Books

This book has been self-published for Latvian artist and poet Jelena Glazova's solo exhibition “Person with the last name Universe” at Riga contemporary art space (July - August 2026).  The exhibition is the artist’s act of feminist guerrilla resistance within the symbolic territory of contemporary phallocracy. The source and central figure of the post-gender universe conjured by Glazova is the Person with the last name Universe, whose creative strategy the artist unpretentiously calls Glazovism. 

Jelena Glazova (Belgium/Latvia) is a poet and multimedia artist who combines visual elements, experimental sound, installation and poetic text in her projects. As an artist, she has participated in international festivals and projects in Latvia, Estonia, Lithuania, Sweden, Austria, Belgium, Germany, the Netherlands, Turkey and other countries. Among the most notable exhibitions are "Identification of a Woman" at the Latvian Museum of Photography (2010) and "Elements of a Puzzle" at the Latvian Centre for Contemporary Art (2011). She is the author of four poetry collections. Glazova's poetry has been translated into 12 languages. Since 2012, she has given more than 200 performances in 18 countries. She is the co-founder of two poetry festivals in Riga: "Blood of a Poet" (2014–2016) and "Poetry without Borders" (2017–2022). https://www.jelena-glazova.com/

History and literature seem to be losing ground to the brave new world of electronic media and technology, and battle lines are being drawn between the humanities and technology, the first world and the third world, women and men. Narrator Mira Enketei erases those boundaries in her punning monologue, blurring the texts of Herodotus with the callers to a talk-radio program, and blending contemporary history with ancient: fairy-tale and literal/invented people (the kidnappers of capitalism, a girl-warrior from Somalia, a pop singer, a political writer), connected by an elaborate mock-genealogy stretching back to the Greek gods, move in and out of each other's stories. The narrator sometimes sees herself as Cassandra, condemned by Apollo to prophesy but never to be believed, enslaved by Agamemnon after the fall of Troy. Brooke-Rose amalgamates ancient literature with modern crises to produce a powerful novel about the future of culture.

Christine Frances Evelyn Brooke-Rose was a British writer and literary critic, known principally for her later, experimental novels. 

Some ruins are invisible. 

Under the pavements of Paris there lies buried an ancient river, the Bièvre. For years, Lucy Frost has walked along these streets, unaware of the water and history under her feet, on her way to clean the apartments of Paris’s academic class. As she begins to study and transcribe the inherited notebooks and papers of her great-aunt, a teacher and researcher who disappeared years earlier, she commits to continuing her aunt’s youthful research on the Bièvre, mining the river’s documentary traces in the works of Rousseau, Rabelais, Hugo, Chateaubriand, and the like. She uncovers a history of industry: paper mills, dyeing workshops, tanneries, and textile manufacturers – and laundries. 

She finds resonances of her own labour in the history of the river’s laundresses. On stolen time at work, and in her insomniac hours of nightwriting, she fills notebooks with these woven stories and descriptions of obsolete sites, textiles, cosmologies, and voices, constructing her own forms of relation with the lost.

Riverwork unearths not just an urban river but also a philosophy of research and the archive, a politics of hydrology, an ontology of ageing and belatedness, and a consideration of the unrepresented labour of women, past and present. Along the way it brings to life, in pyrotechnic prose, a long-gone Paris and both its domestic workers and its writers.

Adorno’s Noise is a collection of experimental, poetic, and conceptual essays. Adorno’s Noise takes a stunning plunge into a kaleidoscopic world of globalization, female sexuality, the place of art and artist, and the looming power of the state. Phrases from Theodor Adorno’s aphoristic philosophical text, Minima Moralia, serve as catalysts for an explosion of thought and language that quickly breaks Adorno’s orbit.

“This work by Carla Harryman, startlingly astute, once again proves how necessary an encounter with her writing has become for us today. Her grasp of theoretical and poetic exigencies is unbypassable, and she moves lightly, lifting the prose poem into the amplitude of a new articulation.” — AVITAL RONELL

