Spit Temple

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.

Bill Berkson's Invisible Oligarchs is like a book jotted on the back of a poet's hand—a hand that picks up everything that sings to it, from gold-leaf proverb to chopstick sheath, on its quick trip through a few places in urban Russia, 2006. Across faintly ruled Japanese paper, many pages reproduced here in facsimile, snapshots change hands, new poems blink, and poetry politics meet political gossip over lunch in St. Petersburg. Berkson's educated guesswork about that elusive quality once known the Great Russian Soul, is framed here by letters from his friend Kate Sutton and encompassing encounters with poets and cab drivers, Moscow conceptualists and a White Night at the Mariinsky Ballet. As a sharply observant poet and the most soulful art critic alive, Berkson knows how to get us behind the set, and reading this book is as nice as taking a high dive with him into a perfectly mixed White Russian.

Bill Berkson was born in New York in 1939. He moved to Northern California in 1970 and now divides his time between San Francisco and New York. He is a poet, critic, sometime curator, and professor emeritus at the San Francisco Art Institute, where he taught art history and literature for many years. A corresponding editor for Art in America, he has contributed to such other journals as Artforum, Aperture, Modern Painters, and artcritical.com. His recent books include PORTRAIT AND DREAM: NEW & SELECTED POEMS (Coffee House Press, 2009); BILL, a words-and-images collaboration with Colter Jacobsen; Lady Air; Not an Exit with drawings by Léonie Guyer; REPEAT AFTER ME (Gallery Paule Anglim, 2011), with watercolors by John Zurier; and a collection of his art writings, FOR THE ORDINARY ARTIST (BlazeVOX books, 2010), as well as a new collection of his poems, Expect Delays, from Coffee House Press in 2014 and INVISIBLE ORLIGARCHS out from Ugly Duckloing Presse in 2016.

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.

Molecular typography is the study of the chemical and physical underpinnings of letters. All characters are formed from seven basic atomic building blocks, known as typtoms. These typtoms come together in various combinations and configurations to form letters, numbers, and punctuation. Typtoms are not just theoretical tools for exploring the anatomy of type, but actual particles. Letters are molecules.

H.F. Henderson’s work, Understanding Molecular Typography, originally published in 1992, was a seminal work in the field. By condensing information pulled from nearly forty years of publications from the top molecular typographic scientists, Henderson made the science approachable to the everyday American for the first time. Part primer, part field guide, it lays out the basic principles, followed by detailed diagrams of the molecular formation of letters, numbers, and punctuation. A conclusion sums up the field of molecular typography to date, and a comprehensive bibliography provides valuable reference for the reader looking to learn more.

With the demise of the field of molecular typography as a whole in the mid-to-late ‘90s, (perhaps even due to its increased popularity brought on by Henderson’s work), Understanding Molecular Typography ran out of print, and has long since been forgotten. Peculiar as it may be, molecular typography is nevertheless a science worthy of being brought back to mainstream attention, if for no other reason than demonstrating humanity’s frequent scientific misconceptions throughout history. This reprint edition, with a new introduction by Woody Leslie, seeks to do just that.

"Until Henderson's incredible analysis, no one had created a conceptual framework sophisticated enough to do the analytic work in graphical physics that the alphabet required if it was to be fully understood. True, some of the Russian futurists, like Ilia Zdanevich, in their examinations of the properties of language, had begun to grasp the vague outlines of a modern scientific approach to molecular components, to the formation of compounds, and their behavior as chemical substances, within the structure of poetics. But Henderson's research was comprehensive and the results nothing short of astonishing." —Johanna Drucker

Joan of Arkansas is an election-season closet drama about climate catastrophe, divine gender expression, the instructions of angels, and heavenly revelation relayed via viral video. Fifteen-year-old Joan has been tasked by God (They/Them) to ensure that Charles VII (R–Arkansas) adopts radical climate policy and wins his bid as the Lord’s candidate to become the president of the United States. Arkansas is flooding, the West is burning, and borders are closed: “Heaven or / internet—it’s / hard to be / good.”

