Loudermilk

Spells are poems; poetry is spelling.

Spell-poems take us into a realm where words can influence the universe.

Spells brings together over forty contemporary voices exploring the territory where justice, selfhood and the imagination meet the transformative power of the occult. These poems unmake the world around them, so that it might be remade anew.

Kaveh Akbar, Rachael Allen, Nuar Alsadir, Khairani Barokka, Emily Berry, A.K. Blakemore, Jen Calleja, Anthony V. Capildeo, Elinor Cleghorn, CAConrad, Nia Davies, Paige Emery, Livia Franchini, Alexis Pauline Gumbs, Will Harris, Caspar Heinemann, Lucy Ives, Rebecca May Johnson, Bhanu Kapil, Amy Key, Daisy Lafarge, Dorothea Lasky, Francesca Lisette, Canisia Lubrin, Karen McCarthy Woolf, Lucy Mercer, Hoa Nguyen, Precious Okoyomon, Rebecca Perry, Nat Raha, Nisha Ramayya, Ariana Reines, Sophie Robinson, Erica Scourti, Sarah Shin, Himali Singh Soin, Tai Shani, Rebecca Tamás, Bones Tan Jones, Dolly Turing, Jane Yeh, Flora Yin Wong

Introduced by So Mayer
Afterword by Sarah Shin

Glaring: a sustained look of anger, an obvious fact, a situation of such brightness and intensity that vision is obscured. In his debut book of poems, Benjamin Krusling is concerned with reading domination and violence and entering their psychotic motion, the better to do otherwise. Through the thicket of anti-blackness, militarism, surveillance, impoverishment, and interpersonal abuse and violence, Glaring investigates the things that haunt daily life and make love difficult, possible, necessary.

Benjamin Krusling's Glaring is the winner of our 2019 Open Reading Period, and was selected by guest judge Lucy Ives.

I travel far across the city, cut it knowingly, concealing behind me the entrances to tunnels, altering the signage. I traverse the grimiest bowels, skirt the farthest wettest edges like a silverfish active only in the hallucinatory hours, to avoid becoming known, to avoid any collusion between my body and theirs, its. 

Under the neon sky of a sick city, which might be London, a nameless governess oscillates between lucidity and dissociation, solitude and communication, wage labour and escape attempts. A wild and unreliable narrator-without-character—ardent, delirious, complicit, vengeful, and paranoid—she embodies a perverse and chaotic resistance. Simultaneously demonic and angelic, both maniacal and generous in her fury, accidentally elegant, tongue tied and barbed, she veers towards defiance as devotion. An anti-Bildungsroman in the collapsing first person, Yes, I Am A Destroyer is an unbecoming record of memory and forgetting, of a relentless undoing. 

‘Any girl who learns how to read is already a lost girl, wrote the infamous confessionalist Rousseau. But if that lost girl, with insatiable pronoun, bastard spawn perhaps of the exiled Genevan, palmed a pen and confessed—how would that read? What can she know? With relentless intelligence and urgent prosody, Mira Mattar shows us. She invents a narrator in the raging anti-tradition of Violette Leduc and Albertine Sarrazin, leaps beyond the cloying contract of capital with the feminine, of intimacy with violence, to animate a lush document of the refusal of subjection. Much like the young Jean-Jacques, she’s a tutor underpaid for her sensitivity. She is, like him, a thief of small things, a sponge for the edifying comportments of the employing class. What she makes of her servitude—a fabulously grotesque encyclopedia of sensing—is dedicated to female anger. Scrubbing, washing, chewing, frigging, barfing, stealing, moisturising, shitting: every surface, every gesture, is appropriated to her bodily resistance.  ‘Live anyway’ is her stoic motto. This glorious tract ends with a call for the anarchical vigour of the animal body we share. Read it and flourish. You will perhaps be invoiced.’ 
–> Lisa Robertson 

Mira Mattar writes fiction and poetry. She is an independent researcher, editor, and tutor. A Palestinian/Jordanian born in the suburbs of London, she continues to live and work there. She has read and published her work widely. Yes, I Am A Destroyer is her first book.

The prequel to Love Me Tender, narrating Debré's transformation from affluent career woman to broke single lesbian and writer.

