No Sleep

À travers ses trajets quotidiens dans les transports parisiens, Maxime décrit ses aventures homosexuelles réelles et fantasmées. On découvre dans ses poèmes ses désirs de vengeance contre la bourgeoisie, la famille, ses explorations diurnes en manif et nocturnes dans les clubs. Maxime écrit un journal en poèmes de ses déambulations urbaines dans lesquelles il explore les recoins de ses désirs. Ses projections romantiques et ses rêves politiques à la périphérie des villes, des normes nous font imaginer une révolution jouissive. L’ouvrage couple deux recueils de Maxime Vignaud, placés tête-bêche dans le livre, comme deux revers d’une même pièce, ou comme deux corps qui dorment en cuillère.

Comeback Death, Jennifer Soong's third book, weaves its registers of what Soong names as "dread, gender, sarcasm, sublimation of pain, fruit, ambition, and fecundity" through an English which is not only polyvocal but uncannily porous. Its languages (English, Russian, German, ancient Greek) underscore a perverse pastoral range that somehow bridges Oxford, New Jersey, and Lesbos. With a ferocity both musical and analytic, Soong's third book offers an unprecedented set of tonalities for immense architectures of feeling.

"In Comeback Death, Jennifer Soong dramatizes one of the key problems of our time, and indeed any time, which is how to reorganize the (negative) affects structuring intersubjectivity and thus conditioning our capacity to act in a common interest among others."—Thom Donovan

chop is a collection of poems that center on the life and work of proto-feminist and civil rights activist, Fannie Lou Hamer.

A Mississippi native, Treasure Shields Redmond is a poet, speaker, diversity and inclusion coach, and social justice educator. In 2016 she founded her company, Feminine Pronoun Consultants, LLC. Even though Treasure is completing a PhD in English Literature and Criticism, is a published writer, gifted veteran educator, and has spoken on stages all over the U.S. and in Europe, she uses her humble beginnings in the federal housing projects in Meridian, Mississippi to fuel her passion for helping college-bound families navigate college admissions painlessly and pro tably, and o ering perceptive leaders creative diversity and inclusion facilitation. Additional information on her poetry, writing, and multidimensional practice are available at: www.FemininePronoun.com.

Drawing on the history of “romance” as the troubadours knew it and the titular flower’s ancient allegories for sexuality and mystery, Reines plunges into feminine archetypes to explore masculine pain: “I have always liked helpless / & terrible men because they break my mind.” In these poems, inherited ideologies of gender performance are replaced with bold vulnerability: paradoxes of power and surrender transmute the speaker’s understanding of suffering, desire, and the soul.

The voice in The Rose is wry and bare, approaching the connection between erotic love and spirituality with humor. Investigating war, maternity, violent sensuality, and the role of language in magical acts, Reines is unafraid to uncover the “secret / & terrible shovelings / Of love,” and the result is a bloody and pulsing, sexy and unabashed bloom.

Permanent Volta is a book of poems about constraint and debt, as much as it is about excess, credit, loving luxury, and hating work. These are love poems about how queer intimacies invent political and poetic forms, how gender deviance imagines post-sovereign presents and futures.

Taking cues from Rosa Luxemburg's birdsongs and the syntax of invasive flowers, these poems strive to love lack. If history sees writers as tops and muses as bottoms, these poems are motivated by refusal, inversion, and evading representation. In Permanent Volta, the muses demand wages, and then they demand the world. Full of bad grammar, strange sonnets, and truncated sestinas, these poems are melancholy and militant, lazy and anti-state, greedy and collective.

Permanent Volta is for anyone motivated by the homoerotic and intimate etymology of comrade: one who shares the same room.