Winner of the 2023 Whiting Award for Drama.

An edifying immersion into Vicuña’s creative wellspring as well as her decolonization and ecofeminist ideals.

Beautifully designed, with a special reverence for her humanitarian heart, Dreaming Water is the most thorough monograph dedicated to the work of Chilean artist Cecilia Vicuña to date. Vicuña coined the term “Arte Precario” in the mid-1960s as a new category for her works composed of debris and structures that disappear in the landscape, and which also include her quipus (“knot” in Quechua), envisioned as poems in space.

Dreaming Water brings together over 200 works—including paintings, drawings, screenprints, collages, textiles, videos, photographs, installations, poetry, artist books and performances—created throughout the artist’s remarkable career. It also features several stimulating texts—a lengthy epistolary piece by curator and editor Miguel A. López as well as new essays by anthropologist Elizabeth A. Povinelli, curator Catherine de Zegher and art historian José de Nordenflycht. Vicuña herself contributes two texts, reflecting on her drawings from the “Palabrarmas” project and the activism of the group Artists for Democracy, which she cofounded in 1974. A rousing conversation between Vicuña, anthropologist Marisol de la Cadena and curator Camila Marambio also figures in the book, blending the artist’s voice with those who are experts in fields pertinent to her practice.

Conceptual writing is emerging as a vital 21st century literary movement and I’ll Drown My Book represents the contributions of women in this defining moment. Edited by Caroline Bergvall, Laynie Browne, Teresa Carmody and Vanessa Place, I’ll Drown My Book takes its name from a poem by Bernadette Mayer, appropriating Shakespeare. The book includes work by 64 women from 10 countries, with contributors’ responses to the question—What is conceptual writing?—appearing alongside their work. I’ll Drown My Book offers feminist perspectives within this literary phenomenon.

CONTRIBUTORS:

Kathy Acker, Oana Avasilichioaei & Erin Moure, Dodie Bellamy, Lee Ann Brown, Angela Carr, Monica de la Torre, Danielle Dutton, Renee Gladman, Jen Hofer, Bernadette Mayer, Sharon Mesmer, Laura Mullen, Harryette Mullen, Deborah Richards, Juliana Spahr, Cecilia Vicuña, Wendy Walker, Jen Bervin, Inger Christiansen, Marcella Durand, Katie Degentesh, Nada Gordon, Jennifer Karmin, Mette Moestrup, Yedda Morrison, Anne Portugal, Joan Retallack, Cia Rinne, Giovanni Singleton, Anne Tardos, Hannah Weiner, Christine Wertheim, Norma Cole, Debra Di Blasi, Stacy Doris & Lisa Robertson, Sarah Dowling, Bhanu Kapil, Rachel Levitsky, Laura Moriarty, Redell Olsen, Chus Pato, Julie Patton, Kristin Prevallet, a.rawlings, Ryoko Seikiguchi, Susan M. Schultz, Rosmarie Waldrop, Renee Angle, Rachel Blau DuPlessis, Theresa Hak Kyung Cha, Tina Darragh, Judith Goldman, Susan Howe, Maryrose Larkin, Tracie Morris, Sawako Nakayasu, M. NourbeSe Philip, Jena Osman, kathryn l. pringle, Frances Richard, Kim Rosenfeld, and Rachel Zolf.

This book brings together the Palabrarmas series by the artist, poet, and activist Cecilia Vicuña (b. 1948, Santiago, Chile). A neologism that translates to “word weapons” or “word arms,” Palabrarmas imagine new ways of seeing language. By taking the form of collages, silkscreens, drawings, poems, fabric banners, cut-outs, mixed media installations, and street actions, Vicuña brings together many aspects of her practice in poetry, activism, and visual art, allowing new meanings to emerge. This book presents a range of palabrarmas, created over the past four decades, in color for the first time.  

Cecilia Vicuña is an artist, poet and activist currently based between New York and Santiago.