241. Laura Buccieri: Songbook for a Boy Inside
240. K. Lorraine Graham: from Feed
239. Marta López-Luaces: Reminiscences of Echoes
238. Montana Ray: Mirroring
237. Yumi Dineen Shiroma: A Novel Depicting “The” “Asian” “American” “Experience”
236. Anaïs Duplan: 9 Poems/The Lovers
235. Serena J. Fox: Night Landing
234. Orchid Tierney: Blue Doors
233. Aditi Machado: This Touch
232. Iman Mersal: الصوت في غير مكانه (The Displaced Voice); translated by Lisa White
231. Abdellah Taïa: 99 Names
230. Javier Zamora: Revising into the Right? Form…Hopefully?
229. Aracelis Girmay: MOTHER MOTHER YOU ARE WHO I LOVE
228. Christina Barreiro, Lindsey Hoover, Fatima Lundy, Rupert McCranor, Kayla Park, Chrissy Ramkarran, Asiya Wadud, Rachael Guynn Wilson: Out-Of-Office
227. Baseera Khan: Be Careful What You Wish
226. Maryam Monalisa Gharavi: Alphabet of an Unknown City
225. Göksu Kunak: I thought this would
The festival is a space of communion and celebration, a romanticized collision of bodies, music and magic. The revolution will look like a festival, we’ve been told by philosophers, writers, artists, and marketers. But the festival is also, of course, the space of formalizing ideology, ritualizing the consumption and violence that propels existing structures of power.
This poetry collection views the migrant, female body as both the glorified and martyred totem of the festival-of-all-festivals we call globalization. Drawing from sources such as Sigmund Freud, James George Frazer, H.D., the Situationist International, seventeenth century narratives of Dutch sailors shipwrecked on the Korean peninsula, the rise of K-pop and the “Korean Wave,” and a zoo-breaking gorilla named Bokito, Festival features kaleidoscopic poetic sequences aiming to show that if anything universal is to be found in lyric poetry’s “I,” it is the result of centuries-long entanglements and contaminations, and of the bodies made to bear these exchanges, to give birth to this century’s globalized subject.
“FESTIVAL is an ode to both beauty and misery. Mia You’s ingenious poetry will have you laughing through your tears. Do NOT miss out!”
—Yael van der Wouden
"She reanimates the form-of-life which is a poem with a feminist skepticism, without foreclosing her robustly idealist commitment to poetry’s continuance"
—Lisa Robertson
247. Sahar Muradi: A Garden Beyond My Hand
246. Diana Khoi Nguyen: Unless
245. Pamela Sneed: from Black Panther
244. Gail Scott: from Furniture Music
243. Ru (Nina) Puro: I Give You a Feeling, Sweet Jasmine, an Absence
242. Raquel Gutiérrez: There’s a Mother in my Lazy Pompadour
This text is filthy and fertilized, filling and emptying, filling and emptying, atrocious and politic with meaning. The Cow is a mother, a lover, and a murdered lump of meat, rendered in the strongest of languages. I cannot count the altering that happens in the very large rooms that are the guts of her.
To call Ariana Reines’ poetry scatological doesn’t even scratch the surface. “I COULD BE A DIAPER FOR THE DAY’S RESIDUALS,” she writes, and, “She clasped the event to her and proceeded. Fucked her steaming/ eyehole and ended it.” The Cow is a body in the way that texts are bodied—”Are you so intelligent your body doesn’t have you in it.”—but not in the way that allows the text to become desensitized, depersonalized, sterilized.
Winner of the 2006 Alberta Prize
An Expert Array of Talks & Essays by One of Our Greatest Living Poets.
One of our greatest living poets, Alice Notley, the author of more than 40 books of poetry, has delivered an expert array of talks and essays over the last three decades.
The publication offers a significant contribution to literature, reimagining the possibilities of writing in our time and the complicated business of how and why writers devote their lives to their craft. Whether she is writing about other poets—Ed Dorn, Allen Ginsberg, Homer, bpNichol, Douglas Oliver, or William Carlos Williams—noir fiction, the First Gulf War, dreams and what they're for, or giving us insight into her own work, Notley's observations are original, sobering, and always memorable. This collection often eschews the typical style of essay or lecture, resisting any categorization, and is consciously disobedient to academic structures in form. The results are thrilling new modes of thinking that may change the ways we read and write.
published commonly, no no no expounds an experimental poetic offering, both text & art.
each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.
celestial in nature, no no no takes the form required, and necessary.
For thirty-five years American poet Nathaniel Mackey has been writing a long poem of fugitive making like no other: two elegiac, intertwined serial poems—"Song of the Andoumboulou" and " Mu—that follow a mysterious, migrant "we" through the rhythms and currents of the world with lyrical virtuosity and impassioned expectancy. In a note to this astonishing box set of new work, Mackey writes:
"I turned sixty-five within a couple of months of beginning to write Double Trio and I was within a couple of months of turning seventy-one when I finished it.... It was a period of distress and precarity inside and outside both. During this period, a certain disposition or dispensation came upon me that I would characterize or sum up with the words all day music. It was a period during which I wanted never not to be thinking between poetry and music, poetry and the daily or the everyday, the everyday and the alter-everyday. Philosophically and technically, the work meant to be always pertaining to the relation of parts to one another and of parts to an evolving whole."
Structured in part after the last three movements of John Coltrane's Meditations — "Love," "Consequence," and "Serenity"— Double Trio stretches the explorations and improvisations of free jazz into unprecedented poetic territory.
Nathaniel Mackey was born in Miami, Florida in 1947. He is the author of several books of poetry, fiction, and criticism, and has received many awards for his work, including the National Book Award in poetry for Splay Anthem, the Stephen Henderson Award from the African American Literature and Culture Society, and the Bollingen Prize from the Beinecke Library at Yale University. Mackey is the Reynolds Price Professor of English at Duke University, and edits the literary journal Hambone.
Published April 2021.
Nasleep neemt de protesten rondom het Gezi Park in 2013 als vertrekpunt en verkent gaandeweg wat er is overgebleven van dit historische moment waarin een andere wereld voor het grijpen leek. Het zijn gedichten die laveren tussen ritmische, conceptuele en kritische noise enerzijds en postrevolutionaire affecten anderzijds, tussen politisering enerzijds en onmacht en radeloosheid anderzijds.