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Cover of Soviet Texts

Ugly Duckling Presse

Soviet Texts

Dmitri Alexandrovich Prigov

€25.00

Translated by Simon Schuchat and Ainsley Morse. With nearly 300 pages of prose and poetry, SOVIET TEXTS is the first representative selected volume of Prigov's poetry and experimental prose texts to appear in English. It includes short stories about amazing heroes of the revolution and after, and poetic sequences that expose literature, history, and culture to the stark light of a post-modern Gogolian laughter, some of which became cult-classics for his generation—such as the cycle "Image of Reagan in Soviet Literature." A selection of post-Soviet writings, concerned with human mortality and human sinfulness, is also included. While Prigov's writing is very definitely of the Soviet and post-Soviet world, it is consonant with contemporaneous avant-garde writing elsewhere.  

Dmitri Alexandrovich Prigov (1940-2007) was a leading writer of the late Soviet and early post-Soviet era. Almost until the collapse of the Soviet Union, his writing circulated solely in unofficial samizdat editions and overseas publications. He was briefly detained in a Soviet psychiatric hospital in 1986 but released after protests from establishment literary figures. A founder of Moscow Conceptualism, Prigov was a prolific writer, in all genres, as well as an accomplished visual artist. Described by some critics as Russia's ultimate post-modern trickster, Prigov mastered many personas all of which come together in what is finally an enigmatic, Warhol-esque artistic mask. Indeed, during the late Soviet period he mounted a critique of ideological culture in a similar manner to western Pop Art's engagement with consumer culture. His performative work lay the seeds for much contemporary Russian socially-engaged art, and Prigov directly encouraged and inspired the next generation of conceptual dissident artists, such as the well-known Voina (War) group and, later, Pussy Riot, who dedicated their intervention at the 2018 World Cup in Moscow to Prigov's memory. Prigov died in Moscow in 2007, at the age of 66; a lifespan longer than average for a Russian male of his generation. En route to a performance with the Voina group—for which he planned to read poems inside a wardrobe while being carried up the stairs of Moscow University—he collapsed in the subway after a heart attack.

Language: English

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Cover of Read Me: Selected Works

Ugly Duckling Presse

Read Me: Selected Works

Holly Melgard

Essays €20.00

Read Me gathers the tools necessary to make sense of contemporary problems so ubiquitous they seem too big to name. Spanning a multiplicity of genres, media, and tonal registers, this book surveys Holly Melgard’s formally experimental poetic works produced between 2008 and 2023, including sound poems, essays on poetics, and books that exploit print on demand to, for example, counterfeit money. In often wildly comic turns of thought, Melgard’s work cleaves personal agency from automated defaults by mapping trauma and technocracy from the inside out.

From critical talks to fictional monologues, the poet translates into language the unremarkable torments of neoliberalization in the digital age.

Cover of Notes on Conceptualisms

Ugly Duckling Presse

Notes on Conceptualisms

Vanessa Place, Robert Fitterman

Poetry €16.00

What is conceptual writing, how does it differ from Conceptual Art, what are some of the dominant forms of conceptualism,where does an impure or hybrid conceptualism fit in, what about the baroque, what about the prosody of procedure, what are the links between appropriation and conceptual writing, how does conceptual writing rely on a new way of reading, a “thinkership” that can shift the focus away from the text and onto the concept, what is the relationship between conceptual writing and technology or information culture, and why has this tendency taken hold in the poetry community now? What follows, then, is a collection of notes, aphorisms, quotes and inquiries on conceptual writing. We have co-authored this text through correspondence, shared reading interests, and similar explorations. Notes on Conceptualisms is far from a definitive text, and much closer to a primer, a purposefully incomplete starting place, where readers, hopefully, can enter so as to participate.

Cover of Dear Enheduanna,

Ugly Duckling Presse

Dear Enheduanna,

Erin Honeycutt

Erotica €14.00

Part prayer, part performance, part poetic treatise, Dear Enheduanna writes out to the high priestess and first known author then swallows whole the epistolary form. Pulp decay as publishing tactic. These are conjuring poems; poems coming after collaboration—entanglement as conceit, as kink, as communion pleasure tactic. Smuggle in a sexy mirror, smuggle in a double-headed dildo, smuggle in a sentence then feel it read back: the author is reader is author is reader.

Cover of Fantasy

Ugly Duckling Presse

Fantasy

Ben Fama

Poetry €18.00

Ben Fama’s Fantasy operates in a world of Internet, glamor, and lonely 21st century adulthood, through various other sorts of intimacies that happen through global production. Fama’s language and affect flatten desire while they maintain a tone of struggle and longing. Fantasy works at the question of how to spend time while alive in a humanity close to burnout, where the value of one’s own labor is as inconclusive as the profits of intimacy. The need for things butts up against the living nihilism of late capitalism.

Cover of Joan of Arkansas

Ugly Duckling Presse

Joan of Arkansas

Emma Wippermann

Poetry €20.00

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Winner of the 2023 Whiting Award for Drama.

Cover of What do you worship?

Pendulum

What do you worship?

Beth Casserly

Poetry €11.00

What do you worship? What claims your time, your faith, your silence? What are the icons you carry, the relics you protect, the devotions that define you?

For our inaugural issue, we invite you to reflect on the objects, ideas, rituals, and obsessions that shape your devotion. Worship is not confined to temples or texts, it flickers in longing glances, whispered prayers, silent routines, and fervent beliefs. It can be sacred or profane, communal or solitary, chosen or inherited.

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This issue features art and writing from: Triinu Silla, Michel Krysiak, Anna Tracey, Antonina Anna Kubicka, Ari Wentz, Jonathan David Sijl, Renacuajo Sánchez, Florence Hutchinson, Marta Calero Segura, Eden Ridout, Artémis Toumi, Simone Viola, Zoe Pappouti, Laura Soto Sánchez, Autumn Anderson, Woodkern, Cathal McGuire, Nena Pawletko, Ignacio Aguilera, Marine Victoria Lobos Garay, Andreea Luță, Isabel Ferreras González, Rafael Torrubia, Emilia Tapia, KC Willis, Simon Jin, Jacky Weerman, Róisín Gallagher, and Rin Anishchanka. 

Cover of Don't Call Us Dead

Graywolf Press

Don't Call Us Dead

Danez Smith

Poetry €16.00

Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don’t Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality—the dangers experienced in skin, body, and blood—and a diagnosis of HIV positive. “some of us are killed / in pieces,” Smith writes, “some of us all at once.” Don’t Call Us Dead is an astonishing collection, one that confronts America where every day is too often a funeral and not often enough a miracle. 

Danez Smith is the author of [insert] boy, winner of the Lambda Literary Award for Gay Poetry and the Kate Tufts Discovery Award. Smith has received fellowships from the McKnight Foundation and the Poetry Foundation, and lives in Minneapolis.

Cover of The Complete Text Would Be Insufferable / Language as Prosthesis

uh books

The Complete Text Would Be Insufferable / Language as Prosthesis

Chloe Chignell

Poetry €15.00

We begin with the image of an idea in ruin. A small field of assumptions disassembled. A question no longer in need of its mark. A thought not sure where it began. It starts from the body and language. The debris of these three words, crumbling already at and, did not break apart but congealed the separations once made. We start from a research (project) undone and just beginning. 

Typesetting and design: Will Holder
Produced by: A.pass

Chloe Chignell works across choreography and publication taking the body as the central problem, question and location of the research. She invests in writing as a body building practice, examining the ways in which language makes us up.