“Adorno’s ‘noise’ may be nothing more than the consonance of late modern capital talking to itself, but Carla Harryman listens to Adorno listening, and what she hears is a very different sort of dissonance, something Adorno himself may have been deaf to. Listening for a noise that can’t be heard, Harryman attends to the disruption of signal the aesthetic artifact called a corpse at the limit of Adorno’s magisterial eloquence, where thought steps over the body. Atonally faithful to his negativity the afterglow of torment passing through figures of speech while refusing the authority of a masterful dialectic, Harryman makes our unthought horizon “normality is death” audible, presencing a body that can’t be redeemed by aesthetics the bosy wants tobe art and fails at it. From Gender the Status of Dogs to works by Sun Ra, Anais Nin, Robert Smithson, and Kenzaburo Oe, this radically asynthetic writing moves thru polyphonic configuration of word, image and concept. Synthesia? Emotional truth? The intersection between abstraction and narration? Practicing a militant ethic of non-mastery as every one of its sentences sounds like a sensory organ in the process of becoming its own theoretician. Adorno’s Noise reinvents the “essay as form,” but it doesn’t stop short of reinventing thinking.” — ROB HALPERN

Carla Harryman is the author of twenty-four books of poetry, prose, plays, and essays. Harryman is widely acknowledged as an innovator in poetry, prose, and inter-disciplinary performance. An active collaborator, she is one of ten co-authors of The Grand Piano, an Experiment in Collective Autobiography: San Francisco, 1975-1980 (2006-2010). Open Box, a CD of music and spoken text performance created with composer and musician Jon Raskin was released on the Tzadik label in 2012. Her Poets Theater plays and music/text collaborations have been performed nationally and internationally, including at dOCUMENTA 13, where she presented the closing keynote performance Occupying Theodor W. Adorno’s “Music and New Music,” a music/text work that folds segments of Adorno’s Noise into her poetic adaptation of Adorno’s lecture. She is the editor of two critical volumes: Non/Narrative, a special issue of the Journal of Narrative Theory ( 2012) and Lust for Life: On the Writings of Kathy Acker (with Avital Ronell and Amy Scholder, Verso, 2006).

Other books by Carla Harryman include the collection of poetry and performance writings published in French and English editions Sue in Berlin and Sue á Berlin (2017); A Voice to Perform (Split/Level 2020); the epistolary essay, Artifact of Hope (2017); the diptych W—/M— (2013), Gardener of Stars: A Novel (2001), and two volumes of selected writing: Animal Instincts: Prose, Plays, Essays (1989) and There Never Was a Rose without a Thorn (1995). Her grants and awards include The Foundation of Contemporary Art, New York, Opera America Next Stage (with Erling Wold), and The Ronald W. Collins Distinguished Faculty in Creative Activity Award from Eastern Michigan University, where she serves on the faculty of an interdisciplinary creative writing program.

American poet Norman H. Pritchard's second and final book, EECCHHOOEESS was originally published in 1971 by New York University Press. Pritchard's writing is visually and typographically unconventional. His methodical arrangements of letters and words disrupt optical flows and lexical cohesion, modulating the speeds of reading and looking by splitting, spacing and splicing linguistic objects. His manipulation of text and codex resembles that of concrete poetry and conceptual writing, traditions from which literary history has mostly excluded him. Pritchard also worked with sound, and his dynamic readings—documented, among few other places, on the album New Jazz Poets (Folkways Records, 1967)—make themselves heard on the page.

EECCHHOOEESS exemplifies Pritchard's formal and conceptual sensibilities, and provides an entryway into the work of a poet whose scant writings have only recently achieved wider recognition. DABA's publication of EECCHHOOEESS is unabridged and closely reproduces the design of the original 1971 volume.  

Norman H. Pritchard (1939-96) was affiliated with the Umbra group, a predecessor to the Black Arts Movement. He taught writing at the New School for Social Research and published two books: The Matrix: Poems 1960-1970 (Doubleday, 1970) and EECCHHOOEESS (New York University Press, 1971). His work was anthologized in publications including The New Black Poetry (1969), In a Time of Revolution: Poems from Our Third World (1969), Dices or Black Bones: Black Voices of the Seventies (1970), Ishmael Reed's 19 Necromancers from Now (1970), Text-Sound Texts (1980) and others.

The fourth issue of the annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales, around the topic of voice.

The voice is everywhere, infiltrating everything, making civilisation, marking out territories with infinite borders, spreading from the farthest reaches to the most intimate spaces. It can be neither reduced nor summarised. And accordingly, when taken as a theme, the voice is inexhaustible, even when seen in the light of its very particular relation with the sonic or the musical, as is the case in most of the texts collected in this volume. There is no point therefore in trying to circumscribe or amalgamate the multiple avatars of the voice. We must rather try to apprehend what the voice can do, to envisage its landscape, its potential effects.
 