I see all her beauty, I see the beauty of women. I see my own body, new. I tell myself there are so many things that are possible.

First published in France in 2018, Playboy is the first volume of Constance Debré's renowned autobiographical trilogy that describes her decision, at age forty-three, to abandon her marriage, her legal career, and her bourgeois Parisian life to become a lesbian and a writer.

The novel unfolds in a series of short, sharp vignettes. The narrator's descriptions of her first female lovers—a married woman fifteen years older than her, a model ten years her junior—are punctuated by encounters with her ex-husband, her father, and her son.

As Debré recently told Granta: “It was a bit like Saint Augustine and his conversion. In the same week, I had sex with a girl and I had the feeling that I could write. I had this incredible feeling that I could catch things, that life was there to be caught.”

Looking at the world through fresh eyes, the narrator of Playboy questions everything that once lay beneath the surface of her well-managed life. Laconic, aggressive, and radically truthful, she examines gender and marriage, selfishness and sacrifice, money and family, even the privilege inherent in her downward mobility.

Writing her way toward her own liberation, Debré chronicles the process that made her one of the most brilliant, important French writers today.

Appearing for the first time in English, Deceit is the debut novel by Yuri Felsen, a leading modernist writer of the interwar Russian diaspora. Known by his contemporaries as ‘the Russian Proust’, Felsen died in the gas chambers at Auschwitz, his life and legacy destroyed by the Nazis.

Written in the form of diary, Deceit is a psychological self-portrait of an unnamed narrator, a neurasthenic and aspiring author, whose often-thwarted pursuits of his love interest and muse provide the grounds for his beautifully wrought extemporizations on love, art and human nature. Modulating between the paroxysms of his tormented romance and his quest for an aesthetic mode befitting of the novel he intends to write, Deceit is a remarkable work of introspective depth and psychoanalytic inquiry.

Quite unlike any other writer in the Russian canon, Felsen evokes in rich, poetic, idiosyncratic prose not only the Zeitgeist of interwar Europe and his émigré milieu, but also its psychology and the existential crisis of the age. What Nabokov achieves with images and the physical world, Felsen does with the emotional and metaphysical.

Translated by Bryan Karetnyk
With a Foreword by Peter Pomerantsev

With echoes of Shirley Hazzard and Virginia Woolf, a new novel of startling intelligence from prize–winning author Michelle de Kretser, following a woman looking back on her young adulthood, and grappling with the collision of her emotions and her values.

In the late 1980s, the narrator of Theory & Practice—a first generation immigrant from Sri Lanka who moved to Sydney in her childhood—sets up a life in Melbourne for graduate school. Jilted by a lover who cheats on her with another self-described "feminist," she is thrown into deeper confusion about her identity and the people around her.

The narrator begins to fall for a man named Kit, who is in a “deconstructed relationship” with a woman named Olivia. She struggles to square her feminism against her jealousy toward Olivia—and her anti-colonialism against her feelings about Virginia Woolf, whose work she is called to despite her racism.

What happens when our desires run contrary to our beliefs? What should we do when the failings of revered figures come to light? Who is shamed when the truth is told? In Theory & Practice, Michelle de Kretser offers a spellbinding meditation on the moral complexities that arise in this gap. Peopled with brilliantly drawn characters, the novel also stitches together fiction and essay, taking up Woolf’s quest for adventurous literary form.

This is a book of failure and mistakes; it begins with what is stolen from us and proposes only an invitation to imagine.

In these playful written experiments, Lola Olufemi navigates the space between what is and what could be. Weaving together fragmentary reflections in prose and poetry, this is an exploration of the possibility of living differently, grounded in black feminist scholarship and political organising.

Olufemi shows that the horizon is not an immaterial state we gesture toward. Instead, propelled by the motion of thinking against and beyond, we must invent the future now and never let go of the otherwise.

Lola Olufemi is a black feminist writer and CREAM/Stuart Hall Foundation researcher from London. Her work focuses on the uses of the feminist imagination and its relationship to futurity, political demands and imaginative-revolutionary potential. She is the author of Experiments in Imagining Otherwise and Feminism, Interrupted: Disrupting Power, the co-author of A FLY Girl’s Guide to University, and a member of ‘bare minimum’, an interdisciplinary anti-work arts collective.