Angst

In I presumed possession, my language, my loss, I begin in third person to write about what it means to lose a mother tongue, and about how that loss is never natural but engineered: by state assessments, border conditions, and a free market of articulation. I write about language as transaction—what you gain in the language of power at the cost of becoming inarticulate in the language of origin. I write about the monolingual paradigm as a political demand rather than a natural inheritance, about standardization as a form of border-drawing, and about the grief of hearing the people you love measured as insufficient. The text moves between the personal and the structural, between a grandmother forgetting and a language policy forbidding. It is about what we lose, and about what we have learned to accept as acceptable to lose.

Cecilie Fang is an anti-disciplinary artist and writer from China and Denmark, based in Amsterdam. Generated through writing, her process-oriented work unfolds across performance, publication, material micro-performativity, and installation.

13 poems of various length.

"I have used a procedure to write them and I am happy to share it, but it isn't what's most important about these poems. The subject matter that, I eventually realised, they share to the extent of justifying bundling them up in one pamphlet is religiosity, what stands between belief and act, be it faith or trust."

4 poèmes-affiches, format A3, impriméx en risographie au studio Colorama (Berlin), sur papiers variés, tirage à 150 exemplaires

«GASOLINE, Apocalypse 1998», «the category is: phone sex», «zona nudista», «(fête) sentimental-e-s» : étés d'apocalypse, émojis banane, cruising transocéanique, SMS en short, sales coeurs, baraques à frissons et grand-huit sentimental... ces poèmes courent toustes ~ à genoux, à nu ou en solex ~ après la question du désir, après l'amour aussi, avec une tendre obsession

Design graphique signé Auriane Preud’homme, Enz@ Le Garrec, Roxanne Maillet & Martha Salimbeni, avec des dessins de Gaëlle Loth

Ladies wear the blue is a collection of watercolour drawings by the hand of Melissa Mabesoone and Oshin Albrecht. The blue watercolours portray women from different moments in time. The adjacent texts describe these women's existence, roles, desires or ideosyncrasies deriving from the 'blue' in their lives. From the first female police officers and Alices all around, to Courtney Love's blue baby dolls and the girl with the blue tattoo Olive Oatman, this publication is an ode to women venturing into the world, and a way to continue telling their herstories.

Sharks Come Closer at Night explores the bond the photographer Lauranne Leunis formed with friends during a first experience far from home. It becomes an intimate reflection on the sacred space they created during their evening walks. In these moments, they found solace in one another while navigating the challenges of young adulthood and the complexities of femininity. The work aims to slow down time, capturing moments of vulnerability, freedom, and connection. Yet even in the stillness, the persistent sound of crashing waves and splashing water serves as a reminder that time is always moving.

All photographs are made on analogue black-and-white film, using various camera formats. This approach adds a raw, fleeting quality to the images, distinguishing them from more staged photographs.

Long out of print, The Close Chaplet is Laura Riding's first book, originally published in 1926. Riding deliberately ceased writing poems after 1940, when she came to see poetry as irrevocably flawed as a means of expression. These poems demonstrate Riding's early desire to depart from the close and well-tilled ground of traditional lyric poetry. According to her biographer, Elizabeth Friedman, many of the poems for THE CLOSE CHAPLET were brought in typescript from New York, a few were added in Egypt, and the entire text was carefully edited by Robert Graves.

In his introduction, Mark Jacobs writes that Riding was identifying herself with the pre-moment, the 'what-was-there' before Creation. How did the world, the universe, come to exist, why does it exist, why does it die, why do we? From these questions, Riding begins to develop a theory about the role of women as the origin of all human beings, the only animals with written language. This edition also includes Riding's essay A Prophecy or a Plea, a statement of her poetics initially published in 1926.

Laura Riding was a poet, novelist, short-story writer, essayist, and publisher. While primarily known for the critical works that she co-authored with Robert Graves — A Pamphlet Against Anthologies and A Survey of Modernist Poetry — Riding also left behind an incredibly powerful body of poetry and prose works that, regrettably, remain little read today. These include THE CLOSE CHAPLET (Ugly Duckling Press, 2020), EXPERTS ARE PUZZLED (Ugly Duckling Presse, 2018), CONVALESCENT CONVERSATIONS (Ugly Duckling Presse, 2018), The Lives of Wives, and The Progress of Stories. Famously rejecting poetry early in her career, she spent the last decades of her life co-writing a theoretical work on linguistics, Rational Meaning, with her husband Schuyler Jackson. She was awarded the Bollingen Prize in 1991, the very same year she died.

A collection of linked essays concerned with the life and mind of the writer by one of the most original voices in contemporary literature. Each essay takes a day as its point of inquiry, observing the body as it moves through time, architecture, and space, gradually demanding a new logic and level of consciousness from the narrator and reader.

"Renee Gladman has always struck me as being a dreamer—she writes that way and the dreaming seems to construct the architecture of the world unfolding before our reading eyes."
—Eileen Myles

WINNER of the 2017 Firecracker Award for Nonfiction from the Community of Literary Magazines and Presses (CLMP).

Renee Gladman is a writer and artist preoccupied with lines, crossings, thresholds, geographies, and syntaxes as they play out in the interstices of poetry and prose. She is the author of ten published works, including a cycle of novels about the city-state Ravicka and its inhabitants, the Ravickians; Calamities, a collection of linked essays on writing and experience, which won the 2017 Firecracker Award in Nonfiction; and a monograph of ink drawings, Prose Architectures. She lives in New England with poet-ceremonialist Danielle Vogel.

Pivot is an experimental, book-length poem exploring the profound act of "turning", with the Haitian Revolution as its cornerstone.

Pivot moves beyond historical narrative, scrutinizing this epochal event through its pivotal moments—critical junctures of rupture and radical reorientation. Mason Jordan masterfully employs repetition, metaphor, and other minimalist abstractions of language to delve into the visceral and conceptual mechanics of turning: a turning away from colonial subjugation, a turning towards new vocabularies of freedom, and the cyclical turning of memory. Through linguistic architectures and etymology, akin to the likes of Fred Moten, N. H. Pritchard, and M. NourbeSe Philip, Pivot examines international revolt, revolutionary fervor, and the development of Black Marxism(s) through a critical reflection on Haitian revolutionary history.