Spectres is an annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales.

Edited by François J. Bonnet and Bartolomé Sanson.

Contributions by Joan La Barbara, Sarah Hennies, Peter Szendy, Youmna Saba, Lee Gamble, Ghédalia Tazartès, David Grubbs, Stine Janvin, Pierre Schaeffer, Akira Sakata, Haela Ravenna Hunt-Hendrix, Yannick Guédon, François J. Bonnet, John Giorno.

While presented as a contiguous work, the book is formed of different essays that have been dissected, recomposed with artificial connective tissue. The result lies somewhere between the rhizomatic continuity of a Body-without-Organs, and the disjointed assemblage of roadkill; either way, the question of where to even begin remains the same. 

These essays each grow out of a particular resentment that developed through years of experience as a working-student of biology, but the task of the book was to transform this into something productive, something that sticks granular propositions into Biology like acupuncture needles. Inherent sexism within Biological research is, after all, not entirely disconnected to Pharmaceutical giants flooding the streets with opiates—and it is simply a writer’s hope that some well positioned words can remind enough people of how its all connected. 

In what could be perceived as a philosophical turn, the importance of talking about science, as much as doing it, is re-entering the popular scientific consciousness, and it is high time, too. What was already getting bad under Biden, became catastrophic under Trump, and the infiltration into public research by private institutions and capitalist enterprises, which this book highlights, is proving dire. The capitalisation of all things bio, whether -yoghurt, -metric data or -logical institutions, is necrotic—MeltdownYourBooks didn’t flinch, they just grabbed the scalpel, dowsed the flesh in ethanol, and asked the question we all forget needs answering: where first, Doc? 

Meltdown Your Books (M.Y.B.), the pen name, was made as a portmanteau of the seminal essay Meltdown by Nick Land, and the landmark film Throw Away Your Books, Rally in the Streets by Shuji Terayama. I chose the name, almost 3 years ago now, to reflect the political and digital black hole I saw hovering at the edge of contemporary media experience, and to present my work without the muddy veneer of personal identity. It has remained, since its inception, an anonymous project in only the loosest terms. The dedicated could always find my real identity, and some have, and so its anonymous character existed primarily as an element of presentation. Its anonymity existed to emphasize its deindividuated character. The things I discuss and emphasize under the M.Y.B. label are not items with definitive characteristics, they are collective experiences. M.Y.B. is something I cherish beyond self.

THE MOON IS READING US A BOOK is the debut collection of poetry from a writer who displays a wide-ranging palette for storytelling and folklore in a suite of narrative poems. The collection is built around an ensemble of characters that range from known to unknown, through which Serubiri crafts visually-inspired poems that combine the photographic, the intensely personal, and the scholarly. In his book, he manages to domesticate larger-than-life figures, including Zanzibari-born singer-songwriter Freddie Mercury and Nigerian-born photographer Rotimi Fani Kayode. Simultaneously pondered and elastic, Serubiri’s poetry lures these figures – and the reader – into an atmosphere that is only as expansive as the interior landscapes he delineates with each succeeding poem. With this he expresses his own doubts and path, from memories of his native Uganda to New York City, through a psychology of decisions and life choices. 

Serubiri Moses is a Ugandan curator and author based in New York City. He currently serves as faculty in Art History at Hunter College and visiting faculty at the Center for Curatorial Studies, Bard College. He previously held positions at New York University and the New Centre for Research and Practice, and delivered lectures at Williams College, Yale University, University of Pittsburgh, The New School, basis voor aktuelle kunst, and University of the Arts Helsinki. As a curator, he has organized exhibitions at museums including MoMA PS1, New York; Kunst-Werke Institute for Contemporary Art, Berlin; and the Hessel Museum, Bard College, NY. He previously held a research fellowship at the University of Bayreuth; received his MA in Curatorial Studies at Bard College; and is an alumni of the Àsìkò International Art Programme. He serves on the editorial team of e-flux journal. He has published poetry in the online journals Jalada and Badilisha Poetry Exchange, as well as in print in journals Kwani? 7, Kwani? 8, and READ: A Journal of Inter-Translation (2022). His poetry has been reviewed online in The New Inquiry. THE MOON IS READING US A BOOK is his first book of poetry. 

Publishing a selection of her radiophonic essays here for the first time, I Speak Radio reflects Anne Bromley's collaborative radio practice.

Since 2010, Anna Bromley has been inviting artists, activists and cultural researchers into the radio studio to explore language and voice together, in the context of sound, politics and everyday life. What began as an artists' radio research format has developed over the years into a series of exhibition pieces focusing on radio and its visible and invisible transmission bodies.
Publishing a selection of her radiophonic essays here for the first time, I Speak Radio reflects Bromley's collaborative radio practice. The publication also provides insight into the corresponding exhibition formats of these projects, including cooperations with a large number of artists, activists, radio makers and theorists. An index of images and texts on Bromley's other artistic works is inserted into the book.
I Speak Radio opens with Bromley's eponymous multimedia essay on the feminist appropriation of early radio technology in the 1920s. A Voice Exists in Voicing, the series of radio essays and sonic portraits with which Bromley opened the Manifesta Radio in Prishtina in the summer of 2022, comprises the core of the book. The accompanying visual element to this section is a series of drawings by Michael Fesca. Contextualizing texts by Catherine Nichols and Hedwig Fijen provide an introduction to A Voice Exists in Voicing. Finally, Bromley talks to media activist Diana McCarty about the politics of persistent radio voices and considers critical perspectives on radio as a medium within art exhibitions.

The reader series Scriptings: Political Scenarios publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.

Contributions by Anna Bromley, Diana McCarty, Hedwig Fijen, Catherine Nichols, Tetsuo Kogawa, Alla Mitrofanova, JD Zazie.

In 1911, Sigmund Freud addressed his followers gathered at Nuremberg, where he restated the import of his practice: “the task of psychoanalysis lies not at all in the discovering of complexes, but in the dissolving of resistances.” A formal antipode to political resistance, psychoanalytic resistance dams up desire and obstructs traumatic knowledge. It is conservative, allergic to change, and aims for the kind of frictionless normativity against which the unconscious drives rail. Meanwhile, we associate political resistance with change itself, with a blockade that pushes for revolution—rather than a blockage that censors its very possibility. If we read Freud as urging his followers to help their patients move through their resistance, psychoanalysis is a project on the side of material and political reality by bringing patients out of isolation and into social struggles. However, psychoanalysis is often glossed in reverse: as a project of isolated relief for the stubborn individual.

Should psychoanalysis only succeed at rendering patients compliant in their cure? Is psychoanalysis a tool for nullifying political resistance? If so, Freud’s edict for the aim of psychoanalysis is now but an epitaph. It would be easy, then, to give up the ghost, to let psychoanalysis go. But why should psychoanalysis retreat from collective symptoms back into the consulting room for individual treatment—away from strikes, riots, and uprisings, and toward complacency and normativity, if not quite literally marriage and babies? Why should the clinic not dare to be in and of the world?

Feeling restless. Hunger tactics. Laughing in the face of fascism. Breaking through. Diagnosing revolution. Madness in the Maghreb. Essays by Fady Joudah, Jamieson Webster, Dylan Saba, Yasmin El-Rifae, Ussama Makdisi, Mary Turfah, Hannah Proctor, and more.

In Memory of Joshua Clover (1962-2025).

From a never before seen manuscript of poems by Harlem Renaissance poet Helene Johnson to a treasure trove of Adrienne Rich's teaching materials from City College, this new series overturns all expectations. We have brought you facsimile reproductions and variorum editions, notes, storyboards, memos, screenplays, letters and of course, poetry from all around America. Building cultural history from the ground up, Series IV provides a completely different vantage point from which to further explore our literary heritage. LOST & FOUND: THE CUNY POETICS DOCUMENT INITIATIVE SERIES IV consists of eight beautifully printed chapbooks (600 pages in all), featuring rare and unpublished texts, including late work by Harlem Renaissance poet Helene Johnson, Adrienne Rich's teaching materials, a newly discovered film script by Edward Dorn, the formative correspondence of Pauline Kael & Robert Duncan, and a facsimile reproduction of Vincent Ferrini's 1946 Tidal Wave: Poems of the Great Strikes.

SERIES IV includes:

Edward Dorn: Abilene! Abilene! (Parts I & II) (ed. Kyle Waugh)

Vincent Ferrini: Before Gloucester (eds. Ammiel Alcalay & Kate Tarlow Morgan)

Helene Johnson: After the Harlem Renaissance (ed. Emily Rosamond Claman)

Pauline Kael & Robert Duncan: Selected Letters 1945-1946 (PARTS I & II) (ed. Bradley Lubin)

Adrienne Rich: Teaching at CUNY, 1968-1974 (Parts I & II) (eds. Iemanjá Brown, Stefania Heim, erica kaufman, Kristin Moriah, Conor Tomás Reed, Talia Shalev & Wendy Tronrud)

Here the mirror image of the almost hallucinatory, heart-rending loss of the familiar is literary defamiliarization. Arsanios both mourns and blasts apart the notion of the mother tongue, reminding us that for each “mother tongue” at least another tongue is silenced. Desire propels her genre-defying writing, which grief notwithstanding still manages to tongue languages, and that is her genius. — Mónica de la Torre

Mirene Arsanios is the author of the short story collection The City Outside the Sentence (Ashkal Alwan). She has contributed essays and short stories to e-flux journal, Vida, The Brooklyn Rail, The Rumpus, and Guernica, among others. Arsanios co-founded the collective 98weeks Research Project in Beirut and is the founding editor of Makhzin, a bilingual English/Arabic magazine for innovative writing. She teaches at Pratt Institute and holds an MFA in Writing from the Milton Avery Graduate School for the Arts at Bard College. Arsanios currently lives in New York where she was a 2016 LMCC Workspace fellow, and an ART OMI resident in fall 2017. With Rachel Valinsky, she coordinated the Friday night reading series at the Poetry Project from 2017–19.

First launched in 2012, and published by mfc michèle didier (micheledidier.com), == is a small-run arts publication, edited by Matt Keegan. ==#2, 2015, is designed by Su Barber and published in an edition of 500 by Capricious Publishing. Barber and Keegan worked together on North Drive Press (northdrivepress.com) between 2005-2010, and this publication shares a variety of traits with NDP.

==#2 is a non-thematic arts publication contained in a box with a 96-page bound volume featuring artist-to-artist interviews, texts, and transcriptions. Six loose multiples are also included.

Contributors include: Sam Anderson, Uri Aran, Fia Backström, Darren Bader, Judith Barry, Stefania Bortolami, Daniel Bozhkov, Milano Chow, Anna Craycroft, Lucky DeBellevue, Cristina Delgado, Haytham El-Wardany, Jake Ewert, Vincent Fecteau, Corrine Fitzpatrick, Harrell Fletcher, Rachel Foullon, Aurélien Froment, Kenny Greenberg, Calla Henkel, Leslie Hewitt, Jaya Howey, Adelita Husni-Bey, Iman Issa, Ruba Katrib, Jill Magid, Jo Nigoghossian, Aaron Peck, Max Pitegoff, David Placek, Olivia Plender, Lisa Robertson, Andrew Russeth, Amy Sillman, Diane Simpson, Greg Parma Smith, Jessica Stockholder, Martine Syms, and Anicka Yi.

The new edition of Salinger's ever-relevant series of 1980s and '90s teenagers in their bedrooms. 

Bedrooms contain the past, the present and the future; they are sites of continual transformation. Popular culture and fashion continually change and recycle. While specific objects of decor change over time, teenagers' bedrooms are still private sanctuaries: spaces for safely experimenting during a time in life when one is forming and expressing ever-evolving identities.

Upon its release in 1995, Adrienne Salinger's book In My Room was an immediate success, selling nearly 24,000 copies in its first few years. The continued popularity of this work made in the '80s and '90s is curious. However, over the nearly 30 years since, and especially in the most recent decade of social media, the work's appeal has grown tremendously. In some cases, the work evokes nostalgia, but not primarily so. Adrienne Salinger hears from current teenagers often; many send her pictures of their bedrooms today. Social media encourages users to endlessly "rebrand" their identities, creating idealized fantasies, striving for perfection. These photographs are not about perfection. They give voice to the contradictions of our identities.

Hundreds of print and online articles, interviews and features on In My Room have been published and the work has been exhibited at museums all around the world. Long out of print and now considered a classic, with only a rare few available on the secondary market, the book returns in a new expanded edition as Teenagers in Their Bedrooms. With 26 additional photographs, this treasure is made available once more to new audiences.

Adrienne Salinger has published three photobooks: In My Room (1995), Living Solo (1999) and Middle Aged Men (2007). She is Regents Professor Emerita at the University of New Mexico.

In a time when looking into the past has become a socially unacceptable and illegal act in the Nation, a group of scholars are offered an attractive residency to allow them to pursue their projects. When the residency transpires to be a devastating trick, these Researchers go on the run, and soon discover that their projects all relate to one major event: the Isletese Disaster – the decline and subsequent devastation fifty years earlier of a long-forgotten roaming archipelago called The Islets.

One figure emerges as central to all of their work: Hester Heller, a reformed cult musiker turned student recruited from the Institute for Transmission as an agent of the state and tasked with gathering reconnaissance on the Disaster by using her old band Vehicle as a cover. Heller is the key to the Researchers collective story, which they try to piece together while evading their pursuers.

Compiled from the Researchers’ disparate documentation, recollections, and even their imaginations, Vehicle is a metafictional work of literary speculative fiction, and a timely and daring exploration of xenophobia, exploitation, the writing of histories and legacies, and the politics of translation.

Collectively authored by Louky Bersianik, Nicole Brossard, France Théoret, Gail Scott, Louise Cotnoir, Louise Dupré, Lisa Robertson, and Rachel Levitsky. Twenty-five years after its first French language publication, Theory, A Sunday (2013), a collaborative feminist poetics text, marks the first in Belladonna’s new Germinal Texts series. Written through Sunday meetings in Montreal, this volume gathers six women’s theoretical feminist texts, with a new introduction by Lisa Robertson and afterword by Gail Scott and Rachel Levitsky. Translators of this text include Erica Weitzman, Luise von Flotow, Popahna Brandes, and Nicole Peyrafitte.

Germinal Texts trace feminist avant-garde histories and the poetic lineages they produce. Focused on authors and texts that provide generative grounds for other writers and their work, Germinal Texts gesture to networks of affiliation, whether explicit or subterranean; to kinships and inheritances; to the unfolding of a text through its readership; and to always provisional origins without endings. Germinal Texts are works that gather dense histories and, for this reason, the series is designed to hold a space for critical discussion, with contextualizing front and back matter that launches new conversations.

Louky Bersianik (1930-2011) is the author of twelve books of poetry and prose. Essayist, novelist and poet, her much admired novel L’Eugélionne is considered Québec’s first feminist novel (translated by Howard Scott as The Eugélionne (1996). Her novel Permafrost, 1937-38, won the Governor General’s award in 1997. Louky was born in Montréal and studied at Université de Montréal, the Sorbonne, and Centre d’études de radio et de television.

Nicole Brossard was born in Montréal. Poet, novelist and essayist, she has published more than forty books. Her work has been influential on a generation of poets and feminists. Her work has been widely acknowledged and translated in many languages. Her most recent book, translated into English by Erin Mouré and Robert Majzels, is WHITE PIANO (Coach House Books, 2013). Nicole Brossard lives in Montréal.

Louise Cotnoir has published seventeen books of poetry, fiction and drama. She was twice nominated for the Governor General’s Award for Poetry, most recently for Les îles (2005). Dis-moi que j’imagine was a finalist for the prestigious Académie des lettres du Québec poetry prize (1996). She has participated in numerous conferences on women and writing, notably “Women and Words” (Vancouver, 1983), “L’écriture des femmes au Québec” (Sweden, 1992), “L’originalité de l’écriture au féminin au Québec” (New Jersey, 1995). She has contributed to or served on the editorial boards of Sorcières (Paris), Estuaire, Arcade, Tessera, Matrix, Moebius, Room of One’s Own, Ellipse, Trivia (USA), Silencíada Festada Palabra (Barcelona), El Ciervo (Barcelona) and Cahiers internationaux du symbolisme (Brussels). Her work has been translated into English, Spanish, Catalan, Finnish and Chinese. Her last collection of poetry, Les soeurs de, appeared with Éditions du Noroît (2011), with a stage adaptation in Ottawa (2012) and Montréal (2013). Les îles, translated by Oana Avasilichioaei, appeared as The Islands in 2011. She lives in Montréal.

Poet, novelist and essayist, Louise Dupré has published twenty books. Her work has received numerous awards and has been translated in various languages. She has collaborated with artists of visual arts, cinema, video and dance. Her play Tout comme elle was produced on stage and directed by Brigitte Haentjens in Montréal in 2006 and in Toronto in 2011, during the Luminato Festival. Plus haut que les flammes won the Governor General’s Award for poetry as well as the Grand Prix du Festival international de la poésie de Trois- Rivières in 2011. She is a member of the Académie des lettres du Québec and the Royal Society of Canada. She was professor of creative writing and women’s writing in Université du Québec à Montréal for twenty years.

