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Nasleep neemt de protesten rondom het Gezi Park in 2013 als vertrekpunt en verkent gaandeweg wat er is overgebleven van dit historische moment waarin een andere wereld voor het grijpen leek. Het zijn gedichten die laveren tussen ritmische, conceptuele en kritische noise enerzijds en postrevolutionaire affecten anderzijds, tussen politise­ring enerzijds en onmacht en radeloosheid anderzijds.

In Bewogen selfies onderzoekt Obe Alkema de verhouding tussen landschap en herinnering. Wat treft hij aan bij terugkeer naar belangrijke plaatsen uit zijn geheugen? Wat herinnert hij zich niet, maar Google wel? Is er een gedenkschrift te puren uit zijn metadata?

Memoires, rechtstreeks verteld en met omwegen, uit eerste hand en van horen zeggen. Archieven en herinneringen eisen spreektijd, houden het niet meer droog of worden tot spreken gebracht. Wat hebben ze eigenlijk te melden? Ze lopen helemaal leeg, net als Alkema zelf. Een leven zoals zovele, poedelnaakt en geretoucheerd, vol zin en onzin.

In het begin van de jaren 1970, hield Guy Rombouts een notaboekje bij waarin hij alle woorden, bijvoeglijk naamwoorden en werkwoorden bijhield die hij tegenkwam tijdens het lezen en die met elkaar verbonden waren door het voegwoord ‘en‘.

Ongeveer 50 jaar later en met de hulp van de grafische vormgever Jeroen Wille, is de transcriptie van zijn aantekeningen gepubliceerd als een boek dat gelezen kan worden in twee richtingen (en als enige boek coronaproof met twee tegelijkertijd).

Het boek bevat 2158 verzen met in totaal 4316 EN-combinaties.

De kortste verzen met evenveel letters:

A EN Z

4 EN 6

De langste verzen met evenveel letters:

ONUITSPREKELIJKHEDEN EN IMPONDERABILIA

ONEVENWICHTIGHEID EN ZELFOVERSCHATTING

Slangen krioelen in de sarcofaag van het heden, in de krochten van de popcultuur, in de mummie van de natuur, in wondes en rot vlees, in artificiële woestijnen en op geoliede dad bods. Ze wentelen zich rond beursgrafieken, raken verstrengeld met wurgende algoritmes, orkestreren een trage ondergrondse revolutie. Een meisje snijdt zich aan een nepdiamanten piramide en werpt haar slangenvel van zich af.

Dominique De Groen is schrijver en beeldend kunstenaar. Ze publiceerde de dichtbundels Shop Girl (2017), Sticky Drama (2019) en offerlam (2020). Ze werd genomineerd voor de Poëziedebuutprijs Aan Zee 2018, de Herman de Coninckprijs 2020 en de Fintroliteratuurprijs 2021 en won de Frans Vogel Poëzieprijs 2019 en de Fintropublieksprijs 2021.

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.

Brooklyn-based poet Asiya Wadud's fifth collection of poetry, Mandible, Wishbone, Solvent, engages migration, climate change, race, sexuality, and art-though not necessarily in that order-with a dynamic urgency and graceful restraint held in balance by a deep literary investment in the historical aesthetics of abstraction.

Punctuated by images of Wadud's own original art, the poems and prose of Mandible, Wishbone, Solvent offer an indirect meditation of the concepts of the drift ("Embedded in the act of drift can be the prior commitment or desire against drifting") and the isthmus ("An isthmus is a passageway, a threshold, underbrush, thicket, and deliverance"). Wadud constructs a latticework through which language circulates and creates new patterns that probe the natural world's edges, fissures, gaps, and seams. Further, the lyric poems suggest a relationship between speaker and environment that yearns to invert or dissolve the subject-object divide, creating instead an isthmus that joins and allows a drifting between them.

Algeria, Capital: Algiers by Anna Gréki is co-published by Pinsapo Press and CUNY Lost & Found, translated by Marine Cornuet, and introduced by Ammiel Alcalay.

Anna Gréki (1931-1966) was an Algerian poet of French descent. A member of the Algerian Communist Party, she was arrested and imprisoned for her participation in the Algerian liberation struggle in Algiers, in 1957. Algérie, capitale Alger, a collection of poems written during Gréki's imprisonment, was published in 1963 in a French and Arabic bilingual edition. Algeria, Capital: Algiers makes this work available to English readers for the first time.

"Anna Gréki was a particularly inconvenient pied noir—not loyal enough for the French colonists and too compromised for the Algerian nationalists—and so she was shunted to the margins of Algerian literary history. Nevertheless, it’s time she takes her place at the center of that narrative, and these accomplished translations constitute a necessary English-language introduction to this secret garden of Maghrebi poetry. Gréki’s poetry is electrified by the heady heights of the war of liberation, but arguably it finds its truest expression in her paeans to the wild hills and impregnable peaks of the Aurès mountains, where she was born and where she found a sense of peace which otherwise eluded her in her brief life." —André Naffis-Sahely

“Nothing happens here but everything burns.” From the prison where she was tortured by French authorities in 1950s Algeria, Anna Greki stays in touch, feverishly, with “this world of vulnerable flesh.” Addressed to her friends and comrades in struggle, to the land and the leaves and the birds, these poems defy “the war, this male ax,” invoking the future with “a trust so total / I can almost touch it.” Marine Cornuet’s translation deftly conveys Greki’s intimate language of the senses, to “transcribe with words what is done without them.” —Omar Berrada

"How fitting that a bilingual edition of Anna Gréki’s poems should be published now: a French poet born in Algeria, anti-colonialist (imprisoned for that) as Algeria battled for independence, writing in French, like Kateb Yacine, to show her freedom from French hegemony, but also her freedom as a woman writer to forge a transcendent and engaged poetics." —Marilyn Hacker

Poems on light and remnants. Light as mordant, as acid that etches through surface, as something that wraps itself around and between things, revealing form. The writing touches on dregs, remnants, residue and how we make sense of them, by making constellations and navigating through those diagrams. 

Anna-Rose Stefatou (b.1996, Athens) is a Greek-British artist based between Athens and London, working between moving image, installation, photography, and writing. Stefatou’s interdisciplinary works attend to stories attached to place and beginning to exist through writing, whether they become a structure to hold it, or whether language simply runs through them. Language is used both as an outset and as a distillation mechanism for ideas, with materials and imagery in visual works responding directly to the text. Gathering and repositioning knowledge guides her creative process: research includes archival footage, taking interviews, collecting objects, and location visits. This process is made visible through her material approach to the photographic image, transformed through different materials, forms and uses, as it unfolds and re-invents itself within new contexts. Stefatou graduated from the Slade School of Fine Art in 2019. Recently, she undertook a residency at Hospitalfield House, Scotland in 2023.  Upcoming projects include an exhibition at Pharmakeion, Athens in 2025 as well as a publication Dregs, Beacons that will be realised in 2025.