoise Dolto died on 25 August 1988 in Paris.