Gail Scott’s fourth novel, THE OBITUARY (Nightboat Books, 2012), was a finalist for the 2011 Montréal Book of the Year (Grand prix du livre de Montréal). Scott’s other experimental novels include My Paris (Dalkey Archive), HEROINE (Talonbooks, 1999), and Main Brides. She has published collections of essays, stories, manifestos, and collaborations with Robert Glück et al BITING THE ERROR (Coach House Books, 2004), shortlisted for a Lambda award (2005). Scott’s translation of Michael Delisle’s Le Déasarroi du matelot was a finalist for the Canadian Governor General’s award in translation. The Canadian journal Open Letter devoted its autumn 2012 edition to Scott’s work. She lives, mostly, in Montréal and teaches Creative Writing at Université de Montréal.

France Théoret is a Montreal poet, novelist and essayist. She holds a doctorate in French studies from the University of Sherbrooke, and taught literary studies from 1968 to 1987. She was a member of the editorial board of the journal La Barre du jour from 1967 to 1969, and is the author of one of the monologues in the 1976 theatre piece La Nef des sorcières. In that same year she co-founded the feminist journal Les Têtes de pioche and in 1979, the cultural magazine Spirale, which she directed from 1981 to 1984. She has published over twenty books and been nominated for many prizes. Most of her work has been translated into English. Her poetry is available in Italian, Spanish, and Portuguese and has appeared in anthologies in Quebec and abroad. In 2012, she was awarded the Athanase-David Prix du Québec for her entire oeuvre. She lives in Montreal.

For so it happens that when the poets speak, objects appear closer to their own shadows. The poet's mouth fills up with horses and marble, and his verses start to shine like rivers. These rivers then turn back to flow through the very palace he is depicting. The poet's own words begin to weigh down on him, as though he were holding up a palace with his palms. Then he travels, and the palace is obliterated. Countries and nations change, and naught remains but what the poets had seen. Of what the poets had seen, naught remains but its image in anthologies. And when the libraries have been flooded or burned to the ground, nothing but the commentaries on those anthologies are left, and all that one finds in these commentaries is that which was appropriated and wrought a thousand times over. 

Hussein Nassereddine is a multidisciplinary artist. His work in installation, writing, video and performance originates from a practice around language that builds fragile monuments - some verbal, some sonic, some tactile - rooted in collective histories and resources of poetry, ruins, construction and image-making.

Translated from Arabic by Ben Koerber.

During a residency on Fire Island, artist and writer Hannah Black decided to tackle a highly daunting project: the 2020 novel.

The result of her efforts, Tuesday of September or the End, is a slim, playful work of speculative fiction. Written in the aftermath of the early months of the pandemic and the uprisings of summer 2020, the novel explores the ruptures of the year with a satirical sci-fi bent. Black chronicles the lives of two characters, Bird and Dog, as they contend with rapidly changing political possibilities during the pandemic while the run of Moley Salamanders (i.e. Bernie Sanders) concludes and aliens finally invade earth. Through a galvanic vision of how the riots of 2020 might have turned revolutionary, Black offers a meditation on collective life. This crucial novel invites readers to consider who we are—and, by extension, what we are here for—when our normal referents are muted, deleted and upended.

Hannah Black (born 1981) is a New York-based visual artist, critic and writer from Manchester, England. Her work spans video, text and performance and draws from communist, feminist and Afro-pessimist theory. She is the author of Life (2017, with Juliana Huxtable) and Dark Pool Party (2016). Black is represented by the gallery Arcadia Missa in London and Isabella Bortolozzi in Berlin.

La Gentrification des esprits est un retour captivant sur la crise du sida et l’activisme d’ACT UP dans le New York des années 1980 et 1990. Sarah Schulman, elle-même new-yorkaise et militante de la cause LGBT, se souvient de la disparition du centre-ville, pratiquement du jour au lendemain, de la culture rebelle queer, des loyers à bas coût et du prolifique mouvement artistique qui se développait au coeur de Manhattan, remplacés par des porte-parole gays conservateurs, ainsi que par le consumérisme de masse.

Elle décrit avec précision et engagement le « remplacement d’une communauté par une autre » et le processus de gentrification qui toucha ces quartiers concomitamment à la crise du sida. Sarah Schulman fait revivre pour nous le Lower East Side qu’elle a connu. Elle ravive autant le souvenir de ses ami•e•s de l’avant-garde queer que celui de l’ombre inquiétante des premières années de la crise du sida, telles que vécues par une militante. Les souvenirs personnels s’entremêlent à une analyse percutante des deux phénomènes, et du poids invisible qu’ils font aujourd’hui peser sur la société américaine.

L’auteure rend compte de son expérience en tant que témoin de la « perte de l’imagination » de toute une génération, et des conséquences entraînées par cette perte.

In this interview, Palestine solidarity activists form the Chinese diaspora speak with Iranian activists in exile about the uprising that took place in Iran in January 2026, comparing notes about resistance to various forms of authoritarianism.

« On ne bombardera jamais ma voix » est un recueil de poèmes écrits depuis le génocide en cours à Gaza. Yahya AL Hamarna y documente les brutalités de la guerre ainsi que les rituels fragiles de la vie quotidienne : étudier, se promener dans le parc, lire de la poésie, préparer du thé, pleurer, survivre. De l’intimité exiguë des tentes de déplacés à la sérénité imaginaire des cours universitaires et des matchs du Réal Madrid, AL Hamarna élabore une poétique de la survie : une poétique qui refuse le désespoir et insiste sur la dignité invincible du peuple palestinien. 

Préface : Elissa Kayal
Postface : Alycia Dufour

Biography of a Fiction collects poems written between 2020 to 2025. These poems were written in a diaristic way, mostly in short form, while working on larger pieces, some of which also collected here or elsewhere. What started, seemingly, as notes on reproductive desire, gender, and sexuality soon matured into a meditation on the role of fiction in the exercise of writing (and idealizing) a biography, including the thorny aspect of artistic license and the uses of one’s own life and of others.

A post-apocalyptic retelling of William Shakespeare's The Merchant of Venice.

Who will survive when the world is destroyed? Can stories from the distant past teach us how to change a dismal present? Merchant shifts perspective between three survivors of a flooded world as they try to navigate the threat of mass starvation; Jessica, a patrilineal Jew from Venice (named after the Italian city but located on the mountain K2) who has memorized the complete works of Shakespeare; Cem, an orphan of Venice; and Shinobu, an advisor to the empress Ama in Fuji. Ama has been gifting edible algae blocks to nations worldwide, but Jessica's arrival in Fuji to beg for more food for Venice upsets the delicate international balance Shinobu has been maintaining. As a series of buried secrets and miscommunications carry consequences of potential global destruction, everyone must determine what they are willing to do to survive in a hopeless world.

Alexandra Grunberg attended New York University's Tisch School of the Arts earning a BFA in Theatre. She earned her MLitt and DFA in Creative Writing at The University of Glasgow. Grunberg presented her research at various academic conferences in the UK, including “Once and Future Fantasies” at the University of Glasgow, “CRSF 2021 10th Anniversary Conference—Speculative Futures & Survival” by the University of Liverpool, “Beast Modernisms Conference 2019” at The University of Glasgow, “Creative Writing: Processes, Theory, and Influences” at The University of Edinburgh, and “The Literary Self: From Antiquity to the Digital Age” at The University of Edinburgh.

Many bulbous plants have been dubbed ‘heralds of spring’, but none is more deserving of the title than those carrying actual megaphones to spread the word – daffodils. To know a daffodil is to love a daffodil. Come join our cult.

Including:
I Like the Daffodils – An introduction by Lou-Lou van Staaveren to the genus Narcissus, with amazing photographs by Elspeth Diederix from her garden.
Dafs in Art History – Painters, poets and writers all over the world, have been inspired by the daffodils’ dual aura of macabre and threatening elegance.
The Daffodil Society – The members of The Daffodil Society in the UK promote the genus Narcissus for everyone’s greater pleasure. Photographer Luke Stephenson followed them to various shows where their flowers are reviewed.
How to follow your nose – Philosopher Christopher F. Julien invites us into his fragrant garden where scent mixes with memories with drawings by Pom Koolen.
Artist Tina Farifteh digs into her personal archive and writes a beautiful account of her memories growing up in Iran, and how daffodils have become a staple for New Year’s celebrations and a symbol of hope.

Cover and inside cover by Lou Buche
Centrefold miniatures by Jesse